Posts Tagged “Money”

Earlier this week, METALLICA drummer Lars Ulrich joined HuffPost Live to talk about the band’s new 3D IMAX movie, “Metallica Through The Never”. You can now watch the chat below.

“Metallica Through The Never” opens this Friday (September 27) on IMAX screens before expanding to more theaters on October 4.

METALLICA frontman James Hetfield was asked by The Telegraph what the release of “Through The Never” — which combines concert footage with a fictional storyline that borders on the surreal — meant to the band’s careers.

The singer/guitarist replied, “What does it mean for our careers? We don’t care. We’ve never really cared, but at this point we really don’t. We’re artists, and we’re driving this train — we can drive it straight into the wall if we want to.”

With the movie getting mixed reviews, drummer Lars Ulrich said, “So far, everybody’s got a different opinion about it, which is great, because if there’s anything we love in this band, it’s ambiguity. We’re not trying to force some next-level message down your throat. Without sounding too artsy, the best art is handed to you to do with what you want.”

The film stars Dane DeHaan as a member of METALLICA‘s road crew who is sent on a mysterious mission while the band performs at a sold-out arena and events outside grow more bizarre.

METALLICA reportedly spent $20 million of its own money to make the movie.

The soundtrack, which features a number of METALLICA classics performed live in the movie, was released on Tuesday. The two-disc CD came out on METALLICA’s own label, Blackened Recordings, also in digital and vinyl formats.

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In the first of a two-part series of guest lessons, ROB ZOMBIE and ex-MARILYN MANSON guitarist John 5 (real name: John William Lowery) takes U.K.’s Total Guitar magazine on a shortcut to shred mastery. Check out the footage below.

John 5 recently spoke to Artisan News about his forthcoming solo album, an all-star affair which is tentatively due in 2014.

Rob Zombie is obviously my priority, and everything I do is just when he’s doing a movie or something like that,” he said. “And you know, I never play live with anyone else, I never tour, ’cause I never wanna confuse anyone. I’m just a writer. So as soon as they see a credit — ‘Oh, John 5 wrote on this Ricky Martin song,’ or whatever like that — then that will… So it doesn’t really get in the way. But I love doing my instrumental records and people really enjoy ’em, so I’m always working on those. I’m working on one right now. I’ve got Elton John‘s bass player doing stuff. I mean, I have a bunch of guest stars on this one, so it’s gonna be really good.”

Regarding how his upcoming album will be different from his last effort, 2012’s “God Told Me To”, John 5 said: “The last one was half acoustic, half electric and I always like to change it up, so this one, I’m just gonna have a bunch of guest stars. So I’m gonna start asking my friends for favors and all this stuff. ‘Hey, come on in. I watched your house and I let your dog out that one time, so come play on my record.’ So I’m gonna start my long list of people to come and play. I think it’s fun.”

He continued: “These albums are a lot of fun. I just do ’em for the love of guitar and to inspire a couple of people on the way… I just really enjoy doing that. It’s great. It was one of the smartest things I’ve ever done. Right when I left MANSON, I was, like, ‘OK, so I guess I’ll finally make my instrumental record.’ And it did really well, and I’m on my sixth one. And I don’t do them for money or anything — I just do them for the love of the guitar — and I think the audience really can see that. I’ll do something like a Chet Atkins song and then some crazy death metal-type song. So it’s a very wide range of music; there’s no format and there’s no rules.”

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The HMT gang

Last June, the very epic Heavy Metal Truants undertook a leg-destroying two-and-a-half day 171-mile ride from London to Download at Castle Donington, raising £80,000 (and counting!) in the process. To celebrate their brilliant achievement, the Truants’ have posted a short film about their tireless exploits. Check it out right now and then donate some money to the campaign’s patron charities: Childline, Teenage Cancer Trust and Nordoff Robbins. Go on! DO IT NOW!

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

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Celtic Bob of recently conducted an interview with former PANTERA and current DOWN frontman Philip Anselmo. A couple of excerpts from the chat follow below. Do you notice a trend like the mistakes that newer bands make starting out? Do they all seem to make the same mistakes and patterns?

Anselmo: I can’t speak for them. I don’t know, I don’t read other people’s contracts. I don’t read or see what they are doing. I’m not privy to their personal information, but I still guarantee that there are record labels out there that are offering what I would consider “stock contracts” that are, you know, seven-album deals for X amount of dollars, which a band does not realize when a label says “we want to sign you”… This happened to PANTERA, by the way, you know, back in the day when we were signed. When a label offers you a seven-album deal, you know, at first, speaking from my experience, when I was young, I thought that was a flattering thing, when in all reality it’s not, it’s a jail cell. It’s a jail cell of many years of your life, and a lot of money you owe the record company back. So with that, you know, for a musician and for bands and all that, and to be fair and different than the label that offered these “stock” contracts, I like to go one album at a time [with my label Housecore] and just take our time with it and offer as much freedom as possible. Yep, it makes for a better product at the end of the day.

