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In a new interview with Joshua Toomey of the “Talk Toomey” podcast, David Ellefson was asked if he was nervous to see what people were going to say following his dismissal from MEGADETH five months ago, just days after sexually tinged messages and explicit video footage involving the bassist and a woman that is not his wife were posted on Twitter. “A hundred percent,” the bassist responded (as transcribed by BLABBERMOUTH.NET). “Back in May, I was nervous to go to Starbucks. I went way off the radar and I just shut everything down. And I sought some counseling and therapy. I’m in the recovery community, and thank God they were very supportive, of course, ’cause that’s what we do.

“[When] these big challenges come along in life, as we all have, whatever they are, you’re forced to go, ‘All right, This is bigger than me. This is more than I can deal with,'” he continued. “So, to go seek outside help — just go, ‘What the fuck, man? I don’t know. A bomb just went off and I’m fucking bleeding and my house burned down and there’s shrapnel everywhere’ — I’m glad that I had that.

“A lot of people, they would text and send me stuff. [And I was, like], ‘Would you please stop sending me this shit? You’re not helping me. You think you’re my friend. If you wanna be my friend… Leave me alone or be supportive.’ So that, I think, didn’t help — the news frenzy that happens around this stuff. I think it’s more for their fun than mine. Look, I’m glad I was able to provide such entertainment for everybody — a couple of weeks of some top news stories. You’re welcome. And that gets shitty — the stuff that that gets pulled, and pulling my family into it.

“But, you know, look, it’s rock and roll, man,” Ellefson added. “You wanted to be a rock star, you wanted to be a musician, you wanted to be out there doing it… When you’re in our line of work, if you’re at all in the spotlight, be ready for the dark shades of the spotlight to swoop over you at times too — ’cause it does, and that’s the reality of it.

“That’s the thing, is I think all of us, we all look at someone else’s life and go, ‘Wouldn’t it be great to be them?’ And it’s, like, man, if you only knew what was going on in their life, you’d probably gladly take all your problems back. You’d go, ‘Yeah, that doesn’t look as good as I thought, when it’s behind the scenes.’

“We’re all human. We’ve all got stuff. And I think that’s what happens with these things — there are these moments when your humanness comes out. We all have our idols, we all have our heroes, but lo and behold, they bleed too. They’re human, and that’s kind of the way it goes.”

Shortly after explicit video of him emerged online, Ellefson released a statement on Instagram denying all social media chatter that he “groomed” an underage fan. He also filed a report with the police department in Scottsdale, Arizona alleging unlawful distribution of sexually explicit images of him by unknown offenders. In the report, Ellefson admitted that he had been exchanging sexual text messages with a Dutch teenager, who captured a video of several of their virtual “masturbating encounters” without his consent and shared them with friends. (According to Ellefson, the woman was 19 at the time of their first virtual sexual encounter.) Ellefson, who lives in Scottsdale, first became aware of the video on May 9, when the claim “David Ellefson of MEGADETH is a pedophile” appeared on Instagram.

Two days after MEGADETH leader Dave Mustaine announced Ellefson’s latest departure from the band, the bassist released a follow-up statement in which he vowed to file a “defamation lawsuit” against the person who “illegally posted a very private video” of the bassist and made “false allegations” against him. He also said he was working with the police in Scottsdale “in their investigation into charges regarding revenge pornography to be filed against the person who posted the video. This person will be prosecuted to the fullest extent of the law,” Ellefson wrote.

David and his wife have been married for 27 years. They have two children.

California rockers PAPA ROACH will release a new single called “Dying To Believe” on Friday, October 29. A preview clip is available below.

“Dying To Believe” will arrive weeks after the release of PAPA ROACH’s previous two singles: “Swerve”, which was a collaboration with FEVER 333 frontman Jason Aalon Butler and Los Angeles rapper Sueco; and “Kill The Noise”. All three tracks are expected to appear on PAPA ROACH’s upcoming eleventh studio album, due next year via the band’s own record company, New Noize Records, Inc., under exclusive license to ADA.

