KREATOR's MILLE PETROZZA

KREATOR's MILLE PETROZZA: 'We Wanna Progress As Musicians And Come Up With New, Exciting Stuff'November 5, 2023









In a new interview with Kris Peters of Australia's Heavy, KREATOR frontman Mille Petrozza was asked how he thinks the band's goals and vision have changed in the four decades since KREATOR's inception. He responded (as transcribed by BLABBERMOUTH.NET): "Of course we progressed as musicians. I think the attitude is still the same. We love to play extreme metal. We love to explore new music. Every time we release an album, it's important for us that we do something that we haven't done before and that we push ourselves and put in new elements and try new things every time we release an album. But the attitude is still the same.

"I think over the years we established our own style and we wanna progress as musicians and we wanna come up with new stuff, exciting stuff," he continued. "We wanna keep our music exciting, and that's why we sometimes take five years between albums, sometimes three, four, but we never just put out something for the sake of it."










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Brian Setzer's 1960s Fender Bassmans | Rig Rundown Trailer




Asked how KREATOR's sound has evolved since the release of the band's debut album, "Endless Pain", in 1985, Mille said: "Like I said, we've progressed as musicians. We're more confident. We're more experienced, obviously. But sound-wise, the technology is so different nowadays, even though on [KREATOR's latest album, 2022's] 'Hate Über Alles', we went to an old-school studio called the Hansa studio [in Berlin, Germany], a studio where David Bowie worked in the '80s, U2 did some albums there, DEPECHE MODE worked there. So we keep it old school to some extent in order to keep sound-wise, sonically, just keep some of the elements from the early days. But I would lie to you if I would say we are not using computers. Of course, everybody's using computers nowadays. We're not blocking out this new technology and the possibilities of nowadays recording techniques. So it's a nice mix. But I think as long as the attitude is the same, and I think that's referring to your question, we still have the same energy we put into the music and we work very hard on keeping it fresh and exciting."


This past May, KREATOR released a music video for the song "Conquer And Destroy" from "Hate Über Alles". The performance footage was filmed on March 4, 2023 in front of 6,000 of KREATOR's mighty hordes in their spiritual home of Essen.

KREATOR's fifteenth studio album, "Hate Über Alles" was released in June 2022. The follow-up to "Gods Of Violence" was recorded at Hansa Tonstudio in Berlin, Germany. Helming the sessions was Arthur Rizk, who has previously worked with CAVALERA CONSPIRACY, CODE ORANGE, POWER TRIP and SOULFLY, among others.

The "Hate Über Alles" cover artwork was created by Eliran Kantor, who has previously worked with HATEBREED, SOULFLY, TESTAMENT, ICED EARTH and SODOM, among others.


"Hate Über Alles" marks KREATOR's first album with bassist Frédéric Leclercq, who joined the group in 2019.

In March 2020, KREATOR surprise-released a new single, "666 - World Divided". The song was produced by Andy Sneap and Markus Ganter and was recorded at Hansa Tonstudios.

KREATOR played its first show with Leclercq in October 2019 in Santiago, Chile.


Before joining KREATOR, Leclercq rose to fame with U.K.-based extreme power metallers DRAGONFORCE for whom he handled bass duties from 2005 until August 2019.

KISS: FRONTMAN PAUL STANLEY DESCARTA NOVA RESIDÊNCIA EM LAS VEGAS

KISS: FRONTMAN PAUL STANLEY DESCARTA NOVA RESIDÊNCIA EM LAS VEGAS

O guitarrista/ vocalista e cofundador do KISS, Paul Stanley rejeitou os rumores de que a banda poderia fazer uma residência no novo Sphere de Las Vegas. Desde que o U2 iniciou sua residência em 29 de setembro no local que abriga uma tela LED envolvente de 16K e 167.000 alto-falantes dentro do orbe de 366 pés de altura, a leste da Las Vegas Strip, tem havido muita conversa na Internet sobre outros artistas. que poderia fazer um uso tão criativo de seu espaço único. No entanto, parece que o KISS não será um deles. Disse Paul Stanley ao Ultimate Classic Rock:
“Não posso falar sobre isso de outra maneira, exceto para ser honesto com você sobre como me sinto agora, e o que sinto hoje é… não consigo imaginar isso acontecendo. No que me diz respeito, terminamos."


