FOO FIGHTERS recorded its upcoming album, "Sonic Highways", in eight U.S. cities, including Austin, Chicago, Los Angeles, Nashville, New Orleans, New York, Seattle, and Washington, D.C. The Pulse Of Radio asked bassist Nate Mendel which of the eight towns that FOO FIGHTERS visited was his favorite. "It's New Orleans, 'cause it's such a unique town and we â we just had fun there really, is what it came down to," he said. "It wasn't a studio, we were in the Preservation Hall, which seems like it's a movie set â it doesn't even seem like a real building. And yeah, we just did things that like are so far out of our normal orbit of experience as a band." The "Sonic Highways" eight-part series, which documents the making of the album, premiered this past Friday (October 17) on HBO. FOO FIGHTERS frontman Dave Grohl, who directed the documentary, interviewed a number of personalities for the series, including Slash, Dan Auerbach of the BLACK KEYS, LL Cool J, Bonnie Raitt, Dolly Parton, Willie Nelson, Pharrell Williams, Joan Jett, CHEAP TRICK âs Rick Nielsen, Paul Stanley of KISS, Joe Walsh, ZZ TOP's Billy F. Gibbons, Macklemore, Buddy Guy and even President Barack Obama. FOO FIGHTERS completed a week-long residency on CBS-TV's "Late Show With David Letterman" this past Friday.
Piper of KidsInterviewBands.com conducted an interview with vocalist Johan Hegg of Swedish death metallers AMON AMARTH on October 19 at the Newport Music Hall in Columbus, Ohio. You can now watch the chat below. Asked if he could hold a world record, what it would be for, Hegg replied: "Probably sleeping the longest. My family is always complaining I always sleep all the time. Too long." Piper also asked Hegg: "If I asked one of your teachers what you were like as a kid, what would they say?" He replied: "Ahâ¦. Probably thatâ¦ Depending on which teacher you asked. [laughs] Some might say I was kind of a troublemaker, some might say I was actually a good student, some might say that I was a quiet guy. Depending on the class and the teacher I had." AMON AMARTH's ninth studio album, "Deceiver Of The Gods", sold around 17,000 copies in the United States in its first week of release to land at position No. 19 on The Billboard 200 chart. The record, which arrived in stores on June 25, 2013 via Metal Blade, was recorded at Backstage Studios in Derbyshire, United Kingdom, and was produced, mixed and mastered by Andy Sneap (OPETH, MEGADETH, EXODUS, ARCH ENEMY, KILLSWITCH ENGAGE).
SROMaginc.com recently conducted an interview with bassist Craig Setari of New York hardcore legends SICK OF IT ALL. You can now listen to the chat below. A couple of excerpts follow (transcribed by BLABBERMOUTH.NET). On how the hardcore scene has changed over the years: Craig: "It used to be very 'do it yourself'; it was a real homegrown vibe, it was all your friends. The people that were there were there because they spent time, effort and their own money to be involved in this â meaning that they bought the records, they tracked the records down, they went to the shows, they drove, they started a band, they were active within the scene. Now you have a lot more casual fans, and there's nothing wrong with that; it doesn't have to be everybody's complete and total life. Now you get more exposure â everything gets more exposure â and, in a way, it's good because in the '80s, you'd get fans that would become lifelong fans [whereas] the changeover is a little quicker now; the people come in and out a little quicker now than they used to back in the '80s or even the '90s." On how digital music downloading has affected SICK OF IT ALL's record sales: Craig: "Yeah, that's a strange thing. Once the whole digital download thing happened, it kind of killed record sales quite a bit. But we've been fortunate, 'cause we were always a band that was primarily a live band. Our real proving ground and our main thing was touring and performing, so it hasn't had a terrible effect on us, although it has affected us somewhat. So, really, [for] us, it's about going on the road and playing and playing and playing. The records, all they do is give you an outlet to get new music out so you can go back on the road. If were a Top-40, hit-single-type band, it probably would have affected us worse. Or, actually, if we were even just a middle-of-the-road band that relied on record companies to continue our career, it would have affected us a lot. And although we dabbled in bigger record companies for a short period, we never sold ourselves to 'em in a heavy way, really, â we kind of just did things the old-school way â so we're still going strong." SICK OF IT ALL's new album, "The Last Act Of Defiance", was released in Europe, Australia and New Zealand on September 29, and in North America on September 30 via Century Media. The eye-catching cover artwork for the CD was created by Ernie Parada, who has already designed posters, merchandise and album art for numerous bands and artists from the punk and hardcore scene such as HATEBREED, PROPAGANDHI, RANCID and THE GASLIGHT ANTHEM. "The Last Act Of Defiance" was helmed by SICK OF IT ALL's longtime friend and producer Tue Madsen, who recorded the album at Nova Studio in Staten Island, New York and mixed it at his own Antfarm Studio in Denmark.
On October 11, guitarist/vocalist Mikael Ã kerfeldt of Swedish progressive metallers OPETH was interviewed by UK's Metal Hammer at Roundhouse in London, England. You can now watch the chat below. Asked how OPETH went about choosing which songs to perform live on the current tour, Mikael said: "It can be difficult with setlists. We sat down [this time], and I think we were drinking a lot of wine, so nobody had any perception on how many songs we were writing down, basically. And we have eleven records now; if we go on a tour for a record, we wanna promote that record a little bit more than the other records. So we just wrote down songs, and we ended up with a list of 40 songs or something, which is impossible to cover in a show unless you're playing for a day. So we had to narrow it down. I'm pretty headstrong too, and I kind of mixed up my own integrity as a musician with the, so to speak, showmanship of this band. Like, when we play a show, we wanna please the crowd, basically. And we did a tour in support of the last record, 'Heritage', where we played a lot of new stuff, and we didn't play any of the really heavy stuff, which left a lot of people not so happy with the show, which, in retrospect, I thought was a mistake on my behalf. But now, we put together songs that, first, we want to play them, and we think that we can play them quite well, and most importantly, we think that it would please the fans. So integrity, I try and keep that to the creative side of things, and the live side of things will be more, like, crowd-pleasing things, whoring out a little bit. But we also love playing those songs, and that's not a problem for us." OPETH's eleventh studio album, "Pale Communion", sold around 13,000 copies in the United States in its first week of release to debut at position No. 19 on The Billboard 200 chart. "Pale Communion" was released on August 26 via Roadrunner Records. The cover artwork was once again created by Travis Smith â with art direction by Mikael Ã kerfeldt. The CD was produced by Ã kerfeldt and mixed by longtime collaborator and PORCUPINE TREE frontman/guitarist Steven Wilson.
