Posts Tagged “Musician”

– March 24th, 2014 – Jack Flanagan, manager of GWAR has issued an official statement: “It is with a saddened heart, that I confirm my dear friend Dave Brockie, artist, musician, and lead singer of GWAR passed away at approximately 6:50 PM EST Sunday March 23,2014.

The post Dave Brockie – August 30, 1963 – March 23, 2014 appeared first on Daily Heavy Metal News.

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According to GossipExtra.com, former ANTHRAX guitarist Dan Spitz and his wife are filing for divorce — three months to the day after his arrest at his Florida in a domestic violence incident.

The 51-year-old musician was arrested at the couple’s home in Lake Worth, Florida when Candi‘s mother called 911 to report he was trying to choke his wife. The charges were eventually dropped, but Candi says she and the rocker are calling it quits after nine years and the birth of autistic twin boys.

“Life is too short,” she told GossipExtra.com, “No matter how much you might love someone, it may not be the right thing.”

“Obviously, the Christmas incident shows this was a long time coming,” she said. “I hope we can co-parent effectively.”

Spitz posted this statement on his web site: “It is with a mutual love and respect that we are formally announcing our legal separation and upcoming divorce. This is an amicable process and protecting the well being of our children remains our top priority during this time of transition. It is a painful time for all involved and we appreciate the respect of our privacy at this time.”

Dan Spitz is a born-again Christian and Messianic Jew and in interviews has frequently cited his faith as an influential component to his life.

Spitz took part in the reunion of ANTHRAX‘s classic lineup in 2005 and 2006 but left the band after ANTHRAX‘s most recent split with singer Joey Belladonna.

Police booking photo:

danspitzpoliceedited

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gwar - Oderus Urungus / Dave Brockie

Urungus / Brockie

GWAR’s manager, Jack Flanaganm has confirmed that Dave Brockie has passed away.

“It is with a saddened heart, that I confirm my dear friend Dave Brockie, artist, musician, and lead singer of GWAR passed away at approximately 6:50 PM EST Sunday March 23,2014,” states Jack. “His body was found Sunday by his band mate at his home in Richmond, VA. Richmond authorities have confirmed his death and next of kin has been notified. A full autopsy will be performed. He was 50 years old, born August 30, 1963.

“My main focus right now is to look after my band mates and his family. More information regarding his death shall be released as the details are confirmed.”

Of course, we’d like to join Dave’s bandmates, friends, family, peers and countless fans in mourning the loss of one of metal’s greatest personalities, and we’ll keep you updated with any further developments.

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Bryan Reesman of Attention Deficit Delirium recently conducted an interview with guitarist John Petrucci of progressive metallers DREAM THEATER. A couple of excerpts from the chat follow below.

Attention Deficit Delirium: Your wife, Rena Sands, plays guitar in the JUDAS PRIESTESS tribute band. Is there ever a chance that you two might do a musical project together?

Petrucci: We would love to. We talk about doing that. It just depends on what the style would be and just finding the time to do that. She’s such a great guitar player. We’re celebrating our 20th wedding anniversary. We just got from back from Vegas actually.

Attention Deficit Delirium: Congratulations.

Petrucci: Thank you. When we first met, music is the thing that we really connected with and has always been a big part of our lives. We now have three kids, all teenagers who play music, and this is something that we’re all really connected to. That would be unbelievable to do something together.

Attention Deficit Delirium: Artists often have a hard time handling relationships because of our crazy schedules. How have you two managed to make things work for 20 years?

Petrucci: It takes a lot of understanding. I think [due to] the fact that my wife is a musician and is in the same career, she completely knows what’s involved and is the type of person who is just unbelievably supportive. When you think about how much time I have to be away because of touring…as you said it’s an unconventional kind industry situation, and I’m in the studio for 10 to 12 hours a day. Meanwhile we had three kids, twins first, so she spent all that time raising them. I’m 100,000,000% convinced that I wouldn’t be where I am today in my life and my career without her and that level of understanding, support and strength. It’s unbelievable. It really is. The fact that she’s able to give me feedback and that we can talk about things creatively and share ideas as I’m writing is just amazing. It’s really, really cool.

