Month: April 2021

JIZZY PEARL’S LOVE/HATE will release a new single, “Soul Mama”, on May 14 via all digital platforms. The track is described in a press release as “a rockin’-sockin’, hard-hitting rock anthem in the tradition of AC/DC and LED ZEPPELIN.”

“Soul Mama” is taken from JIZZY PEARL’S LOVE/HATE upcoming album, “Hell, CA”, due for release in 2022.

Pearl has been a fixture on the world-famous Hollywood Sunset Strip since his edgy street rock band LOVE/HATE released its debut album, “Blackout In The Red Room”, in 1990. “Blackout In The Red Room” received “Album Of The Year” honors from Kerrang! and Metal Hammer in addition to being a fan and critics favorite. It Their second LP, “Wasted In America”, followed in 1992, and the band hit the road with the likes of SKID ROW, DIO, AC/DC and OZZY OSBOURNE.

Since then, Jizzy has played, recorded and toured with platinum artists like RATT and L.A. GUNS, including a stint with GUNS N’ ROSES drummer Steven Adler in ADLER’S APPETITE, while currently fronting the legendary QUIET RIOT. Jizzy has also released several critically acclaimed solo albums, the most recent being 2018’s “All You Need Is Soul” on Frontiers Music Srl.

Last year, JIZZY PEARL’S LOVE/HATE celebrated the 30th anniversary of “Blackout In The Red Room” by playing the album in full.

Former MEGADETH guitarist Marty Friedman recently sat down for another interview with Cassius Morris on WatchMojo’s music podcast “Innersleeve” to discuss his latest album, “Tokyo Jukebox 3”, his metal spin on Japanese music, and his love for Japanese culture. He also provides a track-by-track analysis of the entire LP. You can now watch the chat below.

“Tokyo Jukebox 3” received a North American release on April 16 via The Players Club/Mascot Label Group. The record, which was made available in Japan last October, is the third in a series that began with “Tokyo Jukebox” in 2009, and then “Tokyo Jukebox 2” following in 2011. The trilogy presents Friedman’s inspired performances to Japanese repertoire he’s chosen to cover. He explained: “I’ve been playing stuff from the first two ‘Jukebox’ albums live all over the world, and it’s taken on a life of its own. Especially in places like North and South America, Australia, Italy, France and even India. My fan base is very dedicated, and what I have found is that lots of new fans have been introduced to Japanese music and culture through me, which is very gratifying. On the tours it seems like aside from the dedicated guitar fans, the Japan fanatics have been noticeably growing, so now felt like the right time to do ‘Tokyo Jukebox 3′.”

On “Jukebox 3”, Friedman takes J-Pop hits and offers his own charismatic interpretations of contemporary repertoire that includes LiSA’s “Gurenge” and Official Hige Dandism’s “Shukumei”, alongside Da Pump’s dance track “U.S.A.”, Sekai No Owari’s ballad “Sazanka”, and the vocaloid hit “Senbonzakura”. Japanese old-school standards, Zard’s “Makenaide” and Every Little Things’ “Time Goes By”, are also given Marty’s modern overhaul to round out the album’s track list to cover the full scope of his take on the Japanese music scene.

Friedman put a lot of energy into selecting the right songs to cover for the album, He shared: “In Japan, you have to get permission to record and release cover versions, and that can be a very tricky and long process. So, the last thing I wanted to do was to ask permission to do a song, only to wind up not recording it for whatever reason. That would be very impolite. I spent several weeks choosing songs and demoing them to see whether I could create versions that I could get pumped up about, before I even approached any publishers. I came up with a short list of 20 songs, and from this chose about 15 that I knew I could really score with.”

Friedman also included “The Perfect World”, which he wrote, recorded and originally released in 2018. This is the only track on the album with vocals. He reflected: “Back then I did the song with Jean-Ken Johnny from MAN WITH A MISSION on vocals, and that was used as the main theme for the Netflix series ‘B: The Beginning’. On the day of release, the song went straight to the top of the Japanese iTunes chart.” This recording is a new, fresh interpretation with Alfakyun, one of Japan’s premier female J-pop singers performing the vocals. As Friedman offers: “It’s really a self-cover, so it fits in with the idea of this being a covers album.”

