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A few more exciting names have been added to the already bulging line-up for Download Festival 2014.

Heading into Donington this June are one of the most intense and erratic live bands we’ve seen in ages – Baby Godzilla. If the drum kit is still on stage by the end of their set we’ll be very surprised. Speaking to Metal Hammer, guitarist Jonny Hall said: “We’ve grown up seeing countless amazing bands playing over the road from us in Donington, in booking us they’ve obviously let their standards slip this time around. Fucking Download fucking yes!”

They’ll be joined by the noisy buggers in Cytota, the psychedelic funk machines Turbowolf and the rock ‘n’ roll legend that is Richie Sambora.

Also announced today are The Temperance Movement, Nothing More, Dead City Streets, Goldray and Drenge. These join the already stellar line-up of Download 2014 that we’re already packing our bags for. HURRY UP, DAMMIT! Check out the full line-up poster below.

Download 2014 takes place June 13-15 at Castle Donington, stay tuned for more announcements. Buy your tickets here.

from Metal Hammer http://www.metalhammer.co.uk/news/ten-more-bands-for-download-festival/?utm_source=rss&utm_medium=rss&utm_campaign=ten-more-bands-for-download-festival
via Merlin

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There’s a lot that cognac and country have in common: it’s about taste, and texture, and a fine vintage almost always trumps the newer stuff. Spend some time around Dez Fafara and it’s a fair bet you’ll get a generous dose of both. Lower those eyebrows. Sure, the erstwhile Coal Chamber frontman may have been the one-time poster child for the musical excesses of the 90s most maligned and oft-misunderstood musical development, but he’s long-since grown his hair and, as it happens, grown into the role of shamanic frontman of the riff-tastic Devildriver, a band that makes frequent appearances alongside words like ‘crushing’ and ‘ferocious.’ Those sweaty shows, infamous for their bone-snapping circle-pits and frenetic pace, seem like a million miles away from the shrine-like oasis to be found at the back of his tour bus.

Right now we’re tucked behind London’s Electric Ballroom rapping about freemasonry, Aleister Crowley, the joy of perils of big wave surfing, and his favourite poisons. As he’ll explain, there’s a point in life when your palate begins to register more than just sweet or sour. He offers a generously-poured glass of Hine, a tongue-prickling blast of rocket-fuel that can’t be sipped too slowly. He’ll proudly describe the vast stores he has back home.

California’s a long way from Nashville, you know.

“True, but I grew up on a construction site,” he says. “I was a bricklayer working with my father, working from four or five in the morning and country’s what dudes listen to. I know what it is to get up with the sunrise seven days a week. That’s why we tour as hard as we do. I don’t believe in days off.”

He spies a copy of Country magazine that’s been brought for just the occasion. “Dolly fucking Parton, man,” he grins. “I’m a huge fan. My old manager if responsible for her comeback, and something I got from her is that she writes every morning. Get up and write: it could be a song, or just a word, but always get something down. She is amazing. Jolene just destroys me every time. The pop country, the Keith Urbans – I’m just not into it, I can’t be that guy. If you want to talk about real country, you need to talk about Dolly, or Willie, or Waylon. There’s what they’ll allow on the Grand Ol Opry and the real stuff people shy away from, like Jamey Johnson who’s outlaw as hell. Taylor Swift? She’s glorified pop – let her do her thing, she’s pretty, she’s got a great voice, but… no.”
Here then, is what Dez describes as the real shit over a glass of the good stuff.

Jamey Johnson – The High Cost Of Living
“Jamey Johnson isn’t mainstream, he’s an outlaw cat – he hangs with Willie and Waylon, and I got turned onto him by my lighting guy, Scott. He’s just doing his thing, but the lyrics are just tremendous. His whole band is really into metal, actually, they’ll be wearing these Lamb Of God shirts on stage, but this is real outlaw country.”

Hank III – Thrown Out Of The Bar
“I’m real good friends with Hank, I’ve known him forever, he payed bass for Superjoint Ritual when Devildriver did our first tour with them. The world seriously needs to know this guy. You go to a Hank 3 show and it’s ornery – you get people hootin’ and hollerin’, he’s really punk rock.”