Attention Deficit Delirium: I’m enjoying the new DREAM THEATER album a lot. When the band started, it was a mixture of progressive complexity along with melodic elements that made it radio friendly. The mid-period of DREAM THEATER got more into epic songs and complexity, but it seems like the last couple of releases have gotten back to mixing these off-kilter time signatures and crazy riffs with catchy choruses. I wrote that in my recent studio report, and there were some fans who were turned off that idea, but I think it’s a good thing. Was this a conscious return to that style of songwriting, or did it just come about naturally?

Petrucci: It’s definitely something that we wanted to focus on a lot. As far as the style of the band and the way that we come across, it’s important to us that that always stays intact. We’re a progressive band with a metal sound, and the musical style is very powerful. We try to push the boundaries, but having said that, the most important thing is the songwriting. At the end of the day, it’s the compositions, it’s whether or not your music reaches people. It’s communication. It’s always been an important element of our music — the melodic side that you said, the catchy chorus side but also the overall melodic content — how the vocals hit you, how the song message hits you — I think that separates the men from the boys in a lot of aspects as far as writing in a progressive style. The songs need to be catchy, they need to be relatable, they need to be strong, and we did focus more on that this time, there’s no doubt about it. We did go in saying we’re going to make a strong and bold album. It’s going to be everything that we love to do, but we’re going to take extra special attention on the compositional songwriting elements so that within that structure the songs are even that much more powerful emotionally.

Read the entire interview at Attention Deficit Delirium.

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Journalist and musician Barbara Caserta of Italy’s Linearock conducted a 30-minute video interview with drummer Mike Portnoy (THE WINERY DOGS, DREAM THEATER, AVENGED SEVENFOLD, ADRENALINE MOB) prior to THE WINERY DOGS‘ concert at Live Club in Trezzo sull’Adda, Milan, Italy. You can now watch the chat below.

Asked what led to his departure from ADRENALINE MOB, the band featuring Russell Allen (vocals; also of SYMPHONY X) and Mike Orlando (guitar), Portnoy said: “I’m very proud of the album I made with ADRENALINE MOB and I think that there was really a great chemistry there; it was a great band. I was definitely behind it. I spent two years of my life developing it and trying my best. But at the end of the day, I came out of DREAM THEATER wanting to do a lot of different things, and I wasn’t ready to commit exclusively to any one band. I had just spent 25 years with one band — and side projects, obviously, but committed to one band. And I said right from the beginning I was gonna plant many different musical seeds and see which grew, and that would kind of dictate where I would go and what I would do. And I spent a good solid two years giving my all to ADRENALINE MOB. But it only blossomed a little; I kept waiting for it to truly blossom and waiting for touring opportunities to come around, which never happened, and waiting for certain things to happen that never happened, so when it came time for them to start to want to do a new record, it’s, like, well, I have five months of THE WINERY DOGS dates on the calendar, so I had to make a decision; I couldn’t be in two places at the same time. Luckily, up until now, I’ve been able to juggle all these different things and make the schedules work out, but finally it came to a head where it’s, like, ‘OK, do I do a record with ADRENALINE MOB or do I tour with THE WINERY DOGS?’ And it’s, like, well, ADRENALINE MOB is not really growing fast enough. I don’t have time to get into a van and play to a hundred people a night for the next ten years to develop this when I have other opportunities and things like THE WINERY DOGS and other things that are offering opportunities and situations that I need to follow through with. So I haf to make a decision, and one shoe had to drop, and unfortunately, it happened to be ADRENALINE MOB.”

He continued: “[They’re a] great band, and I would have loved to have done more if they could have worked around my schedule, but I understand that they wanna keep working. So I had to make a decision and THE WINERY DOGS has a lot of buzz and opportunity and possibility and potential, so I didn’t want to not give it a fair chance.”

