In a new interview with Metal Edge, RATT singer Stephen Pearcy reflected on the first time he met VAN HALEN. He said: “It was at the Whisky [A Go Go in West Hollywood]. I lived in San Diego, but a friend of mine kept saying, ‘You gotta see this band — they’re playing Gazzarri’s and they’re amazing.’ I kept missing them at Gazzarri’s, but then one time he said, ‘Okay, now they’re playing the Whisky. You’ve gotta go.’ So I figured, ‘Okay, well, I’ve seen enough of how shows work in San Diego to know that the bands go to the club early and they go in backstage…’ So I drove myself up to the Whisky and I just parked around the corner, on Clark Street, and waited. And soon enough, I fucking saw Dave [Lee Roth] pull up, park and walk up the steps. And I just yelled out, ‘You wanna smoke a joint?’ He said, ‘Yeah,’ and I got in. And once I was inside, I said, ‘Later! Where’s Ed [Van Halen]?’ [Laughs]”

He continued: “I’d go up to L.A. and see them all the time after that, and I became good friends with Ed. I’d go to the house where Ed lived with his mom, and he had a little cot and a little workspace with all his guitars. It was fucking amazing. And I’d go back to San Diego and tell people, ‘There’s this fucking band that’s gonna blow minds!’ ‘Yeah, yeah, sure…’ And then a year or whatever later, you know, boom!”

Eddie died in October 2020 at the age of 65. The legendary VAN HALEN guitarist passed away at St. John’s Hospital in Santa Monica, California.

Eddie was diagnosed with mouth cancer in 2000 and had tongue surgery. He later battled lung cancer and had been receiving radiation treatment in Germany. Things took a turn for the worse in early 2019 when Eddie got in a motorcycle accident. He was subsequently diagnosed with a brain tumor, and received gamma knife radiosurgery to treat the illness.

Pearcy and bassist Juan Croucier are the sole remaining original members in RATT’s current lineup, which made its live debut in July 2018 in Mulvane, Kansas. Joining them in the band are drummer Pete Holmes (BLACK ‘N BLUE, RATT’S JUAN CROUCIER) and guitarists Jordan Ziff (RAZER) and Frankie Lindia.

In January 2021, Pearcy told SiriusXM’s “Trunk Nation With Eddie Trunk” that he was open to the idea of making a new RATT album with all the surviving members of the band’s classic lineup.

RATT hasn’t released any new music since 2010’s “Infestation” LP.

