The Brazilian death metal horde Rebaelliun’s brutal and raw, yet the technical grip, death metal is such mauling and crushing that every death metal fan should fall on their knees. Even though the band was on hiatus for about 13 years, there is no piece of evidence of getting rusty or slowing down. The most recent album HELLS DECREES is without any doubts one hell of brutal output indeed. Metal-Rules.Com talked to the band’s guitarist Fabiano Penna about the new album and the past the present and the future.
Interviews and pictures by Arto Lehtinen
Good day down there in Brazil, how’s it going at the moment?
Hey there! Things are fine over here, last week we played here in São Paulo to support the release of our new album here and it was killer.
THE HELL’S DECREES being the third album of Rebaelliun, the previous album came out back in 2001, well I can’t help asking what you see the main different between those albums as the time has flown a little bit?
I think that the spirit is the same. Extreme Death Metal, fast and furious. The main difference is that now the song writing is more mature, we’re able to sound intense and extreme with less efforts, let’s say. The playing is also in another level, it’s almost 15 years later and we all developed better as musicians during this time. Band is tighter and cleaner. And the album is heavier than our first albums as well, due to a lower tuning and the song writing itself again.
When you started working on The Hell’s Decrees, how long after the long hiatus did you have to find the right balance in the writing and the composing to have all the songs finished for the album?
Well, we had a very tight schedule. We announced the band one day and a few days later Hammerheart Records offered us a deal where we should have to deliver a new album in 7 months. We started from zero, from nothing. So there was no time or chance to find any balance, I wrote the first song (Dawn of Mayhem) a couple of weeks after we announced the album and I just kept writing music until we had the 8 tracks for the album. Of course I did some pre production in my home studio and tried out a few different things here and there, but the fact is that we did not have time to think too much. I just realized the quality of the stuff after it was recorded, mixed and mastered. And I really enjoy it, to be honest.
Did the recording process of The Hell’s Decrees go smoothly or did you face any unexpected challenges while recording the material for the album?
I work producing bands in Brazil on the last 10 years, more or less. I know the shortcuts to get a good performance in studio. I mean, when writing the music – this time I wrote the whole album – I avoided anything too complicated for my playing at this moment, I tried to use material that would be comfortable to play in studio and live. The same for drums. I wrote the drum lines in the demos and showed to Sandro. The stuff that was too hard for him to play and that would demand time to be played well, we just cut off and changed for good lines for his own playing. I believe that this concept of ‘playing well’ has more to do with playing comfortable than playing a lot of notes. That’s my concept.
I assume you sat behind the producer desk, did you mainly take the main control over mixing and recording of the album and observer every detail went as planned?
Yes, it was a very stressing process, I assume. And mainly because the schedule was too tight, so we did not have the luxury to make any mistakes. I had less than 10 days to mix the whole album, the mastering was already booked in another studio and I could not change the dates. So I had to pay attention on the first track I mixed to get the right sound on the first couple of days, otherwise it would become a hell for me to deliver the album in time. During recordings I believe that things went well most of the time, the experience in studio and producing help a lot.
Is it the easy flowing and easy process to work with the guys after these years to get the songs completed?
This time the process was completely different than in the past: I wrote all the music and Lohy wrote all the lyrics and the vocal lines. And it worked very well. We changed a few parts during the few rehearsals we could make before recording – we rehearsed only 8 times before starting the recordings – and also we changed a few vocal lines in the studio during recordings. But as I said before, it was a very ‘straight’ process, we wrote the stuff, recorded it and it was ready, we did not think too much about it…
As for the title of your new album, “The Hell’s Decrees”, does it describe the content of the album, the brutality of the songs and other things?
Yes, it does. The title reminds one of the songs from our first album, Burn the Promised Land – the track Hells Decree. The whole conception talks about a decadent and chaotic world, something like how the world should be and look after the annihilation we talked about in our previous album from 2001.
REBIRTH OF REBAELLIUN
As for the rebirth of Rebaelliun, well how did this come about after all?
During these 15 years, there was several moments that the subject came to us. Sometimes when we met, sometimes a friend who talked about, etc. Last year a very close friend of us in Brazil, who had produced some shows of Rebaelliun back in 2001, offered us a small tour in Brazil, like a reunion, in the main cities, for the new Death Metal fans that could not watch the band live at that time. We
thought it was an interesting idea, but to prepare a decent show it would take months of rehearsing, etc. And we all live in different cities nowadays, it would cost a lot of money to prepare this show. So we started thinking about maybe recording a new album and then playing the shows, and then we assumed that we could give a chance to the whole project again as a band itself, not only a reunion. And here we are…
When you started putting Rebaelliun back together after 13 years, was each member willing to start the band again or did you have to talk about the band’s future and solve some personal issues?