Friedman also included “Japan Heritage Theme Song”, another of his own compositions on which he worked with the Tokyo Philharmonic orchestra. He said: “I was asked by the Japanese government to compose an official song to be played at government sponsored events which celebrate Japanese heritage. This was a huge honor, and it was wonderful to be able to work with such a prestigious orchestra which, rather conveniently, my wife plays cello in. Doing this was a little different from what I am used to, because instead of playing a completed track to record company people, I had to face Japanese government officials. I recall looking at their stony faces after they heard it and sweating anxiously awaiting their reaction. Thankfully, they liked what I’d done. I felt this was a great, uplifting way to close the album.”

Much of the recording process was done at Power House Studios in Tokyo, with Friedman, who was also the producer on the project, joined by bassist Kiyoshi and drummer Anup Sastry. He said: “Kiyoshi has been in my band for about six years now doing all my tours and recordings. She is a powerhouse, and I honestly have never seen anyone hit the bass as hard as she does, especially while keeping up with my kind of challenging music. Anup was a member of SKYHARBOR (an Indian/American progressive metal band) and has been on my last three albums. He is just plain phenomenal as well.”

The recording process started in January, 2020 and was due to end in March with a release in May. Then the pandemic struck, and everything was pushed back. Friedman had no firm deadline to finish the album within, and he took advantage of the time, reflecting on executing his vision without limitations. He offered: “I kept reworking the music, and improving everything. In the end, it took several months to get the album completed, but it was time well spent. I believe the music turned out so much better because I wasn’t under any deadline pressure.” The mixing was handled by Jens Bogren at his own Fascination Studios in Sweden. He’s a resource Friedman has the utmost confidence in offering, “Jens has mixed my last three albums and he’s one of the best in the business. He knows what I want, and I know he’ll get it for me.”

Friedman’s remarkable attention to detail on this album goes beyond the music. The cover image presents the guitarist dressed in a traditional Japanese kimono, with make-up that honors authentic tradition. He said: “I have to admit that getting this done was a hellish process. It could easily have just looked like a dude in drag and therefore rather stupid. It does take a very serious attitude and approach to pull this off properly. If you look at the covers for the first two ‘Jukebox’ albums, I had on kabuki make-up. There was no photoshop used at all and that’s precisely why they came out so well. This time I brought on the absolute top professionals in the unique field of wardrobe and make-up, and I believe we’ve hit the bullseye. I am actually wearing two kimonos in the photo, as well as padding to fill me out a little like a sumo wrestler. You’d never believe I am this skinny rock dude from the East Coast of America!”

Former FORBIDDEN guitarist Craig Locicero has joined the San Francisco Bay Area skate punk/thrash/crossover band THE BONELESS ONES. The group, which also features MACHINE HEAD drummer Chris Kontos, recently reunited after a 35-year beak and is working on a new studio album, to be released via Beer City Records.

THE BONELESS ONES formed in 1984, inspired by Thrasher magazine’s skate rock tapes and driven by many skate-related bands of the time. After two years of playing countless shows across California, THE BONELESS ONES recorded and released its debut album, “Skate For The Devil”, It was quickly eaten up by not only skateboarders, punks and metalheads, but it also gained mainstream attention from reviews and interviews in Playboy, Creem and, of course, Thrasher, which backed these guys from the start.

The members of THE BONELESS ONES went their separate ways in the summer of 1987. But after a three-and-a-half-decade break, they are back. And, with Craig’s help, are ready to carve a new spot in crossover history.

Commented Locicero: “I was one of the lucky kids who witnessed THE BONELESS ONES play their legendary show on the UC Berkeley campus. That gig stuck with me to this day. Luke was a ripping guitarist and the entire band was on fire! It’s an honor to play his parts and add to their legacy. Max, Troy and Chris are all legends in the punk/skate rock scene. THE BONELESS ONES were legit! All of the newer and older material is jumping off with energy and sounds electric! It’s also a side bonus for me to play heavy, punk and trashy tunes with Kontos. We really never had a chance to do that until now. It’s so much fun to be a part of their relaunch. I’m more than happy to be a part of the fun. Because make no mistake about it, THE BONELESS ONES are all about fun.”

Added Kontos: “I’m so excited to finally be playing some kick-ass metal/punk/crossover music with Craig Locicero. Over the years, Craig and I have made some incredibly cool music in SPIRALARMS, but this is a completely different animal with THE BONELESS ONES. The energy and vibes are perfect. Craig brings that old-school Bay Area style back to the band, and Max, Troy and myself could not be more enthusiastic about having him with us. The new BONELESS ONES record is going to be amazing!”

