Swedish metallers SABATON were recently forced to postpone their European arena tour, which was supposed to happen in March/April 2022, “due to continuing COVID-19 pandemic restrictions on global live events and travel.” However, SABATON frontman Joakim Brodén told Finland’s Tuonela magazine that he and his bandmates are still expecting to return to the road later this year. “That’s our main priority,” he said. “And the only reason that we are not on tour is that we physically can’t or aren’t physically allowed. It will take the threat of prison or bankruptcy to stop us from doing that. Unfortunately, when it comes to touring, dealing with a tour in several countries is much more complicated than a single one because of governments. So that’s, unfortunately, the reason why we had to postpone the European tour. While in certain countries, everyone gave us ‘thumbs up’ and it’s clear, we can do it, in other places, it was unclear, in certain places it was a clear ‘no,’ and at that point we can’t physically do the tour, which is sad. But new plans are being made at the moment. And I am not too pessimistic, actually, about 2022. Actually, quite the opposite. I get to fucking go on stage again. And that’s a great thing.”

SABATON will be touring in support of its tenth studio album, “The War To End All Wars”, which is due on March 4, 2022 via Nuclear Blast Records. The concept LP of 11 brand-new songs was written and recorded during the COVID-19 global pandemic and once again dives deep into the atrocities, miracles, and events tied to the early 20th century’s World War I.

In a recent interview with Canada’s The Metal Voice, Brodén said about the musical direction of SABATON’s new material: “It’s very much a SABATON album in that way. We’ve been an evolutionary band always and not a revolutionary band. There’s always surprises on a SABATON album but we’re never gonna flip the coin and do something totally different on every song on a new album. There’s gonna be surprises on every album.

“It’s always subjective,” he continued. “I think it’s pathetic when an artist goes, ‘It’s the best album we’ve ever made,’ and they keep promoting the same tired line. I say it’s up to the listener to decide that, but I know for a fact that everybody in the band, without even sitting in the same room together, because I sort of shipped out the pre-mixes to everyone, and everybody — this is the only time in our history this has happened — everybody came back with, ‘Fuck. That sounds great.’ Everybody is super happy with the production. We were always happy before, but it was, like, ‘Maybe this, maybe that.’ Now it was more like, ‘Okay, yeah, I have some suggestions and ideas, but wow.’ We’re really happy with the sound.”

SABATON is considered to be one the most important bands to emerge from the Swedish modern metal scene, having been honored with five Metal Hammer Golden Gods Awards (including “Best Live Band” three different years) and nominated several times for the Swedish equivalent of the Grammy Awards, the Grammis. In 2016, SABATON’s “The Last Stand” album debuted at No. 1 in three different European countries and cracked the Top 3 in four others. Joakim Brodén (vocals), Pär Sundström (bass), Chris Rörland (guitar), Hannes Van Dahl (drums) and Tommy Johansson (guitar) curate a festival of their own, Sabaton Open Air, that started back in 2008, as well as their own forward-thinking Sabaton Cruise which has been held since 2009.

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There is a calm, serene spirituality about Ann Wilson in 2022 which instantly draws you to her. She feels like a warm, wise someone who has seen enough bullshit to know how to avoid it calmly, and someone who is at peace with whatever she needs to be at peace with. Perhaps that is why the soul (and, indeed title) of her latest album, “Fierce Bliss” (set for release April 29 via Silver Lining Music) offers such universally entertaining, engaging, honest and safe harbor from these unpredictable times.

Take “Greed”, the powerful first single. “‘Greed’ is that thing in our animal nature that makes us want MORE,” Wilson declares. “Whether it be money, sex, power or ecstasy, it fires our craving. It happens with all of us. When you turn around and catch yourself making decisions because you want the money, or because you’re caught in the headlights of glory, well, those are greedy moments.”

Wilson continues: “I think people who claim to have made every decision from a root of pure idealism, and never done anything dark or greedy, is lying. I think everybody who ventures into especially the music industry hoping for a career with big success, ends up making these Faustian bargains at some point even if only briefly. It’s an aggressive song and I think I write best when I’m angry.”

