Resin Monsters Cough Are Not Happy

Crossing an ocean and more than a few international borders in pursuit of the almighty riff has taken up a bit more time than I'd expected, but after a European metal-induced hiatus of sorts, Grim Kim is back to spread the good word about the best bands you've never heard of. I've settled into a lovely little flat in North London (which, oddly enough, looks a helluva lot like my usual West Philly stomping ground) and am comin' atcha fully armed with a slew of deliciously dirty new bands to shove down your throats. Ironically enough, this first-ever European edition of Revelations of Doom focuses on an American band, from the very same East Coast that I (usually) call home. This one's for the old guard – the true sludge freaks, the dedicated doom 'heads, and the diehard amplifiers worshippers out there. Sit back, light up, and get ready for some pain.

 

Much like Athens, Georgia, the unassuming little burg called Richmond, Virginia has emerged as an epicenter of sorts for modern metal and hardcore. While most of you are already familiar with some of her more well-known sonic offspring (Lamb of God, Municipal Waste, Cannabis Corpse) it's RVA's lesser-known, underground bands that kids should really be losing their shit over, whether it be Bastard Sapling (who put out the single best demo recording of 2007),  Battlemaster, Inter Arma, Ravn, or the subject of this edition of Revelations of Doom – Cough. Weedeater. Electric Wizard. Iron Monkey. Grief. Corrupted. Eyehategod. Sleep. Buried at Sea. Sourvein. It's easy enough to drop names and draw comparisons to other like-minded and undoubtedly inspirational bands, but doing so would render a great disservice unto Cough. Their latest full-length, Sigillum Luciferi, sees the band in a very, very dark place indeed – they're caught dragging the waters of a polluted river of human misery, and everything's coming up corpses. Their debut full-length is a down-tuned masterpiece of harrowing, nihilistic sludge, bathed in feedback and slower than time. I also high;y suggest some high grade kush for your skullcap. The strings on the guitars seem to seep resin somewhere deep into the hole. We all know that familiar hole. The hole Cough emotes is crucial to observe. Desperate, raw-throaty vocals, lurching riffs, and crushing heaviness are the hallmarks of this release, though once in awhile, Cough slyly throw in a few spacey, tranced-out moments that, for just a split second, allow you to imagine a feeble beam of sunlight cutting through the filth and carving out an iota of breathing room, before the omnipresent muck sucks you back down into the blackness. Yeah, they're that kind of band.

Slipknot Backstage Special Huddle

An exclusive look at a scene from the documentary portion of Slipknot's upcoming live DVD, (sic)ness - in stores September 28th, featuring one of the bands final performances together.

There will be 3 special screening of the director’s cut in NYC, LA, and Chicago on Monday 9/27.  Clown will be in attendance at the NYC showing and fans at that showing will all receive a free exclusive Slipknot poster, autographed by Clown Himself. Paul R.I.P

Chick Shows Girls How To Be Hot

By Arnalda Palmer

Every now and then I like to peruse the interwebs and look for all the ways that I can truly be a metal chick. Luckily, I stumbled upon the above video that adequately teaches me how to look like one. I just marveled through out the video and was so ecstatic to find such an erudite demonstrator.

I don't know why it never occurred to me that a "chick" who is a metalhead should look like a tacky whore. This whole time, why did I avoid the beauty section at Family Dollar? 

So many "metal concert thing" that went by and I didn't have my skull adorned with polyester multi-colored hair clip-on extensions. Alas, my face wasn't painted with Crayola markers. Oh, classic Megadeth T-shirt? I'm putting you through the paper shredder. Also, I have to now glue a cool zipper on the side of all my pants and "hardware" to my boots. I'm thinking an array of nuts, bolts, a monkey wrench, my modem, a capuchin, some bananas… ok now I'm getting carried away.

I really hope to see this girl at the next show I go to. So that I can thank her. And then shove my hand down her throat, pull out her lung meat and asphyxiate her face in it. That would be another way for her to look metal and she wouldn't need blush for it either.

 

Overkill Hailed First Thrash Band

If the name Overkill is foreign to you, you are not metal. Plain and simple. A Metal band for now over 30 years and counting, there is nothing you can say about the strength and determination to keep a band going that long, with as many member changes and label problems. Veterans of the NY Thrash scene, basically THE first NY thrash band, bow down.


You guys (that is DD Verni and you) have been plodding away with Overkill for nearly thirty years now. Would you say that still makes sense?

30 years!, Why do journalists keep adding years....1985 for Feel the Fire.DD and I met in 1981. I think the demographic has obviously changed, as many of the fairer sex enjoy the "heavy stuff". But originally it was a man's world "in the pit".


Like I said, nearly thirty years.  A lot of bands would have called it a day after a lot shorter period and after all you've been through. Especially after you suffered a stroke on stage. So, what keeps you guys, and especially you, going?

I'm waiting for a heart attack...it's the only thing missing. Seriously, I do think that if one finds something they love, in my case Overkill...it never feels like work. It feels like LIFE, and an interesting one at that. Keep it heavy, and the rest will follow.


