Posts Tagged “Laughs”

Canadian multi-instrumentalist, singer, songwriter and producer Devin Townsend was interviewed on the March 7-9 edition of Full Metal Jackie‘s nationally syndicated radio show. You can now listen to the chat using the Podbean widget below.

To see a full list of stations carrying the program and when it airs, go to FullMetalJackieRadio.com.

The cover artwork for the forthcoming debut album from the CASUALTIES OF COOL project from Devin Townsend can be seen below.

Devin recently launched a three-month-long crowdfunding campaign on PledgeMusic for CASUALTIES OF COOL since the album will be released without record-label backing.

In a 2013 interview with BluntMag.com.au, Devin stated about CASUALTIES OF COOL: “If there’s anybody who’s new to what I do, who maybe heard ‘Liberation’ or some of the songs off ‘Epicloud’ and thought, ‘This is really cool, I could get into this,’ you’re going to hate CASUALTIES. [laughs] I mean, really, it’s as opposite of ‘Epicloud’ as ‘Ghost’ was to ‘Deconstruction’. It’s this weird, dark, not evil but verging on it, bluesy, Johnny Cash-y, strange, quiet folk record. But I love it, it’s the one record that I’ve done over the past 10 or 15 years where I can truly say, ‘This is where I am right now.’

“You know, the other things that I’ve done have been as well in their own right, ‘Epicloud’, ‘Deconstruction’ and ‘Addicted!’, but there was an agenda with those, I was trying to say something with them or I was trying to prove a point, make a statement about the past or whatever. CASUALTIES is something that I’ve done without any pressure, without anybody telling me what to do, without showing it to anyone, it’s just what evolved when I wasn’t thinking about it. As a result of that, I’m incredibly proud of it, but it remains to be seen whether or not other people will resonate with it. I think they will, man. I think it’s fucking awesome, and I mean, I haven’t smoked weed in a long time but I can’t imagine that it wouldn’t be awesome while you’re smoking. [laughs]”

Asked where CASUALTIES OF COOL will fit into the Devin Townsend discography in terms of sound — among his more traditional-sounding albums, or a bit more removed like his ambient albums, Devin said: “Somewhere in the middle, you know, somewhere in the middle. It’s like, if you took the weird elements of ‘Ki’ and the weird elements of ‘Devlab’ and added a vintage sort of vibe.

“My management had a suggestion, which I think is pretty cool, which was, ‘You shouldn’t call it DEVIN TOWNSEND PROJECT, you shouldn’t even put your name on it, just call it CASUALTIES OF COOL and put it out as its own thing.’ It’s got a different singer, I sing on like half of it right, but it’s got this lady [Vancouver artist Ché Aimee Dorval, who also appears on ‘Ki’] who’s just this brilliant singer, she’s a young, despondent-sounding bluesy vocalist and it’s creepy. I think that that might be a way for me to get away with it, putting it out without it being part of the DTP [DEVIN TOWNSEND PROJECT] or whatever.

“I don’t know what to tell you, man. I just go where it feels the most honest to go, then I deal with people thinking it’s weird afterwards. [laughs]”

Regarding whether there is a particular atmosphere he wants to create or a story he wants to convey with CASUALTIES OF COOL, Devin said: “Yeah there’s a story, definitely. It’s going to take a little longer than what we’ve got for me to explain it, but you’ll hear it eventually. I want it to be something you listen to quietly, by yourself, in the middle of the night, with a big old full moon outside. It’ll work perfectly.”

Interview (audio):

devintownsendcasualtiescover

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David E. Gehlke of DeadRhetoric.com recently conducted an interview with Canadian multi-instrumentalist/producer Devin Townsend. A few excerpts from the chat follow below.

DeadRhetoric.com: I saw a quote from you in regard to “The Retinal Circus”: “It’s a clusterfuck on stage.” Can you elaborate?

Townsend: I probably just like swearing — it makes me feel good. [laughs] In my head, everything I do that has a concept, which is 80%, appears a lot more streamlined in my mind’s eye than when we try to articulate it on stage when we have no money and no time. So, “The Retinal Circus” is yet another example of me being overambitious and underfunded, as someone close to me commented on the state of my career. Once you’ve spent some time with the show — if you choose to do so, or you turn it off, it makes a great deal of sense. Ultimately, by the end of the end of the show, it has a point that it makes, that the clusterfuck nature is essential. It has to be there. But really at first look, I had a bunch of friends – I spent a lot of time on the video and the audio — I brought the DVD on the tour bus I was on at the time and I played for a band we were out with at the time and a bunch of guys that were involved with it, I put it on and cranked it up, and looked around the front lounge and everybody’s face was like, “What the fuck is this?” I remember thinking at that point, “If you’re not deeply invested in the creative elements of it and why it is the way it is, I can totally see why people would view it as chaos.” When I had described it as being a clusterfuck on stage, it was more of me buffering people that until you do choose get that deep into it, it’s pretty over the top.

