Heavy metal legends Judas Priest had two big surprises for fans when they took the stage at the Power Trip Festival in Indio, Ca this past Saturday night (October 7th).
The band was rejoined by former guitarist Glenn Tipton during their set, which they kicked off by announcing via a video screen that they will be releasing their new studio album, "Invincible Shield" in March of next year. (continue)
Slipknot and Stone Sour frontman Corey Taylor was forced to cancel his solo set at the Aftershock festival in Sacramento, California this weekend at the last minute due to an injury.
Taylor shared via social media, "During our Los Angeles show this past week, I fell on stage and sustained a significant injury to my knee. On top of this, a few members of our band and crew have been impacted by Covid, and as a result, we are unable to perform. (continue)
Pattern-Seeking Animals (P-SA) have shared a Stuart Wahlin directed music video for their brand new single "Underneath the Orphan Moon", from their forthcoming album, "Spooky Action at a Distance".
According to the announcement, the song is "a somber ballad that deals with a teenage girl leaving a bad situation. Evocative and cinematic, it is not unlike the feel of a classic Elton John song, complete with a real string section." (continue)
More Pattern-Seeking Animals News
2023 marks the twenty-fifth anniversary of one of Meshuggah's earliest milestones: Chaosphere. Originally released on November 9th, 1998, the band's third full-length studio album shows the band toning down some of the thrashier sounds of previous releases in favor of the more technical, polyrhythmic, groove-oriented sound they would go to explore on subsequent albums.
To commemorate the album's quarter-century anniversary, Atomic Fire will unleash a sonically updated version of the album on November 10th. The re-release of this masterpiece comes in hi-def audio remastered by Thomas Eberger and Sofia von Hage at Stockholm Mastering on all streaming platforms, as well as a jewel case CD edition (incl. 8-page booklet), and stunning new vinyl colors (most are limited worldwide to under 1500 of each color, 180 grams, 2cLP in 5 mm Sleeve incl. 2-page insert), to complete every collector's dream. (continue)
Legendary guitarist Steve Hackett & InsideOutMusic will continue their reissue series with the first ever vinyl editions of his 2003 album 'To Watch The Storms' & the 2006 album 'Wild Orchids'. Both will arrive on the 8th December as Gatefold 180g 2LP's on black and coloured editions, and have been mastered specially for the format, and they can be pre-ordered here.
Steve comments of these releases: "I'm delighted to announce the release of both To Watch The Storms and Wild Orchids on vinyl for the first time! I've always been proud of these albums and it feels great to give them another lease of life." (continue)
South Dakota-based alternative rock artist Kyle Pfeiffer, better known as Blacklite District, has announced the second wave of his XL TOUR! Launching November 3rd at Beach House in Omaha, NE, the tour will wind through the Midwest before wrapping up November 12th at Lefty's in Des Moines, IA.
Kyle shared, "I am beyond excited to kick off the second leg of The XL Tour! It seriously blows my mind to see all of these young kids coming out and experiencing their first rock show, and it's even cooler to see the parents that have become fans as well. (continue)
Alterium, the new Italian power metal quintet led by Nicoletta Rosellini (ex. Kalidia, Walk in Darkness), is presenting a second single, a cover version of the Sabaton anthem "Bismarck", taken off their upcoming, hotly-anticipated debut album (set to be released in early 2024 via AFM Records)!
Nicoletta states: "I couldn't be more excited about our new single, a cover of Sabaton's iconic track 'Bismarck.' This song has always been a favorite of mine. We've worked tirelessly to capture the essence of the original while infusing it with our energy, also featuring orchestral composer Gabriele Boschi (Winterage) to add even more intensity to the arrangements." (continue)
Ronin just released their sophomore album, "Valak the Defiler", and to celebrate we asked frontman Chris Feldmann to tell us about the song "Saturn's Portal". Here is the story:
This song initially came about, at least lyrically, from a few lines/poems I had lying around in a couple of my notebooks, the majority of which preceded all the riffage and melodies etc.. The main descending, angular riff came about one day where I was just noodling around on the guitar and I played it once, but then couldn't get it in my hands again. It frustrated me to no end and that's kind of when the light bulb went off and I knew I was onto something. I had that riff and the verse/pre-chorus riffs down before bringing it to the band, but I didn't have a chorus riff or ending sorted out. I had general ideas on vocal melodies, rhythms and what not for sections though to help with the writing process when the band got together to workshop it. The hammer-on "bouncy" bit of riffage that acts as the "tail" of the main descending riff was from our bassist Bo, a-la "Natural Born Killer" from Avenged Sevenfold. Initially it was some straight chugging mixed with gallops before we made the switch. The chorus progression came out organically mid-jam from our lead guitarist, Jack. We were running through the song and when it came time for the chorus, he just shot into the riff progression and we all jumped on as I "scatted" the rough vocal melody along with it. One of those "in-the-moment" natural creations that can be few and far between. Luckily for us, it happened again with the outro/solo portion of the track. We didn't have an ending and when we got to the outro portion, we just let the low E minor chord ring out when Maas (our drummer) slapped the snare and I started playing some riffs that wound up being another chromatic progression that mirrored that main riff from the song. Initially it was twice the length but with the help of recording engineer extraordinaire, Frank Mitaritonna from VuDu studios where we recorded the whole album, we decided to chop it down and the song is much better for it. (continue)
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