Posts Tagged “Drummers”

U.K.’s Metal Hammer magazine recently got the chance to chat to SLIPKNOT and SCAR THE MARTYR drummer Joey Jordison and asked him for his thoughts on some of metal’s big-hitters that have been grabbing headlines this year. Here’s what he had to say.


Jordison: “Honestly, I don’t own any AVENGED SEVENFOLD records and I’ve not heard the new record. I’ve read about comparisons to METALLICA on the new record, and I guess there’s a certain controversy around that, but I’ve not paid that much attention to it. Nothing against them, I’m not knocking them, but I was just never a fan: not that they’re bad, they’re just one of those bands that kinda bypassed me.”


Jordison: “That’s the fucking band. Without METALLICA, I wouldn’t be doing what I am doing. I have every METALLICA record, of course, and I would spend hours on drums in my parents’ basement, with the stereo behind me, cranking those records and learning Lars‘ [Ulrich] drum beats, beat by beat. And nowadays, for me, METALLICA can do whatever the fuck they want. I’m not sure that ‘Lulu’ is something I’d be getting into, but METALLICA have a free pass from me to do anything, I can’t really knock anything they do. I mean [LED] ZEPPELIN and THE WHO passed the torch to METALLICA; they’re that band for our generation. Everything they do now is going to be met with a little bit of a backlash just because they’re so big, but without METALLICA, there would be no heavy bands, hardly. People have a hard time saying that, and obviously there’s a ton of other great bands, but there’s a reason that they’re huge and have been able to expand their audience to millions and millions and millions of people. I have nothing but praise for them.”


Jordison: “Proper SABBATH is SABBATH with Bill Ward. I’m sorry, it just is. Bill Ward is one of the most underrated drummers ever — the dude is fucking unreal, such a great, great player. And I just can’t bring myself to see SABBATH without Bill Ward, because he was such an integral part of that band. He’s like John Bonham or Keith Moon, one of those drummers who made the drum parts of those classic songs just as special as the guitar riffs or the vocals. I respect those guys doing what they’re doing, but sorry, count me out.”

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Fan-filmed video footage of PHILM performing a brand new song called “Train” on August 10 at the Getaway Rock festival in Gävle, Sweden can be seen below.

PHILM is the Los Angeles-based experimental post-hardcore triumvirate featuring former SLAYER drummer Dave Lombardo, guitarist/vocalist Gerry Nestler (CIVIL DEFIANCE), and bassist Pancho Tomaselli (WAR).

Stated Lombardo about “Train”: “The beat sounded like a steam engine or a powerful freight train. We decided to write a song around it.”

PHILM released its debut album, “Harmonic”, on May 15, 2012 via Ipecac Recordings.

“When people hear about my involvement in PHILM, they automatically assume that it will compare to SLAYER‘s sound,” explained Lombardo. “They couldn’t be more different. I have scaled down my drum set to a four-piece, reminiscent of the drummers from the late ’60s that influenced me. Each song is unique in itself, I like to refer to it as ‘rhythmic emotion.’ It’s almost like taking all the heavy songs of the ’60s and bringing that era to a modern plateau, then blending them with the modern trance and psychedelic sounds of today.”

Lombardo sat out SLAYER‘s Australian tour in February/March due to a contract dispute with the other members of the group. Filling in for him was Jon Dette (TESTAMENT, ANTHRAX). Dave has since been replaced in the band by Paul Bostaph, who was SLAYER‘s drummer from 1992 until 2001 and recorded four albums with the group.

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“Obsideo”, the seventh album from resurrected Dutch extreme metallers PESTILENCE, will be released on October 21 via Candlelight Records. The CD was produced by PESTILENCE vocalist/guitarist Patrick Mameli and features ten new songs. According to Mameli, the album’s overall lyrical theme will be “the journey of the human soul.”

“Obsideo”, which means to besiege, will feature band mastermind Mameli and longtime partner, guitarist Patrick Uterwijk, with new German bassist George Maier and Dave Haley. Mameli notes: “PESTILENCE is chuffed to have Dave Haley in the lineup. Dave is one of the five best extreme drummers in the world, and his talent brings PESTILENCE to new levels that couldn’t be reached otherwise. Georg Maier is a young and talented bass player that will turn some heads. Both guys are really down to earth and real easy going. Of course, Patrick Uterwijk is my most respectable and long-going friend and musician.”

