Doro Pesch, The Voice Of WARLOCK, Celebrates 30th Anniversary Of Legendary Triumph And Agony Full-Length; Special US Tour Dates Featuring Guitarist Tommy Bolan Announced

May 21st, 2017
by EvilG
Doro Pesch, The Voice Of WARLOCK, Celebrates 30th Anniversary Of Legendary Triumph And Agony Full-Length; Special US Tour Dates Featuring Guitarist Tommy Bolan Announced

Doro Pesch, The Voice Of WARLOCK, Celebrates 30th Anniversary Of Legendary Triumph And Agony Full-Length; Special US Tour Dates Featuring Guitarist Tommy Bolan Announced

Released in 1987, Triumph And Agony is the fourth studio album from German heavy metal titans WARLOCK. The record was a mammoth success globally with hit singles and MTV’s Headbangers Ball favorites “All We Are” and “Für immer” among other now-pinnacle anthems like “East Meets West,” “Metal Tango,” “I Rule The Ruins,” and “Touch Of Evil.” Triumph And Agony stands among heavy metal’s true cult classics.

Gushed Decibel Magazine of the zenith offering, “Triumph And Agony contains one glorious anthem after another for the duration of its (too short) forty-minute run time. ‘All We Are’ is the big fist-pumper, their ‘Rock You Like A Hurricane’ or ‘You’ve Got Another Thing Comin’.’ ‘Three Minute Warning’ absolutely scorches, something Accept would have been proud to write. ‘I Rule The Ruins’ lays waste to everything and THEN rules it. ‘Kiss Of Death’ provides the requisite tragic vampire soliloquy, and ‘Make Time For Love’ provides the requisite drama ballad. ‘East Meets West’ taps some serious spine with its love letter to the Land Of The Rising Sun, while ‘Metal Tango’ may be the only, well, metal tango. And then there’s ‘Touch Of Evil,’ which ends with one of the most astonishing vulgar displays of screeching ever recorded.”

And three decades later, the record has lost none of its charm. In honor of its 30th anniversary, this September, WARLOCK vocalist Doro Pesch will, for the first time ever, perform the fist-raising full-length in its entirety on two European festival dates this Summer and a special run of US live performances. Joined by original Triumph And Agony guitarist Tommy Bolan alongside bassist Nick Douglas, drummer Johnny Dee, guitarist Bas Maas and guitarist/keyboardist Luca Princiotta, Pesch will hit Worcester, New York City, Detroit, Chicago, and Los Angeles.

“Triumph And Agony was our breakthrough album in America,” issues Pesch, “and it’s still one of my absolute favorites! I’m so excited to play some of these songs for the first time and I’m so much looking forward to play with Tommy again. I’m sure it’s gonna sound great and we’ll put on a killer show.”

Doro Pesch, The Voice Of WARLOCK:
6/08/2017 Sweden Rock – Norje, SE
7/07/2017 Norway Rock Live – Kvinesdal, NO
9/08/2017 Palladium – Worcester, MA
9/10/2017 BB King’s – New York, NY
9/12/2017 Token Lounge – etroit, MI
9/14/2017 Reggie’s – Chicago, IL
9/16/2017 The Whisky – Los Angeles, CA

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CENOTAPH “Perverse Dehumanized Dysfuctions” coming soon

May 21st, 2017
by EvilG
CENOTAPH "Perverse Dehumanized Dysfuctions"

CENOTAPH “Perverse Dehumanized Dysfuctions”

Turkey’s Brutal Death Metal kings CENOTAPH are returning with their 6th studio album “Perverse DehumanizedDysfuctions” 7 years after their 5th album “Putrescent Infectious Rabidiy”

Album has been recorded, mixed and mastered at DTH Studios in Moscow Russia. The sick artwork has beencreated by Toshihiro Egawa.



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May 21st, 2017
by Celtic Bob

Hard Rock Icons UFO & SAXON are back in the USA!  Due to demand following their hugely successful tour together in March & April, UFO & SAXON have announced more dates in the US, plus two in Canada, in September and October.

UFO, featuring the long standing line up of Phil Mogg (Vocals), Paul Raymond (Keyboards / Guitar), Andy Parker (Drums), Vinnie Moore (Guitar) & Rob De Luca (Bass) are currently working on a studio coveralbum after the last studio release “A Conspiracy of Stars” in 2015.

SAXON are touring on their latest release “Battering Ram” together with the new live DVD “Let Me Feel Your Power”, both on the UDR label and are currently in the studio working on a new studio album for release early 2018. SAXON are: Biff Byford (Vocals), Paul Quinn (Guitar), Nigel Glockler (Drums), Doug Scarrett (Guitar) and Tim “Nibbs” Carter (Bass)

Phil Mogg comments: “Seldom do you get the chance to have a tour with such great bands and great personalities.  We have been offered such a chance and will be grabbing it with both hands. We are looking forward very much to our autumn tour with the lads from SAXON, Biff, Paul, Doug, Nigel, and Nibbs, Jared James, Eric & Dennis, just so you know every one. I hope you enjoy these gigs as much as we will, rocking/kicking, your proverbial arse/bottom. Love UFO.”