Over that period of time would you say the band has changed a lot musically? Or is it just slight changes from album to album so that the fans know what to expect?

We are what we are metalband...recognizable…heavy...committed. I think that in a world of change, deception and uncertainty, we are constant, honest and certain.


Talking about change, how do you regard the current thrash scene? Would you say that a revival is going on with a lot of new bands emerging and the old guns reuniting, and people like you still going on? What are your thoughts on reunions of bands such as Onslaught, Death Angel, Exodus, Defiance, Blessed Death, Sacred Reich? And how do you view the new crop such as Bonded by Blood, Municipal Waste, Evile, Suicidal Angels, Fueled By Fire?

I think healthy would be the word for the day...I'm not so big on reunions, as it is money fuelled in many cases, but bands like Exodus, in my opinion have always been there, and always had something to offer. The new breed is necessary to carry the flag...it proves that the scene has transcended generations, and had the value that many of us thought as far back as 1982.


Since we are on the subject of thrash. Have you seen the finished Get Thrashed product yet (of course my first question is a direct quote from that documentary)? And what are your thoughts on what Rick Ernst has brought across?

Saw it...love it...a great documentary on how it was, and some great opinions...loved the Exodus segments...and much of what was said by those in the scene but not playing in bands. Again it proves the value of the genre....and Rick depicted it in an honest, forthright way....Hats off!!!!!!

Although Get Thrashed hasn't seen an official DVD release in 2007 another documentary (which was originally intended as just some bonus material for Get Thrashed) has. Rat Skates: Born In The Basement by your original drummer Rat Skates. I was really pleasantly surprised to see that original guitarist Robert Pisarek was even featured (somehow people tend to have forgotten about him in Overkill) But since the entire documentary is from Rat's point of view I would really like to know your perspective on the things he puts forward there.

Who? I can't validate it...I wasn't involved in the making of that DVD, nor was DD...I think if you put the 4 originals in a room...I am speaking of Bobby Gustafson on guitar, you would hear 4 similar, yet different versions of what happened. The core of what was done, why this whole thing of ours existed over 2 decades is the song writing...and the development of non professionals into professionals. The decision of full time, life long commitment, makes this interview possible. The documentary is well done, and Rat is a talented film maker, but it was truly "self-serving", as well as a forum for 1 man's opinion, and complaint. I think the reason Rob Pisarek is rarely brought up as a founding member, is because we were a cover band at the time, there were few originals written....and none of them made it to a studio. It would be non productive to speak of how well he covered songs as well as uninteresting and invalid. The incorporating of Bobby was the start of Overkill as the world knows it....and that is what is important.

You mentioned earlier, DD and you are the two only original members still in the band, what were the reasons for the others to leave the band (as far as you can remember of course) Dan Spitz probably being the one who gained most of his fame after leaving you guys for another New York thrash band.

Danny to Anthrax...hmmm, money?

Most left of their own accord....even Rat Kundrat (Rat Skates), " I can't take it! it's not what I want!". Others for family, Marino, Gant; Comeau to sing with Annihilator; Cannivano to race bikes; Sid was discontent. Bobby and DD wouldn't work together. So it was primarily the decision of the individual who is now gone. No big rules in Overkill... I think the proof is the side projects...Speed Kill...The Bronx, and the Cursed. You live once, live your life...do what makes you happy...and always add a little chaos.


The last three years saw the release of studio album 14 or 15 which was generally well-received by both press and fans alike and in my opinion saw a return to a thrashier sound by you. What are your thoughts on Immortalis?

Good record in the truest sense....it is cohesive, as if all the songs are necessary to create the impact. This was an art form as I grew up....Black Sabbath Vol IV; Machine Head; Stained Class; Ace of Spades...full albums...not just a collection of songs.
The writing as per normal...starting with DD & ending with me...but we had much more time...almost 2 years to complete it...I think the time is the "X" factor.

I have heard some people around me say that Overkill is like the AC/DC or Motörhead of thrash, releasing albums that generally sound alike. According to them it might be a good thing to not record any more and to solely focus on touring. Have you ever considered such a thing to be an option or was that just a dumb question ?

No...though quite a compliment...touring is my motivation, but we don't want that heart attack too soon.


Thanks for taking to the time to answer these questions. I hope you are aware of your contribution to Heavy Metal. Is there anything you'd like to add as your final words?

Stop by and say hello...looking forward to heading east again, I have always collected great memories from there....the people...the cities.... the SHOWS! Look for me...I'll be the guy sweating his ass off.

Killswitch Singer Howard Knocks up Porn Slut?

We’re utterly clueless and behind the times on this news, we are too busy rolling blunts and debating on whether new Domino's pizza is really new (which it is), but we figure it is such a fantastic read that it warrants some level of exposure. Apparently, there’s been some Twitter drama concerning pornstar Allie Foster and KILLSWITCH ENGAGE frontman Howard Jones.