THE BONELESS ONES recently went out to Mojo Garage in Redwood City with Joe Miller to capture six live songs for fans to enjoy. The first track, which can be heard below, is a brand-new tune called “Heavy Is The Face”, which was brought in by Craig at the band’s very first rehearsal with him. The entire six-song set will be broadcasted on the event called “May The Fourth Be With You” on May 4. The set includes some THE BONELESS ONES’ classics as well as two more brand new tracks called “Cops And Robbers” and “Tied To A Stake”.

Fans wishing to know the identity of NIGHTWISH’s new bass player will have to wait another month.

In an interview with “Breaking Absolutes” host Peter Orullian two weeks ago, NIGHTWISH keyboardist and main songwriter Tuomas Holopainen said that the name of Marco Hietala’s replacement will not be revealed until “a few hours” before the first of the band’s two interactive “An Evening with Nightwish In a Virtual World” concert experiences that will kick off the “Human. :II: Nature.” world tour.

NIGHTWISH will perform in a tavern called “The Islanders Arms” built in a virtual world for two nights — Friday, May 28 and Saturday, May 29, 2021. On both nights, the fans will experience an unforgettable one-and-a-half-hour performance, hearing songs live off the latest album, “Human. :II: Nature.”, for the first time ever. These two nights will have their own, slightly different setlists.

Speaking about which songs NIGHTWISH will play at the virtual gigs, Tuomas told “Breaking Absolutes” (as transcribed by BLABBERMOUTH.NET): “We’re not gonna perform the whole [‘Human. :II: Nature.’] album — it’s not gonna be a ‘Human. :II: Nature.’ concert — so just some selected songs from the album a little bit split between those two shows.”

He added: “[The setlist] will be more focused on the recent records, but there will be some older stuff as well. And naturally, since the departure of Marco, we had to, again, adjust the setlist a little bit because there are just some songs that are so focused on his vocals especially. For example, the song ‘Endlessness’ from ‘Human. :II: Nature.’, that was something that we were planning on performing live, but it’s never gonna happen now, ’cause it’s so prolific to Marco.”

Hietala announced his departure from NIGHTWISH in January, explaining in a statement that he hadn’t “been able to feel validated by this life for a quite a few years now.”

In December, Hietala was crowned the winner of the fall 2020 season of “Masked Singer Suomi” — the Finnish edition of the popular masked singing contest. He was disguised as Tohtori — the Doctor.

“Human. :II: Nature.” was released in April 2020. The follow-up to 2015’s “Endless Forms Most Beautiful”, “Human. :II: Nature.” is a double album containing nine tracks on the main CD and one long track, divided into eight chapters, on CD 2.

Images from NIRVANA’s purported final official photoshoot will be released as non-fungible tokens (NFTs) next week.

Photographer Jesse Frohman took the pictures, dubbed “The Last Session”, in 1993, about six months before NIRVANA frontman Kurt Cobain committed suicide.

Although some of the images had never before been seen, others have been widely circulated, featuring Cobain wearing white-rimmed sunglasses, a leopard-print coat, and trapper hat. Several of the photos also feature Cobain’s NIRVANA bandmates Dave Grohl and Krist Novoselic.

Frohman said: “‘The Last Session’ NFT drop is an artistic exploration into the ways evolving forms of media and technology can be used to keep a legend like Cobain alive and celebrate his impact on music and on generations.

“‘The Last Session’ Complete Collection is a set of 104 images, polaroids, and contact sheets – some previously never seen or sold – from my photoshoot with Cobain in 1993, the last photoshoot he ever did, and some of the most iconic images ever taken of him.

“All 104 images are sold under a single, indivisible 1-of-1 NFT. If ever resold, the collection will stay together as one NFT; a complete hallmark of Cobain’s legacy and impact.”

The auction starts on May 3 at 12:00 p.m. ET and runs until May 7 at 6:00 p.m. ET. The starting bid is 27.27 ETH, which roughly equates to $74,000 USD at press time.

NFTs are a type of digital asset where ownership is recorded on a digital ledger blockchain. Each NFT is unique and can be viewed as a collectible that cannot be duplicated, making them singular and potentially valuable. NFTs can represent digital files, such as art, audio, videos, posters, album art and other forms of creative work.

Most NFTs are a part of the Ethereum blockchain, meaning that they are bought and sold using Ether, a major cryptocurrency.

Cobain died of a self-inflicted gunshot wound not long after he took a massive dose of heroin — which could have proven fatal on its own.

Kurt began using heroin to ease chronic stomach pain he had suffered from his entire life.