Em março passado, o KISS anunciou os shows finais de sua última turnê – dois shows consecutivos no Madison Square Garden, em Nova York, no final de 2023. A última etapa da turnê norte-americana do KISS culminará nos shows do MSG. nos dias 1º e 2 de dezembro. Questionado em uma entrevista de março de 2023 para o Las Vegas Review-Journal se o KISS faria um show novamente em Las Vegas, depois que a residência da banda no Zappos Theatre marcada para dezembro de 2021 a fevereiro de 2022 foi cancelada, o baixista/ vocalista e cofundador Gene Simmons disse:“Na verdade, não sei, porque temos sido inundados por pessoas querendo nos ver onde quer que vamos. Quero dizer, todo cara que lavou meu cachorro ou fez minha lavagem a seco está me pedindo ingressos para toda a sua família, três gerações de volta. Vegas? Não sei, seria bom fazer uma residência em Las Vegas. Mas não sei nenhuma dessas coisas. "


Em janeiro passado, Stanley foi questionado pelo Yahoo! se o último show da turnê End Of The Road realmente marcará a apresentação final do KISS ou se há uma chance de shows únicos ou de uma residência em Las Vegas no futuro, Stanley disse:"Eu realmente não posso. Mas é o último de qualquer tipo de show ou turnê regular. Está na hora. E da mesma forma, é demorado. E fisicamente, é cansativo fazer o que fazemos. Inferno, se eu pudesse subir ao palco de jeans e camiseta, nos daria mais 10, 15 anos facilmente. Mas o que fazemos é um esporte totalmente diferente. Quer dizer, somos atletas; estamos correndo no palco com 30, 40 libras de equipamento, e não é possível fazer isso por muito mais tempo. Então, não somos como outras bandas. Então, faremos mais shows ou eventos únicos? Eu realmente não tenho ideia. Mas esta é uma mentalidade muito clara de que os dias de turnê e de fazer esse tipo de show acabaram.”


Ao fazer sua última passagem por Cleveland, no último fim de semana, os membros do KISS, Paul Stanley, Tommy Thayer e Eric Singer foram presenteados com um “Music Keynote To The City”, no Rock And Rock Hall Of Fame de Cleveland, Ohio , no sábado (21 de outubro). Além disso, o vereador de Cleveland, Brian Kazy, proclamou o domingo, 22 de outubro, como o “KISS Day (Dia do KISS)”, coincidindo com o último show da banda na cidade, que aconteceu naquele dia à noite, no Rocket Mortgage Field House. (O baixista Gene Simmons, não compareceu. De acordo com Cleveland.com, Stanley disse à multidão que Simmons precisava descansar.)



Depois de ser apresentado com o “Music Keynote To The City”, o vocalista Paul Stanley, disse:"Sempre sentimos que este era um lar longe de casa. É interessante estar aqui quando todos conhecem nosso passado histórico com o Rock Hall. O Hall Of Fame encontrou uma nova base e os artistas que pertencem aqui estão entrando. Estou muito honrado depois de 50 anos por estar aqui e receber prêmios e fazer outro show com ingressos esgotados. Tem sido incrível, e obrigado, do fundo de nossos corações. Vocês tem sido incrível conosco. E [domingo] à noite, lhes daremos um grande agradecimento ensurdecedor. "


Assista o evento no vídeo abaixo:


Fonte: Blabbermouth.net

BORKNAGAR: BANDA ANUNCIA TOUR PELA AMÉRICA LATINA

BORKNAGAR: BANDA ANUNCIA TOUR PELA AMÉRICA LATINA



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A banda de Folk Metal Borknagar acaba de anunciar através de suas redes sociais que estará em tour pela América Latina entre os dias 10 e 15 de novembro do próximo ano.


Até o momento, infelizmente, não constam datas para o Brasil, apenas México, Costa Rica e Chile estão confirmados.

