Slayer and Arnette are collaborating on a capsule collection featuring matte black and blood red artwork on Arnette’s flagship Witch Doctor sunglasses, Series 3MX and Skylight snow goggles.
The Witch Doctor is a part of the A.C.E.S. collection of frames that feature interchangeable arms that can be used with other A.C.E.S. models. Available in two color options, grey lenses with a matte black frame and black arms, or red mirror lenses with a matte black frame and red arms, both featuring official Slayer artwork. The arms of each colorway are interchangeable with each other and other A.C.E.S. sunglasses.
The Skylight is Arnette’s full-featured snow goggle with No-BS (No-Blind Spot) technology. The matte black frame comes in two options – one with both dark grey and inferno chrome lenses, or just a dark grey lens alone.
The Series 3MX is the dirt deflecting model of choice for motocross and FMX riders such as Robbie Maddison.
The Arnette Uncommon Projects Capsule Collection with Slayer will be released in limited amounts globally this month.
For more information on the Slayer Eyeglasses, go HERE.
Why Wait? Stream MOTÖRHEAD’s “Aftershock” Now, Exclusively via YAHOO MUSIC
Official “AFTERSHOCK” Listening Party @ Rainbow Bar & Grill – THIS FRIDAY, October 18 from 9-11PM
New Album “Aftershock” Hitting Stores on October 22, 2013 via UDR Music
#3 on the Amazon Top Hard Rock/Metal Chart this Week!
“Just finished listening to “Aftershock”. It’s incredible… they never fail to deliver! If you love Rock and Roll, you must get this album!!!” – Triple H, 13-time World Champion and Chief Operating Officer of WWE
“The new MOTÖRHEAD album ‘Aftershock’ is so ridiculously good. If u don’t buy it Lemmy will personally come to your house & defile your sister!” – Don Jamieson “That Metal Show”
“All [Lemmy] and his mates have done is put together one of their best albums in the last 20 years.” – MSN.com
It might not be October 22nd yet, but the wait is over. MOTÖRHEAD graces their fans with an early full-album debut of their upcoming 21st studio album, Aftershock! Take a listen now, exclusively via Yahoo Music at this link.
Bassist Phil Campbell offers his personal insight, “This record is hard as nails… gonna fry your brains… and put you into AFTERSHOCK!”
You can pre-order the next chapter of MOTÖRHEAD’s legendary catalog now in Limited Edition Digipack format via Amazon.com at this link. The album is also available for pre-order now in regular CD format and vinyl (gatefold – 180-Gram Single LP) format (digital coming soon).
Recorded at NRG Studios in North Hollywood, Aftershock is yet another perfect MOTÖRHEAD record, boasting 14 riff-monsters, placing MOTÖRHEAD in perhaps their best writing form for years.
MOTÖRHEAD recently announced their upcoming official listening party, taking place at the world-famous Rainbow Bar & Grill located at 9015 Sunset Blvd. in West Hollywood. The event is taking place on Friday, October 18th from 9:00-11:00 PM, upstairs. Come listen to the brand new MOTÖRHEAD album Aftershock before it’s released on October 22nd, enjoy free Rainbow Pizza and win MOTÖRHEAD prizes! The first 100 MOTÖRHEAD fans get in free!
All of the bands involved in the Noisecreep.com ‘Most Anticipated Release of October’ Poll were great sports, but MOTÖRHEAD’s Aftershock came out on top! Thanks to all who voted.
Reviewed and live pictures by: Anders Sandvall
Guest contributor: Ulrika Henriksson
Here comes a review of this years edition of Getaway Rock Festival in Gavle Sweden. The festival was jammed with good music like In Flames, Nashville Pussy, Deep Purple, Behemoth, Testament, System Of A Down, Lamb Of God and Iced Earth. The festival was packed with good people that didn’t seem to mind the constant rain during the first day of the festival. Unfortunately, couldn’t we be there all three days because of a broken camera caused by too much rain and moisture but read about Friday at the festival down below.Read the rest of this entry »
SLAYER – Interview With Bassist/Vocalist Tom Araya
By Peter Atkinson
Live pictures by Arto Lehtinen
Slayer, circa June 2013. Photo by Tim Tronckoe
As 2013 marked the 30th anniversary of Slayer’s debut album, Show No Mercy, and the 25th anniversary of their legendary, yet divisive fourth album South of Heaven, this should have been a year of celebration for the band. Instead, frontman/bassist Tom Araya and guitarist Kerry King spent the first half of the year dealing with the back-to-back gut punches of replacing original drummer Dave Lombardo yet again in February, on the eve of an Australian tour, and then mourning the sudden loss of guitarist Jeff Hanneman, who died in May of alcohol-related liver failure after battling the effects of necrotizing fasciitis in his right arm for two years that left him unable to perform with the band – and which nearly killed him to begin with.
While the shock of it all was still just settling in, Slayer were back on the road over the summer, honoring tour commitments in Europe and South America – all while the usual parade of shit-talkers were taking to their Interweb soapboxes to pile on the band for forging ahead under such circumstances and casting doubt about their future with the common refrain of “No Hanneman, No Slayer!” – given that he had written most of their signature songs, from “Angel of Death” to “Psychopathy Red.”
The band is soldiering on for now with Exodus guitarist and long-time friend Gary Holt holding down Hanneman’s spot – as he has been since Hanneman contracted the infection, apparently from a spider bite, in 2011 – and two-time drummer Paul Bostaph returning once again, after one-time drummer John Dette filled in on the Australian dates. Slayer will be playing their first North American shows since Hanneman’s death – and with the new lineup – starting at the end of October, with France’s Gojira opening.
After that, however, nothing is for certain. There is some new material to be had. Some of it was put together by King and Lombardo before contract squabbles prompted the drummer’s departure after his 11-year latest stint with the band. More intriguing, perhaps, is the fact that there are two relatively complete songs written by Hanneman in the hopper, and potentially many more bits and pieces in his archives. Whether any if it will see the light of day, however, remains to be seen.