It’s that time of year, when Premier Guitar readers get the chance to show off their pedalboards and share how they approach these tools to unlock their sound. There’s no wrong way to wire up your effects—as we know, the options are virtually endless. But that’s the fun of it! Read on to see a completely blacked-out pedalboard created by a pro guitar tech, a repurposed Target dish-drying rack, a family tree of 12 (!!!) pedalboards, and much more. Some boards are painstakingly planned and arranged, and some are visually appealing. Whatever you like, Stomp on!Alec Palmer: Brand LoyalistI use my board to practice and record from home, and I love jamming with a couple of my musician buddies every so often. I’d say my favorite pedals are the EarthQuaker Devices Plumes and the Big Ear Albie. I can get a ton of different effects out of the Albie, and the Plumes is the best overdrive I’ve ever played. I’m a bit of a brand loyalist. When I find a pedal I love, I tend to go back and buy more pedals from that specific company. Lately, that company has been Mythos Pedals!Signal chain: Mythos Pedals Golden Fleece (Au79 Mass Street Music exclusive), Ibanez BigMini Tuner, Boss OC-5 Octave, EarthQuaker Devices Spatial Delivery, Mythos Pedals Positron Collider Fuzz, Mythos Pedals Wildwood Vipera, Onkel Amplification Stratoblaster, Ryra Klone, EarthQuaker Devices Plumes, Big Ear Pedals Albie (2), Mythos Pedals Oracle Analog Echo, and a TC Electronic Ditto Looper.Brad Konick: Is It Humble, Though?Here’s my humble pedalboard submission for your consideration. Each pedal is listed in order of the signal chain. I’m also including a photo of the electric guitar I use, which I made a few years ago. It’s a handbuilt custom solidbody, black walnut T-style electric guitar, with handcarved bas-relief and handmade steel inlay. Pickups are a Seymour Duncan Hot Rodded humbucker set: Jazz (neck) and JB (bridge). The guitar plugs first into the Boss volume pedal listed below.Pedals – Signal Chain:Boss FV-30H Volume Pedal >Korg Pitchblack Mini Tuner >Kokko Mini Compressor >Electro-Harmonix Synth9 >EarthQuaker Devices Arpanoid V2 Polyphonic Pitch Arpeggiator >DOD Carcosa Fuzz >Boss BD-2 Blues Driver >Death by Audio Echo Dream 2 Advanced Echo Modulation >TC Electronic T2 Reverb >Pedal Projects Undertow Tremolo >EarthQuaker Devices Organizer Polyphonic Organ Emulator >MXR Phase 95 >MXR Six Band EQ >EarthQuaker Devices Aqueduct >Electro-Harmonix Canyon Delay/Looper >Walrus Audio Slö Multi Texture Reverb >Roland JC-22 Jazz Chorus (amp)Power and Cables:MXR M239 Mini Iso-Brick Power SupplyDonner DP-2 Power SupplySnark 9-volt power adapters1/4” Audioblast pancake patch cables (6″, 8″, 3′)Fender tweed 1/4” TS 15′ instrument cableI’m also including a photo of the electric guitar I use, which I made a few years ago. It’s a handbuilt custom solidbody, black walnut T-style electric guitar, with handcarved bas-relief and handmade steel inlay. Pickups are a Seymour Duncan Hot Rodded humbucker set: Jazz (neck) and JB (bridge). Chris Gibbs: Load In, Load OutThis is the pedalboard I use for gigs with my band, Triple Engine, in York, Western Australia. The board is actually the lid of a Craftright tool/accessory case.When the gig is finished, I can pack leads, extra pedals, power supplies, and more into the case, flip the board so that it becomes a lid again, re-insert the removable hinge pins, and load out!Here’s how it flows: DigiTech HardWire HT-6 Polyphonic Tuner > Outlaw Effects Hangman Overdrive > MXR Phase 90 >Vox Satchurator Distortion > Outlaw Effects Vigilante Chorus > Tech 21 Fly Rig 5 > Outlaw Effects Boilermaker Boost.Clint Roth: Vision BoardHey PG,Here’s my current small board I’m using for writing with my band, Big Jaw. I plug into a TC PolyTune 2 Noir that feeds a Loop-Master A/B Box. The “A” loop is my JHS Charlie Brown overdrive, and the “B” loop is my fuzz, which is an old EarthQuaker Devices Hoof fed by a TC Electronic Sub ’N’ Up Octaver. I usually use the octave and fuzz together so it’s helpful to have them on a loop like that so I can switch to both with one click. The output of the Loop-Master feeds my TC Electronic Flashback Delay, which is usually just giving me a little slapback. Thanks!David Reaume: Bass and BowHere’s my bass board! I use it mostly for ambient music to create textures, but it covers a lot of territory as you can see. I use a cello bow frequently. Paired with the octave and additional reverb, it really makes for a convincing string section.Signal Chain:TC Electronic PolyTune 3 >Boss OC-5 >Chase Bliss Audio Automatone Preamp MKII >Gamechanger Audio Plasma Pedal >Dunlop DVP4 Volume (X) Mini >Boss DC-2W Dimension C (split in stereo for the rest of the chain) >Strymon El Capistan dTape Echo >Strymon Flint Tremolo & Reverb >Neunaber Audio Immerse Reverberator MKIIAll powered by a Strymon Zuma power supply on a custom board (made by yours truly) with custom-length Mogami patch cables. The Analog Endeavors Dual Favorite switch is for the Strymon pedals. DeMatt Harkins: The DishwasherMy name is DeMatt Harkins and I live in Jackson, Mississippi. I made my pedalboard out of a wooden dish rack from Target.Signal Path:Guitar – >Boss TU-2 Chromatic Tuner – >Catalinbread SFT Overdrive – >TC Electronic Vortex Mini Flanger – >JHS 3 Series Chorus – >MXR Phase 95 – >Danelectro BLT Slap Echo – >Strymon Flint Tremolo & Reverb – >EarthQuaker Devices Dispatch MasterThanks very much!Jack Thompson: The Alan Parsons ProjectI’m a musician based out of the Twin Cities, Minnesota, and I saw that you were taking pedalboard submissions! So, here’s mine. I’ve been refining and building this in a variety of ways the last seven years. I hope you enjoy and get a laugh.High Level Overview:The board consists of two loops (two different boards) controlled via EarthQuaker Devices Swiss Things. This sends the signal to a Mesa/Boogie Mini Rectifier 25 and Fender Hot Rod Deluxe III. The left board is pre-loop, and loop 1 (distortion based) with Dr. Evil in a moonsuit holding Austin Powers’ mojo. The right board is loop 2 (modulation based) with Dr. Evil holding Mr. Bigglesworth. My guitar cable is an orange Divine Noise Curly Cable, purchased from Chicago Music