Posts Tagged “Tour Bus”

Digital Tour Bus, which gives fans “an all-access pass” to the tour buses that their favorite bands travel in, has posted its latest “Bus Invaders” episode, focusing on Swedish melodic death metallers DARK TRANQUILLITY. The four-minute clip, which was filmed February 12 in Joliet, Ilinois, can be seen below.

On its North American tour, DARK TRANQUILLITY sold a seven-inch EP entitled “A Memory Construct”, which will also be released digitally in the beginning of March. Recorded during the “Construct” sessions, the single contains the two songs, is limited to 500 copies worldwide and is available on a transparent red wax. Featured tracks are the previously unreleased “A Memory Construct” and “Sorrows Architect”, previously only available as a limited flexi seven-inch released with issue #106 of Decibel magazine.

DARK TRANQUILLITY‘s tenth studio album, “Construct”, was released on May 27, 2013 via Century Media Records. The CD was mixed by Jens Bogren (PARADISE LOST, OPETH, KATATONIA) at his Fascination Street studios in Örebro, Sweden.

DARK TRANQUILLITY filmed a music video for the song “Uniformity” on April 13, 2013 with Patric Ullaeus of Revolver Film Company, who has previously worked with DIMMU BORGIR, LACUNA COIL, IN FLAMES, SONIC SYNDICATE and KAMELOT, among others.

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Singer Cristina Scabbia of Italian heavy rockers LACUNA COIL recently spoke to the Chicago Tribune about the band’s participation in this year’s “Hottest Chicks In Hard Rock” tour alongside SICK PUPPIES, EYES SET TO KILL and CILVER.

“This thing about the hottest chick, it’s been following me around since 2007,” she said. “That’s when I was on the cover of Revolver [magazine] for the first time.

“In one way, it’s frustrating, because I’m still a singer, I’m not a model … but I can’t deny it’s flattering. It’s not a bad thing that they consider you a good-looking woman. … A lot of people stay there all the time, but when they hear me singing, the problem goes away.”

She added: “I don’t really look at myself as a hot chick at all. I really feel like a tomboy. I have a lot of doubts about what the word ‘hot’ means. It’s so much more behind the look that’s attractive to me. Just looking at a picture of someone hot, what does that mean? That they look hot naked? That I would have sex with this person? It’s a question mark. …

“(In photo shoots) they never showed my boobs. I never went out half naked. That means I can communicate hotness in a different way, and that makes me proud.

Asked what it’s like being the only female on a tour bus, Cristina said: “I’m a little bit of a tomboy. I’m constantly with the guys in a tour bus, 24 hours a day for months.

“I never saw myself as a girlie girl; that might be the key…

“The only privacy you have is in your bunk.

“It’s a tough one. You just need to have it in your blood as a lifestyle. It’s much more than, ‘Ooh, you’re going out to play for a lot of people. Must be cool.’ There’s a lot of sacrifice, especially since we’re not making millions. We’re struggling, too.”

LACUNA COIL‘s new studio album, “Broken Crown Halo”, will be released in North America on April 1 (one day earlier internationally) via Century Media Records. The CD was recorded Italy by producer Jay Baumgardner (P.O.D., SEVENDUST, EVANESCENCE, PAPA ROACH) and engineer Kyle Hoffmann (P.O.D., BUSH, ZEBRAHEAD). The effort was mastered by Howie Weinberg, whose credits include RAMMSTEIN, SOUNDGARDEN, NIRVANA, DEFTONES and SHERYL CROW.

“Broken Crown Halo” is LACUNA COIL‘s seventh studio effort, and the highly-anticipated follow-up to “Dark Adrenaline”, which was released in January 2012 and saw the band tour with acts including MEGADETH, MOTÖRHEAD, VOLBEAT and SEVENDUST after debuting at No. 15 on The Billboard 200 album chart.

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Digital Tour Bus, which gives fans “an all-access pass” to the tour buses that their favorite bands travel in, has posted its latest episode, focusing on the BUTCHER BABIES. The five-minute clip, which was filmed on July 27, 2013 in Tinley Park, Illinois, can be seen below.

BUTCHER BABIES‘ debut album, “Goliath”, sold around 3,300 copies in the United States in its first week of release to land at position No. 107 on The Billboard 200 chart. The CD came out on July 9 via Century Media Records.