During an Oct. 9 phone interview from his home in Texas, a somber but still quite chatty Araya spoke about the loss of Hanneman, how the band has handled things in the aftermath and the new material that has been kicking around. He also noted that what the future holds for the band will be determined once he and King are able to “sit down and talk Slayer” after the upcoming tour is over.
I caught the tail end of the last interview where you were reminiscing about places you used to play back in the day. When you are playing in New York this time, is the Theater at Madison Square Garden the old Felt Forum you were so famously banned from for the “seat cushion” incident?
Slayer at Jalometalli 2013
Tom Araya: That’s the old Felt Forum, yeah. The Felt Forum was crazy because people were lighting seat cushions on fire and throwing them like Frisbees. Good times (laughs).
When I saw the Clash of the Titans tour at the full Madison Square Garden in 1991, I was up toward the front, which were supposedly the VIP seats, and all the fold-up chairs there ended up in a huge smoking heap at the front of the stage by the time you were finished, so even at the big hall it was devastation.
Tom: (laughs) Oh yeah. I remember that. A lot of tours where we played buildings like that they put folding chairs out and we always told them, “Not a good idea.” We had a security guy who worked for us, a guy named Jerry Mele, and when we’d play at these arena-type places where they would put these chairs out he would tell them, “you can’t be putting these chairs out.” And they would be, “well, you know, we have to.” And it was like, “we understand that, but we’re telling you right now this is not a good idea. This area in front of the stage, you can’t put seats.”
He would tell them “this is what will happen if you do.” And they would be like, “Oh, no, no, no, no. We have to put seats, it’s regulations, it’s fire code.” And he would talk to anyone in authority and say they shouldn’t do this, and they would ignore him and at the end of the show there would be a huge pile of them.
And then it’s your fault.
Tom: Yeah, and then it’s our fault. A lot of times, what he would do, once the chairs started coming up and becoming a pile, he started encouraging the fans, these kids, to line up and pass them to side, so they would put out away from the audience. And a lot of the kids were very helpful, and they would clear out a big section of the floor and then do what they wanted to do, which was mosh and go crazy. Do their metal dance (laughs).
That continued happening even up to when we started Ozzfest. We did the Ozzfest in San Bernardino and they did the same thing. They started ripping out the chair sections in front of the stage, and they started passing the seats over the barricade and they got taken onto the stage and out the back. That seems to follow us everywhere we go, so we’re used to it. But it doesn’t happen so much any more.
I remember reading an article about Jerry back then in the New York Times magazine or some place like that where was talking about all the security preparation that went into a show like yours and he sounded like a general preparing for combat.
Slayer at Jalometalli 2013
Tom: Yeah, he was a really great person to have out because everywhere we went he would talk to the local security and a lot of security companies adopted his method to the madness, which is really cool because it’s made life easier for a lot of bands and a lot of fans to enjoy themselves more. As opposed to what they used to do, which was beat the shit out of you and throw you out (laughs).
You’ll be getting back into more “intimate” places on this North American tour, are you looking forward to that?
Tom: Yeah. We’re going to be doing theaters, between 2,000 and 5,000 seaters, so it’ll be good. It’s the first time we’re actually doing a Slayer tour, as opposed to being a part of a big tour, in a very long time. The last few tours we’ve done across the states have been with co-headlining acts or festivals. It’s never just been a Slayer tour with two special guests as opening acts. We figured we’d just keep it simple and hit theaters and small arenas. We’ll see how it is, we hope it’s successful, but we haven’t done it in a while.
Are you interested in seeing people’s reactions here to the new Slayer, the new old Slayer, or whatever people think it is?
Tom: (laughs) I don’t know. They’ve experienced Slayer with Gary, and everybody’s experienced Slayer with Paul because Paul was part of the band for quite a few years, so it’ll be time for everybody to get reacquainted with Paul and acclimated to this lineup. Gary has been playing with us for two years now, if you can believe that. People have seen the various pieces, just not all together.
Paul’s always been a friend. When he left it was on his terms and it was no bad feelings at all. Paul felt he needed to move on and it wasn’t on bad terms and to have him back and playing in the band is awesome. It’s like we’re taking up where we left off with Paul and he’s amazing. He’s full of energy, he’s excited to be back and he’s excited to be part of Slayer again. So it makes for very energetic shows and very exciting times.
This is gonna be good. Like I said, everybody is going to be reacquainted with Paul and everybody knows Gary has been filling in, now it’s just a whole different circumstance knowing that Jeff has passed. I’m sure everyone will enjoy it. Paul is very energetic and excited, which makes everybody else excited. It’ll be good and it will allow closure for everybody.
Those were two pretty big hits for the band back to back, the situation with Dave and then Jeff passing.
Slayer at Jalometalli 2013
Tom: Yeah. It was a same time kind of thing. We would have conference calls between the three of us [Tom, Kerry and Jeff] trying to figure this whole mess, this situation with Dave, and each of us were letting the other know how we felt about it and we needed to figure out what we were gonna do about it. All three of us were onboard as far as what was to be done and how we were going to approach the situation with Dave, and Paul coming onboard, and then Jeff passed on. We were stunned. It was pretty crazy. It still is kinda crazy.
It seems like that happened a longer time ago than it did, since the band was playing shows all through the summer, but it hasn’t even been six months since Jeff passed away and Paul returned. You guys really didn’t have much time to take stock of everything.
Tom: After Jeff passed, about a month and half later we started a European tour, which is something that was in the books the year before. So we did two European tours and we just got done doing a South American tour.
We put a banner up, it’s a Hanneman banner, it’s like a small memorial to Jeff. Doing these shows, its allowed closure, but, shit, the first tour of Europe we did after he passed was a little rough. For me it was. The first week and a half was pretty rough as far as continuing on and doing what we were doing. It’s a whole different tune now. It’s not the same, because you know it can never be the same. That was a little rough for me.
But like I said, we have a banner, we have a backdrop that we use, and we’re taking it to the audience, to the fans, and allowing closure for allow of them, for everyone to sit back and remember Jeff. So I think doing what we’re doing, this fall tour that we’re doing, is going to allow for that for the fans in the states. It’s a healing process for me, remembering Jeff by playing his music.
