KREATOR ANNOUNCE KLASH OF THE RUHRPOTT FESTIVAL 2024 FEATURING SODOM, DESTRUCTION AND TANKARD

 

Metal titans Kreator proudly present the Klash Of The Ruhrpott festival – July 20th, 2024 at Amphitheater Gelsenkirchen. Featuring the long awaited union of Germany’s legendary Teutonic 4, completed by Sodom, Destruction and Tankard.

The one-day thrash extravaganza is a celebration of German metal, expected to welcome domestic and international fans for this once in a lifetime event!

Mille Petrozza (Kreator):

"I’m so happy we have an opportunity to present this package in the best way possible! It’s going to be a really special day, full of love and respect…and the most extensive Kreator set ever…prepare for some deep cuts!"



Tom Angelripper (Sodom):

EPICA RELEASE NEW SINGLE "CONSIGN TO OBLIVION" (LIVE AT THE AFAS LIVE); OFFICIAL VIDEO STREAMING

 

Right in the middle of their festival season, symphonic metal titans, Epica, return with another live single off their upcoming digital EP, Live At The AFAS Live. Originally the title track of their second studio album, and one of Epica's heaviest tracks, "Consign To Oblivion" has not only become a real classic but also the ultimate final song of most Epica shows, always starting with an obligatory wall of death right after the intro.

Over the years 'Consign To Oblivion' became our favorite track to conclude our shows with”, Mark Jansen comments. “Every time we tried another track it never had the same impact as Consign to Oblivion. I’m happy everyone can now witness the live version that we played in Amsterdam to a fantastic home-country-crowd!

Duff McKagan, do Guns N’ Roses, lança single solo “I Saw God On 10th Street

Duff McKagan, baixista do Guns N’ Roses, lançou o single solo “I Saw God On 10th Street”. A canção fará parte do Lighthouse, terceiro álbum solo do artista, que será lançado dia 20 de outubro.

Ao falar sobre a música, Duff comentou: “Eu o imagino como um velho de barba e cabelos brancos, encostado na parede de uma rua da cidade”, diz ele. “O supremo jurista de todos nós. Irritado, semicerrando os olhos para afastar o que vê, cuspindo com frequência sem se importar com quem pode estar por perto. O criador. Deus. Alá, Shiva… ou quem quer que seja. Acho que às vezes o vejo na Rua 10, com os punhos cerrados e os dedos dos pés contraídos e tensos.”

Lighthouse contará com participações especiais de seu companheiro de banda Slash, além da lenda punk Iggy Pop e de Jerry Cantrell, guitarrista do Alice In Chains.

TESLA – FULL THROTTLE LIVE

 

Full Throttle Live was recorded live at the Full Throttle Saloon at the Sturgis Bike Rally in South Dakota. However, the back cover of the CD states July 2022, and Tesla’s official website indicates that the concert took place on August 8, 2022. Let’s call it Summer 2022 on the “Let’s Get Real!” Tour. Interestingly enough, this is the first release from Tesla to feature drummer Steve Brown, and he’s the first to be heard as the leadoff track, “Miles Away”, begins with Steve smacking the skins.

Produced by bassist Brian Wheat and guitarist Frank Hannon, and mixed by Wheat, Full Throttle Live is Tesla sounding absolutely terrific! The nine songs on offer span the band’s entire career from “Changes”, originally released in 1986, to “Cold Blue Steel” from 2021 and “Time To Rock” unleashed in 2022. In fact, 1991’s Psychotic Supper is the only album from which two songs are pulled – “Call It What You Want” and “Edison’s Medicine”.



Opting for deeper tracks “Breakin’ Free” and “Lazy Days Crazy Nights” as opposed to the expected “Signs” or “Love Song” is greatly appreciated. Throughout each and every one of these songs, Tesla are completely invigorated, commanding the stage with vocalist Jeff Keith coming across as timeless. The bonus track is a very cool cover of Aerosmith’s “S.O.S. (Too Bad)”. Compared to the original, from 1974’s Get Your Wings, Tesla beef up the bottom end, while maintaining the intrinsic blooze groove. Crank it up!   

NASGUN AVE SATAN

True black metal from norway is back, nasgun, buried 13 cds in the graves of Dead dead(mayhen)euronymous(mayhen) and in the tomb of jon nödtveidt,the satanist promises to bring chaos and cosmic order m.l.o ,a new black circle cycle is starting now and you are prepared to die..or are you a black metal poser....



https://nasgun.bandcamp.com/track/welcome-to-darkness

DevilDriver: Beyond The Vei

How often do we as fans get to lift the veil on how a band’s album is recorded? To really know the process and see it all unfold before our very eyes. Sure there are documentaries such as METALLICA’s Some Kind Of Monster (2004) and various Behind The Scenes…series on YouTube, but there is something very telling about having a band member sit in front of you and really explain things. Even the most mundane things become fascinating because you’re learning about how another creative mind works. You may not delve into the themes and meanings behind certain things but still come away saturated with knowledge.