Again we did not talk too much. I believe that most of the personal issues are in the past, we all are different people nowadays, with different experiences and so. Of course we still have problems, everybody does, but I believe that we’re more able to deal with that today. It’s not perfect, but we’ve been able to travel, to play live, to promote the band, to work on the music we love. That’s what matters in the end.
Did you firstly do a try out rehearsal to figure out how the playing works out or did you find the chemistry immediately?
The very first rehearsal was great. I mean, the last time we were all together in the same place had been in 2001, and then we were in a rehearsal room again, in 2015. It was like a jump in time, you know? And we started the rehearsal just like we did in the past, playing Morbid Angel’s Day of Suffering to warm up, and it sounded great. Then we started working on the new stuff. Great memories of that day…
When did you actually start thinking seriously about going back to the studio and recording the next Rebaelliun album?
We announced the band one day, the day after Hammerheart Records got in touch and offered us a deal. At that moment we already had a lot of offers to play live in Brazil, it looked like everybody wanted to organize our ‘first’ show after so long. Then we realized that we would have to work hard from that day on, and that’s true, it’s been 16 months and I still didn’t stop one single day… And I love that.
The first two albums came out on Hammerheart as well as The Hell’s Decrees, how come did you decide to stay on Hammerheart – did you have some commitments to fill up the deal or did other labels try to get you signed?
We didn’t even try other labels, they offered us a good deal, we had a good experience with them in the past and we just thought it was the best thing to do.
How much do you give the credit to the staff at Hammerheart for working for the third Rebaelliun album regarding all the promotion, so on and what they have done for you so far just to get the band’s name back on the map of the extreme metal scene?
I think they’re doing great. The album got great reviews in the main publications in Europe, we’ve got tons of interviews, there was a good support for the shows we did in Europe last August. It’s doing good so far.
The solos have been the important factor in the Rebaelliun songs slightly reminding me of Trey Azagthoth’s relentless solos, obviously you are a bit influenced by Azagthoth’s guitar works and inspirited in your own solos?
Yes! Morbid Angel has been our main influence, with Slayer of course. Both bands always had great guitar solos and so we just used this same conception with Rebaelliun. I believe that today I’m more focused on song writing than on shredding to be honest, and that’s related to music listening and music producing. But we will always have guitar solos in our music, it’s almost a trademark we created for ourselves and there’s a lot of people waiting for this when listening to our music.
In general how do you usually start creating new songs for Rebaelliun?
Since I work producing bands and also writing music for short movies and animations, I start things right on the computer with some conception in mind. At least I have the tempo of the song in mind, then I start to try some riffs in this tempo using a metronome and the ideas start to happen. But I’m a lot dependent on the computer, I record the riff and I have to write the drums right after that to check how it sounds. In the old times I was used to record riffs in a cassette and show them to Sandro a few days later, and then in a rehearsal I would check how it would sound the whole idea – guitars + drums. Nowadays I do this in my home studio and already know if it will work or not. I believe most of the song writers in Metal work like this nowadays.
Could you unveil a little bit about the lyrics what they deal with?
The whole idea is to be a continuation of Annihilation, lyrically speaking. After the world as we know it was annihilated, what do we found? A very chaotic atmosphere, no laws, no rules, some radical cults and religions arising and this dangerous environment. That’s the ‘scene’ we had in our minds while creating the new album.
Has it always been an easy step for you to set yourself into a songwriting mood? Or do you first have to find yourself in some specific state of mind and feeling before your songwriting get its sharpest edge?
That’s a good question. As I said before, on the last years I started to write music for movies. Nothing big, but some Brazilian shorts, lots of animations (for kids mainly) and music for advertisements as well. When you work with music for demand, as it is called, you have tight schedules and very specific requests from directors. And so you discipline yourself to write the music they need in the time they have. This is a fucking excellent exercise for people who write music, because you depend less and less from what’s called inspiration. And you find out that most of the music genius we know today, they wrote a lot of music every day (for demand too) and that it rarely depended on inspiration, because they had schedules too. I mean, you learn how to write music more quickly and from time to time you end writing something ‘more special’ than the rest of the material.
When Rebaelliun went on the long hiatus, you formed another band called The Ordher, could you consider having two bands at the same time? Or is The Ordher permanently dead and buried for the time being?
Yes, I formed The Ordher in 2005 and until 2010 we worked quite a lot, it was a very interesting project. The good thing about The Ordher is that it was a trio and I had to trust 100% on my guitar playing and also on my music writing, because it depended only on me. Nowadays I’m completely focused on Rebaelliun, sometimes Brazilian bands offer me to be a session member for shows and I could not get any proposal till now, but if it happens in a good time, why not?