Exchange.Pedalboard 1 (left):Pre-loop section:Guitar goes straight into an Emma Electronic Okto Nøjs.Then to a Pigtronix Philosopher’s Tone Germanium Gold Micro (this is an “always on” pedal).Next is the Dunlop Dimebag Cry Baby from Hell Wah.And then finally a MXR Uni-Vibe set at minimal settings (this is typically an “always on” pedal).Loop 1 (via EarthQuaker Swiss Things):Behringer SF300 Super FuzzHorizon Devices Apex PreampElectronic Audio Experiments Model feTBoss DD-7 Digital DelayEarthQuaker Devices Afterneath V2Pedalboard 2 (right):Loop 2 (via EQD Swiss Things):JHS Bonsai (minimal drive settings, “always on”)Subdecay Quasar PhaserEarthQuaker Devices Rainbow MachineMoog MF FlangeDwarfcraft Devices Witch ShifterBlack Cat Pedals Black Cat Vibe (Proline expression pedal on the far right is hooked up to it)EarthQuaker Devices Avalanche RunEarthQuaker Devices Astral DestinyAnd that’s it! I’m fortunate to play with some of my best friends in a band called the Electric Honeycomb. Blessings to all of you.Joe Grant Jr: Satisfying SymmetryMy pedalboard is a Temple Audio TRIO 43 Templeboard. All cables—patch, power, and MIDI—are hand-soldered. I have USB ports on the side to update firmware and program MIDI. Underneath the pedalboard:Strymon ZumaStrymon Ojais (2)Voodoo Lab Control Switchers (2)Goodwood Audio AuditionOn top:Goodwood Audio The TX InterfacerKingtone Battery Box (2)Xotic RC BoosterDunlop VolumeOrigin Effects Cali76TC Electronic Ditto Stereo LooperMythos Argo Octave FuzzPeterson StroboStomp TunerMythos High Road FuzzWampler RatsbaneJ. Rockett The DudeAnalog Man King of ToneWalrus Audio JuliannaChase Bliss Automatone Preamp MKIIStrymon TimeLineChase Bliss GravitasChase Bliss ThermaeKing Tone The DuellistWalrus Audio SlöChase Bliss CXM 1978Electro-Harmonix POG2Eventide H9 MaxUniversal Audio Golden ReverberatorUniversal Audio AstraUniversal Audio StarlightDigiTech FreqOutCatalinbread EchorecMorningstar MC8 Midi ControllerMalcolm Carmichael: Like Angels SingingSo many pedals, so little time. I don’t think there’s one pedal I haven’t tried out at some point in time but now I just keep it as simple as possible to have everything I need for the setlist my band plays. Also, I’m terrible with patches and programming. All of these are powered just by a simple Power-All 9V/2A wall wart. I’ve tried lots of power supplies and this is light and reliable.First, the Mooer Baby Tuner is very simple, works every time. Next, is the Dunlop Cry Baby Mini Wah. I’m the rhythm player in my band, but there are a couple tunes where I solo, and I use this when I’m just winging it. It helps and makes me sound better than I am! I think all distortion pedals are a trade-off, but the MXR Distortion III is as good as any and it’s tried and trusted.Then we have the Electro-Harmonix Holy Grail Nano. Everybody needs a Holy Grail! I’m always surprised how many pro pedalboards I see it on. Very versatile pedal and easy to use. Next is the Hotone Eko delay: I go through all sorts of these little pedals. I find them in bargain bins. This delay is perfectly fine with all the adjustment you need. The Donner Echo Square is a little gem. It’s got everything, including a reverse, which is what I use it for on an original song we play, but it’s got a lot of other great options as well. I like the TC Electronic Stereo Ditto Looper because it’s so simple.Lastly, I have one of the best ABY switchers in the game, the Radial BigShot. With this, I send out into a Fender Blues Deluxe Reissue and a Vox AC15. Together they are like angels singing. All we have to do now is get this craziness behind us so we can get gigging again. Cheers!Matt Straw: The BlackboardI saw the all-white pedalboard from last year’s reader pedalboards, and it reminded me of my black one. My pedalboard(s) are constantly in a state of evolution: I’ve since ditched most of these and gone back to basics. I was using this board from 2014-2016 back when I lived in Nashville and was in the band Things That Crawl. I’ve always hated branding of any type, and I found the varied colors and designs kinda messy and a distraction.I’m also a professional guitar tech (Robert Plant, Bonnie Raitt, Jack White, Shania Twain, etc.) and am used to fans trying to sneak a peek at the pedals onstage, so I liked the idea of keeping a bit of mystery there (not that anyone could care less about what I was using). Here’s the list of pedals: Boss TunerBoss NS-2 Noise SuppressorErnie Ball Volume PedalZVEX Super Hard OnElectro-Harmonix POGTech 21 NYC SansAmpElectro-Harmonix BassballsElectro-Harmonix LPB-1Boss DD-7 Digital DelayRed Witch Medusa Chorus TremoloElectro-Harmonix POG2MXR Classic 108 FuzzMarshall The Guv’norI eventually added two EarthQuaker Devices pedals (Organizer and Talons), plus a TC Electronic Alter Ego and an MXR Ten Band EQ.In 2016, I formed a short-lived band called Buffalo (before moving to Joshua Tree) and built a totally new pedalboard with the El Rey Mystic Fuzz, El Rey Fuzz De La Muerte, Electro-Harmonix POG, TC Electronic PolyTune, and a Lehle Dual. Both the El Rey pedals remain unpainted as I think they look super cool! Enjoy.Nedim Kirlic: Streamlining in SwedenI’m a guitarist in Sweden. As a 40-year-old, I decided to build my first pedalboard because I wanted to simplify my rig and give myself fewer options than there are in my Line 6 modeler products. Having said that, I quickly realized that it’s not as simple as just putting a few pedals on there. I wanted a pedalboard with a simple pitch shifter-overdrive-distortion-chorus-delay-reverb setup. But it turns out I needed four utility pedals, and more than one overdrive. I was never into fuzz, but I decided to go for it. The board right now consists of the list below, with the signal chain in order. Though the Boss delay will probably be moved early in the chain, along with a second reverb that I haven’t gotten yet. T-Rex pedalboard, 70 cm wideT-Rex Fuel Tank Chameleon isolated power supply, mounted underneath with a rail (two pieces)Boss TU-2 Chromatic TunerTC Electronic Brainwaves Pitch ShifterMXR Uni-VibeBoss GE-7 Graphic EqualizerDonner Noise Killer Noise GateDonner Ultimate Comp CompressorMXR GT-OD OverdriveBoss BD-2 Blues DriverMad Professor