Ex-THE HAUNTED frontman Peter Dolving, who left the band more than a decade ago, says that he has “persistently tried” to make peace with his former bandmates without much success.

The 52-year-old singer, who is currently the CEO of Svenska Verde AB, a Swedish med-tech company specializing in cannabinoid API, reflected on his exit from the group in a brand new interview with Pierre Gutiérrez of Rock Talks.

Asked if he is still in contact with any of the members of THE HAUNTED, Peter said (as transcribed by BLABBERMOUTH.NET): “I will give you a sad and honest straight answer: I have persistently tried, and I even met some of them on the street. I have had a sympathetic few meetings with Per [Möller Jensen, drums] — everything all good, all love. With the other guys, they’ve done something… They’ve done nothing; that’s a better word for it. They’ve gone completely dark and silent, and I think it’s kind of sad and childish, but everyone has to deal with their emotions around something their way and everyone’s perspectives are going to be different.

“I’m very expressive and super sensitive and emotive, and I discuss abstracts on very many levels,” he continued. “I’ve studied philosophy, psychology, psychiatry. I come off as loopy — I know that, and I try to avoid that. But I’m a bit much, I think, for [some people]. And there’s nothing wrong with that. We’re different. We’re just human beings. We really are different.”

When Gutiérrez pointed out that Dolving shared an angry public post on Facebook in August 2012 in which he “insulted” the other members of THE HAUNTED “in different ways,” Peter said: “I tried to insult them in four different ways. [Laughs] If I would have been in the same room, I would have kicked them all in the fucking balls so they fell down. You can’t do that in a way where you can do it and you kick everyone in the balls at the same time where they fall down at the same time. I did that as a statement to mark that these dudes are assholes. End of story. So what do I mean with ‘assholes’? I mean that these dudes do not play straight, and this is my statement about that. They can do anything they want; it’s their business. I was also a part of that business, but I was at that point out. I worked to communicate before I left the band and made my statement for over a year. I tried to find a balance in what was going on. It was based in a conflict that started even before I rejoined the band.

“The reason I left the band was that we were so different and our basic human needs as individuals were so different,” he continued. “And I’m not the individual to get in anyone’s way or remove from them their needs, but I need my human needs respected, basically.”

Asked why chose to delete his Facebook post within just a few weeks of sharing it, Dolving said: “Because the purpose of it was done. There’s no point of it to just be hanging around there and a bunch of people to be misunderstanding what’s [contained in it], because people are not gonna understand. It was very, very specifically directed to the business and the people involved. I was making a statement and pointing out that ‘this is the reason. Everyone knows the narrow details, but these are the main fundamentals that made me stand for this reason.’ Again, with the word ‘asshole,’ this is my strong emotive reactive negativity, and I really need to let it go.

“We are so different in reactivity to the world around us, and I did not know this and I did not respect this 10 years ago,” Peter said. “After 10 years of studying psychiatry and psychology, on top of what I already knew, I can’t justify that position. [Laughs] It’s a judgmental and a negative kind of position, so it’s an angry position, so I can’t justify it and I can’t hold on to it. And the only thing I can say that it’s true that I can move onward, that it’s not in the past, is the difference and the meaning and the whole point of why I’m doing what I’m doing now.”

In his August 2012 statement explaining his exit from THE HAUNTED, Dolving said that he left the band because he “had fucking had it with dysfunctional bullshit.” He went on to say that he “deeply question[ed]” whether the Björler brothers, THE HAUNTED guitarist Anders Björler and bassist Jonas Björler, had “the slightest clue what deep loving friendships, joy and caring is even about. They think in terms of ‘me, me, me, me, mine, mine’ to the fullest and most complete.” He called Anders and Jonas “two of the most fucked up, emotionally dysfunctional pieces of shit I have ever worked with,” adding that “one thing they will never ever have again is my respect, my trust or care.” He also claimed that there were “drugs involved within the band, and crew members whose alcoholism/drug abuse was just overlooked and ignored because the individuals in question was cheaper than anyone else and delivered the goods.”

Previously a vocalist for MARY BEATS JANE, Dolving joined THE HAUNTED in 1997 and sang in their debut self-titled album. In 1998, he left the group to concentrate on a band called ZEN-MONKEY but returned in 2003 following the departure of Marco Aro (the vocalist which took over Dolving’s spot after Peter’s 1998 exit). He has since appeared on the studio albums “Revolver” (2004), “The Dead Eye” (2006), “Versus” (2008) and “Unseen” (2011).