NIRVANA was inducted into the Rock And Roll Hall Of Fame on April 10, 2014 — just five days after the 20th anniversary of Cobain’s death.

(2/9) “The Last Session” NFT drop is an artistic exploration into the ways evolving forms of media and technology can be used to keep a legend like Cobain alive and celebrate his impact on music and on generations. The sale begins May 3.
— Jesse Frohman (@jessefrohman) April 28, 2021

(4/9) All 104 images are sold under a single, indivisible 1-of-1 NFT. If ever resold, the collection will stay together as one NFT; a complete hallmark of Cobain’s legacy and impact. The collection and auction details can be found at https://t.co/b9JWbcCMiN
— Jesse Frohman (@jessefrohman) April 28, 2021

(6/9) The auction for “Nevermind” Editions will go live on May 3. Details can be found at https://t.co/KDvN8RyeMY
— Jesse Frohman (@jessefrohman) April 28, 2021

(8/9) The sale for “In Utero” Editions will go live on May 3. Details can be found at https://t.co/yu4fIfykOf
— Jesse Frohman (@jessefrohman) April 28, 2021

(9/9) The Last Session NFT drop will May 3 to 7 exclusively on https://t.co/Psty3rdWK7. A portion of the sale will go to @jedfoundation – an organization committed to the mental health of teens and young adults, and one that Cobain’s family has supported for years. #NFTCobain
— Jesse Frohman (@jessefrohman) April 28, 2021

Ted Nugent has opened up about the darkest days of his battle with COVID-19, saying that he had “never been so scared” in his entire life.

A week after after publicly revealing that he had tested positive for the novel coronavirus, the outspoken conservative rocker discussed his experience during an episode of his “Ted Nugent’s Spirit Campfire” Internet show.

The 72-year-old pro-gun activist, who had previously the virus was “not a real pandemic,” told his co-host John Brenkus (as transcribed by BLABBERMOUTH.NET): “I never am a sympathy guy. I’m a tough guy. I’d rather err on the side of ‘tough guy.’ Five [or] six days ago, it was really scary. I didn’t think I was gonna make it. I literally couldn’t function for about 20 hours, and then they came and they rescued me… I’ve never been so scared in all my life.

“I’ve had the flu three or four times in my life,” he continued. “I’m in bed and I’m giving birth to swampage — I mean, I go through six boxes of Kleenex an hour. Okay, that’s the flu, and you’ve got a headache and you’ve got body aches. Maybe you’ve got some diarrhea, and just overall pain.

“I don’t struggle to express myself. The six-foot-two, 225-pound headache [this time] was like nothing I have ever experienced. I mean, from my tip of my toes to the top of my hair, I literally was dizzy and weak and struggled to get up to go to the bathroom. And I would lay in the bathtub a couple of times a day with the water as hot as I could take it just to divert.”

Despite his COVID-19 diagnosis, Nugent reiterated his previous stance that he wouldn’t be getting the vaccine and he mocked people who wear face masks, despite that both the CDC and World Health Organization have urged their universal use.

“Everybody out there, stand your ground,” Ted said. “Do not compromise. Make a choice. Your body, your choice. I don’t believe the masks work. I think that’s a scam. I wouldn’t trust the vaccine; nobody can tell you what’s in it. If you wanna take the vaccine, take the vaccine. But you should know the facts that people who have taken the vaccine have been tested positive after taking the vaccine. People that wear masks and social distance have been tested after wearing masks and social distancing, and they’ve been tested positive. So make your own choice.”

Last week, Ted said that he was being treated for COVID-19 by a group of doctors who made a video last July calling for the use of the malaria drug hydroxychloroquine to battle the novel coronavirus, despite warnings from public health experts. Nugent also detailed his clinical management of COVID-19, saying he has been taking hydroxychloroquine and ivermectin, an antiparasitic drug used to treat several neglected tropical diseases in humans and also used in veterinary medicine.

In the past, Nugent, a staunch Trump supporter, had referred to the virus as a “leftist scam to destroy” America’s 45th president. He had also repeated a narrative pushed by conservative media and disputed by health experts that suggests the official death count from the coronavirus is inflated.

“Even in the darkest of times, when every day feels like yet another goddamn punishment, just try to move forward and search for the light.”
The post Track Premiere: Dödsrit – “Apathetic Tongues” appeared first on Decibel Magazine.