Fire Red FuzzProCo RATBoss DD-8 Digital DelayElectro-Harmonix Canyon Delay & LooperTC Electronic Hall of Fame 2 ReverbIbanez Tremolo MiniBoss RC-3 Loop StationThe empty spot is reserved for a Boss IR-200 Amp & IR CabinetThe signal chain right now is going straight into the front of the amp, but sometimes I use the FX loop. In that case, I put the delay, reverb, and tremolo pedals into the loop. And lastly, the loop pedal is last in my signal chain for trying out quick ideas: I record a riff, loop it, and see what bass notes and what sort of bass line I’m going to play over it. The bass line makes a huge impact on the idea and on the finished song.Ronald Caminati: Aesthetically PleasingHere’s my list of pedals: Dunlop Cry Baby Mini Wah, TC Electronic PolyTune3 Mini, Sweet Sound MoFaux Vibe, Toms’line Cream Distortion, Stax Phaser, Mooer Hustle Drive, Rowin Chorus, and finished off by a Boss FB-2 Feedbacker Booster. All powered by a Pedaltrain Volto.Steve Kellett: The Family TreeI recently decided to take a family portrait of my pedalboards. I had to take two photos to get it all covered! Spoiler Alert: I have 12 pedalboards.In the first image, there’s a custom-built flight case containing a TC Electronic Nova System plus extension footswitch and a Dunlop Mister Cry Baby Super Volume/Wah.Pictured above that, is a Gator Pedal Tote board with the following on it:Boss TU-2 – >Barber Tone Press – >Fulltone Ultimate Octave – >Fulltone Full-Drive 2 FM – >Om Labs Sahasrara Overdrive – >Fulltone Mini-Deja’Vibe – >ZVEX Box of Rock Vexter(Just to prove that nothing is permanent in the pedal world, the Sahasrara has since been replaced by a Fulltone GT500.)The second photo (do I really have to do this?) … DEEP BREATH.Top row from top left we have my Leftovers Board:A beat-up CNB case containing a cheapo tunerXFX Boutique Destroyer (Friedman BE-OD clone)DemonFX King of Drive (clone of a guess what)Twinote Pi FuzzReverend Drivetrain IITwinote BBD ChorusTwinote BBD DelayIbanez TS-9 RIMoving clockwise to the right is my Workhorse Board 1:Cry Baby WahLY-Rock King of Tone cloneProCo Vintage RATKorg G4Rowin tunerAmmoon Nano DelayTC Electronic Spark Mini BoosterNext, to the right, Grab and Go Board 1:Boss BCB-30 boardBoss DS-1 40th Anniversary Edition (which I won from PG’s Stomboxtober giveaway in 2018)Keeley-modded Boss BD-2’80s Ibanez AD9Fender in-line tuner that gets used when requiredMoving on to the second row and starting on the very left is my Chopping Board 1:Rowin tunerMuslady Golden Horse (Klon Klone)Mosky Red Fox (Timmy-based overdrive, CE-2-based chorus, and a delay; FX loop between overdrive and chorus)Mosky Black Rat in the FX loopMosky Spring ReverbMoving to the right is Chopping Board 2 (Yes, they really are bamboo chopping boards that fit into laptop slip cases):Rowin tunerRowin Frenzy fuzzMosky DTC (Suhr Riot-based distortion, TS-9-based overdrive; FX loop, and delay)Rowin Nano Phaser in the FX loopPoor Person’s Pink Flow Board:Ghost Fire caseTomsline AGF-3 G-Fuzz (Germanium Fuzz Face clone)Mosky Mini MuffRowin TunerMosky Tone Bus (Dyna Comp, TS-9, and OCD clones plus power supply for the board)Tom’sline AMS-3 Mod StationMosky Tone Makestation (Plexi distortion, FX loop, EP booster, and delay)Mastersound Flanger in the FX loopTom’sline ASR-3 Shaper (cab sim)Mosky Mini Clean BufferGrab and Go Board 2:Ammoon pedalboard (containing all XFX Boutique pedals)Nine O Nine (TS-based low-gain overdrive)Tikus (RAT clone)Classic 741 Distortion (MXR Distortion+ clone)Slowpick Analog DelayBottom row from left to right:Workhorse Board 2:Boss BCB-60 boardKorg Pitchblack Mini TunerBoss CS-3 Compression SustainerKeeley DS-1 Ultra ModKeeley SD-1 OverdriveBoss JB-2 Angry DriverOrange FS-1LBoss CH-1 Super ChorusBoss DD-8 Digital Delay with Mosky tap tempoMooer Pure BoostThe Cheese Board:Pedaltrain Minicheapo tuner6 ModTone Mini-Mod pedals (Fuzz, Distortion, Overdrive, Chorus, Delay, and Boost)The Hendrix Board:Ammoon pedalboardDunlop Hendrix 70th Anniversary Fuzz FaceHendrix OctavioHendrix UnivibeWhew! And that concludes my family tree of pedalboards. Strewth!Taylor Schlupp: Tom Bukovac InspoHey guys! Here’s a pic of my studio board that I use for recording music and YouTube videos. It’s got a bit of Tom Bukovac inspiration here after seeing his Rig Rundown lol. Signal Chain: TC Electronic PolyTuneJ. Rockett Blue Note Overdrive (always on)Wampler Belle OverdriveNobels ODR1 Natural OverdriveBoss GE-7 EQJoyo Ironman Molo-TremWampler Faux Tape EchoElectro-Harmonix Oceans 11 ReverbTruetone 1 Spot Pro CS7 Power SupplyTom Foreman: Tone HuntersHi Folks,I hope all is well with each of you. I look forward to seeing the issue with these photos because it’s always nice to hunt for ideas. I made the pedalboard out of some hardwood sugar maple wood bits left over from a “music-lesson-for-lumber” trade I did with a local forester. It is roadworthy and weighs a ton (just in case I ever need to stun a drummer with it, I suppose).This board serves a dual purpose with supporting my acoustics and electrics. For acoustic, I run a 1963 Gibson J-50 and a Crafter D6/N through the Radial Tonebone PZ-Pre Preamp with a SolidGold FX Horizon Compressor in the effects loop.For the electric side, I run a Gibson ES-339 or my Tele into the following:Boss TU-3 Chromatic TunerMidnight 30 Music Upstate Drive (Always on, always awesome! Josh Eiler makes some absolutely killer gear, and this pedal was one of the earlier ones.)Late 1980s Pro Co RAT (I got it from Not Just Another Music Shop in Vancouver, BC, while on tour sometime in the early ’90s … I think)Stomp Under Foot Civil War Fuzz (sometimes it sits in for the RAT)Barber Electronics Barb E.Q. (boost, grit, chime)MXR Six Band EQ (for when I blow a string on my 339 and have to shift over to the Tele mid song)The effect-loop chain includes: a Line 6 Roto-Machine or TC Electronic Thunderstorm Flanger, a Line 6 DL4, and a Marshall RF-1 Reflector Reverb.Everything goes into a Dr. Z MAZ 18 NR and a Port City Waves 2×12 cab that I think has one vintage Greenback and one WGS Veteran 30 speaker, but I haven’t looked under the hood in a long time so who knows? Love the magazine and I look forward to it showing up each month!