The juicy deets in a nutshel

• Howard Jones had to leave KILLSWITCH ENGAGE’s tour due to “personal reasons”?
•  Allie Foster has a baby bump that is alleged to be Howard Jones‘ of KILLSWITCH ENGAGE’s child 
• Allie Foster does not like the attention: “No further posts, and all Allie Foster accounts WILL BE DELETED (Facebook, Myspace, Twitter) as I do not plan on ever going back.” 
• Allie Foster supposedly quit porn: “To clear up a few things, I quit porn awhile ago. I haven’t been posting on ANYTHING. I am pregnant, but I’ve been working a NORMAL job.”
• Allie Foster claims her account was hacked: “I DID NOT POST ANY OF THAT MY ACCOUNT HAS BEEN HACKED. THERE WILL BE NO FURTHER POSTS UNTIL I GET TO THE BOTTOM OF THIS.” 

Quite frankly, we don’t care one iota what really happened,  but lets be honest, it’s one hell of a story if it were true. Hopefully your cock was covered in triple wrap. Besides all porn whores are looking for rich rock stars. Howard has some cheese. Nice tits on the whore too.

Yngwie

Ever since the early 1980s, Yngwie has been pushing the limits of guitar, and influencing countless other players in the process. And he continues to impress to this day, as evidenced by his forthcoming album, “Relentless”, the highly anticipated follow-up to 2008’s critically acclaimed “Perpetual Flame” (Yngwie’s first album for Rising Force Records).

The second Yngwie CD to feature ex-JUDAS PRIEST and ICED EARTH singer Tim “Ripper” Owens, “Relentless” contains over 60 minutes of “incredibly complex, kick-ass arrangements,” according to a press release.

“This title truly is the right one for this album,” explains Yngwie. “I mean, after all these years, some kind of force is driving me to create something that totally surpasses everything I’ve done before. I tried to capture the raw energy of a live performance, yet push myself to the most demanding level of playing and composing to harness that elusive magic that can’t just be switched on. All the way out, caution to the wind, but disciplined performances was what I went for. Maybe I did it too, check it out!”

“Relentless” will feature the following tracks:

* Relentless
* Look At You Now
* Shot Across the Bow
* Adagio B Minor Variation
* Caged Animal
* Critical Mass
* Into Valhalla
* Enemy Within
* Caprici Di Inferno

Malmsteen released the “Raw Live” DVD on June 29. According to a press release, the set “provides an unprecedented and unique look at the rise of a guitar god. Spanning from 1981 through 1999 and encompassing extremely rare footage of Yngwie’s early years in Sweden, this video displays the infancy of Yngwie’s prodigious skills well prior to his first worldwide album and travels through Yngwie’s masterful career, including his masterful performances from his first solo albums, ‘Rising Force’, ‘Marching Out’, and‘Trilogy’. Also included in this unique video are never-released behind-the-scenes footage of Yngwie and newly shot personal touches of Yngwie which open up the viewer to a side of the guitar maestro which is rarely seen by the public.”

At War

AT WAR, one of the first metal bands to be considered “war metal,” is back with its latest release, Infidel. It’s a major middle finger toward al-Qaeda and the like. Its raw, dirty brutality is an honest attempt at a comeback, and AT WAR is not just riding on the laurels of the retro thrash scene. The Virginia Beach trio had been on a 15-plus-year sabbatical, then started playing again in 2006 at the beginning of the thrash metal resurgence.

In 1983, AT WAR was an up-and-coming speed/thrash metal band. But they virtually disappeared after their sophomore release Retaliatory Strike in 1988. The renewed interest in the band and the reviews for Infidel couldn’t please vocalist/bassist Paul Arnold more.

What made At War re-form? 

It actually started in 2006. Shawn (Helsel) and I remained friends through all this. We were in contact with each other all the time. We had all taken different paths and were occupied by things of a more personal nature. We started getting a little amount of contact from people to play out or to record something new. We started talking about it and things just fell together, and Shawn had a place to rehearse. We started rehearsing and people started hearing that we were actually rehearsing, and we started getting invited to do festivals and other things. It just kind of snowballed from there.

Was it because of the renewed interest in thrash? 

I’m absolutely sure that was it. But we weren’t really aware of (the resurgence) until we started rehearsing again. We just wanted to do it again. And then we found out that there were these young thrash bands getting back together in the Bay area and other places. Then we started figuring out when we put up a MySpace page that it was out again and we just went apeshit!

What led to the band’s sabbatical, and what did all the members of At War do musically during the break? 

I think it was around ‘92 or ‘93 that we played our last show. The whole music scene was changing around that time. Grunge was the flavor of the month, and it seemed like overnight the interest in extreme metal’s bottom fell out. At the same time we were up for a renewed contract with New Renaissance and a new album. They were trying to cut the budget while we were trying to get more money to do a better record. We thought we put in our time and that we deserved it. We just lost contact with them and decided that if we weren’t going to do it right, then we weren’t going to do it. And we attempted half-heartedly to find another label and we started drifting away from the band. I had a young daughter and we’d been out for months prior to that and I wasn’t around much, so I needed some time off. Musically, we didn’t do a whole lot. Shawn had formed a band that I sang for … just a local band. Dave our drummer took off with a cover band. That’s kind of where things drifted the most. We never officially called it quits or said “OK that’s it, let’s break up.”