Their solid but flawed debut album may not have set the world alight, but Austria’s OCEANS are clearly heading in the right direction. The band’s sound remains an audacious but straight-ahead blend of crunching, post-deathcore riffing and darkly atmospheric, alt-rock textures, but these songs dig much deeper than those on the debut.

In fact, the four new cuts on this EP suggest that OCEANS’ songwriting skills have sharpened up considerably during the last 12 months. These are big songs, with stirring core melodies and big choruses, but their bruised and bruising heaviness often allude more strongly to melodic doom than to metalcore. The result is a rather disquieting hybrid, wherein supreme, ultra-polished catchiness and the glowering menace of the underground reach some strange form of harmony. Opener “We Are Nøt Okay” — featuring CALIBAN’s Andreas Dörner — is the obvious, fists-in-the-air anthem here, with lyrics that could hardly be more appropriate for this most anxiety-inducing of eras, and levels of heaviness that belie the song’s absurdly memorable hook. “Everyone I Love Is Broken” is a straight-up gem, with MACHINE HEAD’s Robb Flynn adding his scabrous but soulful tones to a wonderfully windswept and widescreen chorus; graced with the crushing charisma of INFECTED RAIN singer Lena Scissorhands, “Voices” takes OCEANS further into brutal realms, with a savage mid-song breakdown, shades of GOJIRA’s spaced-out onslaught and another towering chorus. Closer “Shark Tooth” completes the quartet, with ANNISOKAY’s Christoph Wieczorek and OCEANS frontman Timo Rotten dueling away over some grittily KORN-like, lurching grooves.

Great stuff, then, and a big step forward for a band with tons of potential. OCEANS’ next full-length promises to be a scorcher.

In a new interview with the “Scars And Guitars” podcast, former GUNS N’ ROSES guitarist Gilby Clarke reflected on his appearance in Michael Jackson’s music video for the song “Give In To Me”. The clip was shot in June 1992 in Munich, Germany, just two days before the opening concert of Jackson’s “Dangerous” world tour, and it featured Clarke alongside GUNS N’ ROSES guitarist Slash touring keyboardist Teddy “Zig Zag” Andreadis, LIVING COLOUR bassist Muzz Skillings and legendary session drummer Tony Thompson.

Speaking about how he came to be involved with the “Give In To Me” video, Gilby said (as transcribed by BLABBERMOUTH.NET): “[Slash, Teddy and I] were on tour with GUNS in Europe, and Michael was in Europe, and he said, ‘We’re gonna do the video for [the song].’ So he called Slash, and he goes, ‘Put a band together.’ And there was a moment when we actually were gonna do a mini-concert when we did that, so it was in front of a live audience. He asked myself and Teddy; Teddy had been playing keys in GN’R and stuff. Michael sent a private jet, and we went to Germany and we did it.

“What I remember is we’re standing onstage,” he continued. “It was Muzz from LIVING COLOUR, and Tony Thompson on drums. And we actually had our amps plugged up, and we were jamming a little bit and stuff. We actually weren’t even playing that song; we were just jamming a little bit. And there was an audience — a real live audience. And Michael walks on stage, and the place just went — you hear that BEATLES scream, that [shriek] that’s just so deafening. And Michael came up to me, and he goes, ‘What are they screaming at?’ in this almost childish voice. And I was looking at him like this: ‘Eh, ’cause you’re Michael Jackson.’ I couldn’t believe he didn’t get it. But he looked like he didn’t know why these people were screaming at him. But it was a really fun experience. I’m so happy that Slash asked us to be a part of it.”

“Give In to Me”, which featured a guest appearance from Slash, was the tenth track on Jackson’s 1991 studio album “Dangerous”. The single peaked at No. 1 in New Zealand for four consecutive weeks, and at No. 2 on the U.K. singles chart. It was never released as a single in North America or Asia.

Clarke released his new solo album, “The Gospel Truth”, on April 23 via Golden Robot Records. The disc was produced and written by Gilby at his Los Angeles recording studio, Redrum Recording, where he’s also helmed records for such artists as L.A. GUNS, THE BRONX, BEAT ANGELS, BULLETS AND OCTANE and many more. The album was mixed by Grammy Award winner Chris Lord-Alge and mastered by Maor Appelbaum. Joining Gilby on the LP are Muddy Stardust on bass, Kenny Aronoff (JOHN MELLENCAMP, JOHN FOGERTY, CHICKENFOOT) on drums, along with Matt Starr (ACE FREHLEY, MR. BIG) and Chad Stewart (FASTER PUSSYCAT, L.A. GUNS) on backing vocals.