Cutter of Envision Radio Networks' "Hangar 19" podcast recently conducted an interview with vocalist Derrick Green of Brazilian/American metallers SEPULTURA. You can now listen to the chat using the audio player below. Asked about the latest addition to SEPULTURA's lineup, drummer Eloy Casagrande, Derrick said: "He's been playing for many years. He started when he was seven years old. He joined us when, I believe, he was 19 or 20. He's from Sao Paulo. Yeah, he's a kid. That's his nickname â 'The Kid'. [Laughs] He's incredible. I mean, it's something you really have to witness live. I think we've been really fortunate to have him in SEPULTURA. I think it's brought a big amount of energy to the writing process, to the live shows, and I think it's [taken] us [to] a whole different phase of SEPULTURA. So I think it's definitely a must-see. It's incredible watching him play and having other people comment on seeing him play as well, like people who have had a big impact on our music; when we were fortunate enough to play with them, they've picked up on this and admired his playing as well. I think he's incredible. He's definitely one of the best drummers out there." SEPULTURA played its first show with Casagrande on November 25, 2011 in Lichtenfels, Germany. Casagrande joined SEPULTURA as the replacement for Jean Dolabella, who left the band because he could no longer handle being away from home for long periods of time. Eloy is a 23-year-old drum prodigy from SÃ£o Paulo, Brazil who won the Modern Drummer "Undiscovered Drummer" contest as a teenager in 2006. Asked what Casagrande has added to the band, Green told Metal Hammer, "Definitely the fact that he's young and that energy helps a lot. He's a very disciplined drummer â he's been playing since he was seven. And he's been doing a lot of things by himself and playing with different people, and that's really, really impressive. He had a lot of things put together before we even met him; he's already done so much. And I think with us, a combination us together, it's a great learning process for him to grow and at the same time, we're learning a lot from him, so we can do this together. And this is something extremely important when you're doing a band that's been together for so long, to have this connection. And we felt this connection with him immediately. And we could tell that he was very focused and very committed to doing extremely good music." Dolabella left SEPULTURA after a five-year run of relentless touring and two studio albums. He joined SEPULTURA in 2006 following the departure of the band's original drummer, Igor Cavalera. Interview (audio):
Ozzy Osbourne says that his recently released compilation, "Memoirs Of A Madman", was meant to remind fans that he hasn't put an end to his solo career after spending much of the last couple of years recording and touring with BLACK SABBATH. "Memoirs Of A Madman" serves as a career-spanning audio release, featuring 17 of Ozzy's greatest hit singles compiled in one place for the first time in his career and is available in a single CD, two-LP set and two-LP picture disc set configurations. Speaking to GMI Rock, Ozzy stated about the new collection (hear audio below): "'Memoirs Of A Madman' was, because I've been not doing my solo stuff for quite awhile now, I've been touring with BLACK SABBATH, I just wanted to let everybody know I haven't stopped doing my solo stuff. It's like a bridge thing... So I'm gonna do one more BLACK SABBATH tour, one more album with BLACK SABBATH, and I'm in the process, as we go along, [of] collecting stuff that I'm writing. I've co-written about three songs so far for my own solo thing...It'll take about two or three years before I release solo stuff again, so 'Memoirs Of The Madman' is just to say to the fans that I haven't stopped, y'know?" Ozzy's touring guitarist, Gus G., told Noisefull in a recent interview, "Ozzy wants to do another solo album, that's for sure. As far as I know, he has a contract for three more solo albums, so I don't know when he will finish them, if he'll do them and if I'm going to be a part in it, but I certainly know that he wants to do one more solo album." Ozzy's last solo studio effort was 2010's "Scream". In a May 2011 interview with Planet Rock, Ozzy revealed that he would go back to basics on his forthcoming CD. "On my next album, I can assure you it's going to be back to balls to the wall," he said. "I have already been writing some stuff, [working on] some ideas with my band." Speaking to Metal Messiah Radio's "Heavy Metal Thunder" show, Ozzy stated about his planned follow-up to 2010's "Scream", "I wanna get more back down to basics with this next album. "I haven't got a title. I've written a couple of ideas down. But I can't really give you much more information. It's not gonna take a long time, I don't think. All I can say to you is I've got a few ideas for songs, but I don't wanna say when it's going to be released because I don't know myself. "I don't stick to a formula. I just try and experiment a lot. 'Scream' was more like an experimental album because I didn't have a band at the time. Gus came along and the guys played on the album after I'd done a lot of the work myself and my producer, Kevin Churko, in my studio." Ozzy Osbourne's current touring drummer, Tommy Clufetos, told the "Talking Metal" podcast in 2011 that early work was already underway for a follow-up to "Scream" and that he thought Ozzy was "going to return to a classic rock band record." Clufetos added, "What he has expressed is that he wants to make it the band playing live in a room so wherever that takes us. Less technology and more amps and drums." Ozzy recorded much of "Scream" in a studio at his home in Los Angeles with producer Kevin Churko, doing most of the writing and recording on computers. He told The Pulse Of Radio he liked working that way but wanted to do something different next time out. "At the end of the day, the end result was pretty cool, but I don't know whether I want to continue to do it that way," he said. "I like to â like the earlier albums, I'd go rehearse and jam out with the band, get some, like, vibe going, you know. I want to incorporate that and this new technology thing, next album." His first album under the SABBATH banner in 35 years, "13", came out in June 2013 and topped both the U.S. and U.K. album charts, later winning a Grammy Award as well.