Anselmo: It also makes for a better relationship and it also makes the musician happy. Now, if I was the type of guy to stunt any musician’s growth, I would be playing the bad guy, so to speak, and I’d be doing exactly the opposite of how I believe, so, ya know, once again, I think that the music world is vast enough to be explored and I’m all for explorations because I’m and explorer myself. I would advise anyone that’s into music to branch out as much as possible and do not ever hold back, try everything. If it’s in your heart to try something and to do something, absolutely attack with a vengeance. With [PANTERA‘s] “Cowboys From Hell” and “Vulgar Display Of Power” having being reissued over the past little while, have you ever considered revisiting [1987’s] “Power Metal” and giving it, like, a proper re-release for the fans?

Anselmo: No, I’ve never thought about that. As far as catalogues or re-releases and whatnot, I’m not against it. I think it’s an interesting thing to bring up. Matter of fact, I think you’re the first guy to ever really ask if that was going to be a re-release, so thumbs up for you. Honestly, if people got past the image and whatnot of the bar-band hair bullshit that was going on in the late ’80s, you would pretty much realize that it’s a pretty solid metal record all around in the vein of JUDAS PRIEST, and really, Dimebag, some of the riffs on that record are brutal, and I say to any guitar player out there, good fucking luck trying to play those riffs. Matter of fact, specifically the song “Power Metal” itself, good luck trying to play that riff with conviction and accuracy, ’cause that is a fuckin’ hard riff to play.

Read the entire interview at


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Honeycomb Love have released a video for the song “Run For Your Money”, and are offering the single as a free download.

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A teaser for the forthcoming BLACK SABBATH DVD, “Gathered In Their Masses”, can be seen below. The set will contain footage from the band’s tour in support of its long-awaited reunion album, “13”.

BLACK SABBATH bassist Geezer Butler told the Chicago Sun-Times that the band’s current tour could very well be his last. Asked why he thought that, Butler explained, “I don’t know. I just got a feeling. It’s getting tough, it really is. I can’t lie about that. I’m old now. It really is tough going on every night. You wake up the next day, all the pains you never had before. I don’t want to go onstage for the sake of the money. You have to have a lot pride in yourself, and I honestly think I’m coming to the end of the top of my job.”

Butler also said that he’s enjoying the current SABBATH tour, adding, “I’ve always said as long as I can play, as long as I can do it to a good level, then I’ll keep doing it, because I still really enjoy playing. I’ll know when the day comes I can’t do this anymore, can’t play to my usual standards. That’s when I won’t go out anymore. I won’t do that to me self. But at the moment, I just love playing with the band. It probably will be the last time, will probably be the last tour. But I want to go out on a high. The band is playing really well at the moment.”

Butler, guitarist Tony Iommi and singer Ozzy Osbourne reunited in late 2011 to record their first new album together in 35 years. Original drummer Bill Ward was on board at first but dropped out over contract disputes.

Progress on the record was slowed first by Ward‘s departure and then by Iommi‘s January 2012 cancer diagnosis.

Ozzy told The Pulse Of Radio that the band members knew this might be their last chance to make an album together. “We knew as a band that people were gonna go, ‘Oh yeah. they’re going in the studio again, it’s never gonna happen,’ you know,” he said. “So we just marched through all the problems and did an album, you know, with Rick Rubin.”

The disc, which came out this past June, became the first SABBATH album in the band’s 43-year history to debut at No. 1 on the Billboard chart.

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Jonathan Davis remembers his first Bentley being “the stupidest thing ever bought”, as Head focuses on reconciliation.

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“For years it was me drinking and eating pills, sitting in my shed listening to Black Sabbath,” confesses Lamb of God frontman.

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Italian technical death metallers GORY BLISTER have commenced work on their fifth album for a 2014 release. According to a press release, “the new songs have the classic style GORY BLISTER, but with a darker sound and refined, which pays attention to new arrangements and harmonic solutions. These unpublished directions taken by the band that will lead them to a new chapter of their careers, which will include eight new songs and a couple of live bonuses.”

GORY BLISTER‘s latest album, “Earth-Sick”, was released in April 2012 via Bakerteam Records. The follow-up to 2009’s “Graveyard Of Angels” featured a guest appearance by NILE‘s Karl Sanders on two tracks, including “Soul-Borne Maladies”.

Commented GORY BLISTER guitarist Raff: “Death metal is not about money, nor about fashion; it’s a way of life that requires no compromises. We do this because we believe in it and we want to keep the flame high.”

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