Believe it or not, 95 percent of the music we play live is Jeff’s (laughs). Almost every song we play live is a Jeff song, musically written by Jeff.
How is Gary dealing with all this, he’s in odd position – plus there’s still Exodus and I wonder if he’s itching to get back to that, since it’s his baby?
Tom: He’s managing. He still has Exodus, actually apparently in his time off he’s been writing new material, so he’s putting together material for a new Exodus album and taking care of that. But yeah, at some point, once we get this tour put aside, me and Kerry are going to have to sit down and take care of Slayer business and figure out how we’re going to handle this.
But Gary has been doing an amazing job. He’s a devoted friend, obviously, to continue doing what he’s been doing, because it’s been asking a lot of him. He’s been great at this, he’s been doing a tremendous job and we’re indebted to him because he’s continued and kept moving forward playing with the band, he’s more than happy to do what he’s doing.
Slayer at Jalometalli 2013
Would you be amenable to having Gary write and play on a new Slayer album, or is that going to be part of the Slayer business you and Kerry will be taking care of?
Tom: Yeah, we’re going to have sit down and figure out something. We haven’t had a chance to sit down and talk about anything. I, for one, didn’t really want to, especially at that moment when everything was happening. Now that we’ve got that behind us and we’re going to do this fall tour, once we get finished I think that will be an opportunity for me and him to sit down and talk Slayer and see how he feels about it, and I can tell him how I feel about it and we’ll know before the year is out what the future holds.
Of course the cat is out of the bag now about the material Jeff had left behind, and the possibility of it being included on a new Slayer album. Where do things actually stand with regard to that?
Tom: He’s got a lot of material I’m sure we haven’t heard, we haven’t had the privilege to really go through his material as far as the stuff that he has at home, personal stuff. That’s up to his wife to allow us the access to that. But there are two songs, one that was incomplete lyrically, that we were working on for World Painted Blood and then another song that he had put together before he passed away that got circulated between the three of us.
It was something when I heard it I liked it, and I communicated that with Jeff, that I thought it was great, that we needed to figure this out and I wanted to put some ideas together for it because I really liked the song musically. He was excited, and he let me know how he wanted the song to be as far as verses and choruses go, so me and him communicated about the song, so I was all excited, and then … (pauses).
That’s what he usually does, he’ll put together a demo of songs and let everybody listen to them and everybody learns then, and then when we go into the studio we work the songs out until they are polished the way we like them.
Slayer at Jalometalli 2013
On Soundtrack To The Apocalypse there’s the demo of, I think it’s “Angel of Death” [actually, it's “Raining Blood"] where he put the guitar tracks down over a drum machine, and it didn’t sound that far off from how the finished version ended up.
Tom: That’s how he did stuff. He would present six or seven songs like that every time. On World Painted Blood, before we even thought about going in to do the album, he was like “hey, why don’t we go in and record at least three or four tracks and try to release an EP or a single, just to give everybody a flavor of the upcoming album.” And he had seven or eight songs that I recall listening to and thinking “Oh my god, this is some really good stuff here.”
“Psychopathy Red” was one of the songs that was on that disc. And we recorded two of the other ones, one of them being the song that we haven’t been able to finish (laughs). He had other stuff that I thought sounded awesome, and when we started recording the album he brought out other material that was different than the stuff he had earlier.
I even communicated with him and told him, “Listen, there were three or four songs that I really liked [from earlier] that I’m surprised you never did anything with them. Whatever happened to them?” And I had to send him a copy of what I had because he was like “I don’t think I have copy of those anymore.”And later it was like, “Oh yeah, I remember these songs (laughs).”
I thought they were great because I had ideas for them, melody ideas, and they never really came into fruition. I’d like to hear what he had done and whether he had ever completed any of that stuff. And there is other stuff that, hopefully, I’ll get a chance to sit and go through and listen to and see if we’ll have access or get permission to do something with.
Slayer at Jalometalli 2013
That sounds like it would be like going through someone’s attic, with all its ghosts and memories and things like that.
Slayer at Tuska 2008
Tom: I think that that would be good though, because there are some things that I know he’s got that would be great. But like I said, we have to talk business before we can do anything else.
Have you and/or Kerry been working on stuff of your own, or working together on anything?
Tom: Me and Jeff collaborated a lot. I collaborated with Kerry on a few songs, but that was not a big thing with Kerry. Kerry liked to do his own stuff, and liked to do it his way, and didn’t really care too much for collaborating, he wasn’t too hip on that.
Kerry’s been doing some stuff on his own and there were two songs, out of all the songs that he and Dave demoed, two songs were completed that I helped finish for him vocally, but it wasn’t anything that we collaborated on. When we did the two songs in the studio, he was like “here are the lyrics and this is how I want the song done.” And I did the songs the way I felt they should be, but he would prefer that I did them his way (laughs). So there are two songs that have come out of the sessions they started a few years back.
We’ll see how it goes. Like I said, there’s a lot of communication that needs to go on before we move forward. We need to sit down and talk.
Well I certainly appreciate your doing this, it can’t be easy to sit through these one right after the other talking about what might happen with your career.
Tom: Yeah. I’m trying to choose my words correctly. Definitely (laughs). We’ll see what the future holds.
I had an opportunity to interview Peter Hobbs in Jalometalli –festival which turned out as an interesting session for covering up the history of the band from the late 80’ties to the present day. We talked about future plans of Hobbs Angel of Death as well as the shape of music industry today. How does Peter Hobbs feel about the comparison of Hobbs Angel of Death to Slayer??? Got interested already? Read on!
Interview by Niko Karppinen
Pics by Arto Lehtinen
Short history lesson of what happened after the first album
The debut album of Hobbs Angel of Death was released in 1988 and second album was released in 1995. What happened during those years and why it took so long between those two albums?
PH: A lot of line-up changes. A lot of line-up changes and unfortunately the window of the line-up changes when you go reshow people the past. By the time you get to show them the past songs and you get to a stage where you can get — again you can do tours and whatever, you end up playing the old songs. By the time you finish a lot of people realize that they can’t really cut the deal. It’s not what they want in life. You got to be a diehard to be doing this sort of thing. That’s why there were so many — so many years past.