In the ’80s you were an up-and-coming band but never really got much recognition. Do you feel that with the release of Infidel you will start to get the respect you deserve? 

We did get a pretty healthy level of respect and had a pretty wide fan base. Some people think that we’re a new band. In fact, to a lot of people we are. Having the Internet … people thought we were a new band until they started looking into us and found out we’ve been inactive mostly. But then there were the old-school people who knew about us who heard we put out this new record. I think things could have been done differently in the ’80s and we could have gotten a lot more respect and notoriety. Things could have been different, but we’re not going for self-pity.

Infidel has an old-school vibe mixed with punk. But it also has that German thrash influence. Was it a conscience effort to remain true to your original sound? 

Keep in mind, for 15 years, I wasn’t involved in the music scene. I was heavily into bowhunting and wildlife photography. I wasn’t in the music scene at all. The way things were recorded or the way things were musically in general, we were completely unaware of. It’s like we crawled out from under a rock in a time machine. We wanted to record an album. For us, it wasn’t about being rock stars, we just wanted to do something for ourselves. If this was the last album we ever to do, I wanted to make sure we didn’t cut any corners and that we didn’t bullshit around and did everything that we know how to do. We only did what we knew to do when we started writing songs. A lot of bands in the late ’80s and early ’90s, everyone was searching around for new things to do with metal. We even fell into that a little bit with some of the stuff we had written for the third album, which never got released. First and foremost, we’re going to play songs that we like. If we love them, then that’s all that matters. When it came to recording the album, our first choice was Alex (Perialas) because we love what he did with “Retaliatory Strike.” We trusted him. We weren’t trying to come up with a retro-sounding album. We used the techniques that worked great back then, and we’re really happy with the way it came out.

How pleased are you with the reviews of “Infidel” and the renewed interest in the band? 

I’m very pleased. I’d say 90% of the reviews I’ve seen have been overwhelmingly positive. No matter what you do, there’s always going to be haters out there, for whatever reason. We’re going to expect that. But it’s been so little. Most people who listen to the album hear it the same way we do. Great songs, great-sounding record, doesn’t have a lot of in-the-box type of recording methods that most bands are so used to these days because it’s all they know. And when they hear it, they ask themselves, “Why does this album sound different?” It’s real musicians, playing real instruments, in a real studio. It’s not a bunch of stuff that’s manufactured. What you’re hearing is the “real deal.”

The warfare theme is still dominant on Infidel, but do consider yourself war metal? 

I’ve been asked that a lot. Back in ‘84 when we first signed up with ASCAP, we had named our publishing company War Metal Music. I’m not going to take any credit for the moniker, but I think we were probably the first people to actually use it. As far as the genre, I never thought of it being that way, and I didn’t even know there was a war metal genre until two or three years ago. For us, the war theme kind of came into play as a result of our upbringing. The reason we love metal is because of the aggression. And what’s more aggressive than war? Shawn, Dave (Stone) and I are all huge WWII movie buffs, and when I was a baby the Vietnam War was going on. Plus the fact we all hunt, we all have guns and wear camouflage. It all kind of fell into place. It kind of worked its way into the theme of the band. The reason the band is called At War is not because of war itself, it’s really a state of mind. We were at war with … we were sick and tired of people who bitch, whine and moan about things and don’t do anything about it. If you’ve got a problem, get out there and attack the problem, declare war on the problem. At war with whatever problems you have in life.

The cover art of “Infidel” as well as the song “Want You Dead” are strong statements. You seem to stand behind everything you do. You aren’t trying to be diplomatic are you? 

Absolutely not. The song “Want You Dead,” it’s not purporting a political viewpoint, it’s purporting a fact. If anyone reads the facts about Islamic extremism, for me I’m just speaking the truth. Extremists want anybody that’s not them to be dead. And that’s a fact. The song is not trying to persuade, it’s just speaking the truth. And anyone who wants to say otherwise, it’s just not true. That’s all the song is saying. It’s just saying that people need to wake up and realize you cannot negotiate with people who think this way. It’s a religious mindset to them. They feel that the only society is one without you in it. If you’re not with them, you’re against them. That’s what’s caused all the turmoil in the last 10 years … that type of thinking.

Any closing comments? 

I want to thank all the fans and you, Kelley, for this interview. And everyone who’s been supporting all forms of extreme metal over the years. When we played in Europe, Germany especially, along with Japan and Mexico for that matter, the thing that strikes me the most is how different it is in the States compared to there. In the States, metal seems to be so fragmented in your little groups. If you’re a death-metal guy, it’s got to be death metal or it sucks. If you’re a thrash guy, it’s got to be thrash metal or it sucks, and so on. If you go to European festivals, you feel support from every form of metal there is, be it NWOBHM or math metal, you name it. The crowd down front, cheering people on. I’d like to see more of that as a country. I think the fragmentation makes it harder in the entire metal industry in this country for bands and music to become more prolific. The last thing we need is to have in-fighting within metal. We need to support the whole thing. That’s what I’d like to see.