Did you have any so called leftover material or ideas from the era of The Ordher used or modified for Rebaelliun’s songs?
Not at all. We quit The Ordher in 2010 and as far as I can remember, I had no idea about what to do concerning a new album at that time. But I have listened mainly to the first album on last weeks, there’s a lot of good ideas there that maybe can have some impact on new Rebaelliun songs, maybe…
SHARING THE STAGE WITH OTHER BANDS
You have played in several places and with several bands, I can’t help asking which bands bands you especially would like to make a tour or played together with?
That’s a though question. There’s this idea to have Krisiun and Rebaelliun together on stage sometime, we met the guys last week in our show in São Paulo and we again talked about that. That would be killer… And of course, if someday we could share the stage with Morbid Angel or Slayer, that would be a dream come true…
Taking a quick glance at your gig calendar, I paid attention that you have some one-off gigs booked, did single shows in Brazil and of course a short visit to Europe. Well it seems like there’s no extensive tour in sight yet, so what’s the latest news from that front? Is there a headlining or co-headlining tour of Rebaelliun planned?
Yes, we have played every month since April, when we played our first show. In Brazil it is really hard to have a long tour, playing every day, it’s almost impossible. The distances are too big and you’re only able to play during the weekends. But that has worked for us, we played already in some of the main cities, some of these shows being in important festivals, it’s being good. The mini tour in Europe was fucking great, specially both festivals we did, Party San and Brutal Assault. We’re planning a long tour in Europe for next spring, but it’s not fixed yet.
In what kind of places do you usually play in Brazil and South America in general and with whom?
We played in some very famous festivals over here like Abril Pro Rock or Matanza Fest and also in underground clubs. For us it does not matter how big it is, we really love to be on stage and we get the same energy for both situations. We have shared the stage with several Brazilian bands such as Funeratus, Queiron, Ancestral Malediction and many others.
THE NEXT ALBUM ON THE WORK ?
Do you view Rebaelliun will be pushing and stretching musical boundaries again when it’s time to record the next album or do you view Rebaelliun will follow the path of the brutal death metal?
I have thought a lot about that lately. Specially because I already started writing new material. I’m always inclined to keep writing the same kind of riffs I’m used to, this kind of riff that it’s the sound of Rebaelliun. But I know how important it is right now for us to include different elements in our music to make it more diverse and interesting, for ourselves and for the audience. Right now I would say that I’m looking for more darker tunes for the next albums, I have listened more Black Metal than Death Metal on last months and it should have an impact on the song writing for the coming album…
Do you have working titles for some of the other songs that you may use for this forthcoming album and can you reveal any for the readers?
Not yet. Lohy will take care again of the lyrics and we just have talked about the way we should follow, but there’s nothing decided yet.
What other plans do you have for Rebaelliun?
Now that we don’t have close shows to play I will finally work on some other issues as launch our official web site, then a virtual store with all our merch items. We’re talking to an agency in Brazil to take care of our shows in South America in 2017 as well, I’m talking to an agency in Europe about a long tour next year, we’re writing new music and working on the Brazilian release of The Hell’s Decrees, which must happen before December.
I for one thank you for your time to do the interview and as usual, the last words are yours…
Many thanks for this great interview! For those who still don’t know, Rebaelliun is back since last year, we have a new album out called The Hell’s Decrees released this year thru Hammerheart Records and we’ve played live since then. You can look for more stuff on all social medias and hopefully we meet soon somewhere in the road. At war!!
12 October 2016
Finnish female fronted metal group, Evil Drive, have released a video for the new single of their, still untitled upcoming, second album to be released via Mighty Music worldwide on early 2017. The new video can be found below. Recorded, mixed and mastered at Äänilaitos studio in Kotka with Juuso Elminen (Domination Black) “Anti-Genocide” presents Evil Drive’s melodic metal reinforced by Viktoria Viren’s over-the-top growling with one of the tightest guitar sections in the scene. The video was shoot and filmed by the bands long time trusted man Tino-Viljami Vanhala . Viktoria Viren comments “Anti-Genocide has a totally different theme and feeling compared to our debut album THE LAND OF THE DEAD, which was all about the current world politics and war. The new track is about the history of the American Indians and about the fate they had to face when the white men came and took over their land”.