Dolving’s last CD with THE HAUNTED, “Unseen”, was released in March 2011 via Century Media Records. The LP was once again recorded with longtime producer Tue Madsen (MOONSPELL, DARK TRANQUILLITY, GOREFEST, SICK OF IT ALL) at his Antfarm Studio in Århus, Denmark.

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LIMP BIZKIT frontman Fred Durst debuted his new look during the band’s first concert of 2022, which took place last night (Saturday, March 19) at the Vive Latino festival in Mexico City.

Professionally filmed video of the entire concert is available below.

LIMP BIZKIT’s setlist was as follows:

01. Out Of Style – 00:38
02. Dirty Rotten Bizkit – 04:16
03. Turn It Up – 07:24
04. Dad Vibes – 08:42
05. Break Stuff – 13:49
06. My Generation – 19:08
07. Livin’ It Up – 23:41
08. Nookie – 32:44
09. Hot Dog – 37:00
10. My Way – 42:20
11. Rollin’ – 48:50
12. Take A Look Around – 53:51

As previously reported, LIMP BIZKIT will return to the road this April for the month-long “Still Sucks Tour”. The AEG Presents trek will kick off in the band’s former home state of Florida and will include a stop in New York City at Madison Square Garden (May 13) as well as cross-country shows in Baltimore (May 15) and Las Vegas (May 28) before concluding with a Los Angeles-area date (Ontario on May 31). LIMP BIZKIT will be supported by SCOWL, WARGASM UK, $NOT, DYING WISH and YUNG GRAVY for various shows.

Later this year, LIMP BIZKIT will follow the U.S. shows with a European run of dates.

Last October, LIMP BIZKIT released its long-awaited new album, “Limp Bizkit Still Sucks”.

LIMP BIZKIT had not released a new studio LP since 2011’s “Gold Cobra”, although the band has spent a lot of time writing and recording music over the past decade.

Last September, LIMP BIZKIT released a single called “Dad Vibes”. The track, which was originally premiered during the band’s concert at Lollapalooza in July, was made available via Suretone Records and ADA.

“Dad Vibes” arrived weeks after LIMP BIZKIT canceled all of its previously announced live appearances for 2021, explaining in a statement that it was doing so “out of an abundance of caution and concern for the safety of the band, crew and most of all the fans.”

LIMP BIZKIT was scheduled to appear at several festivals last summer and fall, including Aftershock, Blue Ridge, Rebel Rock and Rocklahoma.

A few days after the summer 2021 shows were called off, Durst told Billboard about the decision: “In short, the system is still very flawed. Even if the performers, crews, staff, and promoters do their best to ensure safety on and behind the stage, that doesn’t ensure the safety of the audience as a whole. We are all in this together, and we all — individually and as a whole — have to make our best efforts to be as responsible and proactive as possible moving forward to combat and stop spreading COVID.”

Durst also denied that there was a specific incident that prompted him and his bandmates to pull the plug on the trek, saying it was “just perception.”

Durst made headlines in late July when he debuted a new look at the band’s concert at Metro in Chicago, with the frontman sporting wavy salt-and-pepper locks accompanied by a horseshoe-style mustache.

#ViveLatino2022 ??? | #LimpBizkit la rompió en el Foro Sol y hasta invitó a un fan mexicano a subirse al exico o para cantar Rollin’
? Alejandro Aguilar
Sigue nuestra cobertura especial aquí ??: https://t.co/MHJoxtEKVu pic.twitter.com/pq8eArDqOD

— El Sol de México (@elsolde_mexico) March 20, 2022

Limp Bizkit en el vive latino pic.twitter.com/s0duDwwIGD
— ☠️Pepito MaLo ☠️ (@malo_pepito) March 20, 2022

Limp Bizkit pic.twitter.com/55lPZ5rBwd
— Palmerita (@AleDeLaReguera) March 20, 2022

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According to Variety, Dave Grohl’s metal album that he recorded as the fictional band DREAM WIDOW in the FOO FIGHTERS’ horror-comedy film “Studio 666” will be made available digitally next Friday, March 25, with a physical release to follow later this year. The LP’s first single, “March Of The Insane”, came out last month.

In “Studio 666”, FOO FIGHTERS move into an Encino mansion steeped in grisly rock and roll history to record their much-anticipated tenth album. Once in the house, Grohl finds himself grappling with supernatural forces related to related to the studio’s former residents — the aforementioned fictional act DREAM WINDOW — that threaten both the completion of the album and the lives of the FOO FIGHTERS.