David Allen Coe – The Ride
“He’s probably written every good country song you’ve ever heard, he still loves to play and still does his shows. He’s one of those guys like Willie Nelson who started out with short hair, as a writer, and when he went out and realised people wanted to hear his voice, too so he went out.”

Johnny Cash – Cocaine Blues
“I grew up with Cash, so when I started collecting vinyl the first thing I did was get a box full of cash. It’s the meaning of country. Live At Folsom has to be one of the best live albums ever. I must have spent five years on stage wearing the same Johnny Cash shirt.”

Willie Nelson – Roll Me Up And Smoke Me When I Die
“Willie Nelson is one of the original rebels, and it’s brilliant that he did this with Snoop Dogg. I guess it could be a weed thing, or maybe it’s Snoop’s love for country and he gets off on the lyrics like I do. Willie’s been out there supporting farmers and other charities for a lot longer than it was fashionable.”

Winter Kills is out via Napalm records now.

from Metal Hammer http://www.metalhammer.co.uk/features/dez-fafaras-guide-to-country-music/?utm_source=rss&utm_medium=rss&utm_campaign=dez-fafaras-guide-to-country-music
via Merlin


It’s 25 years today since Sepultura’s stunning third album ‘Beneath The Remains’ woke the metal world up to a mighty force coming out of Brazil. In an exclusive Metal Hammer online interview, Max Cavalera looks back in anger…

“Believe it or not,” says Max Cavalera, easily the most metal human being ever to come out of South America, “a lot of the lyrics on ‘Beneath The Remains’ were inspired by U2’s ‘War’ album.”

“Before then,” he continues, “I’d been inspired by Black Sabbath and Motörhead, but I started listening to U2, who had really great lyrics. If you listen to the title track of Sepultura’s ‘Arise’ album, which came after ‘Beneath The Remains’, one of the main lines is ‘Under a pale grey sky’ which is taken directly from ‘Under a blood red sky’ on U2’s ‘New Year’s Day’.”

Not what you were expecting? Well, it’s fair to say that Max has never been predictable, even as far back as 1989, when he and his band of urban tearaways Sepultura hit the world stage with their Roadrunner Records debut ‘Beneath The Remains’. Sepultura – at that time also featuring Andreas Kisser (guitar), Paolo Jr (bass) and Max’s brother Iggor (drums) – never did anything by the book back then, least of all when it came to escaping the Sao Paolo ghetto where they lived. While their previous two LPs and an EP had received local acclaim, Max knew that Sepultura needed to act globally if they were to take the next step. His strategy took him to a different continent.

Monte Conner, now head of Nuclear Blast Entertainment but for over three decades the A&R chief at the legendary Roadrunner label, remembers his first meeting with Max.
“It was very difficult to communicate with Sepultura at the start,” he recalls, “because Max was the only member who spoke English. At Roadrunner we were very nervous about the fact that we had never signed a band from Brazil, so I took the contracts to the Brazilian consulate in New York and had them notarized to show that they were legal documents.”

Once the deal was signed, Roadrunner wasted no time in getting the band into a studio in Rio with Scott Burns, then a rookie producer..

“The budget for ‘Beneath The Remains’ was only $8,000 but we soon realised that was way too little to make a competitive-sounding record using an American producer,” remembers Conner. “I got [Roadrunner owner] Cees Wessels to approve a $13,000 budget, which was a very large sum for us at the time. It was supposed to be an eight-song record, but the band came to me at the last minute and told me that they had a strong ninth song. I asked Cees if we could increase the budget by another thousand dollars to allow for it. Luckily he agreed, as that final song, ‘Primitive Future’, became the ideal album closer.”