It’s been a long time coming, this third album from Lauren Hart and Logan Mader’s LA-based metal crew. ONCE HUMAN put out two strong albums at the start of their story, establishing a nicely eccentric groove-based sound that showcased Hart’s impressive vocal talents and giving Mader some huge riffs to sink his teeth into. Both “The Life I Remember” (2015) and “Evolution” (2017) had plenty of great songs and moments of raging heaviness, but neither will have prepared anyone for the sheer, ugly enormity of “Scar Weaver”. Instantly recognizable as a definitive statement, not least due to the warped but crushing clarity of Mader and fellow guitarist Max Karon’s tones, the third ONCE HUMAN album spits, snarls and lashes out with the venom and vigor of a debut. Suddenly, a five-year gap between albums seems eminently sensible because this is a wholesale rebirth.

Given how many extraordinary riffs there are on this record, it would be unfair to say that Lauren Hart is the real star of the show. But the fact that the frontwoman’s range, power and versatility have all grown tenfold is impossible to ignore, from the opening rampage of “Eidolon” onwards, Hart roars, wails and sings with the conviction of someone who truly feels they have found their voice. Meanwhile, ONCE HUMAN are blurring the lines between the balls-out groove metal of old, and something sharper, spikier and more in line with the tech-metal and modern death metal scenes. With Hart’s volubly enhanced bellowing slamming every musical point home, this newly refreshed hybrid sounds both fresh and ever-so-slightly terrifying. When MACHINE HEAD’s Robb Flynn surfaces on recent single “Deadlock”, the amount of pugnacious attitude coming from both vocalists is a wonder to behold.