Tygers Of Pan Tang

From the beginning of the NWOBHM movement in the late ’70s, there’s been no other band, with the exception of maybe DIAMOND HEAD, ANGEL WITCH and IRON MAIDEN, that has been at the forefront of the scene since its inception. TYGERS OF PAN TANG carry the flag of the true sound of the NWOBHM and have been together for over 30 years for a reason — for the love of making music and the NWOBHM scene in general. Before some TYGERS OF PAN TANG festival dates, original guitarist Robb Weir checked in with us at the Attic, we hailed.

After forming in 1978, did you think you would be able to carry the NWOBHM flag even to this day? 

When the band started in 1978, it was just a dream to play music and get a record deal. To still be playing and writing 30+ years later is just incredible for me personally and for the band. We have had some ups and downs as a band, but I am enjoying the Tygers now more than ever. We have a very high-energy live stage show now which is much more visual than ever before, and our last album release, “Animal Instinct,” received some fantastic reviews, all of which makes it worthwhile.

The band really seemed to be at its strongest on the first three albums. Not that I’m saying you didn’t have good material after that, but it seems like that classic NWOBHM spark was missing. Or was it the end of an era so to speak? 

There was a unity in the writing for the first three albums which created that Tygers sound. Also, with the social issues in the UK at the time, NWOBHM was perfect music for the working man who just wanted a release from the day to day struggles. The NWOBHM movement was at its highest point during those albums and so was British hard rock, so it all just came together. It was a simple process which focused on the riff and lyrics, which changed with “The Cage”. Fred (Purser) had joined the band and was a University-trained musician, so he brought a technical side to the band that was very cutting edge for the time, but just wasn’t the Tygers. Saying all that, “The Cage” was our most successful album to date even though it’s not a fans’ favourite. In 2007 when we started recording “Animal Instinct,” we wanted to get back to our roots with the Tygers sound. I think we achieved that, and if you compare that album against the first three, the signature sound continues throughout.

With various member changes, record label frustrations, break ups, poor record sales, etc. With you being the only original member, what made you want to keep the TOPT legacy alive?

Since I decided to put the Tygers back together, it has been a struggle. There was a lot of poor decision making by the management at the time and myself, which I regret to this day. Up to 2007, there was a huge focus on the fact that I was the only original member from the early days, but this now seems to be getting less of an issue. We needed to play our shows and release a product that the media and fans would respect to get that credibility back. A lot of bands suffer this stigma when all they want to do is keep their music alive and keep playing songs they love live. What I have learned, is In order to really produce good music, you need the comradery and continuity within the band that only comes through time. The present line up has been together since 2004 and that is now showing huge dividend. We have a new manager (since 2007) that takes care of all our business so we have an infrastructure for merchandise, touring, etc. So that just leaves the music and playing to the band. It’s a great weight off my shoulders. You ask why we keep this going? I believe the Tygers songs from 1980-82 are worth keeping alive and I just want to play these for anyone who wants to hear them. I also want to record music I am proud of, such as “Animal Instinct”. There is a lot left in the band yet.

How’s it feel to be on the upcoming Bridgefest 2010 bill?

We know Tony, the owner of the venue quite well and usually play warm-up shows at the Bridgehouse on our way to Europe. It’s a fantastic little venue and one bands should check out on the circuit. Tony asked us to play the festival and we were happy to oblige.

As you say 2008’s “Animal Instinct” still carries on the TOPT sound, but has a bluesy vibe especially on “Live For The Day.” This is just great stuff. What was your mindset while writing the material?

“Animal Instinct” was a band recording so you get a lot of influences in there. When I listen to the album I hear some AC/DC, Scorpions, Judas Priest, Saxon and a touch of Free/Zeppelin on the vocals. In order to get back to the spirit of early ’80s rock, we were listening to a lot of older albums and this came through in the writing/recording. As I have said in the above, we do have an overall sound though that always shadows over the influenced sounds.

Are you working on any new material and what kind of direction is it heading in?

We have started writing the new album and have a couple of demos already. The direction will be similar to “Animal Instinct” with a bit more sophistication. We are very aware that there is a new expectancy that this album has to be better than the last, so we will take our time and ensure we explore every way on every song to achieve this. In between, we will be releasing another 5- track EP to celebrate 30 years of Spellbound. I like this concept because it shows an ode to the past, I am extremely proud of the band’s past and present ,and I want to keep the past music alive because there was some great songs. There are too many bands that have forgotten their past, but the fans want to hear those songs played live, so they are as important as the new ones.

When will it be released?

We will be looking at mid 2011.