One of the premier hard rock vocalists of all-time, Wilson smashed boundaries with her band HEART, the eight-times platinum, 35-million-plus-selling Rock And Roll Hall Of Fame trailblazers who formed in 1973. During a decades-long career, Wilson rode the roller coaster of fame, fortune and madness, learning both joyous and hard, hard lessons along the way. Fast forward to summer 2020 and a meeting with legendary veteran “artist’s lawyer” Brian Rohan provided the catalyst for “Fierce Bliss”‘s creation.

Ann says: “Brian recommended people to me that knew people in Nashville, so I met these guys like [famed Nashville session guitarist] Tom Bukovac and Tony Lucido at those Muscle Shoals Sound Studio sessions. I’d never met them before, and they really inspired me. It was like a big door opening.”

With the musical chemistry organically established, “Fierce Bliss” came together quickly. “I had originally intended to go in, record a few songs and see what I had, but it just took on this life,” remarks Wilson. “At Sound Stage in Nashville, Kenny Wayne Shepherd came in and played on a couple songs. He was a whole other influence coming in. He just played his butt off, and with the gospel singers and everything else coming together, the whole project just started to grow.”

Wilson continues: “I’d known Warren Haynes from GOV’T MULE for a while. We’d written a couple songs together with GOV’T MULE playing, and those rounded out the record. So all of a sudden, where there was no record before, suddenly I had eleven cool songs that I really liked.”

“Fierce Bliss” is classic rock comfort food of the finest ingredients, carrying a richness and light that allows you to escape into timeless nostalgia. 11 perfectly weighted and selected songs ranging from Wilson’s own co-penned originals to breathtaking covers and collaborations. “A Moment In Heaven” could easily apply to anyone who has seen their career suddenly bathed in a bright beam of glory before the spotlight is abruptly moved elsewhere. There is a deeply spiritual air about Ann Wilson 2022, and both “Black Wing” and “Angel’s Blues” show different facets of that soul and ethos. Furthermore, Wilson brings new life and verve to classic songs, such as QUEEN’s “Love Of My Life”, EURYTHMICS’ “Missionary Man” and Robin Trower’s “Bridge Of Sighs”, and has helped fashion definitive versions of each which stand toe-to-toe with the originals.

To cap it all, the album artwork comes from the mind and hands of celebrated fantasy artist Roger Dean, who aside from his work in fantasy art is also renowned for his YES sleeve artwork.

Wilson will soon be hitting the road with her new band, and make no mistake, she’s a performer at heart thus her excitement is palpable. Ann Wilson seems to be more comfortable with herself (and her art) than ever before with both “Fierce Bliss” and the band she’ll be touring with. “I think that for someone who’s been through as much as I have, and has lived to tell the tales, it’s okay to share my experiences,” says Wilson sagely. “I’ve heard from a lot of younger musicians and listeners too who have thanked me for staying around and for just keeping upright, just making it through, making the concessions once but not twice, and being able to live through it all with dignity.”

“An Evening With Ann Wilson Of Heart & The Amazing Dawgs” tour will kick off on February 19 at Family Gras in Metairie, Louisiana, with more dates to be announced soon.

Tour dates:

Feb. 19 – Metairie, LA – Family Gras
May 04 – San Francisco, CA – Great American
May 05 – Napa, CA – The Uptown Theatre
May 07 – Pala, CA – Pala Casino
May 09 – Los Angeles, CA – El Rey Theatre
May 10 – Los Angeles, CA – El Rey Theatre
May 13 – Los Cabos, MEX – Hard Rock
Jun. 11 – Peachtree City, GA – Fred Amphitheater
Jun. 13/14 – Nashville, TN – Basement East
Jun. 16 – Tampa, FL – Seminole Hard Rock Hotel & Casino Tampa
Jun. 17 – Ft. Lauderdale, FL – The Parker

“Fierce Bliss” track listing:

01. Greed
02. Black Wing
03. Bridge Of Sighs
04. Fighten For Life
05. Love Of My Life (feat. Vince Gill)
06. Missionary Man
07. Gladiator
08. Forget Her
09. A Moment In Heaven
10. Angel’s Blues*
11. As The World Turns