Biff Byford from SAXON adds “It’s great to be coming back with UFO, we had such a great time on the last tour – it’s a great package with three great bands, what’s not to like BRING IT ON !!!!!”

Special Guests on all shows is Jared James Nichols

Tour dates are as follows:

Friday September 22 Newton, NJ / Newton Theater
Saturday September 23 Huntington, NY / Paramount Theater
Sunday September 24 Baltimore, MD / Baltimore Soundstage
Tuesday September 26 Philadelphia, PA / Theater Of The Living Arts
Thursday September 28 Plymouth, NH / Flying Monkey
Friday September 29Worcester, MA / Palladium
Saturday September 30 Hartford, CT / Webster Theater
Sunday October 1 Portland, ME / Aura
Tuesday October 3 Toronto, ON / Queen Elizabeth Theater
Wednesday October 4 Montreal, QU / Corona Theater
Friday October 6 Flint, MI / Machine Shop
Saturday October 7 Traverse City, MI / Ground Zero
Sunday October 8 Chicago, IL / Concord Music Hall
Monday October 9 Akron, OH / Tangier CabaretRoom
Wednesday October 11 Pittsburgh, PA / Jergels
Thursday October 12 Cincinnati, OH / Bogarts
Friday October 13 Merrillville, IN / Star Plaza
Saturday October 14 Indianapolis, IN / The Egyptian

Tickets are available from all usual agents and outlets

For More Info Visit:

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Dead Cross (Mike Patton/Dave Lombardo/Justin Pearson/Michael Crain) Set Aug. 4 for Debut Album

May 20th, 2017
by Celtic Bob

Dead Cross, the SoCal band featuring Dave Lombardo (ex-Slayer, Suicidal Tendencies, Misfits), Mike Patton (Faith No More, Tomahawk), Justin Pearson (The Locust, Retox) and Michael Crain (Retox, Festival of Dead Deer) release their self-titled debut album on Aug. 4 via Ipecac Recordings.

Rolling Stone premiered the track “Grave Slave” (, saying of the forthcoming album, “Dead Cross contains 10 charging, head-spinning ragers.” “Grave Slave” is available as an instant download with album pre-orders, available here:

“’Grave Slave’ is S&M for your ears,” says Lombardo. “Patton’s vocal range and intensity are on full blast throughout this entire album. This song is a two-minute example of what it’s like to travel through the depths of his brain while JP, Crain and myself commandeer the vehicle. It’s jarring, aggressive and unsettling. We’re coming at you hardcore, but leaving you with a kiss.”

“As the song states, we can blow out the candles on the urinal cake,’” adds Pearson. “A track like this only makes complete sense in this climate… absurdity, pigs, neo-fascist authoritarianism… the American dream is alive and well. Well, when the suits and white hoods screw the planet, you get this slab.”

The band plays Riot Fest (Chicago) with more tour dates to be announced soon.

Dead Cross track list:

Seizure and Desist
Obedience School
Bela Lugosi’s Dead
Divine Filth
Grave Slave
The Future Has Been Cancelled
Gag Reflex
Church of the Motherf*****s


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Metal Collector: Gathered Tales from Headbangers

May 20th, 2017
by Celtic Bob

You’ve all been politely hounding me to get this finished. So… five years in the making, I present to you…
Metal Collector: Gathered Tales from Headbangers


Here’s the back cover, which explains the concept, plus a gaggle of excerpts from readers who provided stories.

With Metal Collector: Gathered Tales from Headbangers, author of 60 books, Martin Popoff went to his readers with the following requests:

Tell me a cool story of a great deal you got, or a major purchase, or just a crazy, awesome shopping trip you once made/

Tell me a cool story about obtaining autographs, either successfully or crashed in flames! Note: this is my favourite question—I’d rather have five of these stories than anything else here.

Tell me a cool story about meeting one of your rock ‘n’ roll idols, either casually in town or for a photo etc. If you have more than one, bring it on—I find these fascinating.

How about an amazing concert experience or two? But not just if it was cool. Only if something very weird or historic happened, either on stage or in the crowd.

What are a few of the very coolest things you have? Perhaps tell me how you obtained them. How about a weird piece of memorabilia?

What is your very fondest memory of wanting something so bad, and then finding it, buying it, getting it as a present etc.? Or maybe one of the earliest or first records ever?

Finally, why do you collect music stuff?

For four years he complied their stories, and the answers in the aggregate have now become a touching, amusing, occasionally disturbing (and more than occasionally drunken) celebration of manic fandom, with a focus on hard rock and heavy metal but the occasional side-trip into pop, punk and prog just to warm the cockles.

Popoff adds a couple dozen of his own fondest magic moments on the job, interviewing rock stars, and in the process, often letting his own autograph habit get a little out of control. The end result is an action-packed but accessible ramble an’ reverie on the nature of stuff, written by—and for—our tribe of happy headbangers.