DeadRhetoric.com: Jed [Simon] joined you for “Love” and “Detox”. As you said, there’s always the cloud of STRAPPING YOUNG LAD hanging over you, but you confronted it by having Jed onstage with you. How cool was that?

Townsend: First off, thank you for recognizing that, because that’s exactly what it is. Ultimately, I’m going to do what I want to do, and that’s the bottom line. The more that people demand I do something, the less I want to do what they demand me to do. When I was a kid or first in a relationship with my wife, she would comment, “Whatever it is I want you to do, I make sure I don’t tell you to do it.” I’m aware of it, which is a good first step. It’s the truth — I hate being told what to do and I won’t be told what to do. So the more people go on with these self-serving demands about STRAPPING YOUNG LAD, I’m like, “Look, NO!” Not now, more than ever before, because I keep being bugged about it. For me, having Jed there and playing STRAPPING was important because I didn’t have the opportunity to really — other than being “Fuck you, quit talking to me about STRAPPING” — I’ve not had the ability as a musician or as a person to reflect on, “How do you feel about STRAPPING?” Regardless of what anybody feels or their misinterpretation of it, how do you feel about it? And how do I feel about it? I’m totally proud of it; it’s a huge part of my life. It’s something I have an immense emotional connection to, and respect for, but in the same way that what I’m doing right now, which is “Ziltoid” or “Casualties”, STRAPPING is what I was doing then. I find that I can totally sympathize why people would want it back, but my frustrations lay with any band, GUNS N’ ROSES, GODFLESH with “Streetcleaner”, anything, I don’t understand the process people go through in terms of assuming that if the band was still active right now, they’d be like the period that was of emotional significance to them. I don’t understand and I’ll say that straight-up. But the more I look into it, I realize that it’s everywhere. I read something about Ihsahn and about EMPEROR getting back together, and in the interview, he gave a very explicit and perfectly logical explanation as to why EMPEROR wouldn’t be the same now as it was then. I thought, “Okay, that makes perfect sense.” But the comments are unequivocally, “No, I don’t agree — you’re wrong. EMPEROR would be perfect if they came out again.” My reaction is just confusion. That being said, because it’s a reality and you can’t escape it, I have no problem explaining myself.

DeadRhetoric.com: To back that up, you played a STRAPPING song in Chile and posted a message on Twitter after the show essentially apologizing for it. What happened there?

Townsend: The crowd loved it, but for me, I don’t know how I feel about it. And STRAPPING YOUNG LAD, as much as I wrote 80% of the music, it wasn’t just me. It was Gene [Hoglan], Jed, and Byron [Stroud]. For example, I bought the new BLACK SABBATH record and I can’t listen to it because the drums are distracting.

DeadRhetoric.com: Because it’s not Bill Ward playing.

Townsend: It’s not Bill Ward. It has nothing to do with the drums being not-BLACK SABBATH or poor performance or poorly recorded, or anything — it’s just that I can’t shake it’s not Bill Ward, so it’s not BLACK SABBATH to me. I know that it’s a naïve way of looking at it, but I feel the same way about anything I do. Unless it’s completely me, I don’t want to be that guy, I don’t want to be that guy that goes up and plays STRAPPING YOUNG LAD songs. I wrote most of the stuff, but I didn’t feel comfortable. In fact, I felt that until I worked on my relationship with those guys — and not that my relationship is bad, it’s healthy — but until I come to terms with it and until people stop bugging me, I’m not going to have any perspective on the band other than frustration, other than odd memories. I just felt that it’s not what I wanted to be doing right now.

Read the entire interview at DeadRhetoric.com.

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Patrick Prince of Powerline magazine recently conducted an interview with Jon Oliva (SAVATAGE, TRANS-SIBERIAN ORCHESTRA, JON OLIVA’S PAIN). A couple of excerpts from the chat follow below.

Powerline: Why wait all this time to do a solo album?