With the recent resurgence of traditional and NWOBHM bands like Enforcer, Cauldron, White Wizzard and many others. Do you feel you have something at stake or something to prove that you are still in the game, and you virtually started, or was an essential part of the whole movement?

When your fans are paying their hard-earned money for a product, then of course there is something at stake. As a musician, there is always something to prove because you want to push yourself into releasing the best possible songs you can write at the time. I think as a band up to 2007, we had become a little lazy and complacent, but our new management will not allow that at all any more. We have been asked to be more competitive when we play festivals. We used to be quite laid back but now our manager wants us to be the best band on the bill and steal the show, so we are really pushing ourselves as musicians and entertainers. The publicity from our recent performances have been fantastic, so it seems to be working.

Anybody that knows their metal, especially NWOBHM, remember you and still love the band. How’s that make you feel to know that you are still revered and are still important in the metal world?

It’s really nice to receive such attention, which is most apparent when we go abroad. We have some great fans in the UK, but our main market tends to be Mainland Europe, South America and Japan, where we sell most albums. It’s great to play festivals in Europe, as they are still true to original Rock/Metal. At the Headbangers Open Air Festival, we did a signing session that lasted 1 hour 15 minutes. The comments from the fans were great and it did show the affection people still have for the Tygers of Pan Tang.

What’s next for Tygers of Pan Tang?

We will continue releasing our concept EP CDs, we will record a new album in 2011 and still keep playing live. We are accessible to the Rock/Metal Fan to really get on board with the band and taste what it was like back in the early ’80s.

Any last words or comments?

Please check out our website www.tygersofpantang.com and myspace site for latest news/gig dates and shop etc. If you can buy “Animal Instinct,” please do so and give it a try, you will not be disappointed, I promise.

Thanks for taking the time Robb. Safe travels

Aces High For Adrian Smith

I must admit first and foremost, i don't enjoy the new Iron Maiden album, It's no secret. I thought the band had stretched way too far away from their traditional sound which started with "Seventh Son.." I also think Bruce's vocal lines are unexciting and bland. Needless to say Steve Harris and the rest of the band sound ok, but seems a more paint by numbers effect. I was rooting for this record a lot, probably the most anticipated for me since "Somewhere In Time", which ironically in my opinion was their last real spiritual journey. The members of Maiden can ideally do no wrong , even if i think the record sucks. I will always love Iron Maiden. Adrian Smith is a god.

 How has the Final Frontier tour with Dream  Theater been going so far?

It’s been fantastic. The audiences have been great. We’re having a great time playing the music.

Are you playing some of the new songs off of The Final Frontier on this tour?

We’re playing one new song. The album’s not out yet, but we’re playing “El Dorado,” which is available as a download on our website as a taste of the album.

“El Dorado” has been streaming online for a little while and sort of  sounds like classic Maiden. What’s the concept behind the song and who was involved in writing it?

I had the music to the track and I think Bruce wrote the lyrics. “El Dorado,” I think is a comment on how people’s expectations of a better life. A “grass is greener.” People who are borrowing money so they can have the latest fancy car or the big TV and all that. A lot of people got the rug pulled out from under them with the recession and stuff. So I suppose it’s loosely based on that.

What direction did you want to go in with Final Frontier?

I think it’s slightly different, this one. Actually listening to it, for the people who have heard it, the very style on the album is very different from what we’ve ever done before. Some of it’s kind of straight forward, but I think the bulk of it is quite progressive. I think that’s always been a strong point for Maiden; tackling the longer songs, more intricate, but still using a lot of melody. You got an odd combination, you got a couple of straight forward rockers on there like “El Dorado,” and quite a bit of complex and intricate stuff as well.

You have a massive fan base and are loved worldwide. Do you still feel the excitement and enjoyment of performing live? What’s it mean to you?

It’s incredible. Every time we set foot on the stage in front of a Maiden audience, it’s an experience. You can feel the energy from the crowd, the expectation building before you go on stage. It’s like an event, not just a show. The audience makes it an event, really.

Why did you leave the band in 1990? Was it a difficult time for you? Was it because of strife within the band, personal problems? Or did you just want to do solo albums?

A bit of everything, really. I’d been in the band for nine or 10 years, it was a very tense period in the band’s career. Where we went from 1980 with the first album, I came in on the second album, from then, our feet never touched the ground… It was touring and recording. I suppose I was a little bit burned out. I had no life outside the band. I needed to explore some other things, maybe do a few solo things. I got married, started a family, that sort of thing. And then, it was great to be able to come back into the band, it was almost like it’s better the second time around, you’re older and you can appreciate it a little more. I think in the ’80s, it was such a nonstop thing and we didn’t have time to sit back and smell the roses.

You’re usually a private and guarded band, but how was the experience having cameras following you for two months for the documentary Flight 666 and did it portray you the way you had hoped it would?