Here are a few excerpts from the tales y’all told!:

I hung the two autographs up on my mirror in my apartment. One was for Doug, our bass player who worshipped Chris Squire. After three weeks, I took the autographs down and threw them out. Ask me why I did this, I have no idea. I still have magazines and cassettes from 20 or 25 years ago that aren’t even worth $3.00. I have an Ozzy signature somewhere and zero other sigs from my “Top 30” band guys. Go figure.

And actually, Roger Waters comes around the corner and he slows down and he kind of looks at what we’re doing. It’s really kind of funny because I didn’t even ask Mr. Waters for an autograph that time. He’s like, “Well, it turns out the guitar player in my band has some history.”

And Micky Dolenz was standing there. And I handed Peter his solo album to sign, and he picked it up and he jammed it into Micky’s face and said, “Ha ha ha ha!” as if to say, I’ve done a solo album and you haven’t, you lazy piece of shit.

I went into Planet Hollywood on 57th in NYC and was walking towards the bar where in a corner I saw David Coverdale. I then thought, hey isn’t he…? And as I am thinking this in my brain, I see Jimmy Page sitting at the table.

Mr. Anderson decided to take full control of the situation, and this is how it went. “Okay, will everyone listen? I need to be somewhere else very soon. So I will sit in that cab (points at a waiting hackney cab); you will all line up in an orderly fashion and I will sign one item only each, one only.

Alice was performing a song called “Pick Up the Bones” whilst carrying around a bag of bloodied bones. And the jawbone fell out right at my chest level where I was up against the stage. Naturally I snapped it up and luckily two weeks later Alice was performing at a local arena here in CT. I managed to get a backstage pass and when I got up to his table for an autograph, I dropped the jawbone on the table with a thud and said, “You dropped this in Boston two weeks ago. Do you want it back?!” He was so shocked to see it. He finally said, “Oh, you’re the one that got it. No, you can keep it!” I told him what had happened and asked if he can sign it which he naturally obliged and I can safely say it resides in a place of honour—in my chiropractic office, naturally!

We just looked at each other shaking our heads in disbelief. Six-and-a-half hours. Six-and-a-half fuckin’ hours we waited to meet one of the biggest names in hard rock and he couldn’t be bothered to acknowledge us in any way, shape or form.

Andy was a mess. He had a “handler” that was really just a young Asian kid holding him up.

Slayer Hell Awaits: I crashed a car and set my speaker wires on fire listening to this album.

As I entered the shop he was on the phone and the first words I heard coming out of his mouth were, “If I see that bitch I’ll chop her head off with an axe!”

This is what you do in this situation. You throw your rings at the guy and run, which is what we did. We ran so fast, and the guy gets down on one knee and points the gun and my friend swears he fired it—I don’t remember—but right then, the bus showed up and saved us!

Those rednecks, when they played their two hits, put their girlfriends on their shoulders and it was just a hillbilly hoedown.

In 1987 I celebrated my 18th birthday and also my sister’s 15th so my parents decided to send us to Europe backpacking. Crazy old fellas, God bless them.

I love Tristan Narvaja’s flea market in Montevideo, Uruguay. Do you want Purple’s Made in Japan in a single record with the Mk I picture? Or the censored Sabbath Bloody Sabbath? Go there. Preferably in the company of a local.

The cover looked cool, and they had a song titled “Nude Disintegrating Parachute Woman,” and that is the only reason I bought it.

A higher-up stormed into my store, pulled me into the office, slammed the door and yelled. And yelled. And pointed a lot and yelled some more. It was a weird feeling. Here I was getting screamed at so much that the dogs could hear it four miles away, but also elated about my Iron Maiden find at the exact same time.

Megadeth So Far, So Good… So What!: Ya damn straight, so what! I’ve listened to this album since I was 16 and never stopped. When I was 24 or so, I was in NY City with Tom Delaney at the toll booth listening to this one and watched a guy in an SUV, on a cell phone, smack into an 18-wheeler! Tim Thurston recognized this album was so sacred he tried to kick someone’s ass when they broke my copy. He lost the fight, but I’ll always remember he shed his blood for a Megadeth album.

Wade asked me, “Have you heard of the New Wave of British Heavy Metal?” I hadn’t, but even the name made my blood race and my mind spin. Then he became the second human to give my life course correction by putting Head On by Samson on his record player.

He—The Professor—eventually moved across that particular street to a fourth floor old dance studio with approximately ten times the space that they never had the chance to fill. I can’t imagine the monumental move that was. Nevertheless, not more than three months after the move, the entire building burned down!

I’d love for walrus man to know that I made my investment back in one transaction and it’s still paying dividends 13 years later. Thanks, buddy for being such a dipshit. God bless him from the bottom of my wallet and my music-loving soul.

If you asked a question like, “Do you have any Supertramp?,” you might come out of there with a black eye. And no Supertramp under your arm. They always had some obscure punk record playing on 11 in there. They didn’t want people sticking around too long.

I can almost imagine tumbleweeds blowing through when you entered the shop. The staff consisted of rather bored individuals that seemed to last about a week before he, or she, was replaced by another drone. Knowledge of their profession was non-existent. The only qualifications for being hired was breathing.

I found metal at the beginning of my teenage years. You remember that time when you feel that you don’t belong and no one gets you and questions about your place in the world seem to be unanswerable.