I was trying to find the right people that can actually work with me. I’m not a tyrant. I’m a pretty easy going fellow. But some people at the end of the day they got commitments. They got commitments and normal lives.
I always made Hobbs Angel of Death to be a part of my life when I possibly can. Unfortunately line-up changes have been a great deal in my career. But while I’m still here today I keep going and going and going to give my fans what they expect from me, the best I possibly can.
During recent years there have been lots of reunions from the old bands. Which probably got something to do that thrash metal has become popular again? What actually made Hobbs Angel of Death to come back in 2002?
PH: Hobbs is full of passion, passion and aggression. I thought it was a good time in my life when I saw maturity coming into it, that I could go out again and fight those wars as a gladiator and actually even get wounded in the process but always finish that war and be proud of what I did. In the earlier days a lot of people take for granted what you can go and do. I found it was a very good opportunity for Hobbs and to me, personally to go back out in the world again and show the artistic thing that I withhold. You know? And I did some great gigs with Destruction of course, Mayhem, of course close friends of mine. And a lot of numerous other bands that sort of asked me to be playing with them and whatever.
So when bands came to Australia they will ask for Hobbs support or whatever. I actually didn’t want to do supports. I said, “Look, this is your guys, this is your night. You’re in my hometown. Enjoy, enjoy your time. Enjoy your gigs. Do whatever. I’ll play after. . I’ll play afterwards and I’ll just fill my hometown with my enjoyment.” That’s a badie, you know? I went on a long fishing trip earlier in that year and I caught a whale and it took me around the world a few times.
The sound of the band was unique right from the start because you were using keyboards in the debut album and that was not very common in those days when it comes to the thrash metal bands. Do you think that it made a difference between the Hobbs Angel of Death and the other thrash metal bands at the time?
PH: It was keyboards. Hobbs never had keyboards. You mean at the end Marie Antoinette?? Correct. I wanted that to be a very classic ending. I wanted it to be epic and I played those keyboards myself. I believe that French Queen, Marie Antoinette deserved to be remembered for total history. I hope the younger generation remembers a lot of people through the old past times. Because without history, you can’t move forward and you need to learn from history for repair change. Or make another way of it to progress. So it was my honour back there at that time to make it an epic ending and do the choirs.
The music press was praising that the Hobbs Angel of Death was the Australian response to Slayer. What do you think about that especially now when you are sharing the stage with the Slayer here in Jalometalli-festival?
PH: I’ve waited 30 years for this to arrive. 30 years to actually prove that Slayer and Hobbs Angel of Death are totally different. I mean there’s no denying that my influences were Slayer. I’m a sort of guy that I guess shaking the future in front and I loved it. Slayer’s coming through with Show No Mercy, Hell Awaits and all those classical awesome songs. I know that that sort of band is going to really happen because I could see the support they had, I could see their hunger, I could see their warmth, I could see their passion and I knew that was going to happen.
Last night, on the 9th of August 2013 Hobbs Angel of Death had the opportunity — and I ask Peter Hobbs had the opportunity to show to Slayer is that we are not the same. There are some influences but everybody has influence on everybody. It gave me great pleasure to — and I know they heard — I know they heard from their dressing rooms I was giving it what Hobbs – Peter Hobbs is all about and I just hope a small part of my life if they can respect me as much as I respect them.
What kind of elements are Hobbs songs made of ?
Your songs are quite often referring to the historical events or characters such as “Bubonic Plague”, “Jack the Ripper”, “Marie Antoinette” and “Tutankhamen”. You seem to find history inspiring when writing songs?
PH: Okay, a quick rundown. House of Death was — I wrote that song in Italy. I was there, there was a shrine of monks there and had these — they were fucking real. They were standing there and they were holding crosses and there was content there of what you are, we once were a monument of life. Now what we are here you will become in the House of Death. I took that and I put it in my own way.
As Jack the Ripper, I’m a person that gets a feel — I need to feel the realness. So back in that time I was in White Chapel in England as I was there in the year previously. I did a bit of a promo tour as well on my own. I actually walked around the Jack the Ripper walk and felt the ground, felt the walls, felt where the murders were. I could actually feel that — I could feel what happened.
Marie Antoinette, the Bastille — the real Bastille is not there anymore. Actually wrote that song in the early times with Tarsus and at the same time when I was there I actually went to in my imagination to the Bastille on the grounds of where it was. I asked my first wife to bring me my last supper to actually let me feel how that pain was going to be, heading to the guillotine the next day. How Louie was thinking. How the children were thinking and I put myself in the position of that pain knowing that come that time in the morning there’s going to be no more.
That gave me great inspirations for those choirs and everything when I recorded that album. Yeah, I like to get feeling from real life things. A lot of other songs that I’ve wrote, well you can’t commit such crimes to feel that feeling but to still have the fantasy and whatever. I think it really helps a lot writing music.
What kind of bands influenced you most in the beginning when you formed Hobbs Angel of Death?
PH: Okay, so if I can just go into my early stages like when I was 9-years-old. I was listening to all those sort of bands like Status Quo and all that sort of stuff. Then of course Black Sabbath, Rainbow, Uriah Heep, Iron Butterfly all those sort of bands. I was listening to Demon… A lot of early things…
I should tell you a little quick story. When I was in Wacken back in 2004 I had the opportunity to meet Ronnie James Dio personally. I was talking to Ronnie for about half an hour and I mentioned to him that watching you guys — sort of made when I was young, wanting to be in a band and now what I’ve saw. That’s what I want to do with my life. After length of time and he actually said to me, he said, “I’ve listened to you bullshit for fucking half an hour.” And he said, “I actually know who you are from Australia.” And he said, “You make me want to keep going at 60.” – I was just fucking shocked! I was just absolutely blown away that talking to my idol could turn around tell me that back to me! Made him still trying to conquer and continue in his career. You know? So it was quite a shock.