This past May, PAPA ROACH singer Jacoby Shaddix spoke to the FM99 WNOR radio station about the band’s decision to release its next LP through its own label. Asked how the move came about, Jacoby said: “Way back in the day when we were with DreamWorks Records — this was right after we released our album ‘Infest’ — we had this pact with this band ALIEN ANT FARM. We were, like, ‘Whoever gets signed first, let’s try to get an imprint, which is a subsidiary of the record company, where we can release music.’ And we had made good on our promise and we had a record company called New Noise Records. And this was in, like, 2001. So fast forward so many years and a few record companies later, we just released out greatest hits with Better Noise Music, and that was the last record company we were with. And we were kind of in negotiation of going, ‘All right. Are we gonna stick with this company?’ which we’ve had a lot of great success and learned a lot of great things from, and I have nothing but great things to say about them. But we were, like, ‘All right. Let’s take the temperature and go see if we have what it takes to do this on our own, do it independent.’ And so we took meetings, and we ended up with Warner/ADA, which we have our record label now of our own and we use their in-house staff to do the promo and all that kind of stuff. But we are the record company. So we’re using our knowledge over the years that we’ve accumulated with our team and ourselves to take the reins and run with this one ourselves. And it’s very exciting. It’s kind of scary. ‘Cause you don’t know. But guess what? I just feel like we can’t fail.”

He continued: “You know when your gut tells you something? I just go, we’ve been doing this; we know a lot; we know what our fans want; we know what we want; we know that we are inspired; we know that we are passionate; and we know we’ve got a fanbase that loves us. Let’s do this. And we have a great relationship with radio too. I mean, we just had another No. 1 on rock radio — after 20-plus years of being in the format. And I go, ‘You know what? I think we can do this.’ And so we made the jump. And so P-ROACH, we’ve got New Noise Records back up and running.”

Regarding what’s involved in releasing album without the participation of an outside record company, Jacoby said: “After this call with you, I get on with the band and we’re wrapping on creative calls to finish up the artwork for the album and getting ready for the photos shoots and all that kind of stuff. It’s been cool, man. It’s a different — I guess — creative progression of making an album. You get the music, but then we talk about marketing, we’re talking about music videos, imaging, photo shoots, different ways of packaging the album — all that kind of fun stuff, that’s what we’re in the middle of now. And I really enjoy that; it’s a fun process. And it’s cool to just dream some stuff up, and we then we build it and we make it and it happens, and I really love that process.”

In January, a snippet of a brand new PAPA ROACH song called “Stand Up” was included in commercial for Ultimate Fighting Championship’s (UFC) partnership with ESPN.

PAPA ROACH’s second greatest-hits collection, “Greatest Hits Vol. 2: The Better Noise Years”, was released in March on Better Noise Music. “Greatest Hits Vol. 2 – The Better Noise Years” includes 12 of the band’s top 10 hits released between 2010 to 2019 as well as three previously unreleased remixes and two unreleased acoustic recordings recorded live at the YouTube Studios in New York City.

PAPA ROACH’s latest album, “Who Do You Trust?”, was released in January 2019. The disc was produced by Nick “RAS” Furlong and Colin Cunningham except for the song “Top Of The World”, which is helmed by Jason Evigan.

In December 2020, PAPA ROACH released a five-song EP, “20/20”, featuring “new takes on old jams,” including “Last Resort” and “Scars”.

Photo credit: Darren Craig

We finished it! It’s called Dying to Believe and we’re dropping it this Friday! ???https://t.co/PFg9dG8Y9f pic.twitter.com/Uon8mz3Hig
— Papa Roach (@paparoach) October 25, 2021

JUDAS PRIEST and Rufus Publications have published the first-ever official book documenting the band’s extensive history over the last 50 years. Titled “Judas Priest – 50 Heavy Metal Years”, the book has been put together by David Silver, Ross Halfin and Jayne Andrews.