“I wind up finding this creepy basement. And I go into the basement, I find this tape by a band [DREAM WIDOW] from 25 years ago that recorded there,” Grohl told Howard Stern. “And there’s this song that, if recorded and completed, the fucking demon in the house is unleashed, and then, whatever, all hell breaks loose.”

Grohl also revealed a bit about DREAM WINDOW, saying: “The singer went crazy and murdered his whole band because of creative differences… We come in 25 years later to record, having no idea what happened 25 years ago, and I start becoming possessed by the spirit of the guy from 25 years ago and the spirit of the house. But this song, ‘March Of The Insane’, this is their lost record. This is the record they were making before their singer murdered [them].”

Dave told Rolling Stone about the DREAM WIDOW LP: “It will be the lost album. It’ll be the album they were making before he fucking killed the entire band.” According to Grohl, “some of it sounds like [doom-metal pioneers] TROUBLE; some of it sounds like CORROSION OF CONFORMITY; some of it has a KYUSS vibe.”

“Studio 666” stars Grohl, Taylor Hawkins, Nate Mendel, Pat Smear, Chris Shiflett and Rami Jaffee.

Released domestically in more than 2,000 theatres on February 25, the film’s all-star cast also includes Whitney Cummings, Leslie Grossman, Will Forte, Jenna Ortega and Jeff Garlin.

In 2004, Dave’s then-metal side-project PROBOT released its self-titled album. The LP featured Grohl, ex-ZWAN guitarist Matt Sweeney and FOO FIGHTERS producer Adam Kasper accompanying some of metal’s most celebrated and respected frontmen, including Lemmy (MOTÖRHEAD), Scott “Wino” Weinrich (THE OBSESSED), Denis “Snake” Bélanger (VOIVOD), Conrad “Cronos” Lant (VENOM), Max Cavalera (SOULFLY, ex-SEPULTURA), Tom G. Warrior (CELTIC FROST), Eric Wagner (TROUBLE), King Diamond (MERCYFUL FATE, KING DIAMOND), Lee Dorrian (CATHEDRAL, ex-NAPALM DEATH), Mike Dean (CORROSION OF CONFORMITY) and Kurt Brecht (D.R.I.).

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Leo Fender’s efforts to create a professional solidbody guitar began in the late 1940s and resulted in the one-pickup Esquire and the two-pickup Broadcaster in 1950. By the end of 1951, the two-pickup guitar was renamed the Telecaster, due to a name conflict with Gretsch’s Broadkaster drum set. As we all know, today the Telecaster continues to be a versatile tool for amateur and professional musicians.The Telecaster featured in this article almost didn’t survive 2022. Earlier this year, two brothers with a house-flipping business were clearing a home of debris and getting it ready to renovate. One of the brothers was about to toss a dirty wooden object he had found in a closet into the dumpster. The other brother realized it was an electric guitar. Fortunately, he decided it would be a good idea to have the caseless, dirty, beat-up instrument appraised. By doing this, he saved an original 1952 Fender Telecaster from being destroyed!That 1952 Telecaster has TG-6-6-52 penciled on the end of its neck, indicating employee Tadeo Gomez completed it in June of 1952. The date penciled in the neck pocket area of the body is 6-3-52. The guitar has the classic characteristics of a 1952 Tele, including a transparent butterscotch blonde finish over an ash body, a single-ply black phenolite (also known as Bakelite) pickguard—making it a so-called blackguard Tele, a bridge pickup with level pole pieces (Fender moved to staggered pole pieces during 1955), and a 3-way switch.The current value for one in excellent all-original condition is $40,000.At the time this guitar was built, Fender’s wiring scheme activated the bridge pickup in the number 1 position, the neck pickup in number 2, and with the selector all the way up in position 3, the signal runs through a capacitor that adds bass. Remember, back in those days a single guitarist often played bass lines as well as chords, melodies, and solos in many bands. The P bass was introduced only a year before this guitar was made and was a new instrument still trying to find its place in the music world.The 1-piece maple neck has narrow-spaced position markers at the 12th fret (the dot spacing became wider between 1953 and 1963), a round string tree (which went rectangular in 1956), and Kluson “no brand” tuners. The tuners were stamped with “Kluson Deluxe” in a single line by 1957. The 1952 list price was $189.50. The current value for one in excellent all-original condition is $40,000.The amp supporting the Tele is a wide-panel Fender Pro from 1953. It’s equipped with a Jensen P15N 15″ speaker, dated to the 20th week of 1953, and powered by two 6L6 tubes capable of about 18 to 25 watts of power. Two inputs are controlled by a mic volume knob, and two inputs are controlled by an instrument volume knob. In addition to the on/off switch, this amp is equipped with a standby. The 1953 list price was $199.50. The current value for the amp is $3,500.Sources for this article include The Blackguard by Nacho Baños, The Pinecaster by Nacho Baños and Lynn Wheelwright, The Fender Telecaster by A.R. Duchossoir, and Fender Amps: The First Fifty Years by John Teagle and John Sprung.