Singer Ian Gillan of legendary British hard rockers DEEP PURPLE â who have been eligible for induction into the Rock And Roll Hall Of Fame for two decades now â says that he doesn't care if his band ever gets the nod, explaining that the people who run the Hall Of Fame organization don't "quite understand what we are." Speaking to Chile's Radio Futuro, Gillan said: "Whatever I say about that is gonna sound wrong. But who the hell wants to be in an institution? The Hall Of Fame thing, it's an American thing. We don't have that in England or Germany or Australia or Russia or anywhere in the world apart from America. And it's an institution. What's that got to do with rock and roll? Also, it's run by these old guys who thought that THE MONKEES were America's answer to THE BEATLES. And they called DEEP PURPLE [Laughs]â¦ I don't think they quite understand what we areâ¦ They called us one-hit wonders. So I don't know what they were talking aboutâ¦ whether it was 'Hush' or 'Black Night' or 'Strange Kind Of Woman', 'Smoke On The Water', 'Child In Time', 'Knocking At Your Back Door' or one of those one-hit wonders that we wereâ¦ 'Highway Star'â¦ I just don't know. And I guess the fans don't really understand it except in America. It's no big deal." DEEP PURPLE was denied entry to the Rock And Roll Hall Of Fame last year â losing out to such artists as American pop singer-songwriter Randy Newman and R&B singer Donna Summer. METALLICA drummer Lars Ulrich recently told RollingStone.com that he still hopes DEEP PURPLE will eventually get recognized by the Hall. "I'm not gonna get into the politics or all that stuff, but I got two words to say: 'DEEP PURPLE,'" he said. "That's all I have to say: DEEP PURPLE. Seriously, people, 'DEEP PURPLE,' two simple words in the English language. But definitely, NIRVANA is a no-brainer for the first year and I'm glad that KISS is getting the long-overdue recognition that they deserved for everything that they pioneered, and then I got two words, 'DEEP PURPLE!' Did I say that already?" At their own induction in 2009, METALLICA's James Hetfield included PURPLE on a list of acts they wanted to see in the Hall. "We're somewhat of a heavy band and we have a small list that we'd like to also put some nods out and maybe plant a little seed, it's a band called DEEP PURPLE, THIN LIZZY, TED NUGENT, IRON MAIDEN, JUDAS PRIEST, MOTÃRHEAD... who we would love to invite through the door now."
Argentinean rock journalist Lucas H. Gordon recently conducted an interview with former OZZY OSBOURNE and current ALICE IN CHAINS bassist Mike Inez. You can now watch the chat below. A couple of excerpts follow (transcribed by BLABBERMOUTH.NET). On how he feels about drugs considering that two members of ALICE IN CHAINS (Layne Staley and Mike Starr) died of a drug overdose: Inez: "Drug addiction is beyond music business. Whether you're a washer-dryer repairman or a mechanicâ¦ alcoholism and drug addiction seems to go through all walks of life. It's a pretty crazy business we're in already. It's such a shame when your friends pass away so young. I mean, we're supposed to all grow old together. It's just sad." On ALICE IN CHAINS' current status: Inez: "We just did, I think, about a 28-, 29-country tour, and we just ended in Canada now, so we're off until the springtime. So we're taking a break now. I get to come and hang out with my beautiful wife and just stay home in L.A., visit my grandmother. It's nice to be home. It's kind of weird, though. You're living in hotels and touring all over the world, and you come home, and then it's funny. I don't have a lobby call the next day. It takes a while to get used to this again. But it's nice to be home, that's for sure." On whether he would ever consider playing with Ozzy Osbourne again if he wasn't busy with ALICE IN CHAINS: Inez: "If Ozzy needed anything, not just musically, but if he ever needed me for anything, I would be the the first one there. Ozzy is like one of my fathers; he gave me my start in this business. Before I joined the Ozzy band, I played at this club here with my old band, and there was 12 people there on a Wednesday night. So I had to leave; that was my last show with that band. That Sunday after that last gig, I was living in a castle in Ireland with Ozzy; we were rehearsing to play Wembley. So Ozzy took me out of that into this amazing lifestyle and taught me so much. I always say I went to the school of Ozzy Osbourme, I went to the Ozzy university. He taught me a lot about this business and about how to play big stages and how to get a good bass tone. I mean, Ozzy is so smart. He's smarter than people think; he's a very wise manâ¦ We have such a good relationship. It goes beyond just the business and making music. We're like family. I would do anything for Ozzy. He knows that too. I'm so in debt to him; I just love the manâ¦ He made me laugh, I think, more than any one person. Between him and Zakk Wylde, all I did was laugh the whole tour." On whether he thinks the grunge explosion of the early '90s killed the "hair metal" scene: Inez: "I don't really look at it that way. The difference between the L.A. scene âI was born and raised here, you know â and the Seattle scene is, those bands up in Seattleâ¦. Like, SOUNDGARDEN was a band for ten years before they got signed to a major label. So they had a lot of time to get together and gel as a band. Even all the bands like NIRVANA and ALICE IN CHAINS in their early days and PEARL JAM, MOTHER LOVE BONE, they had a lot of time to jam together before they released their music to the world. So I think that was very important. Where here in Los Angeles, they were just trying to mix and match bands byâ¦ 'Oh, we need a bass player with long, blonde hair,' or 'We need a singer with curly hair.' They were just trying to do that. So the music started lacking, I think, because of it. But I'll tell you one thing about the L.A. scene: there was more girls in the '80s here than I've ever seen anywhere in my life. [laughs] It was a really fun time to see that. I was very young at the time, but it was nice to see that. Just in high school, to see bands like VAN HALEN play a backyard party, or MÃTLEY CRÃE play the Whisky orâ¦ It was really cool to see these bands. Me and Slash are the two only rock stars, we're the only two guys born and raised here. It's funny. Everybody else comes here, but we've been here the whole time. We've seen it come and go."