This huge, 648-page coffee table book chronicles the history of the world’s foremost heavy metal band using hundreds of previously unseen, unpublished photographs from rock’s greatest photographers including Halfin, Neil Zlozower, Mark Weiss, Fin Costello, Oliver Halfin and many more. With a linking text by renowned journalist Mark Blake, the book explores the bands exciting history on stage and off in a unique photo documentary designed to excite fans and devotees of true heavy metal the world over. Current bandmembers have all contributed to the book, with written pieces detailing their love and passion for the band, making this an extraordinary artefact for their legions of followers. The book features an exclusive cover by Mark Wilkinson, who has worked with the band for many years now.

Halfin says: “I’ve photographed JUDAS PRIEST from 1978 until now, and of all the bands I’ve worked with, they are one of the most enjoyable to me. You have to love the mighty PRIEST.”

PRIEST guitarist Glenn Tipton comments: “We spearheaded the visual image of metal, breathing new life into it, and it has been captured forever in the pages of this book.”

“Judas Priest – 50 Heavy Metal Years” can be ordered at www.rufuspublications.com.

JUDAS PRIEST frontman Rob Halford’s autobiography, “Confess”, arrived in September 2020 via Hachette Books.

Former JUDAS PRIEST guitarist K.K. Downing released his autobiography, “Heavy Duty: Days And Nights In Judas Priest”, in September 2018 via Da Capo Press.

Bassist Ian Hill is the sole remaining original member of PRIEST, which formed in 1969. Singer Rob Halford joined the group in 1973 and Tipton signed on in 1974. Rob left PRIEST in the early 1990s to form his own band, then came back to PRIEST in 2003. Founding guitarist K.K. Downing parted ways with the band in 2011, and was replaced by Richie Faulkner.

PRIEST’s current touring lineup consists of Hill, Halford, guitarists Andy Sneap and Faulkner, and drummer Scott Travis.

Asked by VintageRock.com if writing his autobiography provided him with a sense of closure concerning his time in JUDAS PRIEST, Downing replied: “Yeah, I think so. I guess it’s the same with any long-term relationship — whether it’s a husband or wife, or father or son or whatever — you spend enough time together, and idiosyncrasies show up. I guess there was no particular right or wrong — some people have more tolerance than others, and it takes a bloody miracle really to stay together for 40 years. Someone has to give. And it has to be give-and-take. But inevitably, it becomes a bit of an imbalance, and I like to think that democracy is always the best policy. And there wasn’t enough of it there, I don’t think.”

Last year, Halford was asked by Sea Of Tranquility about the reason for Downing’s relative absence from “Confess”. He replied: “We did not steer of any avoidance, per se. We just talked about every aspect that we felt was important and useful to the book itself. So there was never, ‘Oh, we won’t talk about that person.’ There was never any kind of dismissiveness for whatever reasons. So I think there’s my answer.”

French Canadian death metallers Outre-Tombe blast bowels on new album Abysse Mortifère. Stinking in full only at Decibel!
The post Full Album Premiere: Outre-Tombe ‘Abysse Mortifère’ appeared first on Decibel Magazine.

SLASH FEATURING MYLES KENNEDY AND THE CONSPIRATORS will release their new album titled “4” on February 11, 2022, via Gibson Records in partnership with BMG. “4” is Slash’s fifth solo album and fourth overall with his band featuring Myles Kennedy (vocals), Brent Fitz (drums), Todd Kerns (bass, vocals) and Frank Sidoris (guitar, vocals).

Speaking about the decision to call the LP “4”, Slash told Germany’s Rock Antenne (as transcribed by BLABBERMOUTH.NET): “I just called it ‘4’ because it’s our fourth record which I think is an important milestone. And then also because I didn’t want to give it a nice sort of cool, clever title that relates to something in particular because so much shit happened in 2020 that there’s no one sentence or one word that defines all of it. So rather than even try, I just said, ‘Let’s just call it ‘4’, because it’s more about this record being about something that we’ve accomplished at this point and it’s not really about all of that.'”

