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British heavy metal legends Iron Maiden swept into the White River Amphitheatre June 22 on their “Final Frontier” tour 2010.
The band, promoting the release of their 15th studio album "The Final Frontier" which will be released on Aug. 17. Maiden played a setlist relying heavily on their last four albums, including the new one, with several of their older hits sprinkled in.
Set List courtesy of www.setlist.fm.
• The Wicker Man
• Ghost Of The Navigator
• El Dorado
• The Reincarnation Of Benjamin Breeg
• These Colours Don’t Run
• Blood Brothers
• Wildest Dreams
• No More Lies
• Brave New World
• Fear Of The Dark
• Iron Maiden
• The Number of the Beast
• Hallowed Be Thy Name
• Running Free
Mayhem Festival 2010, White River Amphitheatre, Auburn, Wash. featuring: Rob Zombie, KoRn, Lamb of God and AtreyuJuly 29th, 2010 at 7:33 pm by Shawn Skager
Just in case you missed it, here are photos from the July 13 White River Amphitheatre Mayhem Festival 2010 show, featuring KoRn, Rob Zombie, Lamb of God, Hatebreed, Shadow’s Fall, Atreyu, Hatebreed, Norma Jean, Chimaira, In This Moment, Winds of Plague and 3 Inches of Blood.
Oh yeah Five Finger Death Punch also played, but you didn’t really miss anything unless lame covers of Bad Company songs are your thing. Really nice guys though, especially their bass player. Can’t say the same about their tour management or publicist though. Hatebreed should have been main stage opener.
Exhibit A, how not to play it.
Exhibit B, the original.
Corrosion of Conformity “Animosity” lineup to play Neumo’s Aug. 12 with GOATSNAKE, Black Breath, Eagle Twin and Righteous FoolJuly 29th, 2010 at 6:56 pm by Shawn Skager
Okay, those of you who equate Corrosion of Conformity with their sludged-out, southern-tinged, Pepper Keenan-influenced metal output of the past two-decades may be a little disappointed here, but the “Animosity”-era lineup of the band will be playing a show Aug. 12 at Neumo’s in Seattle as part of a 10-date mini-tour.
The tour will feature original C.O.C. members, guitarist Woody Weatherman, bassist/vocalist Mike Dean and drummer Reed Mullin, playing songs off the band’s two cross0ver punk/thrash albums “Animosity” and “Technocracy.” In addition the band is also promising to throw some new songs in the set.
C.O.C. formed in North Carolina in 1982 with Weatherman, Dean and Mullin releasing two albums, “Eye for an Eye” and “Animosity” and the “Technocracy” EP, before adding Pepper Keenan on guitar in 1987. In 1989 the band released the EP “Six Songs with Mike Singing.”
In 1991 the band released “Blind” with new singer Karl Agell, completing their migration to a more main stream thrash metal style. After Agell’s departure in 1993, Keenan assumed vocal duties for the band who released the albums “Deliverance” (1994), “Wiseblood” (1996), “America’s Volume Dealer” (2000) and “In the Arms of God” (2005). Currently the band is in the process of writing a new album for the four-piece version of C.O.C. and will begin recording when Keenan completes his current duties with metal supergroup Down.
“We’re doing this three-piece thing [and] planning a [full-length] record, doing the whole deal. I think later on we’re gonna venture back in and do the four-piece thing again with Pepper — that’s what everybody wants to do — but for now, for this year, we’re doing this three-piece deal,” Weatherman told Maximum Threshold Radio.
The “three-piece deal,” dubbed C.O.C. III, will release a new song on the Southern Lord Records 7-inch single “Your Tomorrow, Parts 1 & 2″ to coincide with the tour. The single will be released on 180 gram vinyl.
“Man, the new stuff we’re writing is pretty crazy. I’m not gonna say that it floats all the way back to the super-, super-old-school stuff, but it’s definitely heading in that direction,” Wetherman told Maximum Threshold.
“…we’re not going for the highly produced stuff this go-around,” he continued. “It’s pretty raw stuff — it’s a little along the faster side of what we do. But, I mean, it’s always C.O.C. — we don’t ever leave what we do — but we’re definitely living it up going back a little more old school on this deal. It’s fun. It’s fun to have Reed back. ‘Cause, hell, he’s been gone for 10 years. He took a pretty good break, but he’s back on it now, man, and he’s just as sick as ever.”
