Review by Kirsty Birkett-Stubbs
Photography by Tess Donohoe
It may be some people’s epitome of hell, Michael Buble fans I’m looking at you, but for the metal/rock community Hellfest’s towering gateway looks positively pearly. This year’s line-up is so jam-packed that I was looking for the little glass jars and labels. You’d make a fortune if you could bottle any number of the diverse scope of bands on the bill, with the riffs left in natch, but I’d like them to play their sets first.
Once inside that gateway the layout is much the same as last year, and that isn’t meant in a well-they-clearly-couldn’t-be-arsed sense, because Hellfest could teach most others a thing or 20 on how to put together a fan-friendly festival. Except when it comes to the number of toilets on site that is.
Whilst the Hellfest tree still dominates in its stark simplicity, the hidden beer gardens have gained a snazzy gateway of their own, which invites you into the woodlands. Instead of a fairytale monster at the end of the path though, you’ll find a winebar, which is win-win really. And at night the scrap-metal merch stands and bars still glow with their own rooftop fires.
Stage-wise we’ve got Main Stage 1 and 2, which continue their staggered times so that as one plays, the other sets up, and vice versa. The result is no waiting around for soundchecks or bands to start, just back-to-back bam-bam-bam metal. A similar set-up is in place at the Altar and the Temple, where you can find black metal, death metal and the like, then there’s the Valley which is home to the stoner and doom types, and the Warzone where the punk and hardcore drops.
There is not much rotten in the state of Denmark this sunny Friday afternoon as the metal festival Copenhell, for the fourth time, is about to take place in the heart of the capital Copenhagen. 10.000 metal-fans are fitted into a playground of everything related to the Scandinavian metal-scene; Vikings, burning churches and a small cemetery for your resting pleasure. The gates to hell have once again opened and this year with an ever so growing and bigger line-up than the previous years. Read the rest of this entry »
This year marks DANZIG’s 25th anniversary and the band will play a series of live dates in the US and in Europe. The first leg of the Danzig 25th Anniversary Tour has now been confirmed, all dates will feature Danzig, plus Glenn Danzig and his former MISFITS bandmate Doyle Wolfgang von Frankenstein performing the music of the Misfits.
Special guests on these US dates are CORROSION OF CONFORMITY and THE AGONIST. Dates include:
17 – Las Vegas, NV- House of Blues
19 – Denver, CO- Ogden Theater
20 – Albuquerque, NM- Sunshine Theater
22 – Austin, TX- Stubb’s
23 – Corpus Christi, TX- Concrete Street
24 – Dallas, TX- Palladium
26 – Phoenix, AZ- Marquee Theater
27 – Pomona, CA- Fox Theater
28 – Ventura, CA- Ventura Theater
Fan pre-sales start Friday, February 15th at noon local time at this location.
General onsale information will be available very soon.
According to HoustonPress, last night’s (Friday, November 4th) DANZIG LEGACY set at the opening night of Fun Fun Fun Fest 2011 at Auditorium Shores in Austin, Texas was marred by the short set that Glenn Danzig turned in. The ex-MISFITS and SAMHAIN goth-rocker was scheduled to perform hits sets from his days in his two seminal punk bands and selections from his solo work.
Danzig instead appeared onstage at 8:55, nearly 45 minutes past his scheduled 8:15 stage call. During his hour-long set he preened and brooded, but that was nothing new. At one point last night he ran frantically towards the crowd assembled on the side of his stage for no explained reason.
At 10 p.m, when Auditorium Shores venue rules stated that music must be shut off, Danzig railed against the FFFF organizers, and shirked his own complete and utter responsibility in the incident. At one point he questioned if the organizers would enjoy a riot, and taunted the crowd in pantomime after the power to his mike was cut.
As always, the top albums are for releases from 2010 that are full albums (no EP’s or demos). They also have to be new studio albums for 2010, not re-recordings, re-releases, cover songs, or live material. Below the combined TOP 30 are links to each staff members personal "best of" lists which besides the top albums contains such things as best new band, best DVD/Blu-Ray, disappointments of 2010, greatest hopes for 2011, personal metal discovery of 2010, and various other metal-related categories. Enjoy!
The Top 30 Heavy Metal Albums of 2010
(Click the album cover to read our review.
If no review is available the link it to the band’s MySpace page.)
1. Accept – Blood of the Nations
Wolf Hoffman’s reaction to the band’s #1 placement in our list was:
"Sensational!!! We are so happy about this reaction by the fans. This last year has been nothing short of phenomenal for Accept."