On this weekend's edition of his radio show "Rock 50", legendary BLACK SABBATH drummer Bill Ward paid tribute to METALLICA's Lars Ulrich. He said: "Lars is an exceptional drummer. He's spiritually sound. I really like that. "A lot of the paths that Lars has passed through I've travelled myself. And I ended up with being able to take whatever my abilities are, and I was able to utilize that in whatever music we did with SABBATH or we're doing with my own bands now, or if I jam out with anybody, I just play whatever shows up. So it's, like, 'This is what I've got.' But I can remember going through a period over 20, probably 28, 25 or 26 years ago, where I stopped competing, so I had to find out what I could do and make good use of it. And it sounds like Lars has reached that settling ground as well. And I think he does such a good job of it. "His drum creations have brought the sound of METALLICA to the very edge of metal spearhead, and he's worthy of much praise. He's inspirational and a must-listen for the students. So go ahead, students. If you are learning drums or need to learn the new techniques and stuff like that, listen to Lars, man. He's got some really good stuff that you can learn from." After airing several METALLICA songs â including "Enter Sandman", "Master Of Puppets", "Until It Sleeps" and "All Nightmare Long" â Ward said: "There are so many things, drum-wise, in all of those songs that are departure points, where other drummers can look at it and go, 'Well, this didn't exist before.' Then Lars created it and we can all listen to it and go, 'Wow!' We can nick some stuff as well, you know. [Laughs] But I love the guy. I think he's just absolutely incredible." He continued: "I sighed a deep sigh of relief when I heard [METALLICA's] 'black' album. Everything musically had seemed to be distorted feng shui until I heard Lars and METALLICA landing firmly with a statement that announced, 'This way.' And that's how it felt." Ward added: "You know where the music scene was during the early '80s. Things were kind of, like, 'Oh, we've got this band, and we've got that going on.' And I was in bad shape. I was coming off SABBATH and we'd been through all the SABBATH years and touring and grinding. And so it was 1980 and I was just waking up into a new life, I guess, and I was listening around, looking around for music, and [a short time later] I heard a couple of METALLICA's early albums and then I heard the 'black' album, and I thought, 'Oh my god.' And it seemed to be like that wasâ¦ it had the same effect that the 'white' album, THE BEATLES' 'white' album had on me. METALLICA's 'black' album, when I heard that and I heard Lars' playing, and I just was, like, you know, 'Wow! Something really neat's been accomplished here.' It pointed, 'This way, guys. This is the way we're going.' And it seemed like there was a multitude of music that followed that, and we've got this incredible heavy metal thing that we have today." Check out a highlights video below. You can listen to the entire show at this location. "Rock 50" with Bill Ward is a monthly show that features hardcore and classic metal presented by one of the originators of the "heavy metal" sound, originating from the beautiful LA Radio Studio overlooking the L.A. Harbor in the historic Ports 'O Call Village in San Pedro, California. "Rock 50" is co-hosted and produced by former KNAC personality Mike Stark. Ward claimed that he sat out the current BLACK SABBATH reunion because of unfair contractual terms, although the members of SABBATH have hinted in other interviews that he wasn't physically up to the task. Ward was on board for the reunion when it was first announced in November 2011, but backed out soon after. SABBATH has used Ozzy's regular touring drummer Tommy Clufetos since then for live work. RAGE AGAINST THE MACHINE's Brad Wilk laid down the drum tracks on SABBATH's new album, "13", which came out in June 2013.
Fan-filmed video footage of CALIFORNIA BREED's October 12 performance at The Paramount in Huntington, New York can be seen below. CALIFORNIA BREED members Glenn Hughes and Andrew Watt recently chose Joey Castillo (QUEENS OF THE STONE AGE, EAGLES OF DEATH METAL) to play drums for the band for all dates when it became clear that Jason Bonham's professional commitments would prevent him from being able to tour with the group. CALIFORNIA BREED is supporting ALTER BRIDGE in the U.S. before heading to Europe and will close out the run supporting Slash featuring MYLES KENNEDY AND THE CONSPIRATORS on their five U.K. arena dates. CALIFORNIA BREED's self-titled debut album sold around 4,000 copies in the United States in its first week of release to land at position No. 78 on The Billboard 200 chart. "California Breed" was recorded at producer Dave Cobb's Nashville studio and features equal co-writing credits from Hughes, Watt and Bonham. "It's proper rock," Hughes told Classic Rock magazine, "but at the same time it's very now. Andrew is as influenced by Mick Ronson as he is Jimmy Page." "This kid is amazing," said Bonham. "The first time we met I thought he looked like the white Jimi Hendrix. And he plays in the studio like he's on stage!" "What we've got here is a kid who isn't a hammer-on, virtuoso," said Glenn, "but a whole new entity. This kid grew up listening to Mick Ronson on Bowie's records, as well as Jimmy Page in LED ZEPPELIN. He has a completely different take. And it's fresh and bold and so exciting. It just gets into your blood."
AEROSMITH drummer Joey Kramer says that he is feeling "better than ever" two months after undergoing a "minor medical procedure" to remove blockage from inside a coronary artery, forcing him to sit out two of the band's concerts and be temporarily replaced by his son Jesse. The musician, who had no history of a heart condition prior to this past August's medical scare, told VH1 Classic "That Metal Show" co-host Eddie Trunk during an appearance on the "Eddie Trunk Podcast" ( listen here): "Look, shit happens, and you've gotta make the best of it. "It wasn't my time. It wasn't time for my ticket to be punched. And so I got fixed, and I'm back 150 percent, and everything is as good as it can possibly be." He continued: "I used to come off stage fairly winded. Not to say that what I do is easy, but now, I come off stage, and because of all the working out that I do and the time that I spend in the gym, it's really to my benefit, because now I'm flowing a hundred percent, whereas I had some blockage before â they fixed that â and it's better than it ever was." Asked what symptoms he had that made him seek out medical attention, Kramer said: "I thought that I had what they call acid reflux, and I kept getting this burning sensation in my chest, and that's what I thought it was. So I kept taking antacids. And, finally, my GP [general practitioner] said to me, 'Just to make sure and rule out that it's anything cardiac related, go and take a stress test.' So I went and took the stress test. I got through the echogram [echocardiogram] with flying colors. He said that my cardiovascular system looked like that of a 48- or a 50-year-old, and I'm 64. And then I got on the treadmill, and when I got on the treadmill, it started to bother me a little bit. And so he said he wanted me to go do what they call 'imaging,' and that's what showed the blockage. And then I had an angioplasty done, and they put two stents in my heart. And now I feel better than ever. And so, thanks to modern science, I'm back. My 'recupe' time was, like, five days, and I took seven, and I was back on stage. And now it's better than ever. I feel great and the playing is great. And that's the story." Kramer also sought to correct erroneous reports about previous heart-related issues, telling Trunk: "The likes of TMZ and some other [media outlets] out there said that I had previous problems, that I had existing heart problems from the past and it was something that I always had, which was just completely not true. I've never had any problems in the past. It's just strictly a hereditary thing. There's a family history, and I was the victim. But no more." While Joey was recuperating following treatment for a blocked coronary artery, AEROSMITH played two shows with Kramer's son, Jesse Sky Kramer, filling in behind the kit for his father. "[Jesse] had been teching for me for, like, two years, [since] the tour before last, so he actually sat and got a lot of that stuff by osmosis and hadn't been playing for about a year, so he was kind of out of practice," Joey said. "But he did really well. They had one day's rehearsal in L.A. and they went out on the stage and he knocked it out." AEROSMITH's decision to use a fill-in drummer for two concerts provided Joey with a unique opportunity to witness one of the legendary group's performances without being up on stage alongside his bandmates. "I saw out in the audience and watched AEROSMITH live," Joey said. "I'm the only member of the band that's ever gotten to do that." He went on to describe the experience as "pretty strange. But it sounded great, and I was thoroughly impressed with the lights and the sound and everybody's playing. And it just made me proud to have a son that could do that, and it made me proud to know that I was a part of what was happening on stage and that that was my spot. It really brought me to realize what my place is in life, and that's where I'm meant to be, and that's where I'm supposed to be, and that's my seat, and nothing will ever change that. And it became very clear to me when I sat in the audience and watched thatâ¦ But it was also really good to realize and understand the amount of support that's out there, and the amount of strong love and support that comes from the fans and from all the people that I communicate to on Twitter. And it made me feel so good that it really gave me a lot of strength." AEROSMITH bassist Tom Hamilton recently told GMI Rock that "[Jesse] did a fantastic job" filling in for his dad. "He's really familiar with our material, because he works for Joey as Joey's drum tech. "We rehearsed Jesse two years ago, when Joey had another problem with his shoulder, and we thought we'd not be able to have him play. Jesse stepped right in there; he was a little rusty, and there were some pretty funny moments during the show. But it all went through, and he basically saved our ass." Guitarist Joe Perry told The Pulse Of Radio that he and the rest of the guys in AEROSMITH realize that age is a tremendous factor in the professional decisions they make. "You realize you're not an immortal, and you don't have this 22-year-old feeling of 'this thing can go on forever,' and y'know, 'I can do whatever I want, I can go for three nights without sleep and everything will be fine,'" he said. "You start to realize that it's a very delicate thing, life is a delicate thing, and being able to perform at the top of your game is a delicate thing. And it's one of those changes, y'know, that comes over. I'm still amazed that we can put on the kind of show that we put on. Every night could be our last."