You’re right, we are a private bunch. At first, we were very skeptical about having cameras around because it can make people act and react differently. Once I found out who was doing it, Sam and Scott from Bangor, I’ve known them over the years doing interviews and I liked them as people. So I thought, if they’re going to do it, it’s going to be good. I thought it would be great to have a document, to go back to what I was saying about the ’80s, we did so much and it was kind of a blur. So it’s great, just personally, to have a document of that tour to look back on in years to come. I think they captured it really well.

Maiden started at the beginning of the NWOBHM, and now the band are the kings of the genre. How does it feel now in 2010 to be able to keep recording and touring and still remained loved?

Well, we’re very lucky. It’s incredible. We’re still getting new fans, young fans. Our fans go right across the board now, age wise. I don’t know, something of a phenomenon. I think the band has been true to itself over the years. We spent many, many years playing to our fans which involved going to and playing lots and lots of shows in every corner of every country. And now, we’ve built up that following the hard way. So I think that maybe that’s a factor in the band’s longevity.

Artist Melvyn Grant was picked again for the Final Frontier cover, he’s showed success on Fear of the Dark and Virtual XI,  even though i much prefer Derek, Are you more comfortable now with his depiction of Eddie compared to Derek Riggs’ style of Eddie? 

Well, I think Derek should have the credit for coming up with the original. He was a fantastic artist. There maybe be some politics involved in why he’s not working with the band anymore, I don’t really know. I think this latest fellow has done a fantastic job, i really like the new Eddie. It’s almost mutating into something else, but you can still see the family resemblance (laughing).

Is this really the Final Frontier for Maiden?

You never say never, we really enjoy being on the road and doing what we do. Like I say, we’re still getting new fans. It’s not our final tour or anything, we’re going to be touring for a little while yet, a few years at least.

For fans of Maiden, the new album Final Frontier can only be expected to be what Maiden does best, but what were you trying to achieve while writing it?

You always see what comes out really. It’s a document of where you are at the time. We always set out to come up with the strongest songs possible, melodies, and try and do what Iron Maiden does best. It’s difficult to preconceive, I mean, I always say that personally, I to try and write shorter songs and try to contribute to the more of the rock ‘n’ roll side. I’m moved into different areas to more progressive pieces, more intricate, which I think is the band’s forte

.

Was everyone involved in the writing process for the album or did Steve pretty much handle most of it? How do you decide on the songs that make it on the album?

We only write what we need. Obviously everyone comes in with a load of ideas, it pretty much was a band effort. I think Steve these days is more into arranging and writing lyrics and melodies. I came up with quite a lot of music, six or seven songs and Janick wrote some also. Bruce wrote lyrics and melodies as well. So it was pretty much was a group effort, probably more than in the past.

Any last words or comments for our readers and your fans?

We just love being on the road and love playing music to our fans. It’s as simple as that, really. We look forward to seeing people at the shows.

An Encounter With Wolf Hoffman

German metal band ACCEPT are back. The Teutonic Terrors are tearing it up again with their new album in over a decade. Blood of the Nation has garnered rave reviews from critics and fans all over the world, and guitarist Wolf Hoffman and the rest of the band couldn’t be any happier.

Most fans by now already know that original vocalist Udo Dirkschneider was very adamant about not rejoining the band, after all, he does have a successful solo career with his band UDO. So, by chance one day, Wolf and bassist Peter Baltes were introduced to former TT QUICK vocalist Mark Tornillo, and after an impromptu jam session, they were both floored with Mark’s ability and felt they had their new singer.

With the album out and tour plans in the works, ACCEPT are ready to prove to the world that they can still rock. Calling from his home in Nashville, Wolf filled me in on a few things about their new singer, their new album and their renewed enthusiasm for the band.

I think by now everyone knows the story about how you found Mark, but how exciting has the whole process been since then? 

Pretty darn exciting. I don’t think we’ve had anything as exciting ever really happen to us. To come back from hiatus after all these years and to have this. The whole story is like a roller coaster ride. At first, there was a wave skepticism, nobody believed in it at first when we announced it. And now that everybody has seen us live and has heard the record, now everybody is excited like never before.

Are you pleased with the fans’ enthusiasm and acceptance of Mark?

Absolutely. We’re totally blown away by how much they do embrace him and how much they like Accept with Mark. It’s been phenomenal where ever we’ve gone so far, over seas, even when we did that show in New York. It was awesome. We were nervous, as you could imagine going out there doing the first show being on stage with Mark. I knew we had a great record and we were pretty confident, but at the end of the day, you never really know. It’s sink or swim. And no matter what the results was, we knew it would be on YouTube the next morning, and it was. Luckily it went super-well and people loved it and we had one of those unforgettable nights and it’s been pretty spectacular ever since.

By now, everyone knows that Udo didn’t want to be a part of Accept, but it seems like that started a fire under you and made you more determined to create a classic slab of what Accept was remembered for. Is this a fair assumption?

Totally. Especially after he turned us down and we go and found somebody else and announce to the world that we’re going to do this, and everybody says, “This can’t be done.” We thought “Why can’t it be done and how the hell can you prejudge something that you haven’t even heard yet?” So we were all fired up to make the best possible record under the sun. We tried really hard and wrote more songs than we ever have and made sure we did the best we can.