This brings DEVILDRIVER’s Mike Spreitzer to a Distorted Sound Zoom meeting. Chatting the night before the release of Dealing With Demons Vol. II, Mike joins us from his home studio, or shall we say his second home? The guitarist-cum-sound engineer takes a moment to settle in his chair as he contemplates the multifaceted topic of what fans can expect from a new DEVILDRIVER album. “It’s been a bit of a cliffhanger for the band in terms of sitting on this record for so long,” Mike explains. The original plan was to release this record with its counterpart, 2020’s Dealing With Demons Vol. I either at the same time or up to a year afterwards. That was until our ol’ pal COVID made an appearance and broke up the party. “It’s not a good idea to release a record when you can’t go out and tour it,” Mike laughs, “but the new way of thinking was to just release this one [Vol. I] now and everyone’s just going to have to wait until things open up again and we can actually tour.”

A simple enough plan right? For a multitude of other bands, this is exactly how it panned out. However this wasn’t to be the case for DEVILDRIVER. Vocalist Dez Fafara would end up battling with long-COVID, leading the band to pull out of international appearances such as this year’s Bloodstock Festival. “I’m kinda happy we had to wait until a lot of the COVID protocols had been put to rest,” Mike quips as he tells us the story of when the band were readying themselves for the US tour just passed and encountering the “COVID-box” in amongst DEVILDRIVER and JINJER’s touring equipment in their lock up. “I remember looking at the tests and masks and being so happy we never had to deal with that shit on the road.” He muses.

“I like to compare this to Use Your Illusion I & II [GUNS N’ ROSES],” Mike comments on the project. “Sonically, they sound the same; they were recorded at the same time and we did things exactly the same. I don’t like the term ‘more of the same’ because it’s not.” From the ferocity of opening I Have No Pity from Vol. II, the sound may be your typical DEVILDRIVER but the vibe is most certainly not the same. There are no real flourishes within the guitar work. It’s a simple groove metal song. Whereas Mantra and Summoning will have DEVILDRIVER experiment with their sound and tempo, something Mike is very cautious of. “I like DEVILDRIVER records to have diversity,” he starts, motioning towards a whiteboard. “I’ll have this chart which has the working titles, tunings, and tempos right? Then I can see I have a lot of songs hovering around 130 BPM and some around 190 BPM – so I’ll set a click at 150 and write until I come up with something cool.” Having a creative process explained to us in ways which feel so simple is refreshing, as is hearing Mike will noodle on a seven string guitar while watching Star Wars.

Many creative types; whether that be artists, writers, musicians, designers etc, will agree with the sentiment that being interrupted when you’re mid-creative flow is one of the most frustrating things we have to deal with. “You’ll take care of whatever needs you, then you come back and that flow is just gone,” Mike ponders. “Sure, I could come back to it tomorrow but it wouldn’t be the same. It’s a fingerprint to that date and time where it’s the only instance that exact piece of art is going to come out of your brain.” So during the process of making Vol. II, Mike would lock himself away in the studio for up to 16 hours a day, creating the album’s snapshots. As previously mentioned, there are many moments of rage housed within the latest record. Which again brings comparison to its counterpart.

“We have some songs on Volume I that are a little less coming out swinging if that makes sense; like Keep Away From Me and Wishing, slower yet still heavy,” he says, “Not everything has to be super fast all the time, you need a dynamic to music. Take HYPOCRISY for example, I love their mellow songs far more than their brutal tracks, there’s something about them which pulls me in and I guess you’re one or the other.” he ponders before adding GOJIRA’s The Gift Of Guilt is another massive pleasure of his.

So what comes next within the DEVILDRIVER saga? Ballads? Collaborations with GOJIRA? No one really knows but one thing is for certain: there are no more Volumes on the way. “Now we’ve got Jon Miller [bass] back and I think that’s going to bring us back to the Pray For Villains (2009) type vibe,” Mike beams. Even a week previous to our conversation, Jon joined Mike in his home studio and set to writing after an impromptu jam session. While we can’t extract any more information than that from the guitarist, he’s certainly left us with a lot of anticipation for future DEVILDRIVER records.

Before those records can come however, there needs to be some reflection on the one which recently hit the shelves. Though it’s not the album Mike reflects on but the idea of touring after a three year hiatus from it. “I was concerned about how I was going to introduce touring into what my life had become,” he begins. “I’d gotten engaged, got used to sleeping in my own bed every night, could surf whenever I wanted to. I even got to spend time with my family which I’d never been able to before.” Functionality and logistics aside, there was another sticking point: was Mike even going to enjoy touring anymore? Answering our question before we could even ask he says, “the second I got on that bus, I was excited. I love being around my band – the camaraderie I have with my friends is my favourite thing about touring.”