BLOOD OF THE NATIONS is a fantastic album, so fantastic that it very easily came out on top when we compiled our best of 2010 list! In the media, producer Andy Sneap said when he worked with the band he made them go back and listen to the 80’s albums, and it worked. Accept have delivered the album they needed to make. Accept reformed with a vocalist who is just as good as Udo Dirkschneider. Vocalist Mark Tornillo rages through the songs with power and charisma, without being a clone. Accept have proven to the world in 2010 they are still relevant, powerful, uncompromising and most of all entertaining. Welcome back!
2. Blind Guardian – At the Edge of Time
Easily the best and strongest Blind Guardian album since NIGHTFALL IN MIDDLE-EARTH with a maximum of variety and everything that has turned these guys from Krefeld into what they are today: one of Germany’s most successful and influential metal bands. With AT THE EDGE OF TIME, Blind Guardian returned to the fold in total triumph. This is an album to be enjoyed for numerous repeat listens. Newer fans should eat it up, and older fans should be appeased with the band’s renewed emphasis on their thrashy roots.
3. Ratt– Infestation
Ratt is Metal. Always have been and likely always will be. From their appearance on the very first Metal Massacre compilation in 1981 alongside the likes of Metallica, Malice, and Bitch, to the new 2010 album, Ratt have always been among the heaviest of the so-called "hair metal" bands. So despite what the revisionists may think, Ratt have a firm spot in the development and evolution of the Heavy Metal genre and have earned their spot in this year’s list. Sonically the Ratt Pack is back! The band had stated they wanted a real up-tempo record and distinctly aimed for the classic sound. They nailed it. It’s all there, the swagger and slight sneer of Pearcy voice, the fluid and fiery soloing of DeMartini’s axe-work, the complimentary work of Cavazo…it’s a beautiful thing to behold!
4. Triptykon – Eparistera Daimones
Thomas Gabriel Fischer (AKA Tom G. Warrior) has nothing to prove to anyone. As the principal architect behind Hellhammer and Celtic Frost, Fischer’s body of work is the reason that many bands exist today. Two years since Celtic Frost’s very public dissolution, Fischer could have easily opted to rest on his laurels and bask in the afterglow of his evil legacy, but nooooo. To the contrary, Fischer has assembled a new band and recorded an album of new material that’s arguably some of the best in his career. Triptykon is the band, EPARISTERA DAIMONES is the album, and yes – it’s as good as Fischer has promised it to be!
5. Melechesh - The Epigenesis
Black/Death/Middle Eastern "Mesopotamian Metal" extremists made a big impact this year. Originally from IsraHELL and now based out of the Netherlands, the band has been around in some form since 1993. That Melechesh are able to maintain the album’s early momentum through to the record’s dying moments makes what they have achieved with THE EPIGENESIS that much more remarkable. Unlike so much of what passes for modern-day extremity, every one of this disc’s eleven tracks bristles with its own identity and design. It will demand a lot of attention – this definitely isn’t the record to whip out at your next kegger – but the rewards far outweigh the investment. Absolutely superb in every way.
6. Helloween – 7 Sinners
Helloween are very comfortable right now. They are back on a major label, the line-up has been stable for probably the longest stretch in the bands history, and they have fallen into a great pattern of releasing a studio album every couple of years (right around Halloween naturally). Relaxed, confident and mature the band have nothing to prove but instead of delivering a complacent record, the band have delivered the fastest, heaviest album of their career. It’s their 26th release over and 13th full-length studio album of all-new, original material. Lucky #13 for the band sees a crowning achievement with 13 killer cuts spread across the hour. Helloween have delivered a masterpiece. It will quickly silence all the fans who couldn’t stomach UNARMED from earlier this year.
7. OverKill – Ironbound
The veteran New Jersey boys return with a compelling slab of unmistakeably old school thrash that is tinged with a fine mix of groove, progressiveness and melody that separates Overkill from the multitudes of carbon-copy thrashers out there. This is modern thrash the way it should be played: roots in the 80s but with its direction and ambition befitting a metal scene on the cusp of its 30-year anniversary. It’s a beautiful thing to behold: while most of their contemporaries have split up or sold out, Overkill are still doing their thing, updating and improving but never forgetting where they came from.
8. Nevermore – The Obsidian Conspiracy
Five years – that’s how long Nevermore made us wait for a sequel to the still awe-inspiring THIS GODLESS ENDEAVOUR. By modern-day standards that’s an absolute eternity, the length of which only the likes of Slayer or Metallica could reasonably be expected to get away with. Regardless of delay, the album is a perfect example of heavy metal in its purest, most intelligent and provocative form. As always the band defies classification with elements of power, thrash, prog, blended together into a mixture that is uniquely Nevermore.