The band will play Neumo’s in Seattle at 7 p.m. on Aug. 12 with Righteous Fool (featuring Mullins and Dean as well as guitarist Jason Browning, who plays for HR of Bad Brains’ solo band), GOATSNAKE, Black Breath and Eagle Twin. The show is 21+ and tickets are $20 plus service fees and are available at www.etix.com.
Corrosion of Conformity, “Hungry Child” from “Technocracy”
Righteous Fool cover “Green Manalishi” by Fleetwood Mac
Black Breath “Razor to Oblivion” live.
Eagle Twin “Crow Hymn” live.
Ready for your tour rumor of the day? Well here you go. How does Alice in Chains, Deftones and Mastodon on the same bill sound?
Apparently Velvet Hammer Music and Management company has registered the Web site www.blackdiamondskye.com.
A trip to the site reveals a counter counting down to noon April 29, and a place to register for an e-mail update.
When you register and confirm, the Web site lists an address – 9014 Melrose Ave., West Hollywood, Calif. 90069 – home to Velvet Hammer, who manage Alice in Chains and Deftones.
Also, floating about is a YouTube video.
The video contains snippets of mashed up audio from all three bands, allegedly played backward.
Here’s the clip with the audio reversed, courtesy of LPfreak64.
Another clue is the name blackdiamondskye, a reference to each of the bands latest albums – Alice in Chains “Black Gives Way to Blue,” Deftones “Diamond Eyes” and Mastodon “Crack the Skye.”
Stay tuned and until noon tomorrow, here’s some Alice in Chains, Deftones and Mastodon to get you through the day!
Alice in Chains “Your Decision” from Jimmy Kimmel Live
Deftones “Diamond Eyes”
The band’s Web site announced the date, along with a July 7 show in Edmonton, yesterday evening.
The Web site also notes that more cities will be added, with some going on sale on May 8.
Tool’s last concert was Aug. 22, 2009 at the Epicenter Festival in Pomona, Calif. The band’s last show in the Puget Sound was Dec. 4, 2007 at the Everett Events Center.
The band is currently working on material for a new album.
Until then, here’s a little taste to keep you going until more dates are announced.
I didn’t think it would be appropriate for this day, the 28th anniversary of the death of former-Ozzy Osbourne lead guitarist Randy Rhoads, to go by without a little mention.
With all the hoopla currently surrounding the release of a new Jimi Hendrix album, “The Valleys of Neptune,” it’s easy to forget the impact that other guitarists have had on rock music. Hendrix may have revolutionized the way electric guitar was played in the late 1960s, but Rhoads took the Voodoo Chile’s influence even further, adding another ingredient to the prevalent blues-based hard rock formula – classical virtuosity. Simply put, without Hendrix hard rock would have been a very different thing, without much of the flavor that his colorful showmanship and blues-on-steroids music have added to subsequent generations of rockers. Without Rhoads, heavy metal would have also been very different, without much of the classically influenced flair he brought. I know there were others before him who brought their classical leanings, guitarists such as Ritchie Blackmore of Deep Purple, Uli Jon Roth of the Scorpions and Steve Howe of Yes, but Rhoads just seemed to hit on the right combination of technical playing with hook-laden radio friendly riffs.
In the early 1980s I was already firmly ensconced in the world of hard rock, with bands such as Bad Company, Thin Lizzy, Foreigner, Black Sabbath and Led Zeppelin all earning a lot of spin time on my Emerson turntable. In sixth grade, however my world was rocked when I attended a school dance and the DJ played “Crazy Train” by Ozzy Osbourne. I was obviously familiar with Ozzy’s work with Black Sabbath, who at the time were considered the pinnacle of hard rock – or acid rock as it was sometimes labeled. But there was just something about Ozzy’s new band and the opening riff of that first single that combined with searing fast lead fills, and a hammer-on laden solo, peeled my eyebrows back. It wasn’t long before I set out to the local record store to pick up “Blizzard of Oz” the first Ozzy album.
At the time there were several bands (most notably in England where the New Wave of British Heavy Metal, including bands such as Iron Maiden, Saxon and Diamond Head were taking off) playing under the moniker of heavy metal. I had not heard any of them, so for me it was all about Ozzy. That first album set the template for me, and a large part of that was due to Rhoads’ playing on such songs as “I Don’t Know,” “Suicide Solution” and “Mr. Crowley.”