The Los Angeles-based band — frontwomen Carla Harvey and Heidi Shepherd, guitarist Henry Flury, bassist Jason Klein and drummer Chris Warner — wrapped its tour with MARILYN MANSON in late February and went straight into the studio with producer Josh Wilbur (GOJIRA, LAMB OF GOD, HATEBREED).

In a recent interview with CrypticRock.com, Shepherd stated about “Goliath”: “The album, as a whole, is very diverse. There is basically something for everybody. We all have different influences and everything is portrayed on this album. Jason [Klein, bass] loves death metal; Henry [Flury, guitar], in general, metal; I love nu-metal; and Carla loves classic metal. We all love every [kind of] metal but those are our favorite and those are where we came from. All our influences shine bright on this album. It’s definitely a coloration of everybody’s influences and everybody’s love. We’re all very proud of it in one way or another. There is something for everybody in it.”

BUTCHER BABIES“Magnolia Blvd.” video can be seen below. The clip was directed by Daniel Andres Gomez Bagby, who has previously worked with BUCKCHERRY.

“Magnolia Blvd.” video:

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Californian rockers PAPA ROACH are featured in the latest episode of “Bus Invaders”. Shot on August 23 in Tinley Park, Illinois during the Carnival Of Madness tour with SHINEDOWN, the clip — which can be seen below — features singer Jacoby Shaddix giving a tour of PAPA ROACH‘s bus.

Shaddix and his wife, Kelly, are the proud new parents a baby boy, Brixton Gabriel Shaddix. Kelly underwent a Caesarean section procedure a a Californian hospital on Tuesday, September 17 and Brixton was born at 9:45 a.m. local time. He weighed in at 7 pounds and 3 ounces and measured 19 inches long. This is the third son for Jacoby and Kelly, who are also the parents of Makaile Ceilo Shaddix, born March 24, 2002 and Jagger Monroe Shaddix, born September 13, 2004.

During the making of PAPA ROACH‘s latest album, “The Connection”, Shaddix split and reconciled with his wife of 16 years and also fell off the wagon.

“This record is a snapshot of me at my most desperate,” Jacoby told The Aquarian Weekly. “As I was writing this record, [my wife and I] were split, so there was a lot of pain and anger and frustration. As the dust settles in my life, I realize that I’m the orchestrator of all this chaos. I’m the one at fault. I’m the fucking problem. When you go through that stuff, sometimes it’s hard to own your own shit, to step up to the plate and own it. I just had to because I wanted to do the right thing.”

He added: “I was able to make this record, express myself and get my family back together and get my respect from my band. At the eleventh hour, I pulled it off. I don’t know, man, this is a repeating cycle in my life. I don’t know how many more times I can do this to myself.”

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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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Donny Fandango of the St. Louis, Missouri radio station 105.7 The Point conducted an interview with vocalist Jacoby Shaddix of Californian rockers PAPA ROACH during this year’s Carnival Of Madness tour. You can now watch the chat below.

In an interview with Mosh Pit Report, PAPA ROACH drummer Tony Palermo stated about the progress of the songwriting sessions for the band’s follow-up to last year’s “The Connection”: “We’re working on ideas. We always lay stuff down in the back of the bus just to keep it flowing. I’ll come up with beats, I always do a lot of voice memo stuff just to get it down quick if I have an idea that pops into my head and I don’t wanna forget it. I just do a 10- or 15-second voice memo in my iPhone. It’s usually me breathing heavy into the phone in a beat style then I’ll come in [to the recording setup on the tour bus] and lay it down on this little keyboard here. It doubles as a drum set, which is weird, but it works. We put stuff together on the computer, and once we get into the actual studio in writing mode, then we go through all the stuff and decide what’s good and what sucks, or isn’t PAPA ROACH. It’s cool. There’s a lot of down time on tour, so it’s a good tool to keep it flowing so you’re not like stuck writing 15 to 20 songs for a record in 30 days. It’s really hard to do that.”

Palermo also spoke about a number of PAPA ROACH shows being canceled due to Jacoby Shaddix‘s vocal issues. “I don’t know if it’s worse for [the fans] or for us,” he said. “We pride ourselves on playing rock ‘n’ roll music live to people, and when something unfortunate like that happens, I know people who travel, like plane tickets, hotels, but you know, we’re also losing money. It’s not really about the money, though, it’s just, for us, you gotta take care of that and get it better so you have a career. Like last year, when we had to pull off of Uproar, it was so bad. We played three shows and then he just couldn’t sing anymore; he had to go in and get his voice operated on. It was that serious and that drastic. We just went through it again a little bit, but he didn’t have to get an operation, he just had to go on a little more strict vocal rest and got paired up with a new vocal coach that showed him different techniques than he’d been using.”

