Posts Tagged “Tour Buses”

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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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, 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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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 New York death metallers SUFFOCATION. The five-minute clip, which was filmed on April 23, 2013 in Chicago, Illinois, can be seen below.

SUFFOCATION recruited John Gallagher (DYING FETUS) to handle lead vocals on a number of shows this spring. Gallagher filled in for SUFFOCATION‘s regular singer, Frank Mullen, who was unable to make the dates due to personal commitments.

“Pinnacle Of Bedlam”, the new album from SUFFOCATION, entered the German Media Control chart at position No. 58. The CD was released on February 19 via Nuclear Blast Records. The artwork was handled this time around by Raymond Swanland.

“Pinnacle Of Bedlam”sold 3,200 copies in the United States during its first week of release to land at position No. 152 on The Billboard 200 chart. The effort landed at position No. 2 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200.

“Pinnacle Of Bedlam” was produced by the band at Full Force Studios in New York with longtime collaborator Joe Cincotta. The mixing and mastering of the effort was handled by Chris “Zeuss” Harris (HATEBREED, ARSIS, SUICIDE SILENCE).

“Pinnacle Of Bedlam” features 10 genre-defining-bone-crushing tracks and also marks the return of drummer Dave Culross, who previously played on the “Despise The Sun” EP. Founding member and former drummer Mike Smith also makes a special guest appearance on the re-recorded “Breeding The Spawn” track “Beginning Of Sorrow”.

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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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Justin R. Beckner of Classic Rock Revisited recently conducted an interview with legendary Swedish guitarist Yngwie Malmsteen. A couple of excerpts from the chat follow below.

Classic Rock Revisited: Do you ever get caught up in thinking about commercial appeal of what you’re writing or composing?

Yngwie: I did at one point, when that actually existed. The radio format doesn’t exist, the singles don’t exist. The record label doesn’t exist. The record stores don’t exist. That whole entire thing is gone.

Classic Rock Revisited: Is that a good thing or a bad thing?

Yngwie: Well, first of all is very bizarre, especially for someone like me. When I started out, it was very much like the guy with the big cigar in a big office saying, “I’ll give you a record deal, boy.” You had tour support, tour buses, local A&R people, the whole nine yards. I did that, but it’s all gone now. It can be for better or worse, because if you don’t have name recognition now. If you want to start out now, how the fuck do you do it? Back in the day, DEF LEPPARD said if they could get a few singles on MTV, they’d be able to make it, and they did. That happened with a lot of bands who did that back then. Now we have YouTube, but there are billions of videos and musicians on there and if nobody knows your name, nobody’s going to look you up. It’s a little bit weird, but in that sense, the music industry situation is really bad for whoever wants to start out now. The good part is that there is no longer this slavery to a certain format going on, where in the ’80s, if you didn’t follow format, they wouldn’t give you the time of day. You had to conform to get a shot at a record deal. That’s gone now, and it’s bizarre.

Classic Rock Revisited: The Internet changed a lot for the industry; piracy has certainly had a hand in changing the game. Do you think that piracy can be beneficial to some of those bands starting out? How has it affected you?

Yngwie: How could it possibly be positive? If you go into a store and you see a car that you like, you can’t just drive off with it. The cost and the blood and sweat and tears that go into making music is the same thing, it’s not free. Try telling the engineer and the producer that they have to work for free. It’s utterly bizarre. It’s like just going into a store and taking things off the shelves. It’s stealing. The reason there are no bands coming out now is that the money that was once there is not there anymore. So what happened was, in essence, by pirating music, you kill the music industry. The music industry died because of the piracy, and now all the fans will have no new music. Isn’t that wonderful? It’s a direct consequence of that.

Classic Rock Revisited: I think that, with piracy, we’ve lost the album art, the liner notes, the waiting in line to get the next record. It seems that there used to be this aura of awesomeness that used to surround a new record being released. Now it’s just a click away. One sad little click.

Yngwie: Yeah, that’s another aspect of it that I totally agree with what you’re saying. But I think that kind of got lost with the CD a little bit too. I think when the LP went, that’s when the art went. You know, when I was a little kid, I used to record cassette tapes for friends. So this music-sharing thing has been going on for a long time and the Internet just sped it up.

Classic Rock Revisited: It seems to me that over the years, you’ve been portrayed as a musical dictator of sorts. Most bands talk about the glory of collaboration and all the great things that come out of that. I find it interesting that you feel differently.

Yngwie: It’s funny; I was just talking to someone about this the other day. Yeah, you’ve got Mick Jagger and Keith Richards, and you’ve got VAN HALEN, who wrote as a team, and that’s great for them, and I love that. For me, I look at it in the way that I am an artist. An artiste. When you’re a writer, you write the whole book. When you’re a painter like Da Vinci, you don’t say to someone, “Hey, come over here and help me with my painting.” There are a few reasons why I work this way. First of all, I’m so full of creativity that I don’t need any other input. The other is that I feel so strongly about my work; it’s like a burning passion to create something that is uniquely me. This comes with the full realization that you may love it or you may hate it. But this is what I’m going to do, and I’m not about to have any kind of discussion with anybody about how it should be done. I’m a very serious creative person. I don’t compromise, because I don’t collaborate. I tried it and I hated it every time and I was never pleased with the end result. I’ve been doing this way too long to change how I do things now. I’m not doing things this way because of some egotistical dictator type of reason. Ask Rembrandt if he would have liked for someone to come and paint in his paining. That’s exactly how I approach it. I have to love what I do. If other people love it, I’m happy. If other people hate it, I’m still happy because I’m doing what I want to do. I’m a tennis player, I’m a boxer — I don’t play team sports. I’m not a team player; I never have been and I never will be. In tennis, if I win, it’s because of my serve or my backhand. It’s a battle and is a challenge to myself. After it’s over, I don’t want to say, “Good job, pal, I couldn’t have done it without you.” I can’t live like that. It’s a lot of work to do things like that, but that’s how it has to be.