It wouldn’t be long before I would immerse myself fully into the English heavy metal bands, as well as the newest generation of American metal bands, such as Quiet Riot, Dokken, Ratt and Motley Crue, but “Blizzard of Ozz” lived on my turntable with no competition for weeks.
After “Blizzard” Ozzy and Rhoads again conspired to bring another groundbreaking album “Diary of a Madman.” That album took the original formula used on “Blizzard” and improved on it, with better songwriting evident on such classics as the title track, “You Can’t Kill Rock and Roll” and “Flying High Again.”
Sadly, by the time I was fully able to sink my teeth into “Diary” Rhoads was already gone.
On March 19, 1982 while on tour the Ozzy contingent stopped in Leesburg, Florida. Rhoads, along with tour seamstress and hairdresser Rachel Youngblood, and tour bus driver and pilot Andrew Aycock, climbed into a Beechcraft Bonanza F-35 light plane for a joy ride that turned tragic when the plane clipped the tour bus while buzzing it and spun out of control into a tree and then a house where it burst into flames. All three people in the plane were killed instantly.
I don’t remember where I was when I first heard about Rhoads dying. All I remember is being sad that their would be no more music coming from those nimble fingers when I heard about it. Except for a live album and some sub-par Quiet Riot albums that he played on before Ozzy, there is no cache of Rhoads material out there. Now, 28 years later, just like in the case of Hendrix I often wonder what kind of music Rhoads would be making nowadays. By most accounts, he was taking lessons with classical guitar teachers while on tour and plotting a future career as an acoustic classical guitarist. I like to think that had he made this move, he would eventually made his way back to metal.
For me, going back and listening to those first two Ozzy albums are like travelling in a time machine. I remember emotions, circumstances and people that were around me when I first heard them. I also remember going nuts trying to figure out just how the hell he was able to make that Gibson Les Paul run through a Marshall amp sound so much different than the 100s of other guitarists out there running the same rigs. I listen to those albums now and I’m amazed at how fresh they still sound, despite being nearly three decades old.
Rhoads influence can be heard all over the metal world however, on work from guitarists such as Slipknot’s Mick Thomsen, Dokken’s George Lynch, Children of Bodom’s Alexi Laiho and former Ozzy guitarist and Black Label Society leader Zakk Wylde. So although it was an all too brief moment, I’m glad that Rhoads was around long enough to make music that impacted my life and colored my taste in music forever. Tonight I raise my glass to toast Randy and so should you. Cheers.
Think America is the only country with metal-hating religious whackos? Think again.
Adam “Nergal” Darski, lead singer of the Polish extreme metal band Behemoth (who played the White River Amphitheatre with the Mayhem Festival this past Summer), was charged by a Polish court on March 8 of defaming the Roman Catholic Chuch by ripping up a bible and calling the Christian sect “the most murderous cult on the planet” according to Polish news source gazetaprawna.pl.
The incident (see video below) happened during a concert in the Polish berg of Gdynia in September 2007. According to gazetaprawna.pl, Darski ripped the bible then threw the pieces into the crowd, who began to burn the fragments.
Darski, who plead not guilty to the charge, could face up to 2 years in a Polish prison for the offense. (I’m not sure if a Polish prison is as bad as a Turkish prison, but I’m pretty sure nobody wants to see the inside of one.)
Intially, Darski was sued by Ryszard Nowak of the All-Polish Committee for Defense Against Sects in 2008 for “promoting Satanism.” However, because Polish law states that at least two formal complaints must be lodged before a formal complaint is filed. Since then other complaints have been filed, according to gazetaprawna.pl. It is against the law in Poland to offend someone’s religious feelings.
During the initial trial, Darski told chartattack.com that “There are some organizations and institutions that think they have a right to judge what’s wrong and right. They tried to do something, they made attempts but they failed because they can’t really do much.
“They tried to bring me to court for tearing up the Bible on stage,” he continued. “They tried to stop the show, they sent out letters saying Behemoth is this and that, that we’re public enemy number one or that we’re dangerous. But it hardly has any effect, really. They actually do a lot of like, PR for us — it’s good promotion. But we really don’t need this kind of recognition. I don’t give a fuck. I want to be known for the music that I make.”