In a recent interview with Brazil’s “Wikimetal”, Allen stated about Portnoy‘s departure from ADRENALINE MOB: “He’s been, obviously, real busy with THE WINERY DOGS, which is his next band that he’s doing. The truth of it is we wanna keep working, we wanna keep doing ADRENALINE MOB and we don’t wanna wait around for Mike to have the time [to put into ADRENALINE MOB]. And he doesn’t know when he will have the time again, so that’s really what’s going down. Mike Portnoy was asked to be in the band by myself. Me and Orlando had already written all the material, so [ADRENALINE MOB‘s debut album] ‘Omertá’ was completely finished before Mike joined the act. And it’s a bummer, but he’s got his sights on other things, and he’s not gonna stick around. So we wish him the best of luck, but the MOB‘s gotta go on.”

ADRENALINE MOB‘s most recent touring and recording lineup also included DISTURBED bassist John Moyer

ADRENALINE MOB released “Covertá”, an eight-track EP featuring cover versions of some of the group’s favorite songs, on March 12.

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Brendan Crabb of Australia’s Loud magazine recently conducted an interview with guitarist Mårten Hagström of Swedish experimental extreme metallers MESHUGGAH. A couple of excerpts from the chat follow below.

Loud: I’m sure like many people within the metal world you were actively following Randy Blythe‘s [LAMB OF GOD] recent trials and tribulations. What was your take on that situation?

Hagström: I was following what happened; I knew what was going on. I kept up to date on the Internet, but I really didn’t get too into it. It’s one of those things where it was fairly obvious what was going on, but it’s also one of those things where… It’s out of your hands, sort of. But the thing is, it’s scary, stuff like that. And as a travelling musician, or whatever you want to call it, every once in a while, stuff goes wrong. And it doesn’t have to be something like that; that’s a very unique situation, a very strange and tough situation for Randy, of course. But there’s shit happening all the time when you’re out on the road. You never really know what’s going to go down around the corner. It was a sobering thing, I think, for others, standing on the sidelines.

Loud: Although obviously not on such a level as that, but have you witnessed similarly concerning or dangerous behaviour at MESHUGGAH shows?

Hagström: No, not really. Sometimes, granted, you see stuff going down. But when you’re up there playing, you’re so focused on what’s going on onstage that you’re not always… You realize that there’s a moshpit going on or whatever, but it’s not like you’re consciously taking it in. But we’ve been around for a long time, so yeah, definitely, we’ve seen stuff on the road that’s scary. But you can’t think about it that way. Every occupation has a hazard, so it’s not often that anything happens. The scary thing about Randy‘s situation was how easy things can go wrong, and how bad and confused the consequences can get.

Loud: How much longer do you plan to tour in support of the latest record before you bunker down to write new material?

Hagström: End of the year. I think the last day of November is our last show for this album. So we’re basically looking to have some time off in December, and then we’ve been on the road with “Koloss” for like two years or something, on and off. So then I guess it’s about time to start writing new stuff again.

Loud: You mentioned that every album represents a slight progression for the band. In your view, what is the next step forward for MESHUGGAH creatively?

Hagström: I have no idea, and I never do. And I think that’s a good thing, ’cause people sometimes say that we’re pretty unpredictable, but I don’t really think we are, because we have a sound that’s been with us since at least like the “None” EP (from 1994), that’s very us. [laughs] It doesn’t really change all that much, but it’s still a progression, and what I mean by taking a step forward is that we’re still, we’ve been around now. We’re veterans in this game [laughs], and we’re still having fun with what we do, with experimenting with the music that we want to create. So as long as it feels like we’re making it better, and as long as it feels like we’re doing something that we can at least stand for and be proud of, that’s all that we ask.

You can read the entire interview at Loud magazine.

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Joseph Schafer of Invisible Oranges recently conducted an interview with bassist/vocalist Jeff Walker of reactivated British extreme metal pioneers CARCASS. A couple of excerpts from the chat follow below.