Nonetheless, the most important reason to blast “Scar Weaver” at top volume is that Karon and Mader have conjured a dizzying splurge of truly repugnant and unhinged riffs here. Songs like the title track and the grimly moody “Where The Bones Lie” are relentlessly headbang-worthy, but there is none of modern metal’s cozy sterility on offer. Instead, these are riffs honed to elicit as much queasy dread as possible, with Hart permanently on hand to anchor the whole thing to mortal reality. In fact, someone should give this band some kind of trophy for the utterly disgusting riffs ONCE HUMAN use during “Deserted”, an obvious standout on an album with no discernible low points. Similarly, “We Ride” is almost absurdly brutal and hammers home how uncompromising this band have become: just under three minutes of flat-out speed metal insanity, with inspired melodic interjections from Hart and a palpable sense that getting out of the way of this runaway steam-train might be a sensible idea. At the other end of dynamic scale, hints of OPETH-like progginess enable the anthemic “Only In Death” to provide “Scar Weaver” with a disarming and wildly evocative grand finale.

Not just their best album but a commanding and convincing statement of renewed intent, “Scar Weaver” is heavier, nastier and more twisted than anyone might have expected, its creators included. More scars incoming, it seems.



Florida death metal veterans OBITUARY will embark on the “RedNeck Run III” spring 2022 U.S. tour with GRUESOME and 200 STABS WOUNDS. Tickets go on sale on Friday, February 11.

OBITUARY comments: “It’s time to put away the leather jackets and boots, bust out the flip-flops and tank tops and prepare yourself for an outrageously, awkward yet undeniably amazing evening that could possibly turn into the best night of your life.

“The Florida boys are at it again and are firing up the RV, checking the brake lines and high tailing it out of town and heading your way…so breaking out the sunblock and prepare to rock!

“The East Coast ‘RedNeckRun III’ is about to go down and we need to know two things…who’s joining us and is the beer cold? Contrary to the Apollo 13 mission, failure is an option and so are shoes…but having a goddamn good time is a none-of-your-money-back guarantee!

“This isn’t rocket science nor have we ever claimed to be scientists or the smartest band in the world… we’re just thirsty, ready to jam and hope you are too. Where will WE see YOU?

“We’re just happier than a puppy with two peters to be headed back out on the road.”

