During an interview with Danny Wimmer Presents conducted at last September’s Louder Than Life festival in Louisville, Kentucky, ANTHRAX’s Scott Ian and Frank Bello reflected on their first pandemic-era performance which took place two months earlier at Rock Fest in Cadott, Wisconsin.

Scott said: “The first date back was [July] 15th [of 2021], and I think it had been literally 20 months to the day for us since we had finished the ‘For All Kings’ tour. So, yeah, it was definitely exciting. It was very unreal — that’s how it felt for me — because it had been seemingly a long time. I don’t know that we’ve ever gone 20 months in our 40 years [without playing a show].”

Asked if they felt nervous prior to taking the stage at Rock Fest after not performing for so long, Frank said: “Honestly, I did. To be honest with you, I did, because it was so long. And what was it like again. And it was weird to step on the stage. It was, like, ‘Am I gonna be all right? Was I in [good] enough shape?’ All that stuff. ‘Is everything okay? Am I gonna break down?’ All that good stuff comes in. But after the first song, it all comes back.”

Added Scott: “Similar to Frankie, I was worried about my physical condition, because when you don’t use certain muscles for a long time. I do my fair share of headbanging, I guess, at home, if I’m listening to SLAYER or something, but not like being on stage. I was actually worried about hurting myself. But I was okay.”

Formed by Ian and bassist Dan Lilker in Queens, New York on July 18, 1981, ANTHRAX was one of the first thrash metal bands to emerge from the East Coast and quickly became regarded as a leader in the genre alongside METALLICA, SLAYER and MEGADETH.

Active over the past five decades, ANTHRAX has released 11 studio albums, been awarded multiple gold and platinum certifications, received six Grammy nominations, toured the world since 1984 playing thousands of shows, including headlining Madison Square Garden and playing Yankee Stadium with the “Big Four”.

The arrival of 2016’s “For All Kings” followed a five-year period during which the group experienced a rebirth of sorts, beginning with ANTHRAX’s inclusion on the “Big Four” tour, and continuing with the 2011 release of comeback LP “Worship Music”.

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JUDAS PRIEST played the second show of the rescheduled “50 Heavy Metal Years” North American tour dates last night (Sunday, March 6) at Mission Ballroom in Denver, Colorado.

The band’s setlist was as follows:

01. One Shot At Glory
02. Lightning Strike
03. You’ve Got Another Thing Comin’
04. Freewheel Burning
05. Turbo Lover
06. Hell Patrol
07. The Sentinel
08. A Touch Of Evil
09. Rocka Rolla
10. Victim Of Changes
11. Desert Plains
12. Blood Red Skies
13. Invader
14. Painkiller

Encore:

15. The Hellion / Electric Eye
16. Hell Bent For Leather
17. Breaking The Law
18. Living After Midnight

Fan-filmed video is available below.

The tour will conclude on April 13 at FirstOntario Centre in Hamilton, Ontario, Canada. Support on the trek is coming from QUEENSRŸCHE.

JUDAS PRIEST was forced to postpone around two dozen North American shows on its rescheduled 50th-anniversary tour in late September after the band’s guitarist Richie Faulkner suffered an acute cardiac aortic dissection during a performance at the Louder Than Life festival. He ended up undergoing a 10-hour life-saving surgery a short distance away at Rudd Heart and Lung Center at UofL Health – Jewish Hospital in Louisville, Kentucky.

QUEENSRŸCHE was originally set to support SCORPIONS on their rescheduled “Sin City Nights” Las Vegas residency in March-April 2022 but pulled out of the dates in order to take part in the JUDAS PRIEST tour. SCORPIONS have since tapped SKID ROW as the new opening act for the Vegas residency.

Faulkner’s medical episode happened while he was performing the closing song of PRIEST’s set on the final day of Louder Than Life. Faulkner later said in a statement: “As I watch footage from the Louder Than Life Festival in Kentucky, I can see in my face the confusion and anguish I was feeling whilst playing ‘Painkiller’ as my aorta ruptured and started to spill blood into my chest cavity.”

Two weeks after his surgery, Faulkner told reporters that he experienced a sharp pain as he was stepping off the stage. “That’s when it exploded,” he said.

