Posts Tagged “Devil”


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The Great Southern Brainfart recently conducted an interview with Erik Danielsson of Swedish black metallers WATAIN. A couple of excerpts from the chat follow below.

The Great Southern Brainfart: So I have to be honest. Aside from listening to VENOM as a kid, I was never much of a black metal fan, and then I gave you guys a listen, and I’m really intrigued with your songs and your performances.

Erik: That is really good to hear that you made that comparison. I wish I heard VENOM and WATAIN in the same sentence more often. VENOM is one of my all-time favorite bands, and I think if you have that sort of background, you might actually be able to relate to what we do as well. Musically, there might be a slight difference. VENOM are the originators of the black metal movement that we later became a part and we like carrying that torch onwards and uphold that legacy.

The Great Southern Brainfart: WATAIN seems to have more of that classic element than most of the other modern bands. Is that something that was intentional?

Erik: We never really sat down and discussed how WATAIN should sound. It’s pretty safe to say, though, that our own personal preferences, when it comes to black metal, have always been very traditional. VENOM are one of the most important bands ever to WATAIN and the same goes for bands like MERCYFUL FATE and even bands like EXCITER, RAZOR, and VOIVOD. We’ve always leaned towards bands like that in our own musical tastes when it comes to metal. I suppose our sound really comes from a mix of those bands and late-era black metal such as MAYHEM and DISSECTION and so on.

The Great Southern Brainfart: One of the things that intrigued me the most about Watain was the ritualistic approach to the live show using animal carcasses, lighting candles on a small alter and whatnot. What can you tell me about the live show and the background to this ritual?

Erik: If you play music of a diabolical nature, and the music that you perform is permeated by a sinister and infernal essence, of course, that will have to translate to the stage show as well and your appearance. It’s not a process that should be forced. It should come as a natural consequence of the music that you’re playing and the artistic work that you are doing. With WATAIN, it was very much that way and it evolved into this thing that it is. When we started playing, we already had that kind of extreme view of how a black metal live show should be like. It should look like the music sounds. That’s how it all began. The longer that WATAIN existed, the more we realized that the magical side of this band, the spiritual side began to come through and it just began to transform into a ceremonial thing rather than just a rock concert, so to say. It evolved into an event where we communicate with the forces that gave birth to this band and that have always been a part of this band. It became a time where we could let these things just come to life and be at one with them. It’s an ever-ongoing evolution and the live shows are constantly progressing. They have become something more and more severe and intense and that’s a very good thing to me. It’s a very inspiring context to work with.

The Great Southern Brainfart: When WATAIN takes this ceremony on the road, especially when touring in the southern part of the U.S., sometimes there are limits as to what you can and can’t do on the stage. When that does happen, how much of an impact does that have on the purpose of your live performance? Does it make things harder for you to do?

Erik: Yes, of course it does, but being in a band like WATAIN is always quite a challenge. When you take something as inhuman as WATAIN into the world, then, of course, things can be a bit strange. We knew since day one that we would have to face a lot of opposition because of some of the things we wanted to do. I think we’re always pretty well prepared for that to happen. Of course, it’s annoying and it makes me want to punch the living shit out of anyone who stands in our way, but we always find a way around these things. There’s always a way for the devil to come through, no matter what. It cannot be stopped. It’s just a fact and it’s been that way since the dawn of man. The devil always wins and the devil always finds his way. I think that in general, all of that opposition and all of the people who prevent us from doing what we want to do just makes us stronger. It makes us feel more proud and stronger about what we’re doing. We like to fight against the extreme and we like to go against the current. We like to be the enemy and that just fuels the fire of WATAIN and I actually appreciate that. I like touring in places especially the South because we always feel that tension and how skeptical they are but in the end we just do what the fuck we do anyway. [laughs]

Read the entire interview at The Great Southern Brainfart.

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On September 27, RockNLive.org conducted an interview with ’80s hard rock queen Lita Ford. You can now listen to the chat in the YouTube clip below.

Lita Ford will release a new live album, “The Bitch Is Back…Live”, on November 5 in North America, on October 25 in Germany and on October 28 in the rest of Europe through SPV/Steamhammer. The disc features a recording of Lita‘s October 2012 performance at the Canyon Club in Agoura Hills, California.

The album will be released as a digipak with a special booklet including fan photos and download.

Where does the title come from? Lita opens the show with her rendition of the classic Elton John track “The Bitch is Back”, which was previously released as a bonus track on “Living Like A Runaway”.