“Anti-Genocide” also presents the bands updated line-up which now features guitarist Juha-Pekka “J-P” Pusa who recently replaced the band’s original guitarist Niko Huusari. Ville Wiren comments “The new line-up makes the band sound better than ever. J-P definitely brings us a lot of new energy and ideas and helps the band to find a completely new level. We’ve finally found ourselves, our musical style and finally have access to all the musical tools we’ve ever wanted: strong growling vocals, two great guitarists, and a great rhythm section. We trust that our upcoming album will be a turning point for Evil Drive, and we are excited to be with Mighty Music for this new chapter”.
Evil Drive is a melodic metal band, founded 2013 in Kotka, Finland. The band was originally formed because the aim was to set up a band which has not previously been heard. All the musicians in the band, have a history in a number of different bands and different genres. The band has incorporated many different musical styles, leading press and fans to label them as melodic death metal with a twist of 80’s style thrash metal. But in fact Evil Drive’s sound is therefore the combination of all of its member’s musical history.
EVIL DRIVE 2016
Viktoria Viren – Vocals
Ville Wiren – Guitar
Juha-Pekka Pusa – Guitar
Juha Beck – Drums
Marko Syrjala- Bass
NEW RELEASE OF REVISED EDITION OF “AND JUSTICE FOR ART” BOOK
Title: “…And Justice For Art: Stories About Heavy Metal Album Covers” Author: Ramon Oscuro Martos
Publisher: Dark Canvas/Ramon Oscuro Martos Specifications: 264 Pages – 8×12 Inches – Full Color
Press Contact: email@example.com
A limited, revised edition of the out-of-print book …And Justice For Art: Stories About Heavy Metal Album Covers” has been released via indie publishers, Dark Canvas.
This one-of-a-kind collection of stories features more than 450 color graphics and recounts all the particulars behind the making of artworks as iconic as SLAYER’s “Reign In Blood”, METALLICA’s “…And Justice For All”, MORBID ANGEL’s “Blessed Are The Sick”, BLACK SABBATH’s “13”, DEATH’s “Symbolic”, CARCASS’ “Heartwork”, SLEEP’s “Dopesmoker,” TESTAMENT’s “Dark Roots Of Earth”, OPETH’s “Heritage” andmanyothers. Thesearetoldthrough105 exclusiveinterviewswithheavymusic’siconslikeJeff Walker (CARCASS), Charlie Benante (ANTHRAX), Max Cavalera (SOULFLY, SEPULTURA), Fenriz (DARKTHRONE), Sebastian Bach (SKID ROW), Paul Masvidal (CYNIC), Chris Adler (LAMB OF GOD), David Vincent (MORBID ANGEL), Travis Ryan (CATTLE DECAPITATION) among many others.
Additionally, the book’s Revised Edition also features new revealing commentaries by Dani Filth (CRADLE OF FILTH), Dave Lombardo (SLAYER), Kelly Schaefer (ATHEIST), Neige (ALCEST) and by critically acclaimed illustrators such as Michael Whelan, Eliran Kantor, Dan Seagrave, Joe Petagno, Arik Ro per and Travis Smith, just to name a few.
The first edition of this 264-color pages volume was first published in 2015, thanks to a successful crowd-funding campaign. The constant demand and the new available material motivated author Ramon Oscuro Martos, to create a new Revised Edition featuring additional interviews, commentaries and graphics.
“I didn’t want to just re-print the same book again,” says Martos—who writes for publications like MetalUnderground.com and Heavy Music Artwork magazine. “I had new material available. So, I decided to introduce some changes that definitely bring something new to the table while keeping intact the essence of previous edition. It’s still the same book… but dramatically improved and updated.”
“…And Justice For Art” has been reviewed by many specialized music publications including USA’s Decibel Magazine (“A lush, edifying, fascinating, surprising tour de force history of metal album covers”), UK’s Zero Tolerance Magazine (“Meticulously researched, beautifully designed and with a wealthoffascinatingandinsightfulinterviews”)andBelgium’sRockTribuneMagazine (“It’svery impressive, do not hesitate too long if you want to have this book”).
TheinternationalMetalcommunityhasalsoexpressedsupportforthebook. Forex-MorbidAngel frontman, David Vincent (who wrote the book’s foreword) “this is a historical document about the importance of Metal album covers.” Obituary’s drummer, Donald Tardy, comments that “the world needs books like this.” Cattle Decapitation’s frontman, Travis Ryan, says: “this is exactly what the music world needs to remind us all just how important album covers have been to all of us that grew up surrounding ourselves with physical media.” At The Gates’ guitarist, Anders Björler admits being “really surprised when I got this book; it’s highly recommended!”