SLIPKNOT singer Corey Taylor says that he is "one of the most hated dudes right now" but claims that he "loves" being the topic of conversation among the band's fans because it helps "carry on the legacy." Speaking to XFM's Ian Camfield on this week's "XFM Rock Show", Taylor said of the incessant Internet chatter and rumor mongering involving SLIPKNOT: "It'll definitely make you sleep on your side of the bed, man. It's pretty ridiculous. You stay as far away from the windows as possible." He continued: "It gets weird with our fans, man. I mean, it's great to the point where it's likeâ¦ there's almost, like, a 'Twin Peaks' vibe to it where people are reading intoâ¦ "At one point there was a whole message board dedicated to measuring the forehead of one of the models in 'The Negative One' video. I promise, this is true. And I'm reading this, going, 'Wow!' "At one point, they had us killing JFK. I wasn't even alive then. But, apparently, the technology exists that SLIPKNOT, as a whole, could travel back to '63, pull the trigger, get right back out and right back into the studioâ¦" Taylor added: "I love it, though. I love it. I think it's great. Because, again, I've always said: I'd rather have people talking about me, whether it's negative or positive, than not talking at all. Because as long as your name's in that conversation, it's carrying on the legacy. And trust me, I'm one of the most hated dudes right now. You have no idea. The stuff that's coming out of some of these people's mouthsâ¦ If I took any of it seriously, I wouldn't be on the mic with you right now, I'd be curled up in a foetal position on my bed, sucking on my own thumb, because it's ridiculous." Asked about the perception that he is solely to blame for SLIPKNOT's dismissal of drummer Joey Jordison and Jim Root's departure from STONE SOUR, "That's the burden of being the frontman. [But] I'm not the boss. Trust me. I'm not the boss in either band. It's very much a committee. I help make decisions, but I don't make. But that's the perception." He continued: "It is what it is. And, like I said, I'm a big boy. I can take it. I have a Hello Kitty pillow that I cry into every night. But that's not the point. It keeps me humble. It keeps me where I need to be. "You just kind of have to take it and roll with it. People dog me now, but they'll love me later, and it's just the way it's always been." Corey also had a light-hearted warning for anyone who bad-mouthed him. "For all you trolls out there, I'm taking down addresses!" he said. "I'm pulling a 'Jay And Silent Bob Strike Back' and I'm coming to find all of you. I have a giant computer printout and you're gonna get socked up as soon as I see you." SLIPKNOT's new album, ".5: The Gray Chapter", will be released on October 21 via Roadrunner.
In a brand new interview with the the Argentinian radio station Rock & Pop 95.9 FM, vocalist Steve "Zetro" Souza of San Francisco Bay Area thrash metal veterans EXODUS was asked why his band rarely gets mentioned alongside the so-called "Big Four" of 1980s thrash metal â METALLICA, MEGADETH, SLAYER and ANTHRAX. "Personally, I don't pay attention to that necessarily," he said. "I was in the Bay Area in the beginning, before I was even a member of EXODUS, so I remember who was the forefathers of thrash. I mean, Tom [Hunting, EXODUS drummer] invented that drum beat. That [guitar] picking style was from Gary [Holt, EXODUS guitarist] â that's where the genesis of that came from. "I think what [the media] did [when they came up with the 'Big Four'] was they took the four bands who were probably the most successful in the initial period of thrash metal â from, say, '85 or '84 to '90. If you were to go off popularity, if you were gonna go off record sales, you would have to say ANTHRAX, MEGADETH, METALLICA and SLAYER. "Now, when you ask me that question, this is what I say: it's 'The Big One And The Other Three.' Sorry. Neither one of those bands â and I love every single one of themâ¦ But METALLICA sits on their own. So, to say the 'Big Four'? I don't know if you can say that. You have to say 'The Big One And The Other Three.'" "And again, I was the singer for LEGACY, which turned into TESTAMENT, so I hired everybody in that band â even Chuck Billy. So my influence, as a writer and musician starting a band, was tapered after EXODUS and METALLICA. I didn't even know, really, that SLAYER or MEGADETH or OVERKILL or ANTHRAX existed. I lived in the Bay Area, so then that band which you all known now as TESTAMENT, the genesis of that band was because of EXODUS, soâ¦" MEGADETH mainman Dave Mustaine last year spoke to Radio.com about which band should have been included if the "Big Four" were expanded and considered the "Big Five". Mustaine said: "You know, people will say there's a whole another generation, like the 'Medium Four' [laughs], and I think there's a lot of great bands that fit that bill, too. But I think probably EXODUS, because there was nobody else at the time that had that kind of pull or that kind of importance in the metal community. Granted, it was with [late EXODUS singer Paul] Baloff, and Baloff had a voice that you had to have an acquired taste for, but you know, I liked him." In a 2010 interview with Metal Asylum, EXODUS guitarist Gary Holt was asked if he feels the "Big Four" should have been expanded and considered the "Big Seven", including EXODUS, TESTAMENT and OVERKILL. "Well, I think it should be the 'Big Five' with EXODUS, because we were there at the start of thrash metal with METALLICA in the real early '80s," he said. "Same thing with MEGADETH because [Dave] Mustaine was a part of METALLICA's birth and he also created MEGADETH. And SLAYER are SLAYER. ANTHRAX are also great and old friends, but if you listen to those first few records, they have definitely changed. TESTAMENT has every right to be part of the thrash metal legends, but it just came down to timing because they came later. And OVERKILL have been their since the beginning also. But I don't get hung up on that shit, because I know how it all started and I know where I was when the shit got created. We [EXODUS] certainly deserve to be part of the founding fathers, but you know who often gets excluded are the Germans â KREATOR, DESTRUCTION and SODOM. Everybody looks to America and forgets those guys. KREATOR, DESTRUCTION and SODOM all released records in the early '80s." He continued: "Really, the "Big Four" is solely based on sales and the ones who sold the most. But if you compare records, I will put EXODUS' last few albums up against anybody's