From third grade up to fifth grade, I lived in a very small town. My parents would give me 75 cents a day to eat lunch in the school cafeteria. I would never eat lunch. Instead, I would save my money and at the end of each week I would have $3.75. Records were $3.50 in those days.

After Bonham died and the tour got canned, he kept the unused stub in a photo album. And to my recollection, it looked damn real to me. I’m pretty certain he, or a relative, bought the ticket in Montreal. And then… I was at the park the day he traded the ticket for $20, a Koho hockey stick and about a dozen or so stubby Molson Canadians, not even in a case, but in an old burlap sack.

I was at a King Diamond show in around 2004 in Hollywood and I silently said “The Lord’s Prayer” and the band was coming out of the mellow part of “Sleepless Nights” when someone hit a totally bad note, fucking up the song. King came right over to me and scowled. That really happened.

One time some friends put me up to calling Capitol and pretending I was a music journalist to interview Blackie Lawless. The mag we came up with was As the World Burns and Blackie did call me and we talked for an hour-and-a-half! I feel bad now, and you know, a month after that a wasp flew under my shirt and stung me while I was laying on the lawn at my job during lunch break—retribution.

There was that Rainbow show in 1996 when Ritchie had his eyes closed playing a solo. Doogie and his wife were dancing kind of silly with each other, arms around backs and hands linked. Ritchie opened his eyes and seeing this flew into a rage and kicked his wife off the stage. She was singing backups, but that was it for her!

After the show the guys in the band were hanging out. There was a black wig floating around that one of the guys put on a broom handle and started talking to it like it was Ritchie. They ended up kicking the wig across the floor, again, like it was Ritchie.

Now at the office and shipping immediately! Purchase-able with easy peasy PayPal Buy Now buttons at:

Price for Metal Collector including shipping:
US orders: $33.00 US funds
Int’l orders (all books go air): $38.00 US funds
Canadian orders: $38.00 Cdn. funds

Ask me if you’d prefer a PayPal invoice (please indicate what country you are in), or just do yer usual and direct funds to . Or mail payment (personal check in US funds, cash, or INTERNATIONAL money order), to: Martin Popoff, P.O. Box 65208, 358 Danforth Ave., Toronto, Ontario, Canada M4K 2Z2

Sweet postage savings to be had for multiple orders (or two of pretty much anything—long story, ask me!), especially for US and Canadian orders. Email me at with any further questions, and see for descriptions, cover art and ordering info for my other available 35 or so books that I have available for autographin’ and shippin’.

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Memoriam – Karl Willetts Frank Healy Scott Fairfax

May 20th, 2017
by Arto Lehtinen


(Karl Willets and Frank Healy and Scott Fairfax)

Interview and pics by Arto Lehtinen

How many of you still adore the old death metal gems Bolt Thrower and Benediction? If so, get your eyes and ears on Memoriam feat. Karl Willits and Andy Whale from Bolt Thrower, Scott Fairfax and Frank Healy from Benediction. Memoriam definitely stand for the old school death metal spirit. Their debut  album, FALLEN, is a brilliant piece of evidence for this old school approach. sat down with the whole band (minus the drummer) and then finally with the singer Karl Willets to talk about the album and beyond. 

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Interview with Sander Vogt, Drummer of Deserter

May 20th, 2017
by Infamous Butcher

Interview with Sander Vogt, Drummer of Deserter

May 17, 2017

Interview by InfamousButcher


Hailing from Belgium, new Death / Thrash band Deserter is making their mark on the metal scene. Their blistering debut COILS OF THE LESSER SERPENT has just been released on Vile Records. I was lucky enough to catch up with their drummer Sander Vogt to find out more about this killer new band!

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Thomas Gabriel Warrior : Differing Points Of View: BMG/Noise Records’ Celtic Frost Reissue Albums

May 19th, 2017
by Arto Lehtinen

There must be some significance to the fact that as the events described below unfolded, we passed the 30th anniversary of Celtic Frost finishing work on the group’s Into The Pandemonium album – the album, not least, which was at the centre of the most significant disagreements between Celtic Frost and label Noise Records in 1987. These events would eventually lead to the disintegration of Celtic Frost by the end of that year and have a direct bearing on anything that subsequently transpired.

In February of 1984, Martin Eric Ain and I, as members of Hellhammer, signed our first recording contract with Noise Records. We came from small Swiss villages and were young and lacked experience. Moreover, Switzerland was a country without a real metal scene at the time, rendering it near impossible for us to glean any kind of expertise from other bands that might have been active on an international level.

And even if the possibility to gain any such information would have existed, Hellhammer wasn’t an accepted entity by any means. Moreover, while there were a few music industry attorneys in Switzerland, they worked in the “real” music scene, and we were too insignificant and destitute to be able to establish any actual communication with them.

Noise Records were of course fully aware of all of these circumstances.

So we signed the record contract, delighted that our teenager dream was becoming a reality. This very dream had so far seemed completely unattainable to us in our damp, mildewed rehearsal bunker. The recording contract comprised things such as the publishing rights to our songs, and we didn’t have the slightest idea of the true, enormous significance of such terms. The text sounded professional and it definitely resembled a record contract, but it actually overwhelmed us. Due to Martin’s age, his parents were required to sign as well; that they were actually doing this served as some kind of additional confirmation that everything was as it should be.