Nergal claimed during the first trial that what he does on stage is part of his artistic license.
In 2009 Behemoth bassist Tomasz “Orion” Wroblewski told Decibel magazine that the incident was a regular part of the Behemouth stage show.
“We’d been doing that for two years on tour before it happened in Poland,” he said. “So, we had discussed it many times before. A Behemoth show is a Behemoth show, and Behemoth fans are coming to a Behemoth show. Behemoth fans know what Behemoth is about, know what the lyrics are about, and know at least a little of the philosophy behind the band. So, it’s kind of surprising that there are people coming to the shows and feeling offended with what we do onstage. If such a person comes to a show, he comes with the purpose of being offended, I guess, and it shouldn’t be like that. We’re not offending any particular person. We’re just offending the religion that we’ve been raised in.”
So this reminds me of an old joke.
How many Pollacks does it take to bring a religious defamation lawsuit against a black metal band?
Had to pass this one on.
It’s video of metal guitarist Devin Townsend stripping down and playing an all-acoustic set at SoulFood in Redmond, Wash., on Feb. 27.
Townsend played songs from the Devin Townsend Project, including selections from “Ki” and “Addicted”, the first two albums in a four-album concept arc.
Video is courtesy of deadlyjrmint253.
For more songs visit http://www.youtube.com/user/deadlyjrmint253
Pinning down the essence of VIII Days Clean is a bit of a conundrum.
For the past four-years the Tacoma-based hard rock band – including vocalist/guitarist Ron Walvatne, bassist Tony McDougald, drummer Jeff Welch and guitarist Sean VanDommelen albums and building a rabid following that skews heavy towards those in active drug and alcohol recovery. With all four members of the band in recovery from heroin, methamphetamine or alcohol, they are a natural fit for other addicts and alcoholics in recovery.
But the guys in VIII Days Clean are not interested in saving souls, being preachers or personal guides to the path of enlightenment. They have no interest in being role models. They’re happy to share their stories through their lyrics, but at the core the band is just four guys that found their way back to rock and roll after a lifetime of addiction and abuse. And now they just want to rock. And if you’re interested in coming along for the ride, then that’s just fine with them
“Just because we’re clean, you don’t have to be clean to enjoy us,” McDougald said. “There are all different kind of factions that come out. If we just focus on one part it becomes boring. Recovery is not boring.”
“We’re not a recovery band,” Welch added. “We’re just a band that is in recovery.”
That’s not to say that the band has nothing to say on the subject of drug abuse.
With decades of collective drug use among them, as well as the experiences that surround that lifestyle, it’s no surprise that those themes color the bands lyrics.
On their third album, “Angels of Nothing” the sense of despair and helplessness that often goes hand in hand with drug addiction plays heavily into the lyrics, producing a brooding, angry album, with hearty helping of introspection. Although the perils of addiction are prevalent, Walvatne, the bands lyricist, says he is wary of being pegged a one-trick pony or a goody two-shoes.
“That’s why we titled the new album ’Angels of Nothing,’” Walvatne said. “A lot of people come to the conclusion that we’re a church band. We wanted to let people know that yes, we’re clean and sober, but we’re not saints. We swear. We f**k. Premarital sex, all that stuff. We do all that like everybody else. The third song on the album is about suicide and drug addiction. It’s not talking about solutions, it’s about I’m going to go to Las Vegas and kill myself, drink myself to death. There is no recovery in that song.”
Although the song lyrics are dark and often angry, the band’s live shows are anything but. Live, VIII Days Clean are a celebration, for both fans and the band.
For the band, it’s the joy of still being able to perform in a music genre that is saturated with drugs and alcohol.
“I was reluctant to get involved in any kind of music,” said VanDommelen, who found his bottom while living on the streets battling a heroin habit.
“All of us have had serious bottoms,” Walvatne said. “I didn’t think I was going to be able to stay involved in the music industry. I lost all my gear to drug abuse and was completely out of the scene since 1997.”
Walvatne said it wasn’t until the band’s first show in 2006 at the Turning Point in Tacoma, a clean and sober venue, that he realized he could have a second shot at this.
Although the band often books shows at clean and sober venues, Walvatne said it’s often because of necessity rather than choice.