I hear a lot of things from a lot of people and – Norwegians; Hell Hammer, Frost, Faust, Emperor. All these people, they’re saying to me that fucking you do matter. It’s amazing and I inspired them in the things that they do and they inspire me. So what I’m actually seeing now is a mirror image of me being able to have the pleasure to have been around watching them saying that fuck you guys, you really fucking kill. It’s a pleasure to watch this talent, you know, from around Europe and we’ll watch. You know? Especially when they say that I’ve influenced them. I’ve just come from Norway. I saw Bloods & Army and I thought, fuck, these guys are now influencing me back again. They made me hungry to finish off the rest of the tour and to finally today be in Finland and fucking enjoy myself and you know, play. Last night was awesome.
You have once said that Hobbs Angel of Death is playing “virgin metal”. Was this term about to differ the sound of the band from the others or does this term contain certain musical features?
PH: Pure black virgin metal are my old management from back here what nearly 25 – 27 years ago now. He came up with a sort of name and we actually came with it together, you know. I was the black, he was the — you know, anyway what it is not fucked by anybody. That’s what it means. Pure black virgin metal is Hobbs’ pure aggression. The black is my satanic lyrics and the virgin is not being at that stage by anybody. It was unique. It was something special and the metal, yeah, pure black virgin metal.
Back to the roots of thrash-metal
European thrash metal has its roots in traditional heavy metal whereas U.S. thrash metal (especially east-coast bands) has clear hard-core influences. Hobbs was among the very first Australian bands playing European-style of metal. But do you think that the roots of Australian thrash metal lies somewhere else compared to the European and U.S. bands?
PH: I don’t know. I mean being far away in Australia I’ve always said there was a band in Australia called Depression, another band called Renegade and I had my band called Taurus. We actually changed the movement in Australia of that cross over deal. So we — being living in Australia, very far away from everywhere. America’s far, Europe’s far. But I actually learned that if you combine U.S., European and Australian on Australian way. I’m English born but I still have that European thing about me inside. You know? I’ve also always believed that European ways the way to be. They’re straight forward; you say it straight up front. If you can’t fucking operate with the rules, get the fuck out. You know what I mean? It’s I believe the way of being true to yourself. Be a Viking, be a Gladiator, and be whatever. Add to the combination of the American, Europe.
I still to this day walk around thinking, well how do you judge genres? How do you judge them? Now where did it come from? So I like 70s punk, Sex Pistols. You know you can be mixing 60s sorts with explode into that. You know? And as thrash and that’s where you come up with the aggression. The aggression, that rudeness and forceful way, you know what I mean?
The tape-trading and the metal underground scene began to take shape in the middle of the 80’ties. How do you see the importance of metal underground scene in those days and do you think it helped Hobbs Angel of Death in the very beginning to gain success?
PH: Definitely! At the time when European metal underground put a lot of support behind Hobbs for Germany that was the first time in Angel of Death before I changed it to Hobbs Angel of Death it took quite a lot of copies and Europeans helped us to get through that area there with the first demo. The demo was accepted worldwide and it sold so quickly. The amounts, the units, I still even believe today that it’s a great opportunity for bands to release a demo. Do a demo first. Like it’s really hard because it’s very financial now to be doing these sort of things but I believe in the old school way. Do a demo. Do a very good demo. Have it as a teasing thing for companies.
We all know that the industry has got older now and there’s downloading and stuff like that. But I believe — an that’s what I’m actually doing is what I’ll do is I’m going back to the roots of how I saw success to make things happen. There’s nothing wrong with doing demos. If you can do a great demo and you have interest, you can do a great album and that’s where companies may help you go in the old school way. You know? A lot of companies want you to do it all now so financial and they want you to do all the products and just take the easy road. I think it’s time to go back to the old roots. Go back into the bedrooms. Start writing this stuff. Stop doing any demonstration form. You know? Come out with a good demo. Enough to tease show what you got. Then come to the product.
Touring in Europe and a few words about the forthcoming album
This is the very first time for you to play in Finland. What kind of expectations do you have towards the Finnish fans? What do you know about Finland and do you know/ like any Finnish bands?
PH: Oh, it’s always been a dream to play in every country of the world. I heard a lot about Finland. I got here yesterday and I walked in through these gates. Got out of the — you know, walked through these gates and there was just so much respect for me. You know? I must apologize for a little bit of my naiveness because there’s some great talent here. You know, I can go back home in the next few months and appreciate the talent that has come here from Finland’s. There’s great talent worldwide and I think that everybody has the opportunity to do that. I’m seeing that here at this festival.
It’s a great organized festival. Everybody’s friendly. Everybody is respectful and of course it’s in turn. Organizers are to be respected for their efforts. They’ve done a great job here. I want to actually come back to Finland here when it’s snowing. I want to see it in winter. You know, I want to feel that — I want to feel what you guys feel. You know? Out here in the summer I get the feeling like in Australia sometimes.
But I actually want to feel the — I want to feel what it’s like to be living here in Finland fucking minus 30 degrees and feel the passion of getting up every day. Going to do your normal life I take my hat off to this country because it’s something that I just wouldn’t see. But I’m going to make it a good effort to come here in the winter. Yeah, I want to do that.
You just finished your European tour and this gig in Jalometalli –festival is going to be the last one of the tour. You have played in Italy, Denmark, Norway, Sweden, Germany, Holland and Belgium. How do you feel about the tour?
PH: Very happy with the tour, the tour was going extremely well. I came in 2012, did a little mini tour to see how Hobbs would be accepted to come back after a long term of absence. I’m absolutely overwhelmed by the attention that I’ve had here. The respect is just abundance.
It really makes me quite emotional at times to actually feel that, because one thing that I always said to a lot of people in the young generation as well; is that never ever in your career disrespect any fan! Listen to input. Your fans are what are making you. Without fans you’re nothing. You might as well stay home in the bedroom. Which I’m very lucky and very graced to have a great lot of gratitude to my fans for giving me the support. And it just grew, I understand now that it makes me feel that 2013 is not over. I’m going back to Australia. I’ve got a few things to do. I’ll enter back into Europe again before 2014. So I will be returning in 2013 again to show my appreciation. Love Europe! I love the people in Europe! I love the fans in Europe and all I’m trying to do is return that gratitude! That’s what I’m here to do.