“RedNeck Run III” tour dates:

March 18 – Jacksonville, FL, @ 1904
March 19 – Spartanburg, SC @ Ground Zero
March 20 – Chapel Hill, NC @ Local 506
March 22 – Norfolk, VA @ Elevation 27
March 23 – Millersville, PA @ Phantom Power
March 25 – Providence, RI @ Fete Music Hall
March 26 – Burlington, VT @ Nectar’s
March 27 – Albany, NY @ Underground Live
March 29 – Worcester, MA @ The Palladium
March 30 – Amityville, NY @ Amityville Music Hall
March 31 – Mechanicsburg, PA @ Lovedraft’s Brewing Co
April 01 – Pittsburgh, PA @ Spirit Hall
April 02 – Cleveland Heights, OH @ Grog Shop
April 04 – Indianapolis, IN @ Hi-fi
April 05 – Huntington, WV @ The Loud
April 06 – Harrisonburg, VA @ The Golden Pony
April 08 – Louisville, KY @ Headliners Music Hall
April 09 – Nashville, TN @ The Basement East
April 10 – Birmingham, AL @ Zydeco

Last March, OBITUARY frontman John Tardy told France’s United Rock Nations that the band has used some of the downtime during the coronavirus pandemic to work on material for a new studio album. “We’ve definitely been working on new tunes, and we’ve been taking our time,” he said. “We didn’t feel like releasing [a new album] now in the middle of the pandemic when you can’t go on tour and support it is not what we wanted to do, so we’re in no hurry. But by the time next year comes around, we’re gonna be hitting the road again. We’re getting tours set up, and we will be releasing another album next year before we hit the road and start touring again. So we are currently working on new material.”

Asked what fans can expect from the follow-up to OBITUARY’s 2017 self-titled album, John said: “I think it’s just gonna sound like OBITUARY. [Laughs] You know us — we’re kind of cavemen; we don’t like to evolve too much. We like to change it up and do a little here and there, but we’re getting too old to change too much, I think. So as long as it’s heavy and pounding, then that’s what you can expect.”

Last October, Decibel Books announced the publication of “Turned Inside Out: The Official Story Of Obituary”, the fully authorized biography of OBITUARY.

David E. Gehlke — author of “Damn The Machine: The Story Of Noise Records” and “No Celebration: The Official Story Of Paradise Lost” — provides an unprecedented look at the death metal legends through all-new, in-depth interviews with bandmembers past and present, recording engineers, scene contemporaries and music industry veterans who’ve worked directly with the band throughout OBITUARY’s nearly four-decade career.

Packed with hundreds of rare and never-before-seen photos, as well as a foreword from Max Cavalera (SOULFLY, SEPULTURA), the 328-page hardcover “Turned Inside Out: The Official Story Of Obituary” is exclusively available for order now via decibelmagazine.com.

In a new interview with Anne Erickson of Audio Ink Radio, Ted Nugent said that when it comes to musicians, they don’t make them like they used to. “Musicians aren’t as dedicated today,” he said. ‘I know there’s a bunch of great ones. I mean, Joe Bonamassa is a young guy, and Kid Rock is not a young guy, but he’s now. And I love what BIG & RICH do. I love the sincerity of Blake Shelton and Toby Keith, though I can’t stand most country music. And GRETA VAN FLEET does a great job, and everything the FOO FIGHTERS do is awesome. But, it’s not like Ted Nugent or Bob Seger or the AMBOY DUKES or ZZ TOP or CHEAP TRICK or MONTROSE or VAN HALEN. You know what I mean? Those bands, we just practiced more; we loved it more.

“So, that’s why ‘Detroit Muscle’ is gonna be really significant to people who love that fire and that defiance and fun,” he continued, referencing his upcoming album. “Music is supposed to be fun. Even when you articulate corruption and ‘Dog Eat Dog’ sabotage on the downtown streets and police cars overturned — yeah, I’m identifying social conditions, but I also am a master at escaping social outrageousness and replacing it with fun, defiant, ‘We The People,’ middle-finger-on-fire, grinding Motown funk brother outrageousness.”

This past November, Nugent released the official lyric video for his new song “Come And Take It”. The track will appear on “Detroit Muscle”, which is due on April 29 via Pavement Music. The follow-up to 2018’s “The Music Made Me Do It” was recorded with Ted’s current band, which includes bassist Greg Smith and drummer Jason Hartless.

Nugent, who is the national spokesman for pro-hunting lobbying group Hunter Nation, told Florida’s 99 Rock WKSM radio station that “Come And Take It” is “a love song to the punks in our government who think that they have the right to infringe on our constitutionally guaranteed, God-given individual freedoms… I think it really represents the heartbeat, the pulse, the heartbreak, really, of thoughtful, critical-thinking Americans. Which, by the way, if you’re not a critical thinker, you should probably move to Cuba where you’re not allowed to be. Critical-thinking Americans that are rock solid in the asset column love this song — they love me, they love freedom, they love defiance, they love my middle finger on fire.”