“Well, I heard [the original version of the song] on the radio and I just thought it worked for Elton John, and it works for Lita Ford,” Lita explained to Metal-Rules.com when asked how she came to cover the track. “It kind of makes a statement, saying, ‘She’s back,’ and this is me saying this, not anybody else, you know?! It came from me, and I spoke to Elton John backstage before we released the album and I wanted his blessing. I didn’t want to just take his song and do it because I’ve done my own version of it. It’s more guitar-orientated instead of piano. So I said to him we’re doing ‘The Bitch Is Back’ and we gave him a copy of it, and his tour manager wrote back and said, ‘It’s one rocking version.’ But I went backstage because he came through town and I went backstage and said, ‘Hello!’ and he said, ‘That’s my song,’ you know, ‘That’s my song,’ and I said, ‘Yes, it is your song,’ and I said, ‘Thank you for letting me do it,’ and he said, ‘Thank you for doing my song.’ So I thought, ‘Right on, I got his blessing.’”

“The Bitch Is Back…Live” track listing:

01. The Bitch Is Back
02. Hungry
03. Relentless
04. Living Like A Runaway
05. Devil In My Head
06. Back To The Cave
07. Can’t Catch Me
08. Out For Blood
09. Dancing On The Edge
10. Hate
11. Close My Eyes Forever
12. Kiss Me Deadly

Ford has recruited Bobby Rock (VINNIE VINCENT INVASION, NELSON) to sit behind the kit for her shows in Australia, Europe and the U.S., as well as the recent Monsters Of Rock cruise in the Bahamas.

Lita‘s touring drummer for much of 2012 was Scot Coogan, who has previously played with BRIDES OF DESTRUCTION, ACE FREHLEY and LYNCH MOB.

Lita‘s current touring lineup:

* Lita Ford – Guitar, Vocals
* Mitch Perry (MSG, ASIA, EDGAR WINTER) – Guitar
* Bobby Rock (VINNIE VINCENT INVASION, NELSON) – Drums
* Marty O’Brien (WE ARE THE FALLEN, TOMMY LEE, STATIC-X, DISTURBED) – Bass

Lita last year filmed a video for the song “Mother” in Joshua Tree, California. Directing the clip was Ford‘s former THE RUNAWAYS bandmate Victory Tischler-Blue, whose film “Edgeplay” was based on her tenure in the 1970s all-girl teenage rock act. “Mother” is dedicated to Lita‘s estranged sons, Rocco and James (father is former NITRO singer Jim Gillette).

Ford‘s latest album, “Living Like A Runaway”, was released on June 19, 2012 in North America. The effort was made available in four configurations: a double LP, limited-edition CD, standard CD and digital download. The artwork for the album was created by famed rock photographer Mark Weiss.

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Quality fan-filmed video footage of HELLOWEEN‘s September 23 concert at Stage 48 in New York City can be seen below.

HELLOWEEN is currently taking part in a 10-date North American tour. The band is travelling across the U.S. and Canada, bringing its power hooks and catchy melodies to fans who have yearned to see them since their 2008 tour with GAMMA RAY.

HELLOWEEN‘s new album, “Straight Out Of Hell”, sold around 4,100 copies in the United States in its first week of release to debut at position No. 97 on The Billboard 200 chart. The CD entered the Media Control chart in Germany at position No. 4 — the highest chart position in the band’s history. It also landed at No. 4 in Finland and No. 2 on the international album chart in Japan.

“Straight Out Of Hell” was released in Europe on January 18 and in North America on January 22. The cover artwork for the CD was once again created by Martin Häusler, who previously worked with the band on the “7 Sinners” and “Gambling With The Devil” CDs.

“Straight Out Of Hell” was produced by Charlie Bauerfeind, who also worked on “7 Sinners”, and sees the five musicians maintaining a rawer edge throughout, working quickly in the studio (MiSueno Studio in Tenerife) and delivering 13 brand new compositions that, in the words of founding member, guitarist Michael Weikath, will “kick even the laziest listener’s ass!”

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On September 20, ALICE IN CHAINS was interviewed on Brazil’s “Multi Show” after the band’s appearance at the Rock In Rio festival. You can now watch the chat below.

ALICE IN CHAINS‘ fifth studio album, “The Devil Put Dinosaurs Here”, sold 62,000 copies in the United States in its first week of release to land at position No. 2 on The Billboard 200 chart. The disc follows up 2009′s “Black Gives Way To Blue”, which was the group’s first all-new collection of material in 14 years. That CD opened with 126,000 units back in October 2009 to debut at No. 5.