“The more I read about it, the more astonishing it is to me to think that I even made it to the hospital,” he added. “The amount of time when I actually go the pain and when I turned up in the hospital and when we were actually operating, it was quite a lot of time. The more I read about it, the more unbelievable — that amount of time — I don’t know how I’m still around today.”

Faulkner said he had no history of heart complications and that the aliment came completely “out of the blue.”

“My point is I don’t even have high cholesterol and this could’ve been the end for me,” he said. “If you can get yourselves checked — do it for me, please.”

Aortic aneurysms are “balloon-like bulges in the aorta, the large artery that carries blood from the heart through the chest and torso,” according to the U.S. Centers for Disease Control. Dissections happen when the “force of blood pumping can split the layers of the artery wall, allowing blood to leak in between them.”

Doctors said Faulkner will continue to be monitored and will receive a CT scan every six months for the first year.

Faulkner joined PRIEST in 2011 as the replacement for original guitarist K.K. Downing.

The Peoria concert took place less than two months after JUDAS PRIEST revealed that it would perform as a four-piece when it returns to the road in early March. A few hours later, the band’s touring guitarist Andy Sneap, who co-produced the group’s 2018 album “Firepower”, released a statement to BLABBERMOUTH.NET in which he said that he was “incredibly disappointed” by PRIEST’s decision to carry on as a quartet and thanked the Rob Halford-fronted outfit for the “mind-blowing” opportunity to share the stage with one of his favorite bands. Meanwhile, PRIEST fans were understandably upset about the band’s decision to forgo its classic twin-guitar attack sound and made their feelings known on social media. Some even called for the return of Downing, who joined PRIEST in 1970 and remained in the group until 2011.

Only five days later, JUDAS PRIEST released a statement announcing that it was reversing its decision to tour as a four-piece, explaining that the bandmembers “decided unanimously” to continue their live shows “unchanged” with Halford, Faulkner, Ian Hill (bass), Scott Travis (drums) and Andy.

Less than two months ago, Downing said in an interview that it was “very, very strange” for PRIEST “to even think about” the possibility of going out as a quartet. “I’m like everybody else. I’m totally bemused,” he told the “Rock Of Nations With Dave Kinchen” classic rock show. It was just so extreme and insulting in a way, I guess, and insulting to Glenn as well. It was kind of a slap in the face, saying, ‘Okay, you two guys did it, but we think just one guy could do what…’ It kind of made us and everything that we’ve done and created, saying it was all superfluous, really, and didn’t really have the value that… I’m sure Glenn will agree with me that it does have a value.”

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A clip from TRIUMPH’s first-ever feature documentary about the band’s dramatic career, “Triumph: Rock & Roll Machine”, can be seen below. In the preview clip, fans can hear the story of how TRIUMPH rose to the occasion and delivered a legendary performance at the US Festival in May 1983 in San Bernardino, California.

Produced by Emmy and Peabody award-winning Banger Films, “Triumph: Rock & Roll Machine” is a Crave original documentary that has been described as “a celebratory, exhilarating thrill ride through the history of one of rock’s most unsung acts.” The film covers TRIUMPH’s humble beginnings as staples of the GTA circuit in the mid-’70s to their heyday as touring juggernauts, selling out arenas and stadiums all across North America with their legendary spectacular live shows — and way beyond. The film is now available for streaming in Canada, only on Crave.

Last September, TRIUMPH guitarist/vocalist Rik Emmett told The Metal Voice about “Triumph: Rock & Roll Machine”: “First of all, Banger Films made it, and they’ve done this before — they’ve done it for IRON MAIDEN, they’ve done it for RUSH, they’ve done it for Alice Cooper and ZZ TOP. I mean, these guys, they’re experienced. But they’re telling their perspective of the story. They’ve done their research and then they decided, ‘Well, this is the angle we’re gonna take.’ So that’s the first lens you’re getting. The other thing is it’s not my story, because I was only a part of TRIUMPH. And, in fact, I don’t actually own that brand; Gil [Moore, TRIUMPH drummer] owns that brand. So you’re gonna get a little bit more of Gil’s angle of it than Rik’s. And that’s fine — I’m cool with that — but in truth and in fairness, I think people need to know that. That’s what you’re gonna see — you’re gonna see something that’s been passed through those filters.”