“Obsideo” track listing:

01. Obsideo
02. Soulrot
03. Transition
04. Necromorph
05. Laniatus
06. Distress
07. Superconscious
08. Aura Negative
09. Saturation
10. Displaced


Patrick Mameli – Lead guitar/Vocals
Patrick Uterwijk – Lead guitar
George Maier – Bass
David Haley – Drums

PESTILENCE‘s last album, “Doctrine”, was released in North America in July 2011 via Mascot Records. The eleven-track CD was recorded and mixed at Woodshed Studio in southern Germany with engineer Victor Bullok (a.k.a. V. Santura; TRIPTYKON, DARK FORTRESS). The artwork was designed by Marko Saarelainen.


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Chad Bowar of Heavy Metal recently conducted an interview with legendary extreme-metal drummer Gene Hoglan (TESTAMENT, DEATH, STRAPPING YOUNG LAD, DARK ANGEL, DETHKLOK). A couple of excerpts from the chat follow below. Heavy Metal: What inspired the Gene Hoglan Experience?

Gene Hoglan: I want to take the concept of a drum clinic and expand upon it, to reach everybody, not just drummers. My drum clinics have always had large elements of “spoken word” to them, but they were, in essence, drum clinics. Now, to take the same basic concept and put in a venue, the night is now open to all metal fans or Gene fans. It will be extremely interactive, where I’ll take questions all night, relate stories, as well as get behind the kit and pound along to tunes from my entire career. Heavy Metal: What can fans that attend one expect to see?

Gene Hoglan: A whole lotta personality! I’ve never done any preparation whatsoever for any clinic, and everything I do or say is completely off the cuff and ad-libbed. Hell, even any solo I do is pretty much made up on the spot. I definitely like to bring a ton of humor and lightheartedness to these things, so hopefully people will come away thoroughly entertained and satisfied. Or at least howling at that train wreck of a solo. Heavy Metal: You’ve been in numerous bands and played on tons of albums as a “session guy” instead of being in one band for 30 years. Was that your goal as a young musician, or just how things turned out?

Gene Hoglan: Y’know, I never really knew where I was going to go with my career when I was starting out in my teens. All I knew was that I was gonna stick around, like a cockroach or fungus, or a cockroach infested with fungus. I was thinking about it recently, about my career involving many bands, many players, and I thought about a lot of the guys I looked up to, like Tommy Aldridge, Cozy Powell, Steve Gadd, Terry Bozzio, and those guys did plenty of bouncing around themselves. I’m sure there was some, “It’s okay to do your thing with many different bands, just always try to be awesome and worth their time” type of influence that rubbed off on me from watching their careers, and the fact that I always felt like DARK ANGEL was not going to be my last stop. Well, I guess it’s just natural that things have turned out this way. I’ve always liked expanding my boundaries by playing with as many cats as I have, and I know my playing has greatly improved due to it. I sure know that my sense of diplomacy has, indeed. I tell ya, there sure isn’t the downtime involved in jumping around that there is with being stationary. I don’t get to receive the, “Okay, we’re done with the touring cycle, everybody take a break, and we’ll meet up in a few months to start the next album.” I bounce!

Read the entire interview at Heavy Metal.

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Nathan Carson of Willamette Week recently spoke to BLACK SABBATH guitarist Tony Iommi about the making of the band’s new album, “13” — the first in 35 years to feature Tony, singer Ozzy Osbourne and bassist Geezer Butler.

Asked about how SABBATH decided to recruit RAGE AGAINST THE MACHINE‘s Brad Wilk to play on “13” following the decision by original SABBATH drummer Bill Ward to bow out of the band’s reunion, Iommi said: “[Producer] Rick [Rubin] suggested Ginger Baker, which we put a stop on. We didn’t think Ginger Baker would have been… We didn’t want to go in the studio and have, um, problems. And we did try some big-name drummers, some very big-name drummers. And they were great. But Rick particularly suggested Brad Wilk. And it was great because Brad had no idea what we were gonna be doing. We wouldn’t let him hear the tracks with drums. We just wanted to see what he was gonna put to it. And Brad was a really nice guy. He did work hard, you know, because he was thrown in the deep end so much, and he was very nervous. And then he got used to us. He got used to our jokes, the way we prank around.”