Invisible Oranges: To me, “Surgical Steel” sounds at its heart to be a very sad record.

Walker: You think?

Invisible Oranges: I think so.

Walker: If anything, “Heartwork” and “Swansong” were, lyrically, very serious. This is a throwback to the old days of CARCASS, where it was very lighthearted. But this is cool because you’re extracting something from this album. Which is fine. I’m not here to dictate how people should perceive or enjoy this album. People who look at the lyrics and titles and think what the fuck they want are ultimately fragile and stupid. There’s no real agenda here, no real issues, nobody’s trying to brainwash anyone. I’m not Barney Greenway [NAPALM DEATH]. You can look at it at whatever level you like. You can view the lyrics as throwaway, or look very deep into it, and that’s fine. People keep asking me what the chorus is, the numbers on “The Dark Granulating Satanic Mills”, and I’m not going to say. I’ve heard some interesting theories as to what those numbers are about, and that is far more interesting than the reality.

Invisible Oranges: Would you describe to me the moment when you realized you were happy doing CARCASS again.

Walker: The first rehearsal. I was just happy to be playing with Bill [Steer, guitar] again. He’s a far superior musician to me, and a far superior human being as well. It was cool to be back where we started.

Invisible Oranges: It really seems like, retroactively, CARCASS is the relationship between you two.

Walker: Yes, you could argue that. If I hadn’t met Bill, Bill would have achieved musically, but I don’t think CARCASS would have existed, so in that sense you’re right. But the central songwriter of CARCASS has always been in flux. In the old days it was Ken [Owen, drums] who wrote a hell of a lot of the riffs. If you look at “Reek”, we had an equal three-way split. On “Symphonies”, Bill started doing more, and I did more of the lyrics. “Necroticism” is 95 percent Ken and Bill. Mike [Amott, guitar] came in at the end with one riff. “Heartwork” was all Bill and Mike‘s riffs. So as you can see the core of the band is constantly changing in terms of who’s writing the riffs. On “Surgical Steel”, it’s all Bill who’s coming up with the riffs. The more I think of it, you can’t really call the band mine and Bill‘s because in the past so much of it really was Ken. Ken cast a long shadow on this album, and his ghost is in the drumming, is in the lyrics and the songtitles. And he even tracked some backing vocals. He’s still there in spirit very much.

Invisible Oranges: That’s sort of poetic considering the way he is mixed into the record, his vocals are lower, so he almost literally is a ghost in the songs.

Walker: It’s important as far as credibility. If you look at the SLAYER situation, they’re going to have a hard ride now with no [Dave] Lombardo and the death of [Jeff] Hanneman. You could accuse the same thing of CARCASS — there’s no Ken, no Mike Amott. Especially from Mike‘s fanboys [we could hear those accusations]. Mike does deserve credit, but sometimes I think he’s extracted a little too much credit from CARCASS considering what he put in. Some people will hate this album on the basis of there being no Ken and no Mike Amott, so we’re very conscious of that, but we’re not stupid. We know what sounds good. We didn’t want something that would sound like “Swansong” when you compare it to “Heartwork” and “Necroticism”. We know what people want.

Read the entire interview at Invisible Oranges.

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Metal musicians don't just listen to metal. We asked what non-metal musician would they like to perform with. Featuring members of: Slipknot/Stone Sour, Children of Bodom, Born of Osiris, Job For A Cowboy, Airbourne, Suicidal Tendencies, Battlecross, Huntress, City In The Sea, Scorpion Child, Devin Townsend, Goatwhore, Attika 7, Thrown Into Exhile

The post ASK THE ARTIST: Which Non-Metal Bands Would You Play With? appeared first on Metal Injection.

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Celtic Bob of Metal-Rules.com recently conducted an interview with former PANTERA and current DOWN frontman Philip Anselmo. A couple of excerpts from the chat follow below.

Metal-Rules.com: 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.

Metal-Rules.com: 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.