Last week, SLASH FEATURING MYLES KENNEDY AND THE CONSPIRATORS released the opening track and first single from “4”, “The River Is Rising”. The accompanying music video was shot on location in downtown Los Angeles with Gibson TV director Todd Harapiak.

For “4”, Slash and the band traveled across the country together to Nashville, Tennessee and recorded the new album at the historic RCA Studio A with producer Dave Cobb (Chris Stapleton, John Prine, Jason Isbell, Brandi Carlile). Cobb shared the band’s desire to lay down the tracks live, in the studio including guitar solos and vocals — a first for the group.

The band’s previous albums over the last decade — “Apocalyptic Love”, “World On Fire” and “Living The Dream” — have continued on an upward trajectory, all achieving Top 5 Billboard charting debuts in the U.S. and reaching the Top 10 on 12 major charts across the globe. To date, the three SLASH FEATURING MYLES KENNEDY AND THE CONSPIRATORS albums have now garnered 10 consecutive Top 5 Radio singles, spawned sold-out world tours, and have earned Slash and the band the best critical acclaim of their career with their latest album “Living The Dream” (2018) singled out by the Los Angeles Times, Classic Rock, Guitar World, Loudwire, LA Weekly, and more, as their best songs to date.

The new album “4” has the added history-making distinction of being the first-ever album to be released on the new Gibson Records label, which is headquartered in the iconic American instrument brand Gibson’s hometown of Music City, Nashville. In light of the 30-year partnership between Gibson and the Grammy Award-winning Rock And Roll Hall Of Fame inductee Slash, it makes sense the new SLASH FEATURING MYLES KENNEDY AND THE CONSPIRATORS’ album “4” will be released via Gibson Records.

SLASH FEATURING MYLES KENNEDY AND THE CONSPIRATORS will kick off a North American headlining tour on February 8, in Portland, Oregon and hit 28 major cities, including Los Angeles, New York, Boston, Philadelphia, Chicago, Denver, Nashville, Dallas, Austin, Houston, and more, before wrapping up March 26 in Orlando, Florida.

Welsh metallers BULLET  FOR MY VALENTINE will release their new, self-titled studio album on November 5. The follow-up to 2018’s “Gravity” was previously described by frontman Matt Tuck as “brutal, heavy and technical” as well as “more visceral and passionate than it’s ever been.”

Asked by the “Everblack” podcast how the switch to a more aggressive approach came about, Tuck said (as transcribed by BLABBERMOUTH.NET): “It just was what it was. We just kind of hit upon this sound and this way of writing songs right now in our career which we couldn’t be happier with. I just feel like the last six albums in 15 years plus has just all been channeling to this. That’s how it sounds to me. It’s got everything that you would expect from BULLET but just on a completely different level. The melodies are stronger, the riffs are more intense, the drumming is ferocious, just the feel of the record as a whole is pretty intense. There are moments of calm, like ‘Can’t Escape The Waves’ and ‘Rainbow Veins’ and moments where you get a bit more melody for your buck. We’re just in a good place creatively and musically right now; it just keeps pouring out of us. We’ve got so much more stuff that’s not on the record that we can release post-record as well; [we’ve got] another six tracks ready to go. We’re just a songwriting machine right now. So it feels good, man.”

As for the decision to make the new album a self-titled affair, Tuck said: “It just feels like the band is in a different place, man. It feels fresher and more energized than ever. After we’d recorded the record and lived with it, the management were, like, ‘It’s time, boys.’ We didn’t think about it, really, but it was suggested to us by a lot of people around us. They’re not emotionally involved in the writing and recording of it like the band; they just kind of hear it like you guys are hearing it, and they’re, like, ‘Fuck.’ It just feels like the time is right to really put the band’s name as a stamp on what we do and it just feels like the time is right. And I don’t feel like the record could be any better, and I don’t feel it could [better] represent where the band is and who it is right now in 2021.”