Oliva: It’s just that the time was right. After we lost Matt [LaPorte, JON OLIVA’S PAIN guitarist], it was a very difficult time. I didn’t want to think about a band at that time. I didn’t want to think about replacing one of my best friends. It’s like how I didn’t want to think about replacing my brother [Criss Oliva] when that happened. It just seemed like the right time. I got a real sense of urgency. After Matt passed away, I had these last few riffs of Criss‘ and I said I just don’t want to think about a band right now. I don’t know what I want to do. And I started working with my friend Dan [Fasciano] down in his studio. He was also very close to Matt. And I think it just started from a couple guys who had [experienced] loss. Dan just lost his mom shortly before that. Then we lost Matt. It was just a very traumatic thing, and I guess that everybody we knew was always busy during the day, except me and him, because I think we’re the only ones rich enough not to work. [laughs] So I would just come to his house at 9-10 in the morning before I had to go out to Adventureland — which is the TSO studio. I call it Adventureland. And I would have to 4 or 5:00 until I would have to be at that TSO session. So it just started, and Dan‘s a guy who a great writer and isn’t really a band guy, but had a lot of stuff that was really good. He asked me if I would listen to some of it and I did and I thought it was really good. What was really strange is I had a lot of stuff also that was unfinished and we kind of combined them. And once we brought Criss‘ stuff in there, there was a chemistry that definitely happened. We went on the writing spree. We wrote like 60 songs in two months. And I’m glad I decided to do it now. We were very happy with the way it happened but it was definitely a lot of work, you know.

Powerline: Sounds like serendipity. It just came together.

Oliva: It was weird. In certain instances it was a little creepy. Especially with Criss‘ stuff. When we were trying to put in Criss‘ riffs — where a lot of his riffs were only 20 seconds of something that I had on a cassettes … thirty seconds at the most. And there were just little pieces of things that he had. The riff that starts “Father Time”, that’s the second riff Criss ever wrote in his life. I mean, he was fourteen years old. The first riff he wrote was “Smoke On The Water” backwards. And it sucked. And I told him. I said, “Dude, that riff sucks.” And he goes, “Fine. Fuck you, man.” And he comes back the next day and said, “I wrote this other riff last night. Does this sound too much like RUSH?” And he started playing and I was like, “Fuck RUSH. That’s great. Let’s use it!” But we really never did anything with it until now, when I recently found it on those lost tapes of his.

Powerline: Was prog rock a main staple for you while growing up?

Oliva: I didn’t even know what it was. And then Paul O’ Neill [producer] said, “Well, you guys SAVATAGE were kind of like one of the first prog rock bands, whether you know it or not.” I’m like, “Were we?” I’m like, “What the fuck is prog rock?” And he’s like, “You know, progressive hard rock.” I just thought we were a rock band. I didn’t know any of that shit. The first time I heard the words heavy metal was when my friend brought over the MOTÖRHEAD album, “Ace Of Spades”. He’s like “These guys are fucking metal.” I’m like “They look like flesh and blood to me. I don’t see any metal.” [laughs] I didn’t know what the fuck they were talking about. And then: Oh, I see. It’s a new thing like punk was. Or disco. It’s just a new name. But what it really was, was just hard rock music. Rock music played with a harder edge of faster tempo. I still don’t get the “heavy metal” thing, but whatever. It sounds good.

Powerline: Do you need to do an anniversary thing for SAVATAGE?

Oliva: I think the thing with SAVATAGE, as far as anything goes, would be to do some studio stuff together, maybe. Because just the schedules … and the fact that the guys from SAVATAGE are still together. We just don’t call it SAVATAGE anymore. But the guys are still there but … to do something where you would harm the progress of TSO would be stupid.

Powerline: I mean, you can just celebrate it doing your solo stuff.

Oliva: Exactly. Like I’m going to do the 25th-anniversay of “Gutter Ballet” next summer in Europe. And I still fly the flag, you know. I love playing those songs and it’s a big part of my history, and I’ll always play them. But it’s like since SAVATAGE hasn’t done anything since … 2001. I thought people would finally get a clue [laughs] that not much is gonna go on.

Read the entire interview at Powerline.

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According to The Pulse Of Radio, Loudwire asked SHINEDOWN guitarist Zach Myers what the band has coming up next on its schedule after this summer’s Carnival Of Madness tour. Myers said, “We’re going to go home. Brent [Smith, frontman] has to rest his voice. He’s not allowed to talk during the day right now. He’s on vocal rest, same as Jacoby [Shaddix, PAPA ROACH singer]. So there are two singers out here who aren’t really talking a lot. It’s kinda nice. [laughs] We take these weeks off, then go to the U.K. We’re only going to be there for eight days.”