Copenhell Festival 2016
23-25/6 – 2016
Live pictures and review by: Anders Sandvall
Guest contributor: Ulrika Henriksson
This year the Danish hard rock/metal festival Copenhell turned 7 years old. The festival has grown bigger and bigger each year and for the first time in their history, the three-day festival tickets were totally sold out. This year the festival played host to names like Alice Cooper, Scorpions, Megadeth, Trivium, King Diamond (performing the ABIGAIL album), Rival Sons, Entombed A.D, Amon Amarth and for the last time on Danish soil – Black Sabbath. If you’re curious about what happened during the three days of metal madness in the rain and sun then read on…..
Jason Becker is one of the world’s most precious talents and true warriors. Becker has written a full album of amazing music to be performed and recorded by many of his peers. This album will comprise of a few compositions that have been waiting for this moment to be recorded, to many new pieces recently written – To accomplish this, he needs your support! Be a part of this album!
Becker is giving out some the most kick-ass perks from T-shirts, signed CD’s, a signed guitar from Joe Bonamassa, to your name credited on the album.
Becker is considered a virtuoso guitarist and one of the top players of his time. He studied the works of violinist Niccolò Paganini and rearranged Paganini’s 5th Caprice, which Becker then performed this masterpiece during an instructional guitar video. Becker’s compositions often include high speed scalar and arpeggio passages—trademarks of his ‘shred’ style of guitar playing.
Jason Becker began his career as a Shrapnel recording artist by joining forces with guitar virtuoso Marty Friedman to form seminal progressive metal pioneers, “Cacophony.” Amassing worldwide acclaim as a guitar virtuoso, Becker came to the attention of David Lee Roth who he later joined and recorded one album with him, A Little Ain’t Enough. Becker’s performing career was cut short by Amyotrophic lateral sclerosis (ALS). In 1996, Becker lost the ability to speak, and he now communicates with his eyes via a system developed by his father.
This project is exactly the kind of record that the Jason Becker fans have been waiting for. Now YOU can be a part of his new project with just one click!
Legendary Motörhead guitarist, Phil Campbell, has teamed up with his sons Todd, Dane and Tyla, plus vocalist Neil Starr, to record their debut self-titled five track EP, which will be released via Motörhead Music on November 18, 2016. Today, the band released their first single “Big Mouth” via lyric video.
Produced by Todd Campbell at their own Stompbox Studios in Wales, UK, and mixed by Motörhead’s producer Cameron Webb, PHIL CAMPBELL AND THE BASTARD SONS loudly shoves you head-first into its raw, gritty, classic and instantly-accessible rock n’ roll charms. Whether it’s the speedy biker-charged refrain of “No Turning Back”, the crunchy catchy jump of “Big Mouth” or the beautiful, yet bombastic, balladry of “Life In Space”, PHIL CAMPBELL AND THE BASTARD SONS brings uniquely organic life and verve to every last riff and stomp, with Starr’s sensational vocals ensuring this EP will be the surprise of the 2016 rock n’ roll release calendar.
Stay tuned for more coming soon from PHIL CAMPBELL AND THE BASTARD SONS.
The band are touring throughout Europe and the UK for the remainder of 2016. The tour dates are:
Oct 18 Magasin 4 – Brussels, Belgium
Oct 20 Kulturfabrik Kohfmel – Solothurn, Switzerland
Oct 21 Campus iNDUSTRY – Parma, Italy
Oct 22 Druso Club – Bergamo, Italy
Oct 24 Proxima – Warsaw, Poland
Nov 4 The Scene – Swansea, UK
Nov 5 The Ironworks – Inverness, UK
Nov 6 Audio – Glasgow, UK
Nov 10 Bierkeller – Bristol, UK
Nov 11 FAC251 – Manchester, UK
Nov 12 Hard Rock Hell Festival – Pwllheli, UK
Nov 18 The Venue – Selby, UK
Nov 19 Kasbah – Coventry, UK
Nov 24 Boston Music Room – London, UK
Nov 25 Open Club Room – Norwich, UK
Nov 26 The Gateway @ Seaton Town Hall – Seaton, UK
Dec 2 Planet Rockstock – Porthcawl, UK
Dec 31 The Muni – Pontypridd, UK
Earlier this summer, Ohio’s AFFIANCE dropped a killer cover of Toto’s ’80s soft rock gem “Africa” (listen here). The band has returned with another Affiance version of a classic. This time, they offer up their take on Iron Maiden’s classic “Aces High.”
Affiance singer Dennis Tvrdik had this to say about his band’s Maiden cover: “This has been a long time coming, as we always knew we would cover a Maiden song. Bruce Dickinson is my biggest influence from my youth and I hope he feels we do the song justice.”
The band has dates overseas with Ice Nine Kills.