Read the entire interview at Classic Rock Revisited.

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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 Texas heavy rockers DROWNING POOL.

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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 Los Angeles cyber metallers FEAR FACTORY.

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Five Finger Death Punch: Trespassing America in 2012

We got Five Finger Death Punch to blog for us during this year’s epic (and first ever, by the way) Metal Hammer Trespass America Festival – also featuring Killswitch Engage, Trivium, Emmure and many more! Here’s Blog 2 from Jason Hook.

“Step right up it’s TRESPASS AMERICA FOLKS!! We’re now four shows in and all I can say is RAD McAwesome Sauce!! Or to translate into middle American … Fuck YEAH Baby!

So I guess Blog duties have been delegated to Jeremy and I (Jeremy is also known as the FONZ in our camp, for reasons I’ll explain on another date), so here’s my 1st BLOG, or if you want to call it, HOOKS-BLOG or H-OG for short!

Anyway… hands down this is the biggest “SHOW” or production we have ever carried. We have 31 crew members, four Tractor trailers (semis) and four tour buses we’re rolling PHAT (hood lingo) on this one!

Ivan’s bus is the party bus .. two of the other buses are all crew and then Jeremy Zo and myself are on the ‘business bus’, also known as “AirBus One” or ‘Head Quarters’. Warning: if you want to party with the band after the show ask for Ivan’s bus … we’re pretty ‘Normie” over on Airbus One.

Killswitch Engage: loving Trespass

Denver (show number one) was off the HOOK … just shy of sold out, we blew the fuckin’ roof off which was fortunate for us as we had all of 5FDP’s “HIG’s” watching (Huge Industry Giants aka Mgmt / Agents / Label etc)

We have added a few new songs into the set on this tour, which has added a fresh feeling for the 5 of us.
Coming Down (our new single) is in the set , and we dusted off the title track from “War Is The Answer” to the delight of all the angry male participants ….

The portable studio has already seen some use as we’re determined to log as much material as possible on this run … I had to remind our crew not to set up the studio in the same room that the community toilet is in, as this made the first day’s creative process rather challenging for reasons that i’m sure you can figure out on your own.

We have a dedicated weight room on this run too … I noticed that Chris Kael likes to go in there early every and turn the room in to a sweat soaked stinky goddamn P90X disaster…. If any of us want to go in after him, we’re going to have to wipe the room down, and empty an entire can of Febreze in there ….

That’s it for now …. today is a day off in Madison WI and I’m anxious to turn on the Military channel to see if there’s any WWII IN COLOR re-runs playing !

Peace out


Confirmed dates for the Metal Hammer Trespass America Festival are as follows:

13 Broomfield, CO – 1st Bank Center
15 Billings, MT – MetraPark Arena
16 Bismarck, ND – Bismarck Civic Center
17 Sioux Falls, SD – Sioux Falls Arena
19 Milwaukee, WI – Eagles Ballroom
21 Fort Wayne, IN – Allen County Expo Center
24 Lubbock, TX – Lonestar Amphitheatre
25 Belton, TX – Bell County Expo Center
27 San Antonio, TX – Freeman Coliseum
28 Beaumont, TX – Ford Pavilion
30 Nashville, TN – Bridgestone Arena
31 Evansville, IN – Ford Center

3 Battle Creek, MI – Kellogg Arena
7 Syracuse, NY – SRC Arena and Events Center/Onondaga Community Center
8 Glens Falls, NY – Glens Falls Civic Center
10 Scarborough, ME – Scarborough Downs
14 Pittsburgh, PA – Stage AE
15 Hartford, CT – Comcast Theatre
17 Worchester, MA – DCU Center
18 Newark, NJ – Prudential Center
19 Philadelphia, PA – Penn’s Landing – Festival Pier
22 Knoxville, TN – Knoxville Civic Coliseum
25 Rio Rancho, NM – Santa Ana Star Center
26 Phoenix, AZ – Comercia Theatre
28 Los Angeles, CA – Hollywood Palladium

And as for UK fans feeling left out, we suggest you watch this space…

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Are you or have you been a tour manager with day-to-day road experience? Do you have a little bit of time to donate in explaining the ins-and-outs of your job?

I am already at work on my next novel and fleshing out my lead character who is no longer in the music business but was once a tour manager in his previous life. Said character is developing as I write, but I need more to draw upon than just the mere observations I’ve had of tour managers in my time on tour buses or backstage. In some cases, my interview guests have doubled as tour managers and they were generous enough to give me an idea of what road management constitutes, but I want to hear from you if you have the time to offer some color commentary about road life.

If interested, please contact me at the email address here at the site. Credit will of course be given in the novel. I thank you in advance for your interest and insight.

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As the 25th anniversary of the classic heavy-metal documentary “Heavy Metal Parking Lot” is celebrated in tour buses, at record stores, not to mention parking lots, SnagFilms is prominently featuring the cult-classic produced by Jeff Krulik and John Heyn.

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