* Available on CD and digital formats only

Ann Wilson – Vocals
Tom Bukovac – Guitar
Tony Lucido – Bass
Sean T Lane – Drums, Percussion & Bike
Gordon Mote – Keyboards
Tim Lauer – Keyboards

Produced by Ann Wilson and Tom Bukovac
“Gladiator” and “Angel’s Blues” produced by Ann Wilson and Warren Haynes

Mixed by Chuck Ainlay
Recorded by Chuck Ainlay at Fame Studios, Muscle Shoals, AL and Soundstage, Nashville, TN
“Gladiator” and “Angel’s Blues” recorded by Joe Paterno at Power Station, Waterford, CT
“Black Wing” recorded by Sean Walker at Uberbeatz, Lynnwood, WA
Mastered by Greg Calbi at Sterling Sound, Edgewater, NJ
Executive producer: Jim Zumwalt

Musicians who appear on “Fierce Bliss”:

Vocals – Vince Gill on “Love Of My Life”
Lead Guitar – Kenny Wayne Shepherd on “Bridge Of Sighs” and “Missionary Man”
Guitar – Warren Haynes on “Gladiator” and “Angel’s Blues”
Guitar – Tyler Boley on “Black Wing”
Keyboards – Danny Louis on “Gladiator” and “Angel’s Blues”
Keyboards – Dan Walker on “Black Wing”
Bass – Jorgen Carlsson on “Gladiator” and “Angel’s Blues”
Bass – Andy Stoller on “Black Wing”
Drums – Matt Abts on “Gladiator” and “Angel’s Blues”
Choir – The Rev Nathan Young Singers on “Missionary Man”

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METALLICA guitarist Kirk Hammett has recorded “Portals”, a four-song instrumental EP, and will be celebrating Record Store Day with its worldwide release exclusively at your favorite local independent retailer and in the Met Store on Saturday, April 23. Available across digital platforms, on CD, and as an ocean blue vinyl EP (including a download card), you’ll be able to pick up a copy at your friendly local record store that day or place an order on Metallica.com to be delivered to your front door just as soon as the postman can get there.

Says Hammett: “Initially, before I even had the idea for a solo EP, I was inspired by the need to create some sort of soundtrack music to accompany The Kirk Hammett Collection for the first ‘It’s Alive’ exhibition at the Peabody Essex Museum in Salem, Massachusetts, 2017. I wanted to conceive music to play on a loop in the background as people walked through the exhibit. I sat down one night with a progression, and before I knew it, all the parts were there for ‘Maiden And The Monster’.

“The initial concept for ‘Portals’ started with that one song. Following that, I realized I could create different soundtrack moments. These songs are what I call ‘audio cinematic’; I’m creating sounds and pieces of music for the movies playing in my head. Hopefully they’ll create movies in other people’s heads in a similar fashion.”

True to its title, “Portals” is a collection of gateways to musical and psychic destinations. Recorded around the world, from Los Angeles to Paris to Oahu, “Portals” is the result of Kirk’s life’s journeys and an invitation to tap into your own inner world. Heavily influenced by classical music, soundtracks, horror movies, and maybe a little Ennio Morricone, Kirk wanted the EP to span the decades and touch upon all the horror he loves. The idea behind the EP was to have all the songs flow into each other, so he relied on a whole cast of his friends to record the four songs.

Produced by Kirk, “Portals” is comprised of the songs “Maiden And The Monster” and “The Jinn” on side A, followed by “High Plains Drifter” and “The Incantation” on side B. The latter two were co-written with Edwin Outwater, whom you may remember from “S&M²”. Outwater also contributed keyboards and led the orchestral players from the LA Philharmonic on “Portals”.

Other familiar names amongst the “Portals” players include drummers Jon Theodore (Kirk’s fellow WEDDING BAND member) and Abraham Laboriel, Greg Fidelman on bass, Emmy-winning arranger Blake Neely and Bob Rock.

“Portals” will be available to order on the Met Store and the Probity U.K. shop on Saturday, April 23.