AFFIANCE ON TOUR
11/4 — Nottingham, UK | Rock City Basement
11/5 — Birmingham, UK |The Rainbow Cellar
11/6 — Bristol, UK |Thekla
11/7 — Cardiff, UK |The Globe
11/8 — Plymouth, UK | The Underground
11/9 — London, UK | Dingwalls
11/10 — Southampton, UK | Joiners
11/11 — Paris, France | Backstage By The Mill
11/12 — Arnhem, Netherlands |Willemeen
11/13 — Bochum, Germany | Rockpalast
11/15 — Hamburg, Germany | Indra
11/16 — Berlin, Germany | Musik & Frieden
11/17 — Wiesbaden, Germany | Schlachthof
FRONTMAN JOEL O’KEEFFE FALLS FROM STAGE, INJURES RIBS, DOESN’T MISS A BEAT
All in the name of rock!
While shirtless, sweaty, and soloing his way through the encore of “Running Wild” at his band’s September 22 show in Kamloops, British Columbia, Airbourne lead singer and guitarist Joel O’Keeffe suffered quite the mishap.
While feverishly headbanging and slaying his instrument, the frontman fell off the stage. While O’Keeffe escaped serious injury, he did break a few ribs and tore a few ligaments in his foot.
Despite taking a nasty tumble, O’Keefe finished the show, playing while seated in a chair.
The fall didn’t sideline the tough-as-nails O’Keeffe or his band. Airbourne haven’t canceled a single tour date nor do they plan to, proving that Airbourne have completely sold their bodies, minds, and souls to rock ‘n’ roll.
Airbourne’s Spinefarm Records debut Breakin’ Outta Hell is available now.
A limited, Revised Edition of the out-of-print book …And Justice For Art: Stories About Heavy Metal Album Covers”has been released via indie publishers, Dark Canvas.
This one-of-a-kind collection of stories features more than 450 color graphics and recounts all the particulars behind the making of artworks as iconic as SLAYER’s Reign In Blood, METALLICA’s …And Justice For All, MORBID ANGEL’s Blessed Are The Sick, BLACK SABBATH’s 13, DEATH’s Symbolic, CARCASS’ Heartwork, SLEEP’s Dopesmoker, TESTAMENT’s Dark Roots Of Earth, OPETH’s Heritage and many others. These are told through 105 exclusive interviews with heavy music’s icons like Jeff Walker (CARCASS), Charlie Benante (ANTHRAX), Max Cavalera (SOULFLY, SEPULTURA), Fenriz (DARKTHRONE), Sebastian Bach (SKID ROW), Paul Masvidal (CYNIC), Chris Adler (LAMB OF GOD), David Vincent (MORBID ANGEL), Travis Ryan (CATTLE DECAPITATION) among many others.
Additionally, the book’s Revised Edition also features new revealing commentaries by Dani Filth (CRADLE OF FILTH), Dave Lombardo (SLAYER), Kelly Schaefer (ATHEIST), Neige (ALCEST) and by critically acclaimed illustrators such as Michael Whelan, Eliran Kantor, Dan Seagrave, Joe Petagno, Arik Roper and Travis Smith, just to name a few.
The first edition of this 264-color pages volume was first published in 2015, thanks to a successful crowd-funding campaign. The constant demand and the new available material motivated author Ramon Oscuro Martos, to create a new Revised Edition featuring additional interviews, commentaries and graphics.
“I didn’t want to just re-print the same book again,” says Martos-who writes for publications like MetalUnderground.com and Heavy Music Artwork magazine. “I had new material available. So, I decided to introduce some changes that definitely bring something new to the table while keeping intact the essence of previous edition. It’s still the same book… but dramatically improved and updated.”
…And Justice For Art has been reviewed by many specialized music publications including USA’s Decibel Magazine (“A lush, edifying, fascinating, surprising tour de force history of metal album covers”), UK’s Zero Tolerance Magazine (“Meticulously researched, beautifully designed and with a wealth of fascinating and insightful interviews”) and Belgium’s Rock Tribune Magazine (“It’s very impressive, do not hesitate too long if you want to have this book”).
The international metal community has also expressed support for the book. For ex-MORBID ANGEL frontman David Vincent (who wrote the book’s foreword) “this is a historical document about the importance of Metal album covers.” OBITUARY’s drummer Donald Tardy, comments that “the world needs books like this.”CATTLE DECAPITATION’s frontman Travis Ryan, says: “this is exactly what the music world needs to remind us all just how important album covers have been to all of us that grew up surrounding ourselves with physical media.” AT THE GATES’ guitarist Anders Björleradmits being “really surprised when I got this book; it’s highly recommended!”