The finished album blew the minds of all concerned, not to mention legions of international metalheads: the sheer speed and aggression of the songs, coupled with Max’s bestial vocals, were a huge leap forward from anything Sepultura had produced before that point. Discarding his earlier lyrical obsessions of demons and warfare, Max addressed more personal topics of alienation and exploitation – themes that resonated with thousands of headbangers. Thanks to Scott Burns, the incredible power of the songs wasn’t lost in the mix, as had been the fate of previous Sepultura releases: the savagery of Max and Andreas’s riffing and the relentless power of Iggor’s drums stood out clearly, precision-engineered for maximum impact. Little wonder ‘Beneath The Remains’ went gold in several countries.

“It’s crazy that it’s 25 years since we made that record!” laughs Max. “It really doesn’t seem that long. I still love that album. It was a big step for us and a new direction. We had to record it at night, because we couldn’t have the studio in the day, and that affected the way the album sounded. I love the songs, though. ‘Inner Self’ is one of my favourite Sepultura tracks: I love those lyrics because they’re how I felt at the time. ‘Walking in dirty streets / With hate in my mind…’ The lyrics preserve that emotion. ‘Beneath The Remains’ itself is great, and ‘Stronger Than Hate’ is a killer track too.”
Asked why the album was such a progression for Sepultura, Max reasons: “We were so excited about being on a real label, and we knew we had to do something much more powerful than our previous records. It was death-thrash metal, I guess, because there’s influences from both those styles of music. ‘Mass Hypnosis’ has a lot of melodic riffs, but then you’ve got ‘Beneath The Remains’, which is death metal – very fast, brutal and in-your-face.”

All these years later, Max’s approach to metal hasn’t changed. “When I say I use music as a weapon,” he muses, “it’s not bullshit like it is when some people say that. A lot of my riffs are created to release anger, and there’s a lot of that on ‘Beneath The Remains’. You unleash your emotions that way. To this day, I’m still in love with fast music!”

Max Cavalera’s autobiography, ‘My Bloody Roots: From Sepultura To Soulfly And Beyond’, co-written with Joel McIver, is published by Jawbone Press on 15 April.

Written by: Joel McIver

from Metal Hammer http://www.metalhammer.co.uk/features/beneath-the-remains-25-years-later/?utm_source=rss&utm_medium=rss&utm_campaign=beneath-the-remains-25-years-later
via Merlin


Anette Olzon has revealed she rejected the idea of having Floor Jansen stand in as Nightwish singer because she believed it would lead to her dismissal.

The argument arose when she asked for an Australian tour to be postponed during her pregnancy in 2012. Mainman Tuomas Holopainen suggested that Jansen should front the band on a temporary basis, but Olzon said no.

That’s one of the reasons she was sacked later in the year, with Jansen announced as stand-in, and later confirmed as permanent replacement.

Olzon tells BraveWords: “I would have been too pregnant to go to Australia so I wanted to push the dates back, but Tuomas didn’t want that. Discussions about a substitute came up, and at first I was like, ‘Yeah, well, okay.’

“But when they mentioned Floor it was an automatic ‘no’ from me. I didn’t think it was a good idea because I knew what would happen – I knew the fans would love Floor because she’s a metal singer and I’m a pop singer, and I wanted to keep my job.”

Olzon had already experienced a difficult time with Nightwish fans after being hired to replace Tarja Turunen, who was fired in 2005.

She says: “I received a lot of hatred against my voice and my persona. If I had been Tarja, I wouldn’t have been nervous about having Floor step in, because I’d know the fans would wait for me. They would have been saying ‘We want Tarja back.’

“If I’d agreed to Floor coming in I would end up thinking ‘This whole thing again?’ when I came back. I could see what would happen.”

Olzon is preparing to tour in support of her debut solo album Shine, launched last month – but she vows she’ll never perform a Nightwish song at any of her shows.

The vocalist says: “Tuomas is quite disturbed that Tarja is singing some of his songs, so out of respect I’m not going to do that. They’re his songs, and Floor is singing them now.

“I also don’t be a Nightwish singer for the rest of my life – because they have a new one.”

from Metal Hammer http://www.metalhammer.co.uk/news/nightwish-olzon-knew-jansen-would-end-her-band-career/?utm_source=rss&utm_medium=rss&utm_campaign=nightwish-olzon-knew-jansen-would-end-her-band-career
via Martin Kielty


Black Sabbath frontman Ozzy Osbourne has admitted he believed guitarist Tony Iommi was going to die when he was diagnosed with cancer.