Also on the agenda is the possible release of a collection of covers that the group has recorded, with Myers saying, “I’m not sure what’s going down with that. Originally we were just going to release it on YouTube, which you don’t need permission for, obviously, because people do covers on YouTube every day. But I believe fans really want it as a download . . . Now we’re going to release it as an EP with just Brent and I. I believe it will come out during the holidays.”

The Carnival Of Madness tour, which also features SKILLET, PAPA ROACH and others, finishes up in Puyallup, Washington on September 18.

SHINEDOWN has been on the road steadily since the March 2012 release of its fourth studio album, “Amaryllis”.

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Earlier this week, “Los Angeles Nista”, the Internet radio show hosted, produced and created by Eddie Solis, conducted an interview with MEGADETH bassist David Ellefson. You can now listen to the chat using the audio player below.

MEGADETH‘s latest album, “Super Collider”, has sold 66,000 copies in the United States since its June 4 release. The CD arrived in stores via MEGADETH mainman Dave Mustaine‘s new label, Tradecraft, distributed by Universal Music Enterprises (UMe). It marks MEGADETH‘s first release since the band’s split with Roadrunner Records.

In a recent interview with Metal Insider, Ellefson stated about MEGADETH‘s decision to release the new album via the band’s own label, “The whole imprint idea is that we pretty much just put our logo on our own record [laughs], but we use the muscle of Universal Music Group around the world to push it out and to use all of their marketing and distribution, which is what you want.

“Anyone can start a label, but if you’re just selling them out of your post office box, you’re gonna sell about two copies versus having it distributed around the world. So major-label distribution obviously makes all the difference in the world. And we noticed that when we went from ‘Killing Is My Business’ to the ‘Peace Sells’ record years ago.”

Regarding the songwriting process for “Super Collider”, Ellefson said: “We worked with [producer] Johnny K on the last record, so we already had the getting-to-know-each-other experience on that record; that was kind of the first date and this was more digging into the songs on the record and had a good idea of what we were going into when we started it. And, really, the songs were laid out in October and we did the ‘Countdown To Extinction’ 20th-anniversary tour, and by the time we were ready to start tracking at the end of December, we had a good road map of where we wanted to go and there were a lot of tunes that were already on the deck and ready.”

He added: “We’re a band now that is always on tour, so we always try to find little windows to make records in between. [laughs] So yeah, we were already laying out the record during the last world tour. And we knew once we were rolling off the road that we were going to go in and start tracking. January gave us the opportunity to write about six more tunes, which also included bringing in the cover song of [THIN LIZZY‘s] ‘Cold Sweat’.

“We’ve always done covers, for the most part, of bands that don’t really exist anymore, even BLACK SABBATH at the time didn’t exist when we did ‘Paranoid’. Nancy Sinatra, of course, the SEX PISTOLS, you know, so at the time we were doing this, it was all artists from a past day. That’s what made the THIN LIZZY song a great tune — the fact that that lineup will never exist ever again I think made it cool for us to be able to take the torch and run with it.”

Interview (audio):

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In a brand new interview with the Las Vegas Sun, MEGADETH mainman Dave Mustaine spoke about the reaction to the band’s latest album, “Super Collider”, and his plans for the follow-up effort.

“A record is that — a record, a piece of time,” Mustaine said of the fan response to “Super Collider”. “I was going through a lot of really cool stuff with the band, but a lot of really heavy, personal stuff with my mother-in-law’s Alzheimer’s. So people like some songs, don’t like others, and that’s always been the way with MEGADETH‘s fans. They’re opinionated.

“I think when you have a band that doesn’t really follow a set formula, people are going to react to certain songs and not to other songs. I mean, the very first song we ever did, we started with piano. Who would’ve ever thought that?”

Regarding the recent reports that MEGADETH has already begun work on the material for the next CD, Mustaine said: “I do want to continue to write. I think it’s fun to write songs and as a musician, sometimes you’ve got something stuck in your soul that you gotta get it out.

“[‘Forget To Remember’ on ‘Super Collider’] is this whole process of watching this loved one in my family just melt in front of your eyes; it’s hard. It really, really challenged what I was made of; she’s still alive, but she’s not there anymore. And how do you put that in a song if it’s not going to be a sad song? It’d be pretty fucked up to make a happy song about something tragic.