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Heavy horror punk icon Wednesday 13 spoke to Brutal Planet Magazine about his upcoming album which is due later in the year. The follow-up to 2019’s “Necrophaze” will mark the former MURDERDOLLS frontman’s first release for Napalm Records, with whom he signed last year.

“I started writing music as soon as I got home [at the beginning of the pandemic], and by the time this whole thing was over, I think I wrote about 50 pieces of music, and I only liked about 10 songs out of it, or 10 songs made sense to me,” he said (as transcribed by BLABBERMOUTH.NET).

“I found it really hard to be inspired during this time,” Wednesday 13 admitted. “And I wasn’t gonna force anything, but it was a really difficult time to write. Even though I had all the time in the world off to write, there was no inspiration, ’cause the world was kind of shit. So, like always, I had to go back to what makes me happy. When the real world’s too real for me, I go into this world [at my home studio], with all my toys. So when I started writing this new record and writing new stuff, I started writing about stuff that makes me happy. Like Christine [from the Stephen King tale ‘Christine’, which involves a cursed car that’s just as scary as most movie villains], the car. So now we have a new song on the new record about Christine. So I’m happy.”

Asked if there will be any guest musicians on the new WEDNESDAY 13 album, like there were on “Necrophaze”, the singer, whose real name is Joseph Poole, said: “No. The idea on this record was… I mean, it was cool to have the guests on the last record. I love that because I wanted it set up like a movie and I wanted it to feel like there was guests in the movie and the whole vibe of it. This record, like I said, having the two years off [and] and not being really inspired by anything, it was really important for me to make this record as close with us as we could. That’s why we recorded it all together ourselves; we did it here at our house. Roman [Surman, lead guitar] was able to come over. We were able to track. Jack [Tankersley, guitar], everybody, came in. Troy [Doebbler, bass] did his parts. But instead of getting a producer or getting any outside input, I just wanted this to be all about us. I didn’t need a producer coming in, going, ‘You guys should do this.’ I’m, like, ‘You know what? We’re in a weird space. Let us figure it out.’ We don’t need someone else who doesn’t know what the hell is going on to tell us what to do. So this record, I really wanted it to be just about us. I’m producing the record, and there’s no outside guests; it’s just us. And from my point of view, or how I hear this record, it’s definitely closer to the ‘Transylvania [90210: Songs Of Death, Dying, And The Dead]’ and ‘Skeletons’ kind of vibe. It’s still got a spooky horror fun vibe to it, it’s got its dark moments, but overall, I think it’s more of a rock record than, like, the ‘Condolences’ album.”

WEDNESDAY 13’s “20 Years Of Fear” tour will kick off on March 23 in Albuquerque, New Mexico and will end on May 7 in Sacramento, California.

“Necrophaze” was released in September 2019. The LP was recorded by Michael Spreitzer, who is the producer, recording engineer and longtime guitarist of DEVILDRIVER, and is the first WEDNESDAY 13 record to feature guest spots, which include performances by Alice Cooper, Roy Mayorga of STONE SOUR (who provides an eerie, authentic, ’80s-inspired synth soundtrack-score to the album), Alexi Laiho of CHILDREN OF BODOM, and Cristina Scabbia of LACUNA COIL. Also making an appearance on the album is Jeff Clayton, member of legendary punk bands ANTISEEN and GG Allin’s MURDER JUNKIES.

In November 2020, WEDNESDAY 13 released an official music video for its cover of INXS’s hit song “Devil Inside”. The clip, filmed and directed by Vicente Cordero (3TEETH, SEPTEMBER MOURNING), premiered during the band’s “Halloween Spooktacular!” event on October 31, 2020 live from Whisky A Go Go in West Hollywood, California.

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