The guitarist revealed his health battle in 2012 – but he’s gone on to receive successful treatment which, although lasting the rest of his life, appears to have got the disease under control.

Speaking on the band’s current North American tour, Ozzy tells the Toronto Sun: “I always think cancer means death.

“I didn’t know anybody who’d ever recovered. My wife recovered from colon cancer and that was the first person I ever knew.

“But he just accepts it and gets on with it. I mean, it’s got to be worrying – but he’s doing fine, I think. I haven’t had one of them dark phone calls so I presume he’s okay.”

The singer says he remains amazed at Iommi’s ability to fight against hardship. “Considering on his fret hand he’s got no fingertips,” he points out. “He plays with prosthetic fingers at the end. I’ve often said to him, ‘How the hell do you know when you’re touching the strings?’ It’s amazing.”

Ozzy remains open to the possibility of a successor to last year’s award-winning album 13 – and he’s writing material which could appear either on that or a solo record.

He says: “Everybody asks if there’s going to be a follow-up. All I can say is, ‘I never say never any more.’ If everybody agrees and we don’t take 500 years again, I’m up for it. I wouldn’t mind doing another Sabbath album.”

from Metal Hammer http://www.metalhammer.co.uk/news/black-sabbath-ozzy-thought-iommi-would-die/?utm_source=rss&utm_medium=rss&utm_campaign=black-sabbath-ozzy-thought-iommi-would-die
via Martin Kielty

Slash album is done

Posted: April 7, 2014 in Metalhammer
Tags: , ,

Slash and da lads

Slash has confirmed that work on his third solo album has been completed.

And although he doesn’t have a title, he does have a release date, which he’ll confirm soon.

The former Guns n’Roses axeman laid down 17 tracks – 16 with vocals and one instrumental – with the assistance of singer Myles Kennedy and backing band the Conspirators, who appeared on 2012 release Apocalyptic Love.

Working titles include I Wanna Pull Your Hair, It Puts The Lotion On Its Skynyrd, Cheap Dick, Manual Automation, You’re The Truth, Dirty Girl and Music To Murder Your Girlfriend By.

Slash reports: “These are all working titles – except for one. I don’t have the cover art and title just yet, but it won’t be long.”

He’s also said there are plans to return to the UK and Europe following his upcoming US tour with Aerosmith.

from Metal Hammer http://www.metalhammer.co.uk/news/slash-album-is-done/?utm_source=rss&utm_medium=rss&utm_campaign=slash-album-is-done
via Martin Kielty


mastodon

Mastodon have confirmed their sixth album is to be called Once More Round The Sun – and it was named long before they started work.

Drummer Brann Dailor has already described the follow-up to 2011′s The Hunter as “a gorgeous album,” adding: “It’s a reflection of our past, with a few songs that are a bit out there, and show a new direction.”

Confirming the title, bassist Troy Sanders tells Paste Magazine: “After we finished the two-year cycle on our last record, we were kind of gearing up to go back to our rehearsal space.

“We were starting the effort – the time, the blood, the energy, the months of driving, the recording and the long process between recording and release day.

“We’re fortunate enough to do this again – but there is this feeling of this cycle. It’s not a bad thing; it’s embracing the positive. And like anything in the Mastodon world, it’s open to interpretation.”

Track titled include Ember City and Diamonds In The Witch House – and the band recorded so much material that there’s the chance of an additional EP beyond the album itself.

Sanders says of the artwork: “It’s going to be very eye-opening, very striking. It’s from another dimension, and a lot of our music is geared toward that idea — taking you to another planet on songs. I think it’s incredible.”

Mastodon appear at this year’s Sonisphere festival at Knebworth Park in July.

from Metal Hammer http://www.metalhammer.co.uk/news/mastodon-name-6th-album/?utm_source=rss&utm_medium=rss&utm_campaign=mastodon-name-6th-album
via Martin Kielty