Tuck began writing the album in September 2019 before the coronavirus pandemic brought things screeching to a halt in early 2020. But in June 2020, Tuck and longtime producer, Carl Bown, who co-produced the band’s 2015 album, “Venom”, and produced and mixed “Gravity”, picked up the pace again. Together, they hunkered down at Treehouse Studio in Chesterfield, where the remainder of the album was written.

“Gravity” saw the metal juggernauts’ catalog surpass one billion streams in the U.S. That accomplishment solidifies BULLET’s hard-earned status as one of the most elite bands in the hard rock scene.

On the last cycle, BULLET FOR MY VALENTINE played its biggest shows to date, including a U.K. arena tour and a massive show at London’s Alexandra Palace.

In a new interview with The Rock Experience With Mike Brunn, L.A. GUNS singer Phil Lewis spoke about how the rise of grunge in the early 1990s forced most hard rock bands off the radio and MTV, with album and tour sales plummeting.

“The whole thing, the whole L.A. music scene was becoming more about the hair and the silliness of it,” he said. “We weren’t really silly. I mean, we did some silly stuff, but we always fancied ourselves to be more of a biker, leathery, dirty band. We were quite happy being dirty.

“The trend towards — and this is definitely, I swear, it’s not a knock — but when you get guys like Kip Winger; he’s like a model, he’s so fucking handsome [with] big hair and big teeth, and we’re quite dirty and ugly, and we’ve got missing teeth.

“I didn’t like the direction it was going,” Phil admitted. “And I think it was probably about time to cull it. And these things have a two- or three-year cycle. And I felt like we’d run ours. We got lumped into what they call ‘hair metal,’ ’cause we were around at that time. But we never were.”

Upon release in September 1991, NIRVANA’s “Smells Like Teen Spirit” wreaked confusion upon the hair metal vanguard, putting an end to an era dominated by glamorous, androgynous and sparkly rock stars who absolutely saturated the radio waves and were almost exclusively what aired on MTV.

Last year, TWISTED SISTER singer Dee Snider told Ultimate Guitar that he didn’t blame grunge for the death of hair metal. “Hair metal did it to itself,” he said. “It became too commercialized, and then it got unplugged and became nothing but power ballads and acoustic songs, and it wasn’t metal anymore. It had to go; it had to change.”

Snider’s TWISTED SISTER bandmate Jay Jay French told Daniel Sarkissian of the “Rock Is Dead?” documentary about the death of hair metal and arrival of grunge: “The only band that leapfrogged and saved themselves was GUNS N’ ROSES. And my theory is that GUNS N’ ROSES was not perceived as a joke. They came out of L.A., but I think that Axl [Rose], first of all, had a great voice. I think that they were perceived as real, not fake. Like, they were real junkies, not pretend junkies. So there’s an authenticity. It’s all about authenticity, and grunge is all about authenticity. People wanted authenticity, so they got it with grunge. It wiped out the perceived frivolousness of hair metal, which is, ‘Hey, man. Let’s party. Let’s get the girls and drink.’ I think people just got sick of that, and they wanted [something more] authentic.”

Former MÖTLEY CRÜE singer John Corabi told Newsday in a 2014 interview that the CRÜE album he sang on was a commercial disappointment because the music scene had changed, with hair metal brushed aside for grunge.

“Everybody was listening to ALICE IN CHAINS and SOUNDGARDEN,” Corabi said. “At that point, we were considered passé.”

According to Corabi, CRÜE’s ill-fated 1994 American tour ” was a nightmare. We weren’t selling tickets. It was just horrible,” he said.