In a brand new interview with Metal Edge magazine’s “Another FN Podcast With Izzy Presley”, Nita Strauss, the Los Angeles-based guitar shredder for the ALICE COOPER band, was asked why it took her so long to incorporate vocals into her solo music, as she is doing on her upcoming sophomore solo album. She responded (as transcribed by BLABBERMOUTH.NET): “Honestly, I didn’t really imagine it happening it at all. I wasn’t planning on ever doing a solo record that wasn’t an instrumental shred thing. Instrumental shred is kind of my passion; it’s what I’ve always wanted to do. And it wasn’t really what I set out to do, doing radio stuff — I wanted to kind of stay true to my identity as a guitar player and just make guitar music. But then, as I grew a little bit as a songwriter, it just made sense to sort of evolve a little bit more musically and branch out and try different things, get in front of a new audience — obviously, a much larger audience than I would have ever just doing instrumental guitar music. And it’s fun. It’s not necessarily what I initially thought I would do when I set out as a solo artist, but I’m learning so much, I’m having such a great time. We’re now getting added to these big festivals and getting bigger tour offers and stuff, so it’s a fun journey to be on, for sure.”

Asked if she can see a day when she is going to step behind the mic, Nita said: “Absolutely not. [Laughs] Because I want people to like it. I’m not a very good singer. Why am I gonna sing when I know I’m not that good? I’m a reasonably okay guitar player, and I really enjoy playing guitar. And I know I’m not a great singer. And if I put out something [with me] singing just for people to then tell me I’m not any good, that’s just gonna be frustrating. Why am I gonna do something that I don’t particularly enjoy, that I’m not particularly good at when I have this amazing opportunity to work with so many different vocalists? I play in a band [ALICE COOPER] with one of the greatest frontmen and vocalists of all time. As a solo artist without a singer, I kind of have my pick and choose of what great singers I can work with. I have several other guest vocalists that are not announced yet collaborating with me on this upcoming record. Why am I gonna step in front of all of that and say, ‘You know what? My ego needs me to do all the things.’? I don’t need to do all the things. I’ll play the guitar.”

Two months ago, Nita told the 105.5 WDHA radio station that her next solo LP would be split “half and half” between instrumental and non-instrumental cuts, “so six instrumental tracks and six tracks with guest vocalists,” she said.

In early December, Nita told “The Mistress Carrie Podcast” about her decision to make the upcoming LP half vocal songs and half instrumental: “I did feel, and the label and everybody agreed, it’s still important for me to keep my identity as a guitar player and not just branch off too much and go, ‘Okay, well, now it’s just guests.’ Let me still have a little of what makes me me, which is the instrumental shred stuff. And the instrumental pieces that I’ve written on this record are, I think, better than anything I did on the first one — definitely more… I don’t know if it could be more emotional but they’re very emotional pieces of music and I think a little better crafted this time around. So I think all the songs in general are more well thought out, better put together this time around. And I do have some of my absolute favorite [singers guesting on it]. I have three amazing powerhouse female vocalists on this album so far. And there are still a couple of things T.B.D. [to be determined]. And then we should be ready to release next spring.”

In October, Nita shared “Dead Inside”, her first new music since the release of her critically acclaimed debut solo album “Controlled Chaos” in 2018. The track is her first-ever solo collaboration with a vocalist, David Draiman, frontman of Grammy-nominated rock icons DISTURBED.

Strauss has been playing with Cooper since 2014 when she replaced Australian musician and former Michael Jackson player Orianthi. She joined Alice in time for a mammoth MÖTLEY CRÜE tour. She was recommended to Cooper by the legendary rocker’s former bass player and WINGER frontman Kip Winger.

Nita released “Controlled Chaos” to mass acclaim from fans and media alike, with Metal Injection calling it “a great debut that — as its creator intended — leaves no doubt”, and Guitar World stating “‘Controlled Chaos’ is a panoramic view of Nita Strauss’s many strengths”. To date the album has clocked up 6.7 million streams worldwide, with music videos for singles “Our Most Desperate Hour”, “Pandemonium”, “Alegria” and “Mariana Trench” generating over 3 million YouTube views.

As well as performing with Cooper, Nita has also played with R&B star Jermaine Jackson, early MTV darlings FEMME FATALE, video game supergroup CRITICAL HIT and popular tribute band THE IRON MAIDENS.

In April 2020, Nita launched “Rock Guitar Fundamentals” — a three-module online guitar teaching program suitable for learners of all levels. The course is available at www.iwanttoplayguitar.com.

Nita’s live show is mostly instrumental in nature, combining originals with covers.