Iommi also spoke about his health status more than a year a half after he was diagnosed with lymphoma.

Ronnie [James Dio, who fronted the BLACK SABBATH offshoot band HEAVEN & HELL on its 2009 tour and died in 2010] was getting stomach pains, and he was telling me before we were going onstage some nights, ‘Oh, my stomach’s really playing up,’ and he’d ask me if I’ve got any Tums or anything. And I said, ‘You should get it checked, you know, Ronnie.’ Of course, he did, but it was too late. And that’s the problem. It’s easy to overlook these things. I mean, I’m probably more over the top than I ever have been now. I check everything every day. You just don’t know. A lump pops up and you’ve gotta get it sorted.”

Regarding whether there is a chance BLACK SABBATH will follow up “13” with another studio album, Iommi said: “It all depends on my health, really. But I don’t think it would be hard to do another album, because we work so well together once we start cracking. And I’ve got plenty of ideas and stuff. But we’ll have to see what happens at the end of the year, after tour. I mean, for me, this is a whole new venture, because it’s the first time I’ve been out on tour since I’ve been ill for the last two years. And I have to treat things very differently to how I did five years ago. I’ve always put the band first, but now, of course, I have to put my health first.”

Read more at Willamette Week.

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Carl Palmer, the rock percussionist and veteran of hit British rock bands — including EMERSON, LAKE & PALMER, ASIA, THE CRAZY WORLD OF ARTHUR BROWN and ATOMIC ROOSTER — says he turned down an opportunity to play with BLACK SABBATH when the heavy metal legends were looking for a drummer to replace Bill Ward for the “13” album sessions.

Palmer told WENN that BLACK SABBATH guitarist Tony Iommi approached him about laying down tracks on the CD to when it became clear that Ward would no longer be participating in the SABBATH reunion.

Tony and I did talk when they were looking for drummers to make the album and he put me forward,” explained Palmer. “I couldn’t do it because I was off with ASIA, we were touring and then something else came up. I couldn’t have done it but I would have loved to. It just wasn’t on the cards.”

He added: “I was classically trained but, basically, I’m a rock drummer and I’ve never been in a true out-and-out guitar band like BLACK SABBATH, where it’s just big riffs — very simple but very dynamic. It would be extremely invigorating. The older I get, the more I appreciate that music. I was late to come to heavy metal. ASIA had a bit of that, but we were a little bit more corporate rock and melodic.”

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 June 11.

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Groovey.TV recently conducted an interview with legendary BLACK SABBATH drummer Bill Ward. A couple of excerpts from the chat follow below.

Groovey.TV: How did the “Absence Of Corners” [Bill‘s collection of fine art created from rhythm] art project all get started?

Bill Ward: Well, the company we are doing this with is called SceneFour and they have a brief history of doing this kind of thing with other drummers, and I guess it was my turn to be asked. [laughs] It was my publicist that introduced me to the idea, and at the time, we didn’t know a whole lot about what this would mean. Because, what happened is, basically, the project has gotten bigger in many ways, that at the time we started, were invisible to us; so it has been a very interesting project in terms of what it has developed into. Originally we were approached by SceneFour. I was asked to do a drum session and for about an hour and a half I played in the dark at our rehearsal studio in Los Angeles with a bunch of cameras and lights and all sorts of strange things aimed at the drum kit. I was kind of wondering what might be going on, but they just said, “Play drums, Bill.” And that’s exactly what I did rather than wondering what they were doing. They knew what they were doing, so you know.

Groovey.TV: Did you get everything you wanted captured in these works?