PAPA ROACH‘s latest album, “The Connection”, was re-released in Europe as a special tour edition on May 6 via Eleven Seven Music. The effort contains a bonus DVD of a concert at Club Nokia in Los Angeles featuring performances of new songs as well as the band’s biggest hits, including “Still Swingin'”, “Give Me Back My Life”, “Before I Die”, “Last Resort” and “Between Angels & Insects”.

“The Connection” was produced by rock veteran James Michael (SIXX: A.M., HALESTORM) and John Feldmann (PANIC AT THE DISCO, THE USED, BLACK VEIL BRIDES). The CD sold 22,000 copies in its first week of release to debut at No. 17 on the Billboard album chart.

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Digital Tour Bus, which gives fans “an all-access pass” to the tour buses that their favorite bands travel in, has posted its latest episode, focusing on MEGADETH. The seven-minute clip, which was filmed on July 19, 2013 in Milwaukee, Wisconsin, can be seen below.

Says MEGADETH drummer Shawn Drover in the video: “You’re on our tour bus.

“This is our home away from home.

“We’re probably the cleanest band in the history of heavy metal; I’ll go on record as saying that. We’re a well-kept band. We don’t make a big mess. It’s like having six people in your bedroom making a huge mess. After a while, it would accumulate and stink, and it probably woudn’t be real cool, so…”

He added: “A big part, actually, of being on tour and sharing a bus or what have you is respecting each other with all that. It’s the little things that can accumulate into big things over the course of time. We’ve been doing this so long, obviously, you learn how to respect how everybody else kinda… can join and make sure we have a clean bus.”

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On August 24, ShowsAndPromos.com conducted an interview with PAPA ROACH guitarist Jerry Horton at the Kansas City stop of this year’s Carnival Of Madness tour. You can now watch the chat below.

In a recent interview with Mosh Pit Report, PAPA ROACH drummer Tony Palermo stated about the progress of the songwriting sessions for the band’s follow-up to last year’s “The Connection”: “We’re working on ideas. We always lay stuff down in the back of the bus just to keep it flowing. I’ll come up with beats, I always do a lot of voice memo stuff just to get it down quick if I have an idea that pops into my head and I don’t wanna forget it. I just do a 10- or 15-second voice memo in my iPhone. It’s usually me breathing heavy into the phone in a beat style then I’ll come in [to the recording setup on the tour bus] and lay it down on this little keyboard here. It doubles as a drum set, which is weird, but it works. We put stuff together on the computer, and once we get into the actual studio in writing mode, then we go through all the stuff and decide what’s good and what sucks, or isn’t PAPA ROACH. It’s cool. There’s a lot of down time on tour, so it’s a good tool to keep it flowing so you’re not like stuck writing 15 to 20 songs for a record in 30 days. It’s really hard to do that.”

Palermo also spoke about a number of PAPA ROACH shows being canceled due to singer Jacoby Shaddix‘s vocal issues. “I don’t know if it’s worse for [the fans] or for us,” he said. “We pride ourselves on playing rock ‘n’ roll music live to people, and when something unfortunate like that happens, I know people who travel, like plane tickets, hotels, but you know, we’re also losing money. It’s not really about the money, though, it’s just, for us, you gotta take care of that and get it better so you have a career. Like last year, when we had to pull off of Uproar, it was so bad. We played three shows and then he just couldn’t sing anymore; he had to go in and get his voice operated on. It was that serious and that drastic. We just went through it again a little bit, but he didn’t have to get an operation, he just had to go on a little more strict vocal rest and got paired up with a new vocal coach that showed him different techniques than he’d been using.”

PAPA ROACH‘s latest album, “The Connection”, was re-released in Europe as a special tour edition on May 6 via Eleven Seven Music. The effort contains a bonus DVD of a concert at Club Nokia in Los Angeles featuring performances of new songs as well as the band’s biggest hits, including “Still Swingin'”, “Give Me Back My Life”, “Before I Die”, “Last Resort” and “Between Angels & Insects”.