Fonte: Facebook Oficial Borknagar

AM REVIEWSLBUALTERNATIVEPOST-HARDCOREREVIEWS

Ever since their inception in 2002, American post-hardcore outfit TAKING BACK SUNDAY have drenched our souls with heartbroken sorrow and desperate longing but they’ve always done so in the style where you can sing your heart out to diminish the pain. But they took a break from crafting some of the catchiest anthems in emo and hardcore after the release of their 2016 album Tidal Wave, returning now with 152 to demonstrate that nothing has changed apart from TBS stretching their sound muscles. They’re the same band, with the same purpose of building human connection, but their sound now surpasses the two bracket genre categories they have been held in for the past 24 years.



Opener Amphetamine Smiles gently eases the listener into the awaiting emotional rollercoaster that 152 unveils itself to be. An array of acoustic guitars, stringed orchestra and piano accompany Adam Lazzara’s distinct vocal showcase that emits the emotions of bittersweet reflectiveness and that core theme of heartbreak TAKING BACK SUNDAY make damn sure they do best.


Elsewhere, early single The One and other tracks like Keep Going, Am I The Only One Who Knows You and Quit Trying do exactly what they say on the tin. Tapping into pop heavy territory with the occasional shimmer of synths akin to the likes of THE KILLERS breakthrough debut album Hot Fuss, particularly on Am I The Only One Who Knows You, all three songs are heartfelt in their approach, scaled up to a stadium-sized pop sounding atmosphere. TAKING BACK SUNDAY have been the crème de la crème of churning out anthem after anthem and nothing is stopping them from continuing to do that on 152.

The album comes to a close with The Stranger. A song that is fuzzy and warm in its sound yet cold and lonely in its lyrics, The Stranger may be the listener’s last hope of a glimmer of optimism amongst the rubble of broken hearts but as its story of being lonesome alludes to, it dashes all of those.

Overall, on 152 TAKING BACK SUNDAY preserve the DNA that has defined every inch of their success to date but they are also clearly curious about branching out to new horizons and perhaps this album will be their mainstream leap or at least an attempt at that even if arguably they do miss by a fraction on this record.

Rating: 7/10



152 is out now via Fantasy Records.

Like TAKING BACK SUNDAY on Facebook.

CLASSIC ROCKFEATURESHEAVY MUSIC HISTORY

“It was the biggest shame in rock and roll; God knows what we would have done over the next three or four years. We were writing so well.” This was how the late Jon Lord described the end of DEEP PURPLE’s heralded ‘Mk. II’ line up some twenty years after the fact. A combination of internal tensions and exhaustion following the band’s rise to one of hard rock’s most prominent acts had taken its toll in the summer of 1973 – out the door went bassist Roger Glover (whether he chose to leave or was fired at the insistence of guitarist Ritchie Blackmore remains disputed) and, more pertinently, vocalist Ian Gillan following his own, infamous spat with the axeman.



Coming into the band were Glenn Hughes, initially on both bass and vocals, having impressed Lord and drummer Ian Paice whilst playing with Midlands outfit TRAPEZE. A move to take FREE vocalist Paul Rodgers collapsed when the singer decided to concentrate on forming BAD COMPANY, so PURPLE held auditions for a new frontman. An unknown name from the Yorkshire town of Saltburn-by-the-Sea came out on top, primarily because his masculine, blues-tinged voice resonated with Blackmore; thus, David Coverdale completed the ‘Mk. III’ lineup.

Along with Hughes, Coverdale brought elements of funk, soul and blues into the group, along with twin vocal harmonies – their first effort with the group, Burn, was released in February 1974 to great success, reaching #3 and #9 in the UK and US respectively. Coverdale’s individual performance was praised, most notably on the full-throttle title track and the brooding closer Mistreated, a track that would be played by him throughout his career even after he left DEEP PURPLE. The band themselves continued their impressive trajectory, co-headlining the California Jam alongside EMERSON, LAKE & PALMER in front of 250,000 fans on a bill that also included BLACK SABBATH and THE EAGLES.