Bill Ward: I wasn’t sure what I wanted in the first place. That might sound odd, but all I knew was that at that time I was playing and looking at the pictures thinking, “This is okay, this is interesting.” But not long after that they asked me to name the pictures, and that’s when things began to turn around. I caught a glimpse of the picture I call “Grief”, and I began to realize that there might be a lot more going on here than I had thought before. I called it “Grief” because when I looked at it fitted exactly how things had been for me. It was a portrait of some of the emotions, if not all of the emotions, I have been feeling from A to Z since January 2012 up until “Grief”. I didn’t realize that there was something coming out of me that became more than colored sticks making nice patterns and doing different things with me playing drums behind it. I began to see a lot of imagery in the pictures where I was actually able to write about the pictures and also name them. As I did that, as I started naming the pictures, when I started doing that that’s when I realized it was becoming quite therapeutic for me.

Groovey.TV: What are your plans for the rest of the year? What else are you working on?

Bill Ward: Right now we are doing all the promo for this project. I’m also in the studio still trying to finish my album to be which is called “Accountable Beasts”, and we are getting closer ever single week to having that getting complete. It’s been a long time coming but we are in there bit by bit a little bit by bit.

Groovey.TV: Do you have a release date yet?

Bill Ward: I would like to think that it will be out very very soon. I need twenty more days to mix or thereabouts. I could maybe do it in fifteen. Everything is at mix level, so we got about 40 percent more mix on about eight tracks. Then that’s all, we’ve done it, it’s finished.

Groovey.TV: What’s the vibe and feel of “Accountable Beasts”?

Bill Ward: It’s very heavy. It’s very fucking heavy. I play drums on 90% of the tracks. We’ve really gone balls out, you know. When I came off the last BLACK SABBATH tour, I was so ramped up, I could have gone round again one more time. I was full of energy and some of these tracks were laid down literally weeks after I came back. I was inspired to make it loud and make it hardcore, so there’s some strong tracks on “Accountable Beasts”. One of them, we got bass-drum tempos that nearly killed me. [laughs] They’re pretty fast, man. When I see people like Dave Lombardo [SLAYER], who is a buddy of mine, working around these guys, it’s like, “Man, give me some of that.” So I was very inspired after the last BLACK SABBATH tour. I thought the gigs were absolutely brilliant, I thought the band played fantastic, considering everything that was going on we played really well. It really is a stimulant from that, and that’s how the album got started. As time has gone on, and we gradually got more finances into the production, we added more things and written more songs for it. So I’m hoping it will be out quite soon.

Read the entire interview at Groovey.TV.

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Troy Culpan of May The Rock Be With You recently conducted an interview with former METALLICA, VOIVOD and FLOTSAM AND JETSAM bassist and current NEWSTED frontman Jason Newsted. A couple of excerpts from the chat follow below.

May The Rock Be With You: So why was now the right time to unleash NEWSTED on the world?

Jason: Destiny chose it, man. There was no plan, I swear to God. I just went in to make this little demo tape, and somebody heard “Soldierhead” and it took off,and the next thing you know, we’ve got a world tour and managers and all that stuff. I swear to God. I never, ever, ever, ever planned on having a big band again, or putting my name on it or anything — it just happened — and people said, “Go for it,” and kept encouraging me. And actually, I went to play with the METALLICA guys at the end of 2011 and I got all excited about playing again, I wrote some songs, gave them to my buddies, we turned them into something. Next thing you know, it’s eighteen months later and I’m talking to you. I was never, like, “Here’s going to be the logo and this is going to be the thing and we’re gonna do this and gonna do that” — there was never any of that. I’ve mostly just been playing catch-up for the last eight months, from the managers and agents that booked me a bunch of shows before I really even had a band together, before I even had the fourth member of the band, they booked me a bunch of shows just because they knew I was coming back out and people were excited about it.

May The Rock Be With You: This is your first time fronting a band. What is it like being the singer after so many years of well, not…?