Vocalist Joe Lynn Turner, best known for fronting Ritchie Blackmore’s Rainbow during that band’s creative peak in the 1980s and later as the frontman for Yngwie Malmsteen, has been called The Man With The Golden Voice, and it’s easy to understand why; nearly everything Turner records sounds blessed by the gods of hard rock. His commanding presence, powerhouse range, and emotional resonance has made him the go-to vocalist for a number of artists. Now some of this session work is collected on a brand new collection of studio recordings called simply The Sessions and released on Deadline Music October 7. The CD release contains superb, supercharged versions of rock classics from “Lunatic Fringe” to AC/DC’s “Back In Black,” The Doors’ “Riders On The Storm” to Queen’s “Fat Bottomed Girls.” The album also features guest appearances by Michael Schenker (UFO), Steve Lukather (Toto), Steve Morse, Phil Collen (Def Leppard), Brad Gillis (Night Ranger), and more!
1. Stone Cold with Vivian Campbell
2. Lunatic Fringe
3. Let the Music Do the Talking with Al Pitrelli, Carmine Rojas & Pat Torpey
4. Mirror Mirror with Icarus Witch
5. Hellraiser with Steve Lukather, Billy Sherwood, Jay Schellen & Paul Taylor
6. 14 Years
7. Dance The Night Away with Reb Beach
8. Back in Black with Phil Collen
9. All Shook Up with Michael Schenker
10. Babe I’m Gonna Leave You with Jeff “Skunk” Baxter, Tony Franklin & Doane Perry
11. All Day and All of the Night with Brad Gillis, Rudy Sarzo & Simon Wright
12. Bloody Well Right with Dave Kerzner
13. The Seeker with Leslie West
14. Jungle Love with Steve Morse
15. Two Minutes To Midnight with Richie Kotzen
16. Fat Bottomed Girls with Reb Beach
17. Riders On The Storm with Tony Kaye & Steve Cropper
…Dear all, fans, promoters, colleagues. I anticipated this to all band members in the last 3/4 months and now I sadly announce my final decision to part ways with ROF. Ain’t no words to describe what this band represents to me, and I’m proud to have been part of such a big chapter of the power metal bible. It’s time for me to write a new chapter of my life, as a musician and as a man. I wish ROF all the best, may their magic go ahead stronger than ever..
Thank you Alex and Holzy, for this 20 years, ..Thank You Roberto, for your friendship and Alessandro for your sincere attitude and honesty…
The band plans to continue onwards as shown in their official announcement:
On December 31, 2015, before a sold-out Staples Center arena in Los Angeles, Mötley Crüe bid their final farewell. Their 35-year career as a band ended with a spectacular New Year’s Eve performance in their hometown, just a few miles from where it all started on the Sunset Strip.
Mötley Crüe: The End – Live In Los Angeles – presented earlier this year in theaters worldwide – captures performances of such mega-hits as “Kickstart My Heart,” “Girls, Girls, Girls,” “Smokin’ in the Boys Room,” and “Dr. Feelgood.” Eagle Rock Entertainment brings the show home on DVD+CD, Blu-ray+CD, and Digital Formats on November 4, 2016 [MSRP $26.98 Blu-ray+CD, $21.98 DVD+CD]
In January 2014, Mötley Crüe signed a binding legal document known as “cessation of touring” agreement, preventing them from touring under the band’s name past the year 2015 — the first of its kind. This was followed by their two-year FINAL TOUR, performing across five continents (North America, South America, Europe, Australia and Asia), with 164 shows in 72 markets and grossing over $100 million.
Produced and distributed by Eagle Rock Entertainment, Mötley Crüe: The End fully captures the energy and emotion of the evening. Known for their over-the-top production, Mötley Crüe did not disappoint for their last show ever on New Year’s Eve: from massive, cutting-edge pyro, including Nikki Sixx’s bass guitar spitting fire over 30 ft. into the air, and Tommy Lee’s “Crüecifly” drum roller coaster, amongst many other spectacular elements. Lead singer, Vince Neil, delivered an emotional, “thank you” speech to the audience, while the band supplied next-level, high-octane fueled energy, ringing in the New Year on stage with thousands of balloons raining down on the crowd. The grand finale of the show included a blow-out performance of their hit single, “Kickstart My Heart” with Nikki Sixx and Vince Neil floating above the audience in far-reaching “cherry-pickers.” Leaving fans in tears, the show concluded with an emotional encore rendition of “Home Sweet Home” from the second stage riser in the center of the audience.
The CD includes audio tracks of the live performances from this show.