“We always wanted to play other places,” Walvatne said. “But it works like this, bars don’t get excited to book us when they find out we’re in recovery, because they assume our crowd is too. But it’s about half and half.”
Because of concerns about a lack of alcohol sales, usually a big part of the profit for clubs that serve alcohol, the band initially had trouble booking shows at bars and clubs.
“So we typically have to put on our own shows at clean and sober places,” Walvatne said. “But most of the bars that have booked us have asked us to come back.”
Currently the band is enjoying a high level of success.
They were recently voted as one of the “Best Local Band” finalists in King 5 TV’s Best of Washington contest. They also supported Spike and the Impalers, a popular local cover band, at the Experience Music Project Sky Chapel and played before a sold out crowd at rock-mecca Whiskey-A-Go-Go in Hollywood. VIII Days Clean also found themselves reeling of a string of victories in KISW’s 9 o’clock Cockfight – which features call in voters weighing on their favorite song – that resulted in their song “Open Up” being retired to the Cockfight Hall of Fame.
“All of our fans did that for us,” McDougal said. “They called in from as far away as Alaska and Portland.”
And although the band’s secret weapon may be word of mouth via the recovery grapevine, the bread and butter is always the music.
“If you’re up there playing lame ass music, people would not come back to see shows, Welch said.
“We’re not really here to be famous or be the next big things or be America’s sweethearts,” McDougald said. “The places fill up because people want to hear our music.”
Now the band is intent on one thing, according to Walvatne.
“We’re in it for world domination,” he laughed. “We want to break into new markets. We want to make sure that every single fan has a CD and shirt.”
And if, along the way, a couple of people find a message in the music, then good for them, Walvatne said.
“I guess the one message that we want to spread, is that anyone can achieve their dreams and have fun without drugs and alcohol,” he said. “They don’t have to get f**ked up to do it.”
VIII Days Clean will play The Senior Center in Ocean Shores at 7 p.m. March 12. Tickets are $10. The band will also be playing OxFest 2010 in Portland, Ore. on March 16 at the Hawthorne Theater. Tickets are $8.
For more information on the band visit their Web site.
This Saturday the “Tyrants of Evil” tour will hit the Showbox at the Marketplace in Seattle, featuring headliner Arch Enemy along with support from thrash legends Exodus as well as Arsis and Mutiny Within.
The tour marks the first North American appearances for Swedish metal titans Arch Enemy in two years. The band, including Angela Gossow on vocals, Michael Amott and Christopher Amott on lead guitars, Sharlee D’Angelo on bass and Daniel Erlandsson on drums, are currently supporting their new album “The Root of All Evil.” The album features 13-tracks, all culled and re-recorded from the band’s first three albums, “Black Earth” (1996), “Stigmata” (1998) and “Burning Bridges” (1999). Originally, the albums were recorded with the bands first lineup, including former vocalist Johan Liiva, drummer Peter Wildoer and bassist Martin Bengtsson. “The Root of All Evil” features the band’s current female vocalist, Gossow, on such classics as “Beast of Man,” “The Immortal” and “Bridge of Destiny.”
Guitarist Michael Amott, who formerly played with grindcore pioneers Carcass in the 80s and 90s as well as Swedish death metal band Carnage, before forming Arch Enemy in 1996, took some time to talk with Electric Phase about the new album, the tour, playing with Exodus and the future of the music business.
Electric Phase: Why did you decide to go back and record some of your old songs for “The Root of All Evil” album?
Michael Amott: “I think it was the fans that asked for it. We thought about it for few years and just didn’t get around to it. It really came from the fans.”
EP: How did you decide which songs to re-record?
Amott: “There were three albums that we had songs to choose from, it was kind of difficult to pick. We rehearsed all the songs off those three records, and we wanted to choose the songs that felt right, that felt like Arch Enemy 2010.”
EP: How much leeway did you give yourselves in reinterperting the songs? Did you come in and try to play them just like the originals?
Amott: “No. We’ve played most of these songs live throughout the years. These arrangements were versions closer to what we’ve been doing live, more than the original albums. The songs kind of mutate and morph; they change a little bit as you perform them live over the years. These versions are closer to that than the ones on the original album. They’re still fairly close. It’s not like you’re taking them into a jazz rock area. It’s still Arch Enemy.”