You have Harris Johns 0n the tour with you who mixed and produced the first album?
PH: Because that’s the guru, the guru is Mr. Harris Johns! Awesome producer, awesome engineer! Harris and I collaborated 25 years ago and we made something special that become cult. When I’m dead and gone, another 25 years — though I hope I’m around to see it — this new album to become cult again.
To do a product you have a product, you have a market and to make something work you need to work with the right people it saves everything. Harris knows what I can deliver. I know what Harris can supply with his maturity and professionalism, and also his experience in Music Lab. I know what he’s doing so well that I would be an absolute fucking fool to not ask again this man to help me do something special together and collaborate and do something special again.
You know, like I’ve got seen through a lot of other bands that I’ve had producers, engineers and they’ve changed. A lot of the ones that have succeeded and I’ve ended up with great big names, humongous names today that stuck along with the same way. The same process, not everyone’s a winner but it is there. You keep chumping and changing in life, fucking nothing works. You know, you got to get something, think about it, put it all together, do the planning of it and then come and execute it.
So that was my thought. What I’ve done here, while I’m here I believe that I’ve done that again. So I’m going back here in about three weeks’ time to complete what I believe and personally believe and with support from people. Is I’ve recreated that cult album in another way. Let’s see what happens.
There is new album on its way which you recorded in the Musical Lab in Berlin? What kind of material we can expect from the forthcoming album?
PH: Okay, so what I’ve tried to do is I’ve had advice from you know like old listeners and old school people. I understand and I appreciate exactly what they’re talking about. Hobbs was something special back in the 80’s. I did create something special. Somehow try and recreate that. So think of the old way, this of the old roots and everything, you know.
So, I feel that I have put back into the — this upcoming album a lot of taste from what I did in the past. You know, like you will hear 12-stringer again. You may even hear more than choirs this year. Maybe even a harpsichord. You know. And that’s me showing a very old instrument there.
About the new album: What kind of process it was to work it out? Did you do something differently than usual?
PH: Am I doing something different? Unusual? Yeah, I’m putting back the passion back in satanic part of fucking Hobbs Angel of Death. That’s what I’m fucking putting back.
Hobbs Angel of Death, what it’s all about
The current line-up consists of skilled musicians like Luke Anticevic who has played with Angelcorpse, Krisiun and Forbidden etc. How difficult it was to find right guys for the band and do you think this line-up is going to be the permanent one?
PH: Hobbs Angel of Death is never going to have permanency. Hobbs Angel of Death is always going to be changing line-ups talking about commitments and things like that. Not everybody can afford to be playing the game with Hobbs. It’s not a game, it’s a very — I take my career very serious. It’s not a joke. People have got to be in the unit that actually believe in me. It is my baby. It always will be my baby. I’m offering my heart for you guys to come on an adventure with me. If you can cut the distance and you can run with it, you can do it. You can abide by the rules? Okay. So join the family of Hobbs Angel of Death. Tell me now before I get to a stage where I feel that you can be a part of the family and fucking now if you don’t want to do it. You know?
Having Luke in the band is absolutely fucking amazing. This guy’s young, this guy’s talented. Very, very talented and the way he uses his instrument, plays an instrument. Matt’s also a professional as well that’s playing and filling in with drums. I’ve got Bo Rami with me as well. Bo and I — he worshiped Hobbs from his younger days when he was 16. He used to come and see me in Cantarus days. Bo is with me today too.
The reason — another reason why Bo will probably be — will obviously stay with Hobbs is because he has the same fucking dream I have. We — he has the same dream. We get up, we sing music, and he’s wanted to come here as much as I have and fucking we’re here! So he said to me last night, you know, he calls me Boss. I started laugh about it and I call him brother. You know? And we both thank each other for being a team. Hobbs is a team. And that’s what we’re here, to be a team. Execute what we’ve got to do as a team. I’m not better than these guys. But I do know that the situation and the line-up that I’ve had here on this tour, it has been fucking cream. It has actually been cream. I’ve got to go back home and do what I’ve got to do to now gather again and to have Hobbs come back to wherever again in Europe. If it’s one month, two month, three months, I have to — I have to fucking put it out! I’ve got to get it…and that’s life. That’s what it’s all about. A lot of people have a lot of different things in life. There’s opportunities knocking on another door then we’ll take that. If that opportunity is not the right door to open it’s not my fault. because the train does actually pull in the station; “All aboard!”, and then leaves…
Music industry today is in crisis, record sales are getting down resulting that the gigs and online sales have become important issue for the bands. So there is kind of “do it for yourself” –mentality prevailing in scene which reminds me a bit of a situation we had back in the 80’ties with the metal underground. Do you agree with me?
PH: I do. It’s becoming very, very hard. You go to the internet, very easy to download things. I’m actually thinking to maybe stay in the independent area where I can have full control myself. It’s my product. I pay for the recording. Actually Peter Hobbs personally pays 99% of what I do. That’s a big sacrifice for me to just give that away.
I’m very strict about when I do recordings and whatever, there are no leakages. Because I want to offer if there’s an opportunity with a company to have Hobbs Angel of Death on their label. I want to have total security and respect to them that you’re getting the whole 99% of Hobbs without any interference. So I have strict laws. Anything I record does not leave that recording studio. It stays mine. It’s protection. It’s a protective way.
The internet has personally fucking — we need this internet and what’s been invented for us to use? Technology! We need technology to move forward. Unfortunately technology’s destroying a part of what the metal scene is. I’m old school and I know that to get things was hard. You had to in your ways fucking get up, go to the bloody record store, sit there before it opened and all this stuff. And wait and fucking bleed for the new Exodus, new Destruction album. Sodom all this sort of things, fucking Raining Blood… Everything, you know, you had to really wait. It was an excitement. Fuck now you got to do is — you can actually do it in bed. You just fucking roll out, turn on the fucking laptop, push this, fucking bang. YouTube is there and, you know, like Lars for Metallica many years ago was trying to stop all this. I could see his intentions but unfortunately you’re one man now competing against the world and you can’t stop it.