shit. SLAYER is always awesome; the last TESTAMENT album [at the time of the interview], 'The Formation of Damnation', was great; the new MEGADETH [2009's 'Endgame'] is one of their best; METALLICA are still finding their feet again, and their last album, 'Death Magnetic', was a step in the right direction. The new OVERKILL, 'Ironbound', is one of their best records ever; it's so good. And KREATOR, DESTRUCTION, and SODOM still make great new music. What I think it boils down to is the bands who've been doing this the longest still can do it the best. METALLICA are still a mighty force live, but they lost their way for quite a while. But then again I've never had to deal with the horrible problem of having millions of dollars. [Laughs] Maybe if I had that kind of money, it would distract my hunger for doing this kind of shit, too. But, unfortunately for me, I have to keep kickin' people in the teeth, I don't have the funds to go art-shopping. My version of fine art is a new edition of Hustler magazine. [Laughs]" Earlier this year, METALLICA guitarist Kirk Hammett was asked by U.K.'s Metal Hammer magazine if it's strange to him how much METALLICA has eclipsed the other "Big Four" bands in terms of commercial popularity. "I try not to spend too much time thinking about stuff like that because whatever I think of is still not going to be a satisfying enough explanation," he replied. "It's just the way things are and how the chips fell. "EXODUS in the '80s had some bona fide problems, but I think their first album [1985's 'Bonded By Blood'] is just as good as [METALLICA's debut] 'Kill 'Em All'. We were just playing the music we wanted to hear because no one else was playing it and it wasn't being played on the radio. It was only a small group of people who knew about it and it was almost elitist in that 'No posers allowed!' thing." Fan-filmed video footage of EXODUS' entire October 9 concert in Buenos Aires, Argentina can be seen below.
Fear can sometimes be the best fuel. It pushes us into the unknown, makes us aware, and reminds us we're alive. Embracing that mindset, California rockers PAPA ROACH transformed the word into a mantra for the title of their eighth full-length album, "F.E.A.R. (Face Everything And Rise)" (due on January 27, 2015 via Eleven Seven Music). The Grammy Award-nominated hard rock juggernaut builds its most infectious, invigorating, and incendiary body of work to date. They preserve the robust riffs and swaggering rhythms that marked their initial call-to-arms, while seamlessly infusing cinematic electronic flourishes, sweeping hooks, and magnetic melodies. As a result, the band â Jacoby Shaddix (vocals), Jerry Horton (guitar), Tobin Esperance (bass) and Tony Palermo (drums) â rise like never beforeâ¦ After supporting 2012's "The Connection" for nearly two years, the quartet collectively decided on a change of scenery for album number eight. Rather than record at their hometown studio in Sacramento, they hit the road for Las Vegas in early 2014. Holing up in The Hideout, they worked with father-and-son super-producers Kevin and Kane Churko (FIVE FINGER DEATH PUNCH, IN THIS MOMENT). For the first time since "The Paramour Sessions" in 2006, the boys lived under the same roof, and they also began recording with a clean slate. "Usually when we begin working, we'll have a bunch of demos, and I'll have a bag of lyrics ready to go," Jacoby says. "We didn't have those things this time. When we were touring 'The Connection', I was really focused on keeping my life together. Every time I would go on the road, I'd start clean and come home a mess. I let the road tear me apart. This time, I focused on keeping my relationships strong, my sober self healthy, and my spiritual life healthy. I didn't have time to write, to be honest." "We walked into the studio with nothing," adds Jerry. "It was frightening since it was so different, but it was also liberating. Once the ball started rolling, it was a snowball effect." "We wanted to do things a little bit differently," explains Tobin. "During the last record, the four of us had reconnected and gotten closer. We were in such a good place, so we all helped each other out on this one. There was no pressure. There were no expectations. We chose to work with somebody we'd never worked with before, go to a place we'd never lived previously, not worry, write songs from scratch, and have fun. We didn't overthink it. It was simple, and it fucking worked." The Churkos continued to push the band out of its comfort zone, encouraging them to tread new territory, while maintaining their distinct identity. Five songs came from each producer. "Kevin and Kane were very involved," recalls Jerry. "They've got their tested methods and stamp. At the same time, they captured who we are. When it's heavy, it's really heavy. When it's dynamic, it's very diverse. They brought something fresh to the table." "They have such a vast knowledge of the songwriting process," states Tony. "We came up with material together, and that's a whole new creative way of writing. They're both really in tune with what musical movements and landscapes are necessary for particular idea. There's so much depth." That energy courses through the album's ten tracks. The first single and title cut explodes into an arena-ready refrain that's as anthemic as it is atomic. Muscular guitars give way to an industrial stomp before sparking an uplifting and undeniable chant. "F.E.A.R. (Face Everything And Rise)" ignites this ride. As far as the title goes, the writing was on the wall â literally. "Jacoby wrote 'F.E.A.R.' on the wall of the studio in spray paint," laughs Tobin. "When we started the record, he was like, 'I want construction paper hung up on the walls everywhere so I can write down all of these thoughts.' That was the only thing he ended up writing on the wall. It stuck." "Fear is something I face every day," the singer admits. "It's about taking a negative and turning it into a positive. When you see the word, it looks like Fear. If you look deeper, it's Face Everything And Rise." "It felt like such a great concept to write an album around," says Jerry. "It's about facing your fears and knowing that no matter what happens, you'll be alright." "We pride ourselves on having that powerful aspect to our recordings and shows," adds Tony. "We were able to convey that here." Elsewhere on the record, PAPA ROACH add old-school flavor to the decidedly new-school "Gravity" featuring Maria Brink of IN THIS MOMENT. Jacoby spits a confessional and vivid verse in between hauntingly