Jason: It’s a little bit scary and it’s also really fun. I think that even all the drummers in the world and even the guy on violin in the back, everybody wants to be the frontman at some point, no matter what they say [laughs], I think they want that, we all crave it a little bit, because everybody wants to be a show-off in this business. You’ve got to have that ego and want to show off and that’s kind of what the deal is. Early days in FLOTSAM AND JETSAM, I sang in FLOTSAM AND JETSAM and fronted the band before we had a singer and through time and with METALLICA, it was one verse of that song, another verse in that song, a couple of years later a few more verses, and by the end of it, I was singing a whole song, so I’ve built up that way little by little. As far as a vocalist playing bass and laying it all down like that, it’s a very new territory and there’s a lot of new roles to assume, so I’m mostly taking it as a challenge. Nervous excitement comes pretty quick when I know that the chips are down and I know that I’ve got to go and sing for everybody, but remembering the songs and getting to remember all the words again, getting to say what I want to between the songs to the people, I really like that part. I don’t exactly thrash the way I used to because I have to keep my mind on remembering everything, but there’s a lot of different things to it. We’ve got about fifty shows under our belt now. Each time it’s a challenge but each time it’s getting better as well.

May The Rock Be With You: The album is called “Heavy Metal Music” which screams the obvious, but what was the idea behind the name specifically?

Jason: For clarity for the fans around the world. In METALLICA, and I was raised in that band, and it was always instilled in me that it’s a global view, it’s a worldwide view — we play music for the world not just the United States, so it’s kind of the way it’s gotta be. I’ve played in a lot of countries in my life, so no matter what language or dialect or whatever that you speak, heavy metal music means heavy metal music and I want to make sure that everybody’s clear that if I’m going to do this again and go all the way in frickin’ neck deep. I want to make sure that there’s question as to what style I’m playing. It’s not ECHOBRAIN, it’s not GOV’T MULE, not SEPULTURA, not DJ Shadow, not any of that stuff that I’ve messed with before, this is “Heavy Metal Music”.

Read the entire interview at May The Rock Be With You.

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Legendary BLACK SABBATH drummer Bill Ward recently spoke to “LA Radio Sessions” about his groundbreaking collection of fine art created from rhythm. You can now listen to the chat using the audio player below.

Interview (audio):

He’s arguably one of the most discussed drummers in rock today. His presence behind the kit for over 45 years has inspired countless imitators. And for many, he’s considered the most influential drummer in heavy metal history. But as summer peaks, Ward will make his first foray into the world of fine art with a debut collection, “Absence Of Corners”. Set for release on August 1, 2013 at, all of the pieces in Ward‘s collection are created from rhythm and limited in availability.

An extensive process from start to finish, “Absence Of Corners” took nearly a year to complete. Working with Los Angeles art team SceneFour, Ward utilized a sophisticated formula to create the collection’s visuals, using an array of drumsticks and rhythmic accessories that produce light, much like a painter utilizing brushes and oils. The movements featured within the captured rhythms are then studied and developed into abstract artwork that showcases a dimension not normally seen by the human eye. Each piece in this limited-edition collection is then numbered. All are signed by Ward.

Ward says about the project: “When I’m working on new ideas, musically much of what’s played is guided by a visual appearance or shape. Since my early childhood, I’ve played drums in visuals as well as sound. When I write, there’s always an image, sometimes a color attached to what’s being created.

“I’ve never ‘listened’ to bass notes; I ‘feel’ them. The keyboard’s black notes are dark to me and represent many sad emotions. These examples are simple, natural, childlike applications that have stayed with me.

“When SceneFour approached me about doing this project, it sounded like an adventurous progression. I am delighted with the captured expressions from my head and my heart. Their arrival onto canvas is beautiful.”

To develop the art collection, Ward utilized the expertise of art team SceneFour. Based in Los Angeles, SceneFour specializes in working with music visionaries on the creation of fine artwork. SceneFour‘s previous art collaborations have included releases with Chuck D, Bootsy Collins, Page Hamilton and The RZA. Over the last several years, SceneFour‘s focus has been on the development and publishing of rhythm on canvas collections, with Ward‘s collection being the largest release to date with a total of 18 different pieces featured and ranging in size (30″ x 18″ to the epic 85″ x 30″).

Those interested in learning more and seeing the artwork before the release are encouraged to join the interest list at

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 June 11.

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He’s arguably one of the most discussed drummers in rock today.

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