Mötley Crüe: The End – Live In Los Angeles represents a fitting end to a legendary career and the culmination of the rock icons’ 35-year career, in one special, explosive night.
ABOUT MÖTLEY CRÜE
Hailing from Los Angeles, CA, the quartet—Vince Neil (vocals), Mick Mars (guitars), Nikki Sixx (bass) and Tommy Lee (drums)—has commandeered the rock pantheon for over 30 years. In that time, they have accumulated worldwide album sales exceeding 80 million, seven platinum or multi-platinum albums, 22 Top 40 mainstream rock hits, six Top 20 pop singles, a star on the Hollywood Walk of Fame, three Grammy nominations, four New York Times bestsellers (including the band’s biography, THE DIRT) and countless sold out tours across the globe, playing to millions of fans. Mötley Crüe was the first rock band in history to have completed an epic sold-out Las Vegas residency at The Joint at Hard Rock Hotel & Casino. The band continues to remain on the forefront of entertainment reinventing themselves via not only their music but also their mind blowing live shows featuring never seen before elements, such as Tommy Lee’s 360 drum roller coaster. Mötley Crüe was featured in KIA MOTORS’ award winning 2012 Super Bowl commercial.
2.) Girls, Girls, Girls
3.) Wild Side
4.) Primal Scream
5.) Same Ol’ Situation (S.O.S)
6.) Don’t Go Away Mad (Just Go Away)
7.) Rock N Roll Part II / Smokin’ In The Boys’ Room
8.) Looks That Kill
9.) Mutherf***** Of The Year
10.) In The Beginning / Shout At The Devil
11.) Louder Than Hell
12.) Drum Solo*
13.) Guitar Solo*
14.) Saints Of Los Angeles
15.) Live Wire
16.) T.N.T (Terror ‘N Tinseltown) / Dr. Feelgood
17.) Kickstart My Heart
18.) Home Sweet Home
Hammerfall: “You have been asking for it for years, and in 2017 it will finally come true: HammerFall is returning to North America for a full tour! Together with Delain this will be a co-headline tour, and our first time on the road in North America since 2010. Check it out and come see us perform, we will put on one giant heavy metal party each and every night!”
Delain says “We are proud to announce that we will embark on our first ever co-headline tour through the US in April/May 2017 with HAMMERFALL. After extensively touring the US on several support runs in the last years we’re excited to hit the road in support of our new album “Moonbathers” and offer our US fans the full DELAIN experience. Check out the dates below and let us know where you’ll be attending. See you on the road!”
Delain / Hammerfall co-headline tour announced
VIP meet/Greet with both bands are on sale NOW
4/19/2017 The Opera House, Toronto OT
4/20/2017 Imperial de Quebec, Quebec City QC
4/21/2017 Foufounes Electriques, Montreal QC
4/24/2017 Stage 48, New York City NY
4/26/2017 Soundstage Baltimore MD
4/27/2017 Agora Ballroom, Cleveland OH
4/28/2017 Concorde Music Hall, Chicago IL
4/29/2017 The Cabooze, Minneapolis MN
5/1/2017 Gothic Theatre, Englewood CO
5/3/2017 Starlite Room, Edmonton AL
5/4/2017 Dickens 1000, Calgary AB
5/5/2017 Rickshaw Theater, Vancouver BC
5/6/2017 El Corazon, Seattle WA
5/8/2017 Social Hall, San Francisco CA
5/9/2017 Whiskey a Go Go, West Hollywood CA
5/10/2017 City National Grove, Anaheim CA
5/11/2017 Club Red, Tempe AZ
5/13/2017 Trees, Dallas TX
5/14/2017 Alamo Music Hall, San Antonio TX
5/15/2017 Scout Bar, Houston TX
5/17/2017 Orpheum, Tampa FL
5/18/2017 Variety Playhouse, Atlanta GA
As you know the Wacken Metal Battle is a worldwide event. Each year Wacken allocates 28 slots at W.O.A. for the Metal Battle winners whom represent 28 countries across the globe.
Due to the increasing number of new countries who join the Metal Battle each year, some countries are asked to pause for a year to give the chance to other countries to participate.
That time has come for Canada. After a very strong 4 years in a row, yielding two 1st place winners and one 2nd place, Canada will be pausing for 2017. But do not fret, we shall be back and better than ever in 2018!
In the meantime, get your ass to WACKEN anyway because it’s gonna be a great one!
Entombed A.D. started out of the ashes of Entombed when the frontman L.G. Petrov continued with the old new members. However Entombed A.D got the second album out called The Dead Dawn and Metal-Rules.Com truly had a brief chat with L.G who was extremely relaxed after the gig.