A few months later, the recording contract was transferred to the newly formed Celtic Frost. And as Celtic Frost gradually grew more popular, we became more experienced and increasingly encountered individuals who were long-standing music industry professionals, enabling us more and more to comprehend what we had signed. The rights to the music we were creating belonged to Noise Records practically indefinitely, even after our passing. Moreover, the record company had, to a large extent, also secured the financial proceeds of our band, e.g. record sales, merchandising, and the aforementioned, very lucrative publishing rights. In the still fully functional music industry of the 1980s, such proceeds were quite substantial.

And if this aforementioned situation wasn’t reason enough for disagreements between an progressively mature band and the record company, the latter choose to conduct many other band related affairs in an equally uncompromising manner. Recording sessions suffered interference, album covers were altered or outright replaced, song lyrics were deleted, submitted photos and entire booklets were discarded, songs selected by us for inclusion on our albums were exchanged, concert tours were booked without our consent, video clips were cancelled, and so on. These were years of completely contradicting views, eternal conflicts, and unilateral actions.

One should note, however, that such occurrences were by no means exceptional in the music industry of the time. A number of other bands signed to the same record company experienced similar problems, as did groups signed to other labels. And even today, I frequently come across comparable stories. Additionally, we ourselves were responsible to a substantial degree for the situation we found ourselves in: it was us, after all, who had signed the contract. And we ourselves – me in particular! – committed many mistakes as well. Moreover, I certainly should not neglect to mention that the memory of Noise Records and the pioneering spirit prevailing in the scene at the time also evoke numerous positive and nostalgic feelings.

And last but not least, the events discussed above took place some 30 years ago – half an eternity, in other words. Uncounted things have taken place since; we eventually managed to extract ourselves from the affiliation with the record company, we liberated ourselves as musicians, we learned immeasurably much (often as a result of our aforementioned, sometimes substantial mistakes), we attained control over our activities, and we ultimately continued our musical path. And in doing so, we were granted numerous fantastic moments.

It is thus all a done thing, tempi passati.

Why then this rehashing of a story long since exhausted? Well, due to the longevity of certain past contractual provisions, time and again one will be confronted by their lasting effects. Years ago, Noise Records (and thus the rights to Celtic Frost’s early albums) were acquired by Rod Smallwood’s Sanctuary Music Group; said company was later absorbed by Universal Music Group, and Universal in turn sold the Noise catalogue to BMG Rights Management in London.

Last year, BMG Rights Management decided to resurrect Noise Records and reissue a substantial part of the Noise catalogue, including the classic Celtic Frost albums of the 1980s. For the reasons detailed above, we, the former members of the group, have no rights whatsoever with regard to these albums and thus lack the entitlement to exert any influence on these reissues. One must therefore give credit to BMG for voluntarily agreeing to involve me and transferring the responsibility for the art direction for these Celtic Frost albums to me.

Next to remastering, design, archive materials, and art direction, my contributions also included a number of detailed personal texts specially drafted for this new 2017 edition of the booklets of the individual albums. And this is where the past is once again catching up with Celtic Frost. It was particularly the album Into The Pandemonium which, in 1987, was created under dramatically detrimental conditions due to the increasingly pronounced disagreements between group and label. But our other albums with Noise Records were affected to some degree as well.

It is obvious that such decisive occurrences would be part of the narrative of my liner notes, and it is equally obvious that such liner notes would inevitably reflect my very personal view as somebody who was, at the time, a member of the band, wrote the songs, co-designed the visual aspects of each album, and performed and produced in the studio. And it is exactly because of these facts that the powers that be at BMG Rights Management objected.

As part of what was, at all times, an exceptionally friendly and professional exchange of thoughts with the legal counsel assigned by BMG to assess any potential legal issues, I received from London shortened versions of my liner notes, for review and approval. These were adoringly called “redlined versions”. In this particular case, however, “shortened” actually amounted to “heavily censored”. To name but one example: driven by an obvious concern about a potential lawsuit by one of the parties involved in the original 1980s releases, BMG censored and thus slashed my Into The Pandemonium liner notes to approximately a third of their original volume. What remains of my texts was utterly mutilated and thus no longer represented a coherent narrative that made any sense. These pathetic text fragments now failed to convey the full history of the individual albums.

As much as the music industry professional in me understands BMG’s concerns, it is exactly because of the events Celtic Frost endured during the 1980s that I am a radical opponent of any meddling or censorship by a record company, and that my present-day career is one hundred percent self-determined. Regardless of where one stood on the issue, the conflicts with Noise Records affected most of Celtic Frost’s activities significantly.

One could be excused for being prompted to ponder that by executing such “redlined” intrusions, BMG are, to a certain extent, reenacting the modus operandi of the label they purchased, Noise Records. As for me, I am of course not inclined whatsoever to agree to have my texts censored. I thus informed BMG that I would rather withdraw my liner notes than to see them published in disfigured guise (a variety of diversely censored drafts had been proposed to me, in an effort to break the stalemate), particularly since the events described therein have been public knowledge for many years and have also been experienced and described by other Noise Records groups.