In 2019, former TNT singer Tony Harnell said that the rise of the grunge movement, which symbolized the working-class spirit and focused on music over image, was ultimately a positive thing for the rock genre because it “shined a really harsh light on how boring and repetitive” the ’80s glam metal scene had become. He explained: “It was the same look, the same songwriters, the same producers, and it just started to be… Nobody was offering anything… Don’t get me wrong, there were a few that got in there that were interesting and different, but, for the most part, they were all just sort of rehashes, slightly, of other bands.”

THE PRETTY RECKLESS will play a pair of shows at Brooklyn Made in New York at the end of March. The Taylor Momsen-fronted outfit announced the dates in a social media post earlier today. The group wrote: “THE BEGINNING! For our first shows in almost FOUR YEARS we are going back to where it all started…NEW YORK!!! We are playing a few intimate warmup shows at the brand new venue Brooklyn Made in March, tickets on sale FRIDAY! #deathbyrockandrolltour2022”.

Brooklyn Made is a 500-capacity venue located at 428 Troutman Street in Bushwick, with lighting design by Jeremy Roth (Wilco, Nathaniel Rateliff, Mazzy Star). It was started by two industry insiders: Anthony Makes, the former president of Live Nation’s New York office who also previously worked at Bowery Presents/AEG, and Kelly Winrich, longtime member of the group DELTA SPIRIT.

“Myself and my partner Kelly Winrich wanted to create the most amazing club and I know we’ve accomplished this with Brooklyn Made,” Makes said. “The bells and whistles with this place are so far ahead of anything we’ve ever seen and we know. Every single artist and fan that comes here is going to be blown away by the experience.”

This past April, THE PRETTY RECKLESS announced that it was postponing all live shows to 2022 due to the ongoing impact of the COVID-19 pandemic. Earlier that same month, the band’s “And So It Went” single topped Billboard’s Mainstream Rock Airplay chart.

The song, which features a guest appearance by RAGE AGAINST THE MACHINE guitarist Tom Morello, became the group’s sixth single to land at No. 1 on the chart. THE PRETTY RECKLESS’s previous chart-topper was “Death By Rock And Roll”, which spent three week at No. 1 in August 2020.

THE PRETTY RECKLESS has the impressive distinction of being the first female-fronted band to have back-to-back No. 1 singles at the active rock format and the first female-fronted act to have six No. 1 singles on the Mainstream Rock Airplay chart.

“And So It Went” and “Death By Rock And Roll” are both taken from THE PRETTY RECKLESS’s latest album, “Death By Rock And Roll”, which was released in February via Fearless Records in the U.S. and Century Media Records in the rest of the world.

“Death By Rock And Roll” is THE PRETTY RECKLESS’s first LP to be made without longtime producer Kato Khandwala, who died in April 2018 from injuries sustained in a motorcycle accident.

DRAGONFORCE has launched a new video for “Strangers”, a song from 2019’s “Extreme Power Metal” album. The clip was filmed before the pandemic with a large-scale production with director Roboshobo (a.k.a. Robert Schober) in Los Angeles, California.

“Strangers” is described as “a tribute to everything ’80s, featuring Steve Vai’s WHITESNAKE/David Lee Roth-era guitars and band delivering the “ultimate glam metal cheese.”

Guitarist Herman Li comments: “This video takes place in the same ’80s world as our last video (‘Troopers Of The Stars’), with the same cast and the same director. When Roboshobo pitched the concept, I was immediately into it.

“I’m a huge fan of the glam rock-era of music — I love the showmanship, the guitar solos, and the endearing cheesiness. And the players of that time were amazing, like Steve Vai, Warren DeMartini and Reb Beach; I think sometimes the playing gets lost, and people just remember the crazy outfits. So, this video is a loving tribute to that era — while also being authentic…

“Roboshobo told us to get some cool-looking guitars to fit the theme of the video, and the night before the shoot, I was panicking because we still hadn’t found any. So, I texted Steve Vai and told him we were doing a glam rock video. He said, ‘come on over’, and when I got there, he had pulled out THE guitars he used with WHITESNAKE and David Lee Roth. I remember seeing these guitars in magazines as a kid, so it was incredible to get to use them on set — I almost cried when he handed them to me!