9. Sabaton – Coat of Arms
Sweden’s war metallers, Sabaton, have been consistently moving to the forefront of the power metal movement in the last few years. COAT OF ARMS continues Sabaton’s fine tradition of power metal with bite. The band is in fine form throughout and do not disappoint. You listen to a Sabaton album for the pounding marches (“Uprising”) the fast assaults (“Midway”, “Screaming Eagles”), and the catchy hooks and choruses (every damn song!) and COAT OF ARMS has it all!
10. Halford – IV – Made of Metal
Finally! Halford was really overdue. Despite having a skeleton of a catalog, Halford really needed to put some meat on the bones of his solo career. MADE OF METAL is really only the third studio album of all new material in over 10 years. Sure the catalog looks impressive but in reality, live albums, demo albums, EP’s, digital only live albums and novelty Christmas albums are just filler. Halford needed to deliver the goods and we’re pleased to say he is still made of Metal. The album clocks in at a whopping 14 tracks at over an hour it is his longest solo album to date.
Number 11 to 20
11. Crazy Lixx – New Religion
12. Iron Maiden – The Final Frontier
13. Scorpions – Sting In The Tail
14. Immolation – Majesty and Decay
15. Avantasia – The Wicked Symphony / Angel Of Babylon
DANZIG’S DETH RED SABAOTH DEBUT’S AT #35 on BILLBOARD TOP 200 ALBUMS CHART #3 on TOP INDEPENDENT ARTISTS CHART
Brooklyn, NY – The release of DANZIG’s brand new album, Deth Red Sabaoth returns the legendary artist to the Billboard Charts this week.
Deth Red Sabaoth was released on June 22 on Evilive/The End Records and is Danzig’s ninth studio album and first in over six years. The album debuts this week on the Billboard Top 200 Album Chart at #35 and at #3 on the Top Independent Album Chart. It marks Danzig’s highest-charting album since the release of Danzig 4 in 1994.
The 11-track collection was written and produced by Glenn Danzig and joining Glenn in the studio for the recording of Deth Red Sabaoth were guitarist Tommy Victor (Prong, Ministry), a Danzig cohort on and off since 1997, and drummer Johnny Kelly (Type O Negative, Seventh Void). While Kelly has toured with Glenn intermittently since 2002, this is the first time he has recorded with the band. Glenn handled the bass chores for most of the album, and played drums on “Black Candy.”
The CD cover artwork for Deth Red Sabaoth is an original painting by the award-winning artist Joe Chiodo whose work has graced not only Danzig’s Verotik publishing line, but the covers of numerous graphic novels and comic books, including “X-Men Unlimited.”
Deth Red Sabaoth marks Danzig’s ninth studio venture that began back in 1988 with the Rick Rubin-produced, Platinum-certified, Danzig. In 1993 “Mother” became a major hit and added to his iconic status that began over a decade earlier when he founded the near-mythic punk band Misfits and then Samhain. Sales of over ten-million albums later and having been dubbed “goth-punk’s godfather” by SPIN, Glenn Danzig is arguably the most versatile talent to emerge from hardcore’s first wave, and truly is a renaissance man – a graphic designer, photographer, comic book publisher and composer. His venture into composing and recording classical music yielded Black Aria, that debuted at #1 on Billboard’s Classical charts, and Black Aria II, that had Glenn sharing the Billboard/Classical’s Top Ten with Itzhak Perlman and Andrea Bocelli. His indelible stamp is on artists like Marilyn Manson and Nine Inch Nails, and he has written songs that have been sung by a diverse array of artists, from Metallica to Roy Orbison to Johnny Cash.
Over his decades-long career, Glenn Danzig’s intense musical and lyrical statements have left a permanent mark on rock music, and continue to do so going into the 21st century. Glenn’s song “Thirteen,” originally written for Johnny Cash and then recorded for Glenn’s own Satan’s Child album, was the opening song in last year’s box office smash and Golden Globe winner, “The Hangover.”
Danzig – Glenn, guitarist Tommy Victor, drummer Johnny Kelly and bassist Steve Zing – also a founding member of Samhain with Glenn – recently completed an exclusive 9-city album release tour and will continue to tour extensively to support Deth Red Sabaoth.
SHOCKHOUND recently posted a candid and compelling video interview with Glenn Danzig entitled “Danzig: No Regrets.” Danzig’s first new studio album in six years, “Deth Red Sabaoth,” hit the streets this week, and it’s been getting STELLAR reviews – the media consensus seems to be that it’s Glenn’s best album since the mid-90s.
Glenn Danzig today unleashes his first new Danzig studio album in six years, Deth Red Sabaoth, on Evilive/The End Records. The album is currently streaming on AOL Music’s Full CD Listening Party as well as on CBS Radio’s “The Street Date”, which also features an in-depth video interview with Glenn. You can purchase Deth Red Saboth physically on Amazon and digitally on Amazon MP3.