“So, yeah, we always have a lot of stuff we want to write about. I think it comes in due time. We’re always picking up the guitar and making noises, sometimes it’s a cool riff, and you’re ‘tape that real quick,’ and other times it’s ‘stop.’ [laughs] And that’s the great thing when you’re close like we are. We’re four guys who are really, really close, and I can’t tell you how many times I’ve gone into the jam room and told Chris [Broderick, MEGADETH guitarist] to knock it off, and he’ll do the same solo for an hour and a half straight. It’s Chinese water torture. [laughs]

Mustaine was also asked if he ever feels the new stuff has to compete with his past successes or even just with nostalgia.

“I don’t feel like that, but some fans certainly act like that,” he said. “We always hear, ‘Make ‘Rust In Peace’ again.’ It’d be real easy to do it, but where’s the artistic integrity of doing that? And people say, ‘You should get Marty [Friedman, former MEGADETH guitarist] back in the band.’ Marty doesn’t want to be in MEGADETH. He quit, he’s a quitter, so get over it. And Nick [Menza, former MEGADETH drummer] isn’t very healthy. Look at any of the video clips of him lately. So it’s like either you’re stupid or you’re a dreamer. And when you make a record, you don’t stake your whole life on the success or failure of any one song. Some people like it, some don’t. [‘Super Collider’] entered the charts at No. 6. If that’s something to be critical of, then bring it. I’ll take that all day long.”

Read the entire interview at Las Vegas Sun.

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Last week, Do512 blog conducted an interview with MEGADETH mainman Dave Mustaine. A couple of excerpts from the chat follow below.

Do512: With such a huge catalog of music, how does MEGADETH form their set list from night to night?

Mustaine: It always changes. Sometimes we’ll have a set that we use for the entire tour, sometimes there will be a song that we are working in or out of the set and it just doesn’t come together as a song to be performed live very well, or it will be in the wrong spot so we’ll move it around a little bit because the show is all about timing, too. When you go to the circus, they don’t bring the lions out first because everyone would split. The music business is so competitive now, you really want to make sure your show is a full-on experience… Our catalog is so vast, we could do a set with a band like FOREIGNER or JOURNEY or we could go out and do this thing with [IRON] MAIDEN which is the current setlist we’re talking about. We added “Tornado Of Souls” back into it. And we can do the same thing when we do the set with [BLACK] SABBATH. We should make a set list for that that’s totally unique and killer just for that tour.

Do512: Outside of music, outside of your life in MEGADETH, what do you like to do in your free time and with your family?

Mustaine: I like to read a lot. I’m very curious about history, world history, American history. I went to school to be a stockbroker; I’m a New York Times bestselling author. I have three black belts in various martial arts styles. I like to golf. I used to skydive and do stuff like bungee jumping but then I had a surgery on my neck which makes it a little difficult for me to do anything that’s going to be dangerous for my neck. Those are some of the things I like to do. I like to surf. I used to skateboard but again with the neck thing, hitting the ground hard or something like that can be very painful. [laughs] We also have horses and I love exotic cars. I have an Aston Martin Vanquish S that I just got. I am really grateful that our fans have supported us and given me the opportunity to have a neat car or have a car at all. That’s why when we get out onstage we work as hard as we do and we sign autographs. Man, I remember signing autographs in the snow with wet hair! It’s not comfortable, but it’s the right thing to do.

Do512: What do you see the future holding for MEGADETH in the next 5 to 10 years?

Mustaine: I think for the next five years we are going to try and maintain where we are at and just build on the legacy we have right now. We’re at that point now where we’ve gone from being just a historic heavy metal band to getting into those legacy periods where you either go out in a blaze of glory or you kind of fizzle out and people say, “Oh, them again?” And I think right now we’re doing everything right.

Read the entire interview at Do512 blog.

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Stacy McCloud of WZTV Fox 17 conducted an interview with MEGADETH mainman Dave Mustaine prior to the band’s September 5 concert at Bridgestone Arena in Nashville, Tennessee as the support act for IRON MAIDEN. You can now watch her report at Fox17.com.

In a recent interview with VH1‘s Tuner, Mustaine stated about how MEGADETH chooses the setlist for its tours: “Choosing songs for the set kind of depends on who we’re playing with. We know what songs are necessary to play that are crowd favorites and then we have a handful of songs that are interchangeable depending on the show. We were joking around the other day that with the variation in tempos and the colors of the song, some are kind of dark in nature, some are more uplifting, that we can play with just about anybody. For example’ we’re going out with IRON MAIDEN this year and at the end of the year with BLACK SABBATH. We can totally dirge it out and make the songs heavy to go out to play to the SABBATH crowd or ramp it up and make it fast and riffy for IRON MAIDEN, which is really cool.”