Now saturated from DEVILDRIVER’s learning tree, there’s a new appreciation for Dealing With Demons Vol. II. While the record could fade as time passes with the promise of Pray For Villains like material on the horizon, it’s certainly a wonderful respite from all guns blazing DEVILDRIVER and one we should appreciate while we can.



Dealing With Demons Vol. II is out now via Napalm Records.

HEAVY MUSIC HISTORY: St. Anger – Metallica

Well, well, well. If it isn’t the most marmite album in existence. The album everybody loves to hate, St. Anger, turns 20 years old this year and the legacy it’s left behind is anything but appealing. Its entire existence is a running joke for METALLICA fans and haters alike, with many citing that the snare drum is the worst thing to ever happen to the band. But why does everybody love to hate it so much?



The easy answer is that it’s different. Moving away from the thrashy style that made die-hard fans fall in love with METALLICA, St. Anger instead chose to reject their signature approach. Forgoing guitar solos and opting for a raw production style and metallic drum sound, it was extremely experimental, especially for a band that had already had seven hugely successful albums and reaped success from them. When asked about the absence of guitar solos, Kirk Hammett (guitar) simply told Blabbermouth, “We wanted to preserve the sound of all four of us in a room just jamming. We tried to put guitar solos on, but we kept on running into this problem; it really sounded like an afterthought​.”

It’s time to address the gigantic divisive elephant in the room; the snare. Ask anyone about the album and you will most definitely be met with a statement about it and how awful it is – only the minority believe it’s not actually that bad. Just for those among us who have no idea just how Lars Ulrich (drums) managed to get his snare sound, here is a brief explanation: the cracking snare sound comes from the springs that rest at the bottom of the drum and Ulrich decided against using them, resulting in a drum tone with more of a dull ring that usual. Ulrich stated to Blabbermouth; “One day I forgot to turn the snare on because I wasn’t thinking about this stuff. At the playbacks, I decided I was really liking what I was hearing – it had a different ambience. It sang back to me in a beautiful way.”​

Beautiful is an interesting word to use to describe it, but it doesn’t explain why the vast majority can’t let it go after 20 years. Simply, they used an experimental sound and it just didn’t work as they had hoped. But ultimately, this is METALLICA we’re talking about – they are one of the few bands that can get away with trying it because they know that they will still have their loyal listeners waiting at every turn for their redemption.

The raw unpolished production adds to the depths of the emotions that the band felt during the two years they recorded St. Anger, shaking up the way the industry looked at production values and how they sound themselves. It has the raw sound of a garage band getting together to write groovy speed metal, not the polished sound that the industry and audiences are so used to. Instead, we are presented with anger and aggression that is conveyed through each track with a frantic nature and violent attacking.







To fully understand St. Anger and the decisions made during its production, you must understand that it is an album born of hardship. The album was already doomed before it could even begin, with Jason Newstead (bass) leaving the band and citing a range of private and personal issues for his departure. While they found a temporary replacement in the form of producer Bob Rock, the band still chose to pursue a new bassist during their time in the studio – why not make an already stressful and busy situation even more so, right? Thankfully, we were all blessed with the introduction of Rob Trujillo (bass) to the fold – a true blessing in disguise.

The writing process for St. Anger was anything but easy. The now infamous documentary Some Kind Of Monster (2004) gives us an insight into what it was like to be at such a pivotal moment in the band’s career that could make or break them. As much as it feels a little more This Is Spinal Tap (1984) at times, it gives us an insight into the world of METALLICA. Tensions were evidently at an all-time high as documented between the constant clashing of heads between James Hetfield (guitar/vocals) and Ulrich, the pair seeming to disagree over each small detail.

Possibly the most influential event to impact the recording process came in July 2001, when Hetfield entered rehab for alcoholism and other undisclosed addictions. When returning to the band in December of that year, he would only be allowed to work on the album from noon to 4PM. This paired with the ongoing struggles within the band forced the band to hire personal enhancement coach, Phil Towle. This event had a clear influence on the album’s content, with Hetfield himself stating that the turmoil and passion surrounding those two years and his rehabilitation had an influence on subject matter and lyricism. “There’s two years of condensed emotion in this. We’ve gone through a lot of personal changes, struggles, epiphanies, it’s deep. It’s so deep lyrically and musically.”​ he would tell Blabbermouth.

St. Anger is not a perfect album by any means, dividing critics across the board with extremely polarising views. It continues to do the same, with so many professionals and fans alike questioning its place in rock history. It’s one of those albums which will always stir up a conversation among metal fans and it’s usually all down to that snare that has become the summoning call to so many. The best words to describe the choices made during St. Anger’s production come from Hetfield himself as he told Guitar World: “There are things I would like to change on some of the records, but it gives them so much character that you can’t change them… St. Anger could use a little less tin snare drum, but those things are what make those records part of our history.”​