He continued: “So, is this okay? Have all three guys signed off on this? Yes. But you’re not getting my story… Truth is perspective. Truth is a point of view. And everybody understands that; it’s just everybody also has this sort of ego thing where they go, ‘Yeah, but my truth is better than his.’ ‘My truth is way more important than hers.’ And that gets back to that vanity thing again about how you have to let go. So the documentary, you’re talking about trying to find truth from an integration, and I’m saying compromise and collaboration, yes, you get a kind of an integration, but what I’m showing you here, that’s only two dimensions. There’s more to this than just what you see.”

In 2020, Emmett told The Metal Voice about the making of “Triumph: Rock & Roll Machine”: “There’s a surreal nature to it — you’re going back in your life, and they’re reminding you of things that you’d completely forgotten,” he continued. “And you’re going, ‘Oh, yeah.’ And then they’re digging deeper, and they’re going, ‘So, when the band broke up…’ And you’re going, ‘Okay, this hurts, actually.’ I don’t wanna have to go back to that, because the rise and the fall and the rise again, it’s the fall that hurts. I don’t wanna go there. I thought I’d put all this behind me. It was ugly, heavy baggage.”

Emmett also talked about a “really extraordinary thing” Banger Films did while working on “Triumph: Rock & Roll Machine”. “They flew in fans from all over the world,” he said. “They created an event. And the fans didn’t know that we were gonna actually play three songs. So, they brought ’em all to the warehouse, and they’re wandering, and they’re looking at this TRIUMPH museum-y kind of thing. They’ve got dummies with my old spandex jumpsuits on. And then they send them down and they were gonna show them a few little clips on a scrim. The scrim drops and there we are and we play. And these are the people that love us the most. And there was only a couple of hundred of ’em. But it was so intense; it was so amazing. And, of course, they’ve got, like, 15 cameras around the room capturing every angle of this. And then you go, ‘Oh my God. This is heavy duty.’

“So it’s really good,” Rik added. “It really gets to the heart of, you’re a band, you create some music, you make a connection to people, and then here’s these people, you’re the soundtrack to their lives, and it matters to them. So they love you. I could get up there and fart, and they would go, ‘Yeah! Great!'”

The aforementioned invite-only event was held in November 2019 in front of 300 “superfans” at MetalWorks studio in Mississauga (a suburb of Toronto), Ontario, Canada. Emmett, bassist/keyboardist Mike Levine and Moore played a three-song set that marked TRIUMPH’s first performance in 11 years, as well as its first as a pure three-piece power trio in 31 years. The tracks played were “When The Lights Go Down”, “Lay It On The Line” and “Magic Power”.

Moore, Levine, and Emmett formed TRIUMPH in 1975, and their blend of heavy riff-rockers with progressive odysseys, peppered with thoughtful, inspiring lyrics and virtuosic guitar playing quickly made them a household name in Canada. Anthems like “Lay It On The Line”, “Magic Power” and “Fight The Good Fight” broke them in the USA, and they amassed a legion of fiercely passionate fans. But, as a band that suddenly split at the zenith of their popularity, TRIUMPH missed out on an opportunity to say thank you to those loyal and devoted fans, a base that is still active today, three decades later.

Back in 2016, Moore and Levine reunited with Rik as special guests on the “RES 9” album from Emmett’s band RESOLUTION9.

After 20 years apart, Emmett, Levine and Moore played at the 2008 editions of the Sweden Rock Festival and Rocklahoma. A DVD of the historic Sweden performance was made available four years later.

A must-see for rock and roll fans.
Canadian rock band @TriumphTheBand revisit their ‘80s heyday in the new Crave Original documentary #TriumphRockAndRollMachine. Stream it February 7, only on Crave. pic.twitter.com/wWry4GBcM6

— Crave (@CraveCanada) February 2, 2022

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In Aphelion guitarist Sebastian Ramstedt pays tribute to fallen death metal icon L.G. Petrov on new song “Requiem.”
The post Sebastian Ramstedt Honors L.G. Petrov On New In Aphelion Track ‘Requiem’ appeared first on Decibel Magazine.

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