hypnotic vocals from the metal siren. "I lay it all out there," sighs Jacoby. "I talked to my wife about the song, and I told her I was going to talk about the darkness of our marriage in a deep sense. This was a tool of strength to show how we made it through those trials and tribulations and how we've both grown into stronger, better people that still know how to love each other. She loves the song." Meanwhile, "Broken As Me" slams with a succinct groove, which Tobin eloquently describes best as a "straight-up fucking basher." Then, there's "Falling Apart". "I love the lyrics on it," the bassist adds. "It's about trying to find something to hold on to that can keep you strong, propel you forward, and be that light in your life. There's a lot of evil shit that can take over, but you don't have to fall prey to it." Everything culminates on "Warriors", which pairs PAPA ROACH with hip-hop luminary, one-half of Eminem's BAD MEETS EVIL, and SLAUGHTERHOUSE member Royce da 5'9". It's unlike anything in the group's repertoire. Speaking of their catalog, 2015 also marks an important milestone for PAPA ROACH. It's the 15th anniversary of their triple-platinum debut, "Infest", which solidified them as hard rock leaders. Since then, they've paved the way for countless other acts to find success at both radio and on stage. Tobin smiles, "I'm really proud of that record. All of the songs were different as far as the styles and the vibes. The guitars were heavy and simple, but there was a dirty hip-hop vibe. There's a raw edge that we captured. I think that street vibe is badass." "'Infest' is straight fire one-hundred percent," declares Jacoby. "That's when I realized the purpose of my life playing music. 'Infest' was the opening statement. It's the intro of who we were to become. It was just the top of the iceberg. That record is just as brutally honest and real as anything I've written to this day." Ultimately though, "F.E.A.R." signifies a new dawn for PAPA ROACH. Jacoby leaves off, "I hope people walk away believing they can do anything." "F.E.A.R." track listing: 01. Face Everything And Rise 02. Skeletons 03. Broken As Me 04. Falling Apart 05. Love Me Til It Hurts 06. Never Have To Say Goodbye 07. Gravity 08. War Over Me 09. Devil 10. Warriors The song "Warriors" can be streamed below.
Finland's annual, all-star symphonic Christmas rock project, dubbed RASKASTA JOULUA, which translates to "Heavy Christmas," is enjoying its 10th year running. To celebrate, the project, which tours every holiday season, will release a new studio album this year. The CD, titled "Ragnarok Juletide", will be released on November 11 via Spinefarm. But this is not just another set of ho-ho-ho-hum takes on holiday songs nor is it a collection of predictable, safe versions of seasonal jams! For the first time ever, these versions of Finnish and international Christmas classics will also be recorded in the English language. RASKASTA JOULUA is inspired by TRANS-SIBERIAN ORCHESTRA and the participants view the project in serious fashion, which is not always true of Christmas-themed collections. There is nothing novelty or jokey about this project or this release. Don't expect familiar holiday favorites to be given a weak makeover or merely amplified by distorted guitars that have been added to give the Christmas jams a "rock" feel. That would be a Christmas cop out. Instead, the record truly and effectively captures the majesty, the wonder and the glory of the holiday season; the songs are carefully arranged and executed, with flawless musicianship and world-class vocal contributions. "Ragnarok Juletide" will put headbangers in the most festive of moods, regardless of which metal subgenre he or she prefers, from speedy power metal to symphonic epics to dirgey doom. It's all here on this year's "Ragnarok Juletide". Marco Hietala (NIGHTWISH, TAROT, NORTHERN KINGS), Tony Kakko (SONATA ARCTICA, NORTHERN KINGS), Elize Ryd (AMARANTHE), Jarkko Ahola (TERÃSBETONI, NORTHERN KINGS), Antti Railio (2013 "Voice Of Finland" winner) and more lend their throats to the project. "It's amazing that we're still doing this and that it has grown to these proportions," said founder/producer/arranger/guitarist Erkka Korhonen. "Every year has been bigger for us and now the tour is one of the biggest annual treks in Finland." Indeed, the accompanying tour is an event and a highlight on the annual holiday calendar for fans of all age groups. The project has progressed in size and scope each and every year, in both popularity and the prestige of the participants. The concert tour now runs for more than a month before the holiday season and plays to full arenas and ice stadiums. Overall, "Ragnarok Juletide" is the definitive collection of holiday hymns for headbangers. This is how you've always wanted to hear Christmas music, but most artists have lacked the balls to do it this way. Korhonen added, "Even people who haven't celebrated Christmas for years have found its spirit again through what we do. Since we've expanded the vocalist lineup every year, the audience wants to hear our new vocalists on the record. It'll be fantastic to bring these songs into other countries too!" "Ragnarok Juletide" track listing: 01. We Celebrate At Christmastime 02. The First Noel 03. Here on the Hay 04. Little Drummer Boy 05. The Elf 06. Christmas Is Here 07. Sylvia's Song 08. White Christmas 09. Home for Christmas 10. A Sparrow on a Christmas Morning 11. Christmas Has Come 12. Ave Maria The voices: Elize Ryd Marco Hietala J.P. LeppÃ¤luoto Tony Kakko Jarkko Ahola Ari Koivunen Pasi Rantanen Antti Railio Ville Tuomi Antony Parviainen Tuple Salmela Kimmo Blom The backing musicians: Erkka Korhonen - guitar, arrangments Tuomas WÃ¤inÃ¶lÃ¤ - guitar Vili Ollila - keys Mirka Rantanen - drums Erkki Silvennoinen - bass
After an eight-year hiatus, ALL TIME HIGHS â the band featuring featuring singer Mark Osegueda of DEATH ANGEL â will reunite for a hometown concert on November 22 at Benders in San Francisco, California. ALL TIME HIGHS was a local rock and roll favorite that packed all the houses in San Francisco. They had a two-year run, released two EPs and toured extensively. As the years have gone by, more and more people have caught wind of ALL TIME HIGHS and have been asking for shows. The band has decided to do a one-off gig to make everyone happy. ALL TIME HIGHS' lineup for the concert will include all original members: Osegueda, Sean Boyles (HELLBEARD), Mike Treloar (AUGURS), Jason Lucero (ELECTRIC SISTER) and Sam Diosdado (LET IT BURN, DEATH ANGEL).