Metal-Rules.com: 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 Metal-Rules.com.

Pantera-power_metal

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Peter Hodgson of IHeartGuitarBlog.com recently conducted an interview with Sigurd “Satyr” Wongraven of Norwegian black metallers SATYRICON. A couple of excerpts from the chat follow below.

IHeartGuitarBlog.com: What do you think would be the perfect place to listen to [SATYRICON‘s new, self-titled] album for the first time?

Satyr: Well… I know it’s not possible for all writers and journalists to do this, because the way these things are being distributed is through computer streams, but it’s analog production with an awful lot of emphasis on getting an authentic, organic sound with a great dynamic range where the performance of the musician comes across in terms of actually breathing life into the song through the lows coming down really low and quiet, and the really explosive epic parts really coming across as powerful and huge. And to me, it just means to play this record repeatedly on a good stereo without coloring the sound with your own EQ. Just leave everything in neutral so you can actually hear what the record sounds like the way that it was made. I also think that due to the fact that it has so many tiny little details here and there — whether it’s the mellotron or the harmonium or the piano or the acoustic guitars or the theremin, all these little instruments that have their small features here and there that are introduced in a subtle way — to me, it’s more that than where you find yourself physically. It’s how you listen to it.

IHeartGuitarBlog.com: Even just listening to the stream over the headphones, there’s so much depth to everything, and the sounds aren’t harsh and aggressive — they’re more rich and inviting and that makes you want to listen closer.

Satyr: Well, to me, that’s a fantastic compliment. What you try to do as a musician is you try to make the listener hear what you’re hearing and what you’re trying to achieve. And that was just one of those things that I decided to do for this record. I was going to get rid of all distortion pedals. For rock music, that’s pretty normal, to just crank the amplifier and go with that sound, and then maybe they use a wah pedal or something like that. But for metal, you typically have some pedal that’s gonna turbo-charge your sound. And for me, I really believe in the amplifiers that I use and I like the microphones we were using for the guitar recording, and I wanted to bring out my style of playing, the sound of my amplifier, the sound of the old tube microphones that we were using, and I didn’t want a modern-day pedal to kill the dynamics of my playing. So a lot of it was like that, and other things we did with the drums that typically, for a metal drummer playing like Frost does, he uses smaller-sized drums for more attack definition and in order for it to be more comfortable to play for the drummer. And I kept saying to him, “I love the drum sound on the things that we’ve done, but nothing sounds like our old drum kit, and the last time we used that was on the ‘Volcano’ record. Why are we not using that anymore?” And he just said, “Because it’s old and broken and fucking hard to play.” And I said, “I’m not looking for any hyper-speed solutions anyway. I’m looking for a big fat tone with great sustain, and if it’s broken, we’ll just get some guy to fix it and get new parts, and it shouldn’t be a problem.” And then we set it up again, and when we were playing the new stuff, straight off the bat, I said, “Are you not hearing what I’m hearing? This sounds so much better, so much more musical to me.” So there were many little things we did here and there, even in the production process, where there would be computer versions of some compressor or something like that, which to me didn’t sound that great, and the engineer would typically claim that it’s the same as the real thing, and I’d say, “I don’t believe you because I know that this computer thing is a $250 item and if you try and buy the physical version of this from the Seventies on eBay, it’s going to cost you two grand.” And he says, “Well, there is a difference, but it’s a small difference,” and I said, “That’s the small difference I’m looking for!” So that meant we did spend a little bit more time than we had planned for, but it was necessary to make this record come across the way we wanted. We felt we had atmospheric songs, we felt that we needed our tone to come across and go into the songwriting and become a part of the musical expression, and we felt that we needed the songs to be able to breathe. And pretty much the opposite of what most records sound like today, as the majority of records are quite digital and processed-sounding, and we were pursuing something completely different. We’ve always had these elements in our music, but never to such an uncompromising degree as on this record. It was necessary and it gave us the outcome we now have in our hands.

Read the entire interview at IHeartGuitarBlog.com.

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