“Besides the guitars, I think we all looked really hunky in our costumes, especially our hair! For a minute, I was even considering getting a perm…I know people may think we’re not taking ourselves seriously enough, but I think given the state of the world, sometimes it’s just nice to kick back and have a laugh with your mates. That was definitely the vibe on set — we could barely keep a straight face watching the playback.

We’re also releasing super-limited merch we did in collaboration with the artist Teenage Stepdad at: dragonforce.com/shop. It definitely captures the feeling of the era!”

To coincide with this video launch, DRAGONFORCE has announced a headlining North American tour for 2022, featuring BATTLE BEAST and SEVEN SPIRES as support.

DRAGONFORCE adds: “We are so excited to be playing in the USA and Canada again. We’ve spent the last year and a half waiting to get back on the road to finish the ‘Extreme Power Metal’ world tour. We’ve also got some new surprises. DRAGONFORCE always says more is more, so expect an even bigger, crazier show!

We’re also thrilled to be bringing some incredible bands with us. BATTLE BEAST gives an amazing performance every time, and SEVEN SPIRES is one of the best young bands out there. We can’t wait to see everyone in the crowd and at our VIP!”

Tickets go on sale Friday, October 29 at 10 a.m. local time.

DRAGONFORCE with BATTLE BEAST, SEVEN SPIRES tour dates:

Mar. 07 – Santa Ana, CA – The Observatory *
Mar. 08 – San Diego, CA – The Observatory *
Mar. 09 – Roseville, CA – Goldfield Trading Post *
Mar. 10 – Portland, OR – Hawthorne Theatre *
Mar. 11 – Seattle, WA – Neptune *
Mar. 13 – Vancouver, BC – Commodore Ballroom *
Mar. 15 – Calgary, AB – Palace Theater *
Mar. 16 – Edmonton, AB – Union Hall *
Mar. 18 – Boise, ID – Knitting Factory *
Mar. 19 – Salt Lake City, UT – The Complex *
Mar. 20 – Denver, CO – Oriental Theater
Mar. 22 – Lawrence, KS – Granada Theater
Mar. 23 – St. Louis, MO – Red Flag
Mar. 24 – Milwaukee, WI – Rave II
Mar. 25 – Minneapolis, MN – First Avenue
Mar. 26 – Chicago, IL – Metro
Mar. 27 – Detroit, MI – St. Andrews Hall
Mar. 29 – Ft. Wayne, IN – Piere’s
Mar. 30 – Toronto, ON – Opera House
Mar. 31 – Montreal, QC – Corona Theatre
Apr. 01 – Quebec City, QC – Imperial Bell
Apr. 02 – Worcester, MA – The Palladium
Apr. 03 – New York, NY – Irving Plaza
Apr. 05 – Reading, PA – Reverb
Apr. 06 – Cleveland, OH – Agora Theater
Apr. 07 – Baltimore, MD – Baltimore Soundstage
Apr. 08 – Pittsburgh, PA – Roxian Theater
Apr. 09 – Greensboro, NC – Arizona Petes
Apr. 10 – Atlanta, GA – The Masquerade (Heaven)
Apr. 12 – Tampa, FL – Orpheum
Apr. 13 – Ft. Lauderdale, FL – Revolution
Apr. 15 – Dallas, TX – Amplified Live
Apr. 16 – Houston, TX – Warehouse Live
Apr. 17 – Austin, TX – Come And Take It Live
Apr. 19 – Mesa, AZ – Nile Theater
Apr. 20 – Las Vegas, NV – House of Blues
Apr. 22 – Los Angeles, CA – Belasco Theater
Apr. 23 – Berkeley, CA – UC Theater

* Without BATTLE BEAST