DENIMGOAT is like an old school pickup truck with only one front seat with room for five. Side by side in that seat sits five people, heading straight forward to the chorus. Together, the band members have several thousand miles on the road. Drummer Danne McKenzie has played with bands like MUSTASCH and TRUCKFIGHTERS, Nicke Borg is fronting his solo project NICKE BORG HOMELAND and the recently reunited BACKYARD BABIES, lead singer Richie Puzz is host for the morning show at Swedenâs rock radiostation Bandit Rock, Max Diesel is the frontman in JUNKSTARS and JP White has moved back home to Sweden after splitting with Los Angeles-based VAINS OF JENNA. DENIMGOAT's debut single, "I Need To Know" b/w "It's So Easy", was recorded with Fred Estby (DISMEMBER, THE DAGGER) at Gutterview Recorders studio in Stockholm and will be released on vinyl on November 19 via Lightning Records. DENIMGOAT is: Danne McKenzie - Drums Nicke Borg - Guitar Richie Puzz - Vocals Max Diesel - Guitar JP White - Bass
A very intoxicated Philip Anselmo (DOWN, PANTERA, SUPERJOINT RITUAL, PHILIP H. ANSELMO & THE ILLEGALS) was interviewed by EMP Rock Invasion on August 14 at the Summer Breeze festival in DinkelsbÃ¼hl, Germany. You can watch the chat below. Anselmo recently toured Europe with his backup band THE ILLEGALS â guitarist Marzi Montazeri (ex-SUPERJOINT RITUAL), drummer JosÃ© Manuel Gonzales (WARBEAST) and bassist Steve Taylor. Anselmo's career-first solo album, "Walk Through Exits Only", sold around 8,700 copies in the United States in its first week of release to debut at position No. 35 on The Billboard 200 chart. Produced by Anselmo and Michael Thompson, and recorded over a couple of years at Philip's New Orleans studio, Nodferatu's Lair, "Walk Through Exits Only" is abrasive, aggressive, anthemic and 100% Anselmo. According to Anselmo, he worked on an estimated 15-17 songs for "Walk Through Exits Only", which was issued via his own Housecore Records (MRI/Megaforce) "I could've put on any number (of songs) I wanted, but for me, these eight songs all together, 40-something minutes, that's my idea of a proper listening length," he told Billboard.com. "When you start to get longer, it gets a little redundant and boring, and I didn't want to bore anybody."
IndiePower.com recently conducted an interview with former PANTERA/DOWN and current KILL DEVIL HILL bassist Rex Brown. You can now watch the chat below. Asked what advice he would give to a new band just starting out, Rex said: "Just find a bunch of guys that are about your same caliber of skill and find a really good drummer that youâ¦ if you are a bass player, [like] me. And just find guys who you get along with and that have the same goal. And know that it's not for a little short-term period of time. You have to really get out there and work. And that's where it is these days; it's more grass movement than it is anything else." KILL DEVIL HILL features Brown alongside Mark Zavon (guitar; STEPHEN PEARCY, 40 CYCLE HUM), Jason "Dewey" Bragg (vocals; PISSING RAZORS) and the band's latest addition, Johnny Kelly (TYPE O NEGATIVE, DANZIG), who replaced Vinny Appice (BLACK SABBATH, HEAVEN & HELL, DIO, LAST IN LINE) in March. KILL DEVIL HILL played its first shows with Kelly behind the kit April 4-6, three warm-up shows before embarking on an Australian run with KILLSWITCH ENGAGE. KILL DEVIL HILL's sophomore album, "Revolution Rise", was released on October 29, 2013 via Century Media Records.
SLIPKNOT percussionist Shawn Crahan has revealed to Rolling Stone magazine that one of the first things he did with the band's new drummer â rumored to be Jay Weinberg, the son of Bruce Springsteen drummer Max Weinberg â was take him to the Des Moines, Iowa cemetery where late SLIPKNOT bassist Paul Gray's body is buried. "I made him pay his respects and say hello," Crahan told the magazine. "I told him what we're gonna do, and we got on a fucking plane and flew to fucking L.A." to begin recording the new SLIPKNOT album, ".5: The Gray Chapter". SLIPKNOT guitarist Mick Thomson said that the drummer who replaced founding member Joey Jordison "grew up with" the band's music and "knew all the material" before stepping in and joining the group during the songwriting sessions for ".5: The Gray Chapter". "We kinda knew who we wanted [to play drums on the new CD] from the start, and we got him," Thomson told Guitar World magazine. "We knew from the get-go that there wasn't going to be any issues with him. We did get lucky, I guess. He knew all the [old] material anyway. He'd grown up with the band. That made things easier." SLIPKNOT also has a replacement for late bassist Paul Gray, all but confirmed to be Alessandro "Vman" Venturella, but has not revealed his name either. Both new members are wearing the same generic mask onstage. Weinberg was previously in the punk band AGAINST ME! and left under less-than-friendly circumstances. AGAINST ME! singer Laura Jane Grace tweeted last month, "Dear SLIPKNOT, good luck with that. #shitbag." SLIPKNOT guitarist Jim Root recently said that the band may never reveal the identity of the drummer who replaced Jordison. Speaking with Guitar World, Root explained, "We're not saying who the new drummer is. Even if people find out beyond a shadow of a doubt who the new drummer is, I think we're always going to deny who it is. He might not last. He might tour with us a year and figure out we're all insane and he can't handle being around us. Or we might shut him out." Root added, "For SLIPKNOT, I'd say drumming is only 50 or 60 percent of the job. The rest of it is who you are and what your personality is. Will you clash with guys like me, Mick, Clown, Corey, Craig and Chris? We all have these strong alpha-male personalities." Root and SLIPKNOT guitarist Mick Thomson handled most of the bass duties on the band's new album, ".5: The Gray Chapter", with some help from former touring bassist Donnie Steele. The first all-new SLIPKNOT disc since 2008 will arrive on October 21, followed by the two-day Knotfest in California and a North American tour.