But, he gave it a good shot, he tried to do what he had to do and it’s a part of growing as well. You have to accept the fact that technology is growing. I at my age have to understand and appreciate I guess and respect also because a little bit of a leakage can actually fucking help in ways. It can tease and whatever…
But for me personally Hobbs Angel of Death is I keep everything fucking secure like the Mafia -man. I think that’s the best possible way for it to happen for myself. A lot of people wouldn’t agree but fuck them. I treasure what I have and everything that I’ve worked for I’ve had to work hard. I don’t believe that it’s a free ride. If I’ve got to get on public transport, I got to pay. I tried it in my younger days to sneak on it but I got fucking caught and but I’ve learned now through wisdom fucking pay the money. Don’t try to sneak in anyway because all you’re doing is ripping somebody off. Instead of trying to get on a guest list: See the band, fucking pay! Pay to go in! It’s helping them! It’s helping the younger generation of the world. That’s my honest opinion. It’s good for some, bad for others. But we all have to adapt to it, you know, in our own way.
What kind of music does Peter Hobbs listen nowadays? Are there any new bands which have impressed you lately?
PH: I’ve always answered this in a very intelligent way. There is so many bands that I listen to and I can’t mention them all. To leave anybody out from who I would mention is — I would, you know, to me personally, the person that I am I would find it insulting on my behalf that I can’t mention the great artists and the great bands that are in this world of today.
I’ve always tried to be political in that way as well to not mention so and so and so and so, without mentioning so and so and so and so. So where’s it start, where’s it stop? I just sort of like to add to that comment as well that everybody that’s trying to do what they’re doing. Fucking don’t stop!
I appreciate everything that I hear. It doesn’t matter whether it’s fucking hard core, soft core, fucking new metal, blah, blah, blah… black-metal. Ya, ya, ya, ya, ya. …As long as everybody’s trying.
Look at these guys behind me now. They’re still fucking going. I can spell it. T-A-N-K-A-R-D, you know what I mean? Fucking my hat’s off to these sort of people! European acts, fucking awesome! I love them! I was English…Born in England and I’m not racist so I love music from every avenue of the world and it keeps me versatile. So there are some great bands in Australia. Some really great talent and I’m going to help them personally. I’m going to help them. I’m going to offer my advice if they want to listen, so be it.
What kind of plans does Hobbs Angel of Death have for the future?
PH: To come and keep pleasing you Nico… To show you that at my age I still have passion. I still have aggression. I still have respect for my fans. I have respect for organizers. I have respect for festival organizers, promoters. Again, Hobbs has material but I also need the help from promoters and organizers to help me put it out there. So Hobbs has a future that is still being respected today. So why not continue that fact and keep coming back.
Fucking put on those fucking boxing gloves bro and I’m ready to fucking enter into any ring as a Gladiator would. The bigger coliseum, the more opponents I have, the more it makes me hungry! So and I feel like that. The voice has its story. You know that movie Gladiator? Where that fucking — that gate is like that. The sun is shining in your face and I see on the other side the fucking thing man, whipping that fucking thing. And I’m looking here… Are we ready to go and some are pissing themselves and I’m thinking fuck, I got to get out of here. Soon as that gate opens, actually duck, come around from the back. Get that big fucking guy. You know and that’s how it is. Because I’m older now, Nico I’ve got wisdom in my head. I know how to fight wars, which is normal strategy. Wars are built on strategy. So the wars for Hobbs Angel of Death in the future are about to fucking stand tall! Respect those who respect me. Have gratitude, have honour, and have dignity and fucking continue on in this fucking metal industry!
Just — I’m going to go further. I haven’t finished. And like Ronnie James Dio said to me once is, well I gave him the reason to keep going. Well now I look at all these younger bands and they’re giving me the fucking reason to keep on going!
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As the nights draw in the Heidenfest festival tour makes it’s way around Europe, once again missing out the UK. The arrival on UK soil of an exceptional line-up in support of Finntroll’s ‘Blodsvept Over Europe’ tour, goes a long way towards placating those folk metal fans unable to get across the water. Finntroll are back in London just 4 months after selling out Camden’s Underworld on a Monday night. This time they are accompanied by fellow Nordic acts Týr (from the far flung Faroe Islands) and Skálmöld (from Iceland).
Iceland has a population roughly equal to that of Leicester, but has a reputation for generating a diverse and talented range of musical artists. Skálmöld are no exception and are Iceland’s biggest metal act.
Singing in their native language, their kooky heavy metal viking folk has filled over half the venue already. Their set closes with ‘Kvaðning’ a lengthy and memorable prog-out which is distinctive in a scene awash with folk metal clone bands. A stunning start to the evening.
Týr originate from the remote Faroe Islands and tonight are promoting new album ‘Valkyrja’. They open with a near perfect rendition of biggest hit ‘ Hold the Heathen Hammer High’ which is accompanied by a fan holding an inflatable hammer aloft!
Despite the humour in the pit, on stage it all seems rather serious with front-man Henri never cracking a smile despite a lot of light-hearted banter between songs.
The set includes 3 new songs: ‘Blood of Heroes’, ‘Mare of My Night’ and ‘Blood of Heroes’. Týr play immaculately, almost clinically and it left me feeling slightly cold.
The crowd were pretty much static too but that could be in part due to the technical natures of the music.
At the conclusion of the galloping ‘Shadow of the Swastika’ the band vacate the stage but the light-show hints at a possible encore, which is called for but hopes are dashed when a tech starts dismantling the drum kit.
A shame many fans had come out to see them tonight.
Finntroll take the stage with Vreth (Mathias Lillmåns) looking a little more disheveled than the polished image they started this tour with. The Garage is stiflingly hot once again but the Finns do love their saunas, so should be right at home, but even they comment on the heat.
The band launch into the title track of their latest album ‘Blodsvept’, causing the most infatuated fans to rush towards the front where they commence gesticulating and head-bang over-enthusiastically.