Now brimming with confidence, Coverdale helped PURPLE fully embrace their funkier side on following record Stormbringer, much to Blackmore’s chagrin; the guitarist, wary of his previous fallout with Gillan, kept relatively tight-lipped, but he couldn’t help but criticise the album in the press, saying he didn’t want to play ‘shoeshine music’, a remark that immediately put him at loggerheads with Hughes due to the incredibly insensitive racial connotations, Hughes being good friends with many black musicians like Luther Vandross and Herbie Hancock. The album performed well commercially, but the die had been cast; in June 1975, Blackmore left to join forces with Ronnie James Dio and form the hugely successful RAINBOW.

Despite considering disbandment, DEEP PURPLE continued and recruited Tommy Bolin for their next album, Come Taste The Band (1975). Coverdale would say he was the one who recruited the guitarist, saying ‘he plugged into four Marshall 100-watt stacks and…the job was his’, although Bolin disputed that soon after. The album received mixed reviews at the time and, retrospectively, Lord would say that ‘the worst thing you can say about it is that, in most people’s opinions, it’s not a DEEP PURPLE album’. In recent years, Bolin’s work and influence has also gained praise; he was encouraged by Coverdale to develop much of the album’s material, and it revitalised the band once again as they continued their funk-meets-hard rock sound.



However, the following five months would prove to be the band’s last for eight years. Bolin’s drug addiction caused him to be openly booed at concerts as he struggled to mimic Blackmore’s solos, while Hughes’ self-confessed cocaine problem hampered the group further. This also included the release of Last Night In Japan (1977), a live taping of a truly awful performance where Bolin could barely play due to an arm injury, forcing Lord to perform most of the guitar lines. The UK leg of the Come Taste The Band tour was the final straw; Bolin was constantly on edge, only needing to hear one shout of Blackmore’s name in the crowd to completely lose focus on stage during his solos and his poor performances were causing tensions. On the last date, at Liverpool’s Empire Theatre on May 15th, 1976, they snapped – a dreadful showing all round, coupled with a crowd baying for Blackmore, proved too much for Coverdale: he left the stage in tears, broke down on Paice and Lord backstage and said, ‘I just can’t take this anymore’.

They agreed, and the band was officially over, the news being made public four months later. It wouldn’t be until 1978 that Coverdale would resurface, again flanked by Lord and, a year later, Paice – initially conceived as a backing band for Coverdale to perform with, the group were soon given a name; it’s another story entirely but, as is well known, WHITESNAKE would go on to dominate rock and metal for much of the 1980’s.

This month, in honour of fifty years since he joined the band, Coverdale has released The Purple Years, a compilation of re-recorded songs by the current WHITESNAKE lineup from his time in DEEP PURPLE. Given the material he had to work with, it’s understandably a mixed bag, but its place in history cannot be understated. In just three short years, David Coverdale had gone from a salesman residing in an English seaside town to one of the most recognisable and celebrated vocalists in heavy music – even if he HADN’T achieved such success after his departure, his place in rock and metal’s tapestry would have been cemented forever more.



The Purple Album: Special Gold Edition is available now via Rhino Records.

MICK MARS ON LEAVING MÖTLEY CRÜE - "SOMETIMES YOU HAVE TO GROW MORE"

BraveWords' Streaming For Vengeance sat down with former Mötley Crüe guitar legend Mick Mars to discuss his new solo material, the recently-released 40th anniversary Shout At The Devil box, the Sunset Strip and how they skyrocketed to fame by just sounding different from every other band in Los Angeles. And despite the fact that he's in legal battles with the other members of Mötley Crüe (Nikki Sixx, Tommy Lee and Vince Neil), he actually owned the name Mötley Crüe first. When asked if it broke his heart the way things ended with the band he responded: "Sometimes you have to grow more. I can't take it any further than that cuz of all the crap. What did The Byrds say? "A time to reap, a time to sow" (on their classic 'Turn Turn Turn'). I learned how to play that song when I was 14. On a 12 string too!"

WHAT IF PAUL DI’ANNO HAD REMAINED IN IRON MAIDEN?