And that’s exactly what has taken place in the meantime: in early February of 2017, I withdrew all of my dedicated liner notes for the four albums reissued by BMG: Morbid Tales, To Mega Therion, Into The Pandemonium, and Vanity/Nemesis, and politely concluded my cooperation with BMG Rights. I was thus no longer involved when the reissue project arrived at the final review and approval stage.

Throughout all of these developments, the co-founder and former bassist of Celtic Frost, Martin Eric Ain, was constantly kept in the loop.

Given this state of affairs, I no longer feel that I can endorse and support these reissues, as they no longer reflect the wishes, intentions, and identity of the band. Moreover, I personally do not view them as “official”, as none of the former members of Celtic Frost endorses them.

It had been our intention for many, many years to finally see these albums reissued in what could be called ultimate editions. It was overdue. There had even been (unsuccessful) efforts during the past decade to initiate a collaboration to that effect between our own label, Prowling Death Records, and the current holders of the rights. Unfortunately, due to the failure of this reissue project, it now seems exceedingly unlikely that such ultimate and fully band-endorsed reissues will see the light of the day during my lifetime.

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Brutal Assault : Accommodation info

May 19th, 2017
by Arto Lehtinen


it is free of charge for every festival goer. You just have to set your own tent on a grassy meadow. Even if we try to do our best and increase number of the camping ground security, you cannot be 100% sure that you will not get an “unwelcomed visit” – that’s why we offer depositories to keep your valuables safer.

Services available on the camping ground:

  • depository (approx. 0,33 EUR per one use – definetely less than you can loose)
  • toilets (free of charge)
  • luxury toilets (0,50 EUR per one use)
  • showers (1,30 EUR per one use)
  • camping ground will also provide beer tents, coffee, bakery, bottled watter etc.



it is a service that offers much more security at a reasonable price than the regular camp. For a fee of 400CZK (approx. 16,00 EUR) you will get non-stop guarded camping in fenced sectors.

Services available on the VIP camping ground:

  • camping in the fenced area
  • you can access only the sectors where your tent is placed
  • light during night
  • toilets and washbasin capacities for use of the VIP camp inhabitatnts exclusively
  • depository available near the VIP camp entrance. You can use it 3 times free of charge (storage of your belongings, recharging of your cell phone or batteries)
  • a free one time pass to the showers situated in the camping ground (you save 32CZK = approx. 1,30 EUR)
  • VIP camp will be guarded 24 hours a day from Tuesday August 8th, 2017, 12:00 AM til Sunday August 13th, 2017, noon.
  • situated very close to the VIP camp: camping ground will also provide beer tents, coffee, bakery, bottled watter etc.

For more detailed information on VIP camping ground and reservation form please go to the right upper sub-menu VIP camp.


There’re official festival shuttle buses to Hradec Kralove for our hotel guests. However any vacant seats in each of the shuttle buses is available for sale! You can purchase a one way ride per 100,- CZK. Our hotel guests however have priority and they’re boarding first, only after they’re seated we can sell the remaining seats on each bus. For this year we’ve discarded the reservation system for the FESTIVAL → HOTEL route and we’re introducing shuttle line 666 departuring from the old meeting point at the main square, where tickets will also be for sale. The only difference is that we don’t have a schedule with reservations, there will simply be buses boarding and shuttling You every 20 minutes starting at 23:30 with the last ride scheduled for 03:30. The HOTEL → FESTIVAL route remains in the scheduled & mandatory reservation mode.



for those who are looking for a hotel type of accommodation we can offer a sweet option that will even include a shuttle bus from the hotel to the festival ground (since the hotel is situated in Hradec Kralove, approx. 20km from the festival ground).

Services available for this option:

  • single rooms available at 47,00 EUR per night
  • double or twin rooms available at 74,00 EUR per night, also very limited capacities of triple rooms and doble rooms with extra bed (3 beds) available
  • rooms available for Tuesday Aug 08th, Wednesday Aug 09th, Thursday Aug 10th, Friday Aug 11th, Saturday Aug 12th and/or Sunday Aug 13th (you can choose from the mentioned days, not necessary to book all the days, however you have to book at least 3 days in a row)
  • buffet breakfast included in the price
  • shuttle service to the festival ground and back once a day included in the price
  • a free 4-day pass for the natural ground with a view on both stages (you save 150CZK = approx. 6,00 EUR)
  • other hotel services (not included in the price): laundry, safe-box, casino, restaurant & bar, etc.

For more detailed information on hotel Cernigov and reservation form please go to the right upper sub-menu hotel Cernigov.



for those who are looking for a hotel type of accommodation we can offer a sweet option that will even include a shuttle bus from the hotel to the festival ground (since the hotel is situated in Hradec Kralove, approx. 20km from the festival ground).