The 11-track collection, produced, recorded and penned by Danzig, is laced with Glenn’s lycanthropic growls and blues-infected wailing. Tracks including “Black Candy,” “The Revengeful,” and the first single, “On A Wicked Night,” emit a spectral glow to rival the highest points in Danzig’s colossal discography. Part 1 of the exquisite two-part “Pyre of Souls” opens with acoustic guitar, haunting piano, Glenn’s plainsong vocal, and an almost dirge-like feel; Part II explodes with electric guitars and a driving, mesmerizing cadence.
Joining Glenn in the studio for the recording of Deth Red Sabaoth were guitarist Tommy Victor (Prong, Ministry), a Danzig cohort on and off since 1997, and drummer Johnny Kelly (Type O Negative, Seventh Void). While Kelly has toured with Glenn intermittently since 2002, this is the first time he has recorded with the band. Glenn handled the bass chores for most of the album, and played drums on “Black Candy.”
As is with all of Danzig’s releases, the CD cover artwork for Deth Red Sabaoth is provocative and ominous. The cover is an original piece created specifically for the CD by the award-winning artist Joe Chiodo whose work has graced not only Danzig’s Verotik publishing line, but the covers of numerous graphic novels and comic books, including “X-Men Unlimited.” Deth Red Sabaoth isn’t the first time one of Chiodo’s paintings has been part of a Danzig package – one of his erotic “good girl” pinups was part of 2007′s The Lost Tracks of Danzig.
Deth Red Sabaoth marks Danzig’s ninth studio venture that began back in 1988 with the Rick Rubin-produced, Platinum-certified, Danzig. A live version of his oedipal projectile “Mother,” was a major hit, and added to his iconic status that began a decade earlier when he founded the near-mythic punk band Misfits and then Samhain. Sales of ten-million albums later and having been dubbed “goth-punk’s godfather” by SPIN, Glenn Danzig is arguably the most versatile talent to emerge from hardcore’s first wave, and truly is a renaissance man – a graphic designer, photographer, comic book publisher and composer. His venture into composing and recording classical music yielded Black Aria, that debuted at #1 on Billboard’s Classical charts, and Black Aria II, that had Glenn sharing the Billboard/Classical’s Top Ten with Itzhak Perlman and Andrea Bocelli. His indelible stamp is on artists like Marilyn Manson and Nine Inch Nails, and he has written songs that have been sung by a diverse array of artists, from Metallica to Johnny Cash.
Dead Country – Band PhotoOver his decades-long career, Glenn Danzig’s intense musical and lyrical statements have left a permanent mark on rock music, and continue to do so going into the 21st century. Glenn’s song “13,” originally written for Johnny Cash and then recorded for Glenn’s own Satan’s Child album, was the opening song in last year’s box office smash and Golden Globe winner, “The Hangover.”
Danzig – Glenn, guitarist Tommy Victor, drummer Johnny Kelly and bassist Steve Zing – also a founding member of Samhain with Glenn – are currently on a special 9-city tour to support Deth Red Sabaoth; with all current dates listed below.
DANZIG on tour:
6/24 Record Exchange, Boise, ID, 6-7:30pm , in-store signing
Jävlä Swedenrock, här kommer vi igen. The annual roadtrip to Swedenrock by the Finnish Metalâ€‘Rules.Com team is already the tenth time in a row. The 2010 lineâ€‘up presented a wide range of metal and hard rock. Therefore, over 70 bands offered nothing but an utter blast and a helluv an experience for the attendees to enjoy metal and rock. Swedenrock has been successful during the past ten years as the festival has always been sold out. This year wasn’t any exception as the fest was sold out despite the lousy economomic situation worldwide. As mentioned in the first sentence, this is the tenth time in a row when Sweden Rock has been featured on Metalâ€‘Rules.com, so it is quite logical for us to give a real inâ€‘depth article of several bands performing at Sweden Rock. The weather wasn’t ideal compared to previous years. It either rained or was windy with a little sunshine. But we were there for bands, not for having some beach party. We are not able to cover every bloody band, but hopefully you will have a pleasant reading experience… Enjoy or die !!!
Questions by EvilG, Lord of the Wasteland, and Aaron Yurkiewicz
Prong are one of those bands that took different elements and styles and mixed them together and offered something completely new yet crushingly heavy. Many bands copied some of what they did, but the band never became as much of a household name as they should have. We spoke to Tommy about his career, playing in Ministry and Danzig, and asked for his reflections on things like the impact Prong has made, why the band broke up and then returned, and why in 2009 Prong is still here kicking our asses!