Asked what he is most proud of as a musician — his guitar playing, his songwriting or his singing — Mustaine said: “Definitely not my singing. [laughs] That’s not my strong part. I love the guitar playing part because every once in awhile you can do something and really blow people’s minds. But I think the thing I’m probably the most proud of is just pushing the boundaries of songwriting in heavy metal. You know, people all have their opinions and people will listen to a song and say I suck and it’s like, I don’t suck. There’s no way I suck. And trying to say something like that, like it’s going to make me de-focus off of what my primary purpose in life is, like, ‘Oh God, I’m going to quit now because you said I sucked’? Ain’t going to happen. I love playing guitar but being able to put some riffs together and make them work and then when you’re playing, especially when you’re in a foreign country, and you see people whose mother tongue is not English, to watch them singing your lyrics, you’ve made a big difference in the world. And one of the greatest things out of all this is when someone comes up to you and says, ‘Your song helped me get through a very dark period of my life.’ When we’re alone and we’re struggling and we’re going through that pain, that we all go through, whatever the cause is, to know that, sharing that victory over whatever you go through is going to help somebody else, man, that’s a righteous feeling.”

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Total AC Blog recently conducted an interview with HALESTORM lead singer Lzzy Hale. An excerpt from the chat follows below.

Total AC Blog: How does it feel to be the chick amongst the guys? Do you ever feel like you need any girl time or do you like it?

Lzzy Hale: I like it! Too much estrogen makes it a little weird! I spend so much time with the guys that literally I become a crazy person when there are too many girls around. We’re usually not touring with a bunch of girls. The last tour I had that was consistently with another girl was Carnival Of Madness last year with Amy Lee [EVANESCENCE]. Within the first five minutes of us meeting, it was shoes, boys, makeup, all these things pouring out of me that I never talk about! The guys in my band were, like, “You become a different person when Amy‘s around!” I like being a girl. I like being with my guys. We all meet in the middle somewhere. They’re not über agro, they actually have really good hygiene [laughs] and for the most part, they enjoy everything that I like to do too. I think that just comes from growing up together. I’ve never taken being a girl in a band as a negative thing. It’s nice to stick out like a sore thumb on whatever bill and it’s nice to torture all of the guys that are on the tour with you because you can wear the high heels and they can’t! It’s a lot of fun!

Total AC Blog: You are a role model to so many of your female fans. How does that make you feel? Does it freak you out at all or do you kind of just go with it?

Lzzy Hale: I always err on the side of honesty. I’m sure I’m going to say something stupid over Twitter or something like that, if I haven’t already. Either way, whether it’s a bad influence or a good influence, I’m not going to pretend to be something I’m not. It’s just too much work to keep up with this weird façade. People have kind of attached themselves to me because I represent something to certain people and it’s so incredibly flattering. At first, it did freak me out to the point of where I was, like, “Should I say that?” I think the difference between the first record and the second record was kind of like the battle between that in my mind. The first record was über clean and a little vague. It was me trying to figure out if I should just say what I want to say or if I was going to get angry letters from parents. This last record that we did, “The Strange Case Of…”, I just, for lack of a better term, just said “fuck it” and wrote what I wanted to write. I think that people gravitate more towards the honesty rather than if you’re trying to be this squeaky, clean person. Hopefully I don’t scar too many people! It’s really flattering, because we see a lot of girls coming to our shows that are starting bands and started playing guitar and writing songs. It’s really neat to see. I didn’t have a whole lot of that growing up, which is part of the reason why all the people in my band are guys because I connected more to that and that’s what there was. It’s really neat to stand on the stage and see all these girls. I’m very proud.

Read the entire interview at Total AC Blog.

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Elliot Paisley of EQPTV recently asked KREATOR mainman Mille Petrozza about the possibility of an expansion of the “Big Four” of thrash (METALLICA, SLAYER, MEGADETH, ANTHRAX) that would also include KREATOR. You can watch what Mille has to say below.

In a recent interview with Radio.com, MEGADETH mainman Dave Mustaine was asked which band should be included if the “Big Four” (METALLICA, MEGADETH, SLAYER and ANTHRAX) 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.”

Speaking with Metal Asylum, EXODUS guitarist Gary Holt was asked if he felt 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 — KREATOR, DESTRUCTION and SODOM. Everybody looks to America and forgets those guys. KREATOR, DESTRUCTION and SODOM all released records in the early ’80s.

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