Services available for this option:

  • single rooms available at 60,00 EUR per night
  • double rooms available at 90,00 EUR per night, also very limited capacities of double rooms with extra bed (3 beds) available
  • rooms available for Tuesday Aug 08th, Wednesday Aug 09th, Thursday Aug 10th, Friday Aug 11th, Saturday Aug 12th and/or Sunday Aug 13th (you can choose from the mentioned days, not necessary to book all the days, however you have to book at least 3 days in a row)
  • buffet breakfast included in the price
  • shuttle service to the festival ground and back once a day included in the price
  • a free 4-day pass for the natural ground with a view on both stages (you save 150CZK = approx. 6,00 EUR)
  • other hotel services (not included in the price): restaurant & bar, golf etc.

For more detailed information on hotel Alessandria and reservation form please go to the right upper sub-menu hotel Alessandria.



  • you can try to book a hotel/hostel on your own but the capacities are fully booked several months prior the festival (sometimes even 1 year upfront)
  • sleeping in a car would be an option too, but since the parking is in the streets of Josefov, you can hardly think of any privacy or services
  • situation about caravans/campers is very similar to the cars
  • tents are allowed on the camping ground only, no camping allowed in the Josefov town and camping is strictly prohibited on the curtain walls of the fortress

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Rock Candy Records Release Two Classic LILLIAN AXE Albums

May 19th, 2017
by Celtic Bob


Two brand new releases from Rock Candy Records available right now. Great titles with all the usual Rock Candy trimmings: 24-bit remastering from original source tapes, weighty essay’s about the making of the album, full artist involvement, new interviews, enhanced artwork and additional photos spread out over large full colour booklets. See below for full details about each release.

Available now from


THE LATE 80S were a golden time for hard rock. Bands were getting signed by the bucket load. Radio and MTV was full of the sound of a musical revolution whilst concert halls were packed to the rafters with fans who just couldn’t get enough of wild guitars, wailing vocals and shout-it-out-loud songs. On paper, Lillian Axe had everything going for them – hooks, looks and enough energy to power a nation. Why they didn’t become a household name remains a mystery.
Formed in New Orleans, and establishing themselves as local heroes, the band went through a variety of line ups, before settling on the Lillian Axe moniker and being spotted and courted by RATT’s manager Marshall Berle, who brokered a recording deal with MCA. Part of the arrangement was that RATT guitarist Robbin Crosby would produce the album, a situation that worked out well for everyone involved.
Recorded in Los Angeles and released in early 1988, the record sat proud alongside other releases of the time, boasting material that went hand in glove with the prevailing zeitgeist. Tracks such as ‘Dream Of A Lifetime’, ‘Vision In The Night’ and ‘The More That You Get’, demonstrate just how accomplished their song writing was. Sadly, however, due to a regime change at their label, the record was cast aside with the new powers, strangely, insisting that they record a follow-up record rather than work the existing release. Sadly this release never got its deserved day in the sun.”




FOR LILLIAN AXE, the commercial under achievement of their debut album was a bitter pill to swallow. Yet it wasn’t anywhere near as disappointing as the lacklustre performance of their second album ‘Love + War’, a record that has gone on to be regarded by many as one of the most accomplished and best loved records from the late 80s. Somehow they managed to achieve creative heaven with this release, a record that demonstrated an ability to write and perform courageous songs, elevating their reputation above the expectations normally associated with the sort of generic hard rock they had been lumped in with.
‘Love + War’ showcases a decidedly edgy band, one keen to explore and experiment with arrangements and performances that are light years ahead of the competition. In addition, the production, courtesy of British engineer Tony Platt (Def Leppard, AC/DC, Krokus) presented the band and their songs in a  wide screen style, accentuating every twist and turn with pin-point accuracy. High points are many, but ‘The World Stopped Turning’, ‘Show A Little Love’ and ‘She Likes It On Top’ indicate the first rate quality. Listen out too for a choice cover of  Girl’s ‘My Number’.
Issued in mid 1999, the record registered barely a blip on the radar. Both management and label inexplicitly backing off when they were needed most. And that’s a crying shame as this album is truly one of the most sensational records of the era, a buried treasure waiting to be rediscovered.”


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May 19th, 2017
by Celtic Bob

Former Guns N’ Roses and current Art of Anarchy guitarist, vocalist, and producer Ron “Bumblefoot” Thal has signed a deal with EMP LABEL GROUP who will re-release his epic 2015 independent solo release LITTLE BROTHER IS WATCHING on CD and DOUBLE LP on August 25th.

Little Brother Is Watching is an eccentric, upbeat collection of epic, modern rock with haunting melodies, huge choruses and witty lyrics about life in the digital age and beyond, specifically, Thal’s own life and coming to terms with what we all face – beginnings, endings, and moving on. The album was composed, produced, recorded, mixed and mastered by Bumblefoot at his studio in New Jersey, and includes a crowd of 100 fans stomping, chanting and singing backing vocals recorded at a listening party in New York. The day after its initial release, the album went as high as #4 on the Rock charts in Europe.

Little Brother features the singles “Little Brother is Watching” and “Don’t Know Who To Pray To Anymore”, the videos for which have amassed a collective 200k views on Youtube.