WHAT IF PAUL DI’ANNO HAD REMAINED IN IRON MAIDEN?


feature heavy metal iron maiden paul di'anno



Would Maiden have gone on to enjoy the same worldwide success if singer Paul Di'Anno remained behind the mic? A question that many a metalhead has pondered over the years. And in my book from a few years back, Iron Maiden: 80-81 (which as its title states, focuses solely on Maiden’s “Di’Anno era,” and features exclusive interviews with some of metal’s most renowned names), this question was thoroughly investigated…in fact, an entire chapter was solely designated to it! Below is an excerpt from the book, which is available for purchase as a paperback version and a Kindle download.

John Gallagher (Raven singer/bassist): “Ah, there's the $64,000 question. It's debatable. I'm not sure how much of the material Bruce wrote on the third album (Dickinson did not write any songs for The Number Of The Beast album). I honestly don't know. But if he'd had his act together, maybe. If he'd had his act together, yeah, they would have done stuff. He didn't have his act together. It wasn't going to happen. And it was really the music and the fact that he just couldn't perform to the level that he should have. He bought himself a one-way ticket out of that band. And those guys did what they had to do. I'm sure it was very painful, because they were all mates and they'd all grown up putting this thing together for a long time, and a lot of work. People just don't know the stresses and strains that the personal relationships between bands can get. We can only guess what went on with all that stuff. But it worked out - they found the right guy. They found the guy that literally took them to the next level. And a guy who is one of the premiere performing artists that are out there. Bruce is a force of nature - God bless him.”

David Ellefson (Megadeth bassist): “I think that's kind of a two-part question. As far as stylistically vocally, I think Paul was probably a little limited as far as mainstream appeal. And then as it turns out, you never know what someone's personality is like within a group. Lots of times when changes are made, it's because of a person who the group didn't feel was going to be able to go the distance and really keep it all together. And that's a whole other side to the thing, it's a risk when you're in a band and you have to make those changes, because ultimately if that personality isn't going to be able to hold it together at the lower levels, chances are, they're not going to hold it together at the higher levels.




“And I don't know any of the internal dynamics of what that was in Iron Maiden. To me, they sounded awesome, but hitting the big time isn't for everybody. I've never seen Paul play live, and I would like to hear him sing some of those Maiden tunes, because I know he's out gigging and doing stuff. But Iron Maiden, they accomplished some pretty remarkable stuff once they made the change with Bruce. Bruce having to go back and sing early songs, that's not always easy for a singer to do, too, because certainly fans grew up listening to Paul Di'Anno, so for Bruce to have to go back and sing songs, that probably puts him out of his comfort level too. To answer your question, everything happens for a reason. And it seems the way things panned out worked out really well for Iron Maiden, and I think that's great for all of us who are fans.”

Wil Malone (Iron Maiden album producer): “That's difficult to say. Yeah, I think they probably would have. But it depends really on the original singer, whether he could hold up. I mean, there must have been a reason why they got rid of him. I have no idea what it was.”

Charlie Benante (Anthrax drummer): “I don't know. That's a hard question to answer, because you don't know that for sure. Would AC/DC be as popular if Bon Scott was still in the band? I don't know. But I'll put it to you this way - I can never hear The Number Of The Beast without Bruce Dickinson, I can never hear Back In Black without Brian Johnson. So I think maybe in the back of my mind I don't think the band would have been as popular without those changes, but you never know. I mean, Metallica went on to be huge, and I don't think James would say back in the day, he was this great ‘Rob Halford type of singer,’ you know what I mean?”



Dennis Stratton (Iron Maiden guitarist, 1979-1980): “No, I don't think they would have had worldwide success if Di'Anno had stayed, because he was hard work, he's a bit silly in the head, and I would never work with him…I wouldn't even talk to him. Just hard work.”

Biff Byford (Saxon singer): “No. I don't think so. I think Bruce brought a sort of style to Maiden that once Bruce joined, his melodic style and his writing style made an impact on Maiden. I think they went much more mainstream.”