This new album has all the classic Accept trademarks. How easy did the material flow once you started writing it?

Super easy. I couldn’t believe it. Peter and I had written something like 40 songs easily, then (producer) Andy Sneap came in and nudged us along in the right direction and picked the best ones. So, ideas weren’t really the problem. I’m still amazed at how secure Andy was in picking the good stuff and not the so good stuff. Everything we write, to me, sounds like Accept because it’s all coming from me and Peter and it all sounds familiar. Him being a long Accept fan and having grown up listening to this stuff, he had a keen sense from a fan perspective of what really separates the great from not-so-great over the stylistically typical German metal that he liked to the maybe not-so-typical stuff. So, he really had a good sense of all that and I’m super happy he was there.

What’s the concept behind the album title and artwork? It’s such a strong image.

We struggled a little bit to tell you the truth. We struggled with the whole naming the record. We had a collection of 12 to 14 strong songs then we just were thinking about calling it Teutonic Terror, but at the end of the day, Blood of the Nations really survived the selection. The our designer Mark Whitaker came up with the bloody hand, which was a symbolic, strong image. And we liked it. We felt it was the typical Accept of what we could have done in the past. Of course you can interpret this any way you want. The song itself is about bloodshed and war. But, I wouldn’t want to go too deep and interpret all kinds of political ideas into it. It’s just mainly a strong statement visually and good ‘ole blood and guts. You know when you have a title called Blood of the Nations, there better be blood on the damn cover! (laughing).

In my review of the new album that was recently published  I boldly stated that Mark’s voice seems to be an even better fit with the Accept sound now than when Udo was in the band. Not that I’m taking anything away from the Udo-era ACCEPT, but there’s just something more relevant with Mark’s voice. What’s your opinion on that?

I think that’s really for the fans to decide. I have to be careful because I don’t want to slam Udo or anything, but I’ll just tell you that I just really enjoy working with Mark. For me, it brings the whole songwriting process the whole band to a level that we haven’t really been before. That’s surely because of his vocals, honestly, there’s no other way to say it. Because we’re the same. We write the same kind of songs that we’ve always have, but when he comes in with his stuff on top of it, I think it’s something that we’ve never seen before.

There’s also an added bonus by Herman Frank coming back after many years. How did that come about?

We did a short reunion with Udo, it wasn’t a reunion but some festival tours with the old lineup in 2005. It was Herman Frank on guitar and Stefan Schwarzmann on drums. So we were familiar with those guys five years ago and we knew we would make a good team. So they were the first people we called. Peter and I decided to get going again and we called those two guys. We figured those two are family that have left of us. Because Jörg Fischer, the original, original, from early on, disappeared from the face of the earth and I don’t think he even plays guitar any more, so he’s out. Stefan Kaufmann can’t play the drums any more, so he’s out. So it was really those two guys that were the closest to the family and we’re glad we made that decision because we get along great and we have a really good team now.

Andy Sneap is a legendary guitarist and producer, and he did an amazing job on the new album. Were you absolutely confident in your choice of producers? And now that the album is out, was it everything you expected it to be?

Oh yeah, and more. The choice of producers sounds kind of funny because we didn’t really go down a list and pick the one we had most confidence in. Just like with Mark, we happened to stumble upon Andy, or I should really say he found us. When he heard that we were reforming, he contacted us through a mutual friend and we met him and loved him and I’m so glad we went with him. After we met him, it was quite obvious he was going to be the man. Because he is a fan, because of all these thing he brought to the table, he was better than anybody we ever could have found. We have worked with other producers in the past, but some of them don’t really play guitar, some of them don’t really have this whole metal background. They’re all good in their own right but they all brought nothing along, but Andy had it all going for him. He felt like he was just one of us. Everybody loves him too, that’s kind of remarkable too. Everybody who’s ever worked with Andy or anyone who’s ever met him. He’s just an overall great guy and really knows what the heck he’s doing.

With your upcoming US Tour with Kings X opening for 
you, how excited are you to tour after being away from it for so long?

More than ever. That’s really why did all this. The whole point of the exercise of making a record and coming back with a singer, in the end, it’s all about wanting to go out and play live. So now, we’re actually coming closer to our goal. To be touring in the US again, that’s just amazing. We did a bunch of touring and traveling in the summer months. We played a bunch of festival shows. Played some shows with AC/DC and some Monster festival in eastern Europe. And that was
wonderful, but it was all this airline travel that just wore me out. We had to spend something like 22 hours on airlines to get to some of these places. But to be able to hop on a bus and tour the US, it sounds mighty fine to me, man. We’re totally excited to be back in the scene and we’re as energetic as we were 25 years ago. I haven’t been as fired up about anything in a long time. Now that the record is finally out, it’s so great to see how people still appreciate our music. It’s great to see the fans again when we play and hopefully we’ll be doing this as long as we can. So I can’t wait to see everybody out on the road