“Little Brother is Watching” Music Video:
“Don’t Know Who To Pray To Anymore” Music Video:

EMP LABEL GROUP’s Thom Hazaert says of the collaboration, “Myself and Ron have been working together for years now, even pre-EMP, through the original release of Little Brother, and discussing various scenarios for a wider retail release. Obviously, Ron and David (Ellefson) have a great relationship, and eventually the stars aligned and we are extremely proud to welcome Bumblefoot to the EMP family!”

Thal echoes those sentiments. “I have a great friendship with David and Thom, and through a really great organic process, we came to a mutually beneficial scenario that will breathe new life into a record I’m really proud of. I had always planned to do an LP version, the timing just never quite worked out, and now I’m excited to say that we are able to do it with EMP.”

Ron ‘Bumblefoot’ Thal is an award-winning Multi-instrumentalist, Vocalist, Songwriter, Producer and World-renowned Guitar virtuoso, with over 20 years of releasing music, playing international festivals and headlining tours, and gracing magazine covers as a solo artist. As lead guitarist of Guns N’ Roses (2006 – 2014) Bumblefoot toured sold-out shows all over the world, headlining festivals with crowds up to 150,000. Bumblefoot’s unique ‘fretless guitar’ can be heard throughout GNR’s 2008 Chinese Democracy album.

Bumblefoot’s recent collaborations include DMC (from the iconic rap group Run DMC)  / Generation Kill, and the rock group Art Of Anarchy (featuring vocalist Scott Stapp and Disturbed bassist John Moyer), whose latest LP THE MADNESS landed in the top 40 at Rock radio earlier this year.

Thal is also an accomplished composer whose music is often heard in TV, film and videogames including the theme song to VH1’s “That Metal Show”. Bumblefoot also works with U.S. Embassies around the world on cross-cultural music programs, has his own line of award-winning hot sauces, and works with dozens of international charities visiting orphanages and children’s hospitals around the World with guitar in hand.

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RAVEN Drummer Sidelined Due To ‘Sudden Serious Health Issue’

May 19th, 2017
by Celtic Bob

NWOBHM legends RAVEN have released the following tour update:

So…life can (and does) throw the occasional “mother” of a curveball….

Due to a sudden serious health issue, our drummer Joe “the Baron” Hasselvander will unfortunately be unable to play with us on our current and upcoming dates.

As you can imagine, the health and well being of our good mate & partner in mayhem is paramount in importance.

However in order to meet our obligations to our fans, we will still be playing all upcoming shows with the assistance of some amazing fill-in drummers who have stepped up to the plate to help the show go on. Thursday in Chicago, Jimmy Mess from Tattooed Millionaires will do the honors, and the shows this weekend on the East Coast we are extremely honored to have Fear Factory drummer, and all around Metal legend Mike Heller behind the kit. And for the European tour, KILL RITUAL drummer Dave Chedrick will do the honors.

Please join with us in wishing Joe best wishes and a speedy recovery.

We’ll see you this weekend:

Friday, May 19th Dingbatz, Clifton NJ.
Saturday, May 20 Fish Head Cantina, Halethorpe MD
Sunday, May 20 Bar XIII Wilmington DE

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Statement from STORMZONE management

May 19th, 2017
by Celtic Bob

Last week irish metalheads , Stormzone  were shooting a new music video for a track from their latest album, “Seven Sins”. Acclaimed director Alex Perisson, responsible for many award winning videos from Europe’s top metal bands, had signed up to direct the video, in a concept that involved recording footage in a disused asylum, against the advice of local experts.

As far as we can ascertain, the band and entire production crew encountered some kind of problem during the shoot. We have not been able to contact anyone involved since the date of filming. The attached news report contains footage found at the scene, which some viewers might find distressing.

Anyone with information about the whereabouts of the band or crew should get in touch immediately.

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Napalm Death + Brujeria + Power Trip + Lock Up @ The Electric Ballroom, London

May 18th, 2017
by UK Team

Campaign for Musical Destruction – Napalm Death, Brujeria, Power Trip & Lock Up

Electric Ballroom, LONDON

12th May, 2017

Review & Photography by Graham Hilling

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PRONG – New Album “ZERO DAYS” coming July 28!

May 18th, 2017
by EvilG

Image may contain: textWe’re extremely excited to announce the release date, cover and track listing of our upcoming album “Zero Days”, which drops on July 28!

Tommy Victor about “Zero Days”: “We are really pleased with the performances on this record. It’s a solid outing. We have the anthems, the bangers, the thrashers, the grooves, everything that makes up a PRONG record. It’s definitely a record to listen to start to finish!!”

“Zero Days” will be released through Steamhammer/SPV as CD Digipak, 2 LP Gatefold, Download and Stream.

Tracklisting Digipak:

01. However It May End
02. Zero Days
03. Off the Grid
04. Divide and Conquer
05. Forced Into Tolerance
06. Interbeing
07. Blood Out of Stone
08. Operation of the Moral Law
09. The Whispers
10. Self Righteous Indignation
11. Rulers of the Collective
12. Compulsive Future Projection
13. Wasting of the Dawn
14. Reasons to Be Fearful (Bonus Track)

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