Mike Portnoy (Former Dream Theater drummer): “I hate to say it - with all due respect to Paul - but probably not. I think Bruce was a huge, huge part of the band's sound and when the band finally really broke through with The Number Of The Beast, Piece Of Mind, and Powerslave, I think a big part of it was…not only Bruce's voice, but also his look. Paul…at that time, nobody in metal had short hair - it just wasn't the look at the time. And Bruce had the long hair and was like a ‘Golden God.’ I think a big part of Maiden's mainstream breakthrough was due to Bruce joining the band.”

Scott Ian (Anthrax guitarist): “Honestly, I don't think they would have been as big. I just don't think he's the frontman that Bruce is, and couldn't have sang those songs on The Number of the Beast or Piece of Mind or Powerslave - some of those bigger, epic, or even let's say, "commercial" in quotes, because it's not like they were a radio band. But I just don't think it would have worked. Those songs wouldn't have been as great as they are without Bruce on them. I can't imagine it any other way. Just the same way I feel like I only really want to hear Paul singing the Di'Anno stuff. Bruce sings it and obviously they do those songs live, and those are the songs, but I only want to hear Paul really singing those. Bruce does a fine job on them, but it's not the way they're supposed to sound in my brain. I don't think they would have become the band they became, unless they made that move. That really did push them to the next level, where they were able to separate themselves from the pack, because you had that whole scene of bands coming out of England, and there were so many bands and were all trying to do something different and original…and a lot of the bands sounded the same.

“Bruce really set Maiden apart from the pack, because now they had a true frontman, like in the vein of Rob Halford or Ronnie James Dio. They had 'their guy' - they had that position covered, whereas none of the other bands, except for Motörhead in a different way, because obviously Lemmy as a frontman, it's iconic in a completely different type of way. But all the other bands, nobody had a Bruce. And Maiden found that missing piece of the puzzle, which was going to be able to take them to that next level, where Judas Priest had gone, and Ronnie had gone either with Rainbow or Sabbath or his own solo career, obviously. That was the missing piece of the puzzle, truly, I always felt…not felt, but thought about after the fact, that once Bruce was in, they found their guy. They found the frontman that was on a level with the great frontmen that came before him.”



Doro Pesch: “Oh man, it's hard to say. Since I'm doing it now for so many years, I know it's hard to keep the band together. And if somebody leaves, you have to make the best out of it - to keep it going. I think it's always very tragic when the singer has to be replaced, or when the singer leaves. It's a very hard challenge for a band. But I think they pulled it off great, and I think they always had great singers. I love Paul Di'Anno, but I love Bruce Dickinson so much, too. It's hard to say. I know there are diehard fans of Paul Di'Anno and that line-up, but I think with Bruce, they went to "superstar status" in heavy metal. I think everything has its time and you always make the best out of it. I love all the singers - they have a good hand in choosing the right people for the right time, for the right records.”

Paul Di'Anno (Iron Maiden singer, 1978-1981): “They've had a couple of good ones [songs after Di'Anno left the band], but they've had some stinkers as well, over the last couple of years! Oh, who knows? Who can tell? I mean, if I could tell the future… [Laughs] You never know, you can't tell, can you? I think we would have still carried on the same direction as they did - like, The Number Of The Beast stuff and all that.”

Lips (Anvil singer/guitarist): “I think that Paul had a very unique voice, as well. It's about the friendship within a band, I think. If you haven't got that, then it's no good - it doesn't work. I think that Bruce was a huge advantage for Iron Maiden. It's one of those very few and far between moments for a band to change singers and for it to work. Bruce is a great singer and he's in a great band, and the combination worked.”

Richard Christy (Death and Iced Earth drummer): “I think they still would have. I think so. The songs were there. It would be so interesting if they did a version of 'The Number Of The Beast' with Paul Di'Anno - just to see what it would have sounded like. The important thing about Iron Maiden is that they write amazing songs, so I think anybody singing with them, they would have been just as popular and just as good. Yeah, I absolutely think they would still have gone on to be the legendary Iron Maiden that they are today.”

Head to Amazon to order the book.