ALICE IN CHAINS was last in the Top Two with its self-titled 1995 set, which debuted at No. 1 on that year’s November 25 chart, according to Billboard.com. It would be their final studio release with singer Layne Staley, who died in 2002.

“The Devil Put Dinosaurs Here” is ALICE IN CHAINS‘ second album with William DuVall on vocals.

DuVall began touring with the group in 2006, four years after the death of Layne Staley from a drug overdose.

ALICE IN CHAINS began working on the new disc in 2011, but the sessions for the album were delayed when guitarist Jerry Cantrell had to undergo shoulder surgery.

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Metalcore stalwarts The Devil Wears Prada just released their latest album 8:18. I spoke with the band’s guitarist Jeremy DePoyster about the new album, the meaning of the album title, working with producers Adam D. and Matt Goldman,  signing with a new record label and other subjects.

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Professionally filmed video footage of ALICE IN CHAINS‘ September 19 performance at the Rock In Rio festival in Rio De Janeiro, Brazil can be seen below.

ALICE IN CHAINS‘ fifth studio album, “The Devil Put Dinosaurs Here”, sold 62,000 copies in the United States in its first week of release to land at position No. 2 on The Billboard 200 chart. The disc follows up 2009′s “Black Gives Way To Blue”, which was the group’s first all-new collection of material in 14 years. That CD opened with 126,000 units back in October 2009 to debut at No. 5.

ALICE IN CHAINS was last in the Top Two with its self-titled 1995 set, which debuted at No. 1 on that year’s November 25 chart, according to Billboard.com. It would be their final studio release with singer Layne Staley, who died in 2002.

“The Devil Put Dinosaurs Here” is ALICE IN CHAINS‘ second album with William DuVall on vocals.

DuVall began touring with the group in 2006, four years after the death of Layne Staley from a drug overdose.

ALICE IN CHAINS began working on the new disc in 2011, but the sessions for the album were delayed when guitarist Jerry Cantrell had to undergo shoulder surgery.

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Pennsylvania-based black metallers SATHANAS will enter The Innertube Studio in Ambridge, Pennsylvania on October 19 to begin recording their next full-length album, “Worship The Devil”, for an early 2014 reelase via Doomentia Records. The cover art will be created by the Juanjo Castellano (PUTREVORE, AVULSED).

SATHANAS‘ latest album, “La Hora De Lucifer”, was mixed at 905 Studios in Ambridge, Pennsylvania and was released via Pagan in Europe, Astral Holocaust in South America and Evil Dead in Asia. Each version of the effort contains a different cover art from such “masters” as Kris Verwimp, Chris Moyen and Daniel Desecrator.

SATHANAS is:

Paul Tucker – Guitar, Vocals
Bill Davidson – Bass
Jim Strauss – Drums

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The raucous good time Tacoma punkers of C.F.A. (Cody Foster Army) have announced that the third in a series of four videos, “Built Up Knocked Down,” from the massively hailed Ripple Music debut album “Managed By The Devil, Brought To You By The Grace Of God.” This video, which follows “Sons of the Soil” and “Kick Rocks,” was Cody’s concept

The post C.F.A. Posts Third In Series Of Four Videos appeared first on Daily Heavy Metal News.

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Ulterium Records has announced the signing of the Italian symphonic metal band SLEEPING ROMANCE. The group’s debut album, “Enlighten”, will be released on November 1 in Europe and December 3 in North America. The CD was mastered by Roberto Priori (DANGER ZONE, VISION DIVINE) and the artwork was created by Felipe Machado Franco (BLIND GUARDIAN, RHAPSODY OF FIRE, ICED EARTH).

Featuring the emotional vocals of Federica Lanna and the epic songwriting of guitar player Federico Truzzi, SLEEPING ROMANCE creates something really exciting together that should appeal to fans in the scene.

“Enlighten” track listing:

01. Hybrid Overture
02. Enlighten
03. The Promise Inside
04. Soul Reborn
05. Free Me
06. December Flower
07. Finding My Way
08. Passion Lost
09. Devil’s Cave
10. Aeternum

An album teaser can be seen below.

SLEEPING ROMANCE will tour Europe with THEOCRACY in November.

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The band presented videos for two new singles off “The Devil Put Dinosaurs Here” – “Voices” and the album title track.

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