“The Connection” was produced by rock veteran James Michael (SIXX: A.M., HALESTORM) and John Feldmann (PANIC AT THE DISCO, THE USED, BLACK VEIL BRIDES). The CD sold 22,000 copies in its first week of release to debut at No. 17 on the Billboard album chart.

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Larry Paterson joins Paul “The Rog” Rogne for the latest episode of Metalkast featuring an interview with Tony Palermo of PAPA ROACH. You can now listen to the podcast using the audio player below.

In a recent interview with Mosh Pit Report, Palermo stated about the progress of the songwriting sessions for PAPA ROACH‘s follow-up to last year’s “The Connection”: “We’re working on ideas. We always lay stuff down in the back of the bus just to keep it flowing. I’ll come up with beats, I always do a lot of voice memo stuff just to get it down quick if I have an idea that pops into my head and I don’t wanna forget it. I just do a 10- or 15-second voice memo in my iPhone. It’s usually me breathing heavy into the phone in a beat style then I’ll come in [to the recording setup on the tour bus] and lay it down on this little keyboard here. It doubles as a drum set, which is weird, but it works. We put stuff together on the computer, and once we get into the actual studio in writing mode, then we go through all the stuff and decide what’s good and what sucks, or isn’t PAPA ROACH. It’s cool. There’s a lot of down time on tour, so it’s a good tool to keep it flowing so you’re not like stuck writing 15 to 20 songs for a record in 30 days. It’s really hard to do that.”

Palermo also spoke about a number of PAPA ROACH shows being canceled due to singer Jacoby Shaddix‘s vocal issues. “I don’t know if it’s worse for [the fans] or for us,” he said. “We pride ourselves on playing rock ‘n’ roll music live to people, and when something unfortunate like that happens, I know people who travel, like plane tickets, hotels, but you know, we’re also losing money. It’s not really about the money, though, it’s just, for us, you gotta take care of that and get it better so you have a career. Like last year, when we had to pull off of Uproar, it was so bad. We played three shows and then he just couldn’t sing anymore; he had to go in and get his voice operated on. It was that serious and that drastic. We just went through it again a little bit, but he didn’t have to get an operation, he just had to go on a little more strict vocal rest and got paired up with a new vocal coach that showed him different techniques than he’d been using.”

PAPA ROACH‘s latest album, “The Connection”, was re-released in Europe as a special tour edition on May 6 via Eleven Seven Music. The effort contains a bonus DVD of a concert at Club Nokia in Los Angeles featuring performances of new songs as well as the band’s biggest hits, including “Still Swingin'”, “Give Me Back My Life”, “Before I Die”, “Last Resort” and “Between Angels & Insects”.

“The Connection” was produced by rock veteran James Michael (SIXX: A.M., HALESTORM) and John Feldmann (PANIC AT THE DISCO, THE USED, BLACK VEIL BRIDES). The CD sold 22,000 copies in its first week of release to debut at No. 17 on the Billboard album chart.

Interview (audio):

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BFMV

Jägermeister have announced a special campaign aimed at bringing together artists from a variety of backgrounds and statuses in the name of music – starting with the UK’s own Bullet For My Valentine!

Bullet have been brought together with a band named Che Sudaka – a Barcelona-based, ska-influenced, folk-punk mob (yeah, it’s as nuts as it sounds) – who have been given support by a variety of respected artists and have toured the world.

The result of this awesome mismatch? A tribute to Bullet by Che Sudaka themselves! Yep, this is definitely one of the most unexpected stories we’re bringing you today.

“At the moment we received the proposal to record a song about Bullet For My Valentine, and after listening to their music, we first thought we were absolutely different, too different,” say Che. “Then we found out about their history as a band and about their members and we really identified with them. We are both the same: a group of friends who stand together in spite of everything. So writing the lyrics was as simple as swapping names and the result is a true song that pays tribute to friendship!”

“Being friends has been such an important part of this band, it means we can celebrate the highs with the people that truly mean the most to us and help each other through any tough times,” addss BFMV’s Moose. “I couldn’t imagine being in this band with anyone else. We love the track, its become a tour bus favorite already, we raise a toast to them – here’s to our new friends Che Sudaka!”

All in the name of friendship and good times, folks. Check out Balas For My Valentine below…

For more info, head to www.facebook.com/jagermusicuk #itrunsdeep

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