EP: How many of the songs are you playing live?
Amott: “It just depends on where we’re playing and what we’re doing that night.”
EP: So you guys don’t play the same setlist every night?
Amott: “We try to mix it up a little bit.”
EP: What has the reaction been like to the new songs?
Amott: “The old songs?”
EP: Well, the new/old songs?
Amott: “It’s been pretty good. I think they’re excited to be hearing those songs again live and on the re-recording.”
EP: You’re about halfway through the tour now. How’s the tour been?
Amott:“It’s been great, very successful. We’re having a great time with great bands.”
EP: Have you ever toured with Exodus before?
Amott:“Never, but we’ve been longtime fans. It’s great being out here with them.”
EP: Exodus is known for having a pretty good live show. How’s it been having them open for you?
Amott: “It’s great. That’s really what you want is a strong supporting band. One that’s going to try and kick your ass.”
EP: You wrap up the tour in February. What’s next for the band?
Amott: “We finish up then go back home to Europe. We’ve got dates in Europe for the rest of the year, I think, here and there. Festival shows and headlining shows. In between that we’re writing new music for a studio album and we’re hoping to get in the studio by the end of 2010 and get the album out in 2011.”
EP: Is there a difference between fans at your shows in the States as opposed to Europe?
Amott: “Not really, it’s kind of similar everywhere, really. We get a great reaction everywhere we go. I think there are small variations, but it’s not like a massive difference. I know everybody likes to hear that their country is the best, but we get a great reaction everywhere.”
EP: You just got back from NAMM (the International Music Products Association show) in LA?
Amott: “I was there for a few days and then flew out to the East Coast to start the shows with Arch Enemy.”
EP: I heard you got to play with Uli Jon Roth (influential former-Scorpion guitarist and Euro-metal founding father). How was that?
Amott: “It was pretty cool. It’s not something that happens every day, I guess. It was fun. We played a Scorpions’ song, “Dark Lady” from “In Trance.”
EP: Who were your influences growing up?
Amott: “Initially I got into punk and hardcore at first, like most of my friends. Before that it was bands like Thin Lizzy. Then I got into more heavy stuff like punk and hardcore. Then metal got heavier and faster and mutated into thrash and speed metal, and I got really into that. All of my influences were the pioneers of that movement, like Slayer, Metallica and Megadeth and those early bands. They were really influential.”
EP: A lot of people credit Carcass as being the first grindcore band. How do you react when people say that? Do you consider yourself the father of a movement?
Amott: “It’s very flattering to think that one has been a part of something that’s been influential. That’s great it’s flattering, but I don’t know how I react, you just do it. I just feel like the same person. I understand what its like to be a fan, basically. One doesn’t really consider one’s self to be a forefather. I leave that to other people to appreciate my work and to value that.”
EP: What are you listening to nowadays?
Amott: “I still like a lot of old stuff, I like to go back to the old stuff. I like finding out about the old stuff that I missed out on when I was a kid or going back and reconnecting with the some of the things that I listened to when I was growing up.”
EP: You guys are from Sweden and ThePirateBay.org (one of the largest Internet torrent sites, an international free market for file sharers looking to download music, movies, software and more) is from there. How do you feel about file sharing?
Amott: “There is no point in really getting mad about it. It’s just the reality of the music business right now. You just have to deal with it. I don’t really have much of an opinion about it, really. The whole music industry is pretty f**ked and dying.”
EP: What do you see as the future of the industry?
Amott: “I don’t know. With Arch Enemy, we’re in a good position. We don’t really rely too much on the system. We’re self managed. We own our own recordings. We don’t have an A&R guy or a manager. We don’t have anyone telling us what to do. We’re like our own little cottage industry. We do our own merchandise and everything. We have partners around the world that help us out that we work with. But all the decisions come from within the band. I guess you’ll see more of that as everything crumbles around us.”
EP: What’s that like? It’s got to be kind of weird watching all those music industry types running around scared?
Amott: “I’m just happy that I’m old enough that I’ve was a part of recording at fantastic studios and actually selling records. It was a great time. But I’m ready for the next chapter.”
Tickets for the “Tyrants of Evil” tour are still available at http://www.showboxonline.com/market/eventdetail.php?id=25007″