This time round I stayed well away from the most animated areas of the crowd, having been knocked off my feet and injured at the previous London Finntroll gig. Violent crowd behaviour is a common feature of folk metal gigs, seemingly from the fact that some fans don’t get out much and do not know how to behave properly at gigs.
The band seem to enjoy the response they elicit and take obvious pleasure in the control they have over the crowd and encourage large pits. It’s OK for them on stage behind the barriers!
The Trolls characteristically storm through their 90 minute set, the 7 newer songs going down better than in May. The show seems slicker than at the start of the tour and the band themselves more confident. However the downside of them having now played this new show many times is that it feels less raw and spontaneous.
Since the release of ‘Blodsvept’ Finntroll’s stage show has increased in resemblance to a cabaret stage show; developing to match their crafted steampunk-rockabilly-twenties image. Which features those ears, which of course have to be mentioned.
In theory they are at risk of the same kind of ridicule Mortiis faced during his prosthetic phase, but the Trolls pull it off, something which is helped by the make-up being so well done. Overall the feel from the set is that it is more practiced, less spontaneous but still fantastic.
At the conclusion of the joik-tastic ‘Jaktens Tid’ the band disappear but there is a lackluster call for their return.
It’s not as if the packed venue has not enjoyed the spectacle, so it it a little odd. Despite this they come back on and conclude with classics ‘Nattfödd’ and of course ‘Trollhammaren’
Great to see such a great international folk metal line-up in London and the UK as a whole. Rock the Nation take note – we want Heidenfest back!
Just completing a successful 21 date US headlining tour US/Italian Thrash And Roller’s KILL RITUAL have finished production on their sophomore release “The Eyes Of Medusa” with final mixing and mastering handled by Andy LaRocque (King Diamond) at Sonic Train Studios. A spring 2014 release is expected.
The track listing is:
The Eyes Of Medusa
Never Get Me
Ride Into The Night
Weight Of The World
Writing On The Wall
Drop Dead Gorgeous
Just Another Sin
My Little Sister
Most of you are aware of that Apollo hasn’t been seen much with the band this year. He feels that he needs to slow down and take a time-out from his musical career for a while and focus more on his private life that has suffered from busy schedules. The band fully understands and respects this.
This is nothing new and everyone saw this coming. Therefore, as you have already seen, Evil Masquerade decided to move on several months ago.
Now approaching a new album it’s time to officially introduce the new singer.
It hardly comes as a surprise for people attending Evil Masquerade’s shows this year, that the microphone has been handed over to Swedish powerhouse singer Tobias Jansson. In very short time he has grown close to the whole Evil Masquerade family and the band already sounds like a well-oiled machine live.
You can look forward to hear him on the upcoming album The Digital Crucifix.
Welcome to Evil Masquerade Tobias!
It is with profound sadness that we announce the sudden passing of Vixen founder and lead guitarist, Jan Kuehnemund, who lost a fierce battle with cancer on Thursday, October 10, 2013. Though most well known for her gifted guitar playing and other musical talents, Jan was a rare friend and beautiful in every sense of the word. Humble, thoughtful, loyal and kind, she was the most gracious of women, possessing the quiet strength of a true warrior. She genuinely loved and appreciated her friends and fans more than most could ever know. Those who were most fortunate to have known her and loved her are heartbroken at the loss of Jan, whose spirit will shine through her music eternally.
Jan was very courageous. Never complained. Never gave up. The cancer beat her body but it NEVER broke her spirit at any point.
Up until the actual moment that she died, she really believed she was going back home.
Hailing from Wisconson Jex Thoth has spread out to the metal and rock world with the spell-bounding ethereal and magical music. The band is led by Jessica, the primusmotor of Jex Thoth since the Totem years. The most recent album titled BLOOD MOON RISE proves the magic and ethereal elements playing the strong part of the approach of Jex Thoth. Therefore getting to interview the front lady of Jex Thoth unveils more about the new excellent full-length album.
CHURCH OF MISERY announce updated North American tour dates
“Thy Kingdom Scum” in stores and on-line everywhere now!
Church of Misery, Japan’s finest doom export, has announced that their upcoming headlining tour dates for this fall in the United States will now begin on November 1st in Chicago, IL. Issues beyond the band’s control had forced the band to reschedule the first half of the tour, which will now conclude on December 15th in Milwaukee, WI. To preview the live experience awaiting fans on this tour, watch the video for “Brother Bishop” at metalblade.com/churchofmisery. Tour dates can be seen below, as well as on facebook.com/churchofmiserydoom.
RIVERS OF NIHIL stream new album “The Conscious Seed of Light” in its entirety at metalblade.com
Rivers of Nihil‘sdebut album, “The Conscious Seed of Light,” will be released on October 15th in North America. Fans may have already heard “Rain Eater,” “Soil & Seed” and “Mechanical Trees,” but now the band has unveiled a full album stream over on metalblade.com/riversofnihil. The album will be streaming until next Monday. While streaming the album, fans will also have one last chance to pre-order the album and grab a CD/t-shirt bundle. Read the rest of this entry »
Alex Webster, Paul Mazurkiewicz and Rob Barrett returned to their hometown of Buffalo, NY to attend the 31st annual Buffalo Music Hall of Fame (BMHOF) induction gala. As was previously announced, Cannibal Corpse was among the 2013 class of inductees into the hall. Cannibal Corpse is one of the latest additions to the BMHOF, which also includes Buffalo natives the Goo Goo Dolls, Billy Sheehan, 10,000 Maniacs, and many more. The class of 2013 was inducted on October 3rd at the Tralf Music Hall in Buffalo, NY. More information about the BMHOF can be found at www.buffalomusic.org or on facebook.
Cannibal Corpse will be wrapping up their 25th anniversary celebrations for 2013 with a pair of shows in Florida, which has served as the band’s base of operations since relocating to Tampa from Buffalo, NY in 1994. The shows are scheduled for November 29th in Ft. Lauderdale, FL at the Culture Room and November 30th in Tampa, FL at the Brass Mug. Tickets are on sale now at ticketmaster.com for the Culture Room and details on how to purchase tickets for the Brass Mug are on showclix.com.