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The life of late METALLICA bassist Cliff Burton will be celebrated with “Cliff Burton Day” on what would have been his 60th birthday, February 10, at YouTube.com/GOMEZGRIP. A special live stream is scheduled for that day at 7 p.m. PST. The event will be emceed by Nicholas Gomez, with guests including Big Mick, Metal Joe, Gary Holt (EXODUS, SLAYER), Dan Riley, Brian Lew, Dean Delray, Brian Slagel, Charlie Benante (ANTHRAX), Mike Bordin (FAITH NO MORE), Canada Dave and Connie Burton.

Cliff was asked to join METALLICA in 1982 after the band saw him perform with his group at the time, TRAUMA.

The bassist was not willing to move to Los Angeles, where METALLICA was based, so they decided to move to the San Francisco area so that he would join.

Burton played on METALLICA’s first three studio albums — “Kill ‘Em All”, “Ride The Lightning” and “Master Of Puppets” — and co-wrote classic songs like “Ride The Lightning”, “For Whom The Bell Tolls”, “Fade To Black”, “Creeping Death” and “Master Of Puppets”.

His life was tragically cut short at the age of 24 in a tour bus crash on September 27, 1986 in Sweden.

Burton’s initial replacement in the group was Jason Newsted, who stayed in the lineup until 2001. Robert Trujillo joined in 2003 and remains in the band to this day.

February 10, 2018 was proclaimed “Cliff Burton Day” by Alameda County supervisors. The late METALLICA bassist would have turned 56 years old on that date had he lived.

Back in 2016, METALLICA drummer Lars Ulrich spoke to Seattle’s KISW 99.9 radio station about Burton’s tragic loss when METALLICA’s tour bus skidded on ice while the group was on tour in Scandinavia and Cliff was thrown out the window and crushed. Lars said: “We were so shocked and stunned that we didn’t know what hit us. And, like most, I guess, kids in their early 20s who get ambushed with that type of thing, we jumped into a bottle of, in this case, vodka, for me, and stayed in there for quite some time. We weren’t mature enough or seasoned in life enough to know how to deal with this other than just to sort of, basically, almost hide behind the alcohol and compartmentalized it. So the next few months were very difficult, and it was crazy, but we just put the blinders on and started auditioning bass players. And we knew in our hearts that Cliff would be the first one to kick us in the ass and tell us to keep going, if he could see us mope. And so there was no moping; we just kept going the best we knew how to.”

METALLICA frontman James Hetfield was asked in an interview with TeamRock what he thinks Burton might have thought about the drastic changes in its look and sound that METALLICA made through the 1990s and early 2000s with albums like “Load”, “Reload” and “St. Anger”. Hetfield replied: “Well, I certainly would have thought there would have been some resistance, for sure. I think the ‘Black Album’ was a great album and I appreciate the fact that we did have the balls to do that… I would certainly think that the ‘Load’ and ‘Reload’ [era], I would have had an ally that was very against it all — the reinvention or the U2 version of METALLICA.”

Asked if Hetfield was personally comfortable with the more “alternative” image and music METALLICA made on those albums, the singer/guitarist replied: “No, no, not at all. There’s some great, great songs on there but my opinion is that all of the imagery and stuff like that was not necessary. And the amount of songs that were written was… it diluted the potency of the poison of METALLICA. And I think Cliff would have agreed with that.”

Burton’s huge talent and achievements were chronicled in book form with the 2009 global publication of “To Live Is To Die: The Life And Death Of Metallica’s Cliff Burton”, written by U.K.-based author Joel McIver and published by Jawbone Press. The foreword was provided by METALLICA guitarist Kirk Hammett.

You don’t want to miss this show! Tune in on February 10 @7 PM PST JOIN US ON WWW.YOUTUBE.COM/GOMEZGRIP ??#cliffburtonday

Posted by Cliff Burton Family on Monday, February 7, 2022

Cliff Burton Day 2022 shirts are now available for pre-order on https://metallica.probitymerch.com/cliff-burton…

Posted by Cliff Burton Family on Monday, February 7, 2022

February 10th Cliff would have been 60 years old Please come celebrate his life on http://YouTube.com/c/gomezgrip
@ 7 PM PST
Thank you to our host Nicholas @gomezgrip and all of our guests who were interviewed! More info to come…….??
#cliffburton #cliffburtonday #castrovalley

Posted by Cliff Burton Family on Sunday, February 6, 2022

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