Kataklysm’s ‘The Killshot’ Might Be Their Heaviest Song Ever

Canadian death merchants Kataklysm have returned with a music video for “The Killshot,” the first song to be shared off their forthcoming 14th album, Unconquered.

The new track serves as the album’s opener, setting the tone with what may be the group’s heaviest piece of work yet, even factoring in their long lost frenzied style present on the Sorcery debut. Kataklysm have clearly tightened their grip on modern metal’s hallmarks while keeping everything true to their groove-laden 21st century output and ever-present death metal overtones.

Watch the music video further down the page and read through the lyrics (via Genius) to “The Killshot” as well.

Commenting on the first Unconquered single, Kataklysm stated, “‘The Killshot’ is very Machiavellian at its base meaning. The song deals with revenge and planning it out, I wrote the song in an open interpretation because everyone has their own story that they can attach to it. In general, the album deals with pain or setbacks, overcoming them and fighting back especially in today’s situation, the timing is on point. In February, we flew to Atlanta, Georgia, and worked with director Scott Hanson. We saw some of his creations and wanted to try his style. The experience was awesome, and we won’t forget it anytime soon. Everything went great but it was there, sitting at the airport that we first started seeing on all the screens that COVID-19 was about to shutdown the country.”

Here I come again
This time, to ruin your life
Because, everything you say is a lie
Everything you are is a lie
And I’m here to sever the ties

Fear the face of hate
The face of fear
And all the things you never could see
These words won’t kill
The silence will and everything you fail to reap
I feel your wrath
I feel your heart
I feel everything you are
This bond you broke
This trust you took
The monster you created is here

I know the things you did
I know who you really are!
Sow the seeds of confrontation
Into the soul of annihilation
Take the steps to enter the void
A declaration of war!

I’m locked and loaded
And I won’t miss
This is the killshot
I’m locked and loaded
And I won’t miss
This is my killshot

Face the face of war
The face of death
And all the justice that you deserve
You bring the dark
I bring the light
Your blood will spill in the hands of dissent
The sky will fall
Your world will end
And so will the lies you try to mend
My name is truth
My name is death
And I have come to take you away

We know the things you did, the things you did
I know who you really are!
Sow the seeds of confrontation
Into the soul of annihilation
Take the steps to enter the void
A declaration of war!

I’m locked and loaded
And I won’t miss
This is the killshot
I’m locked and loaded
And I won’t miss
This is my killshot

Unconquered will be released Sept. 25 through Nuclear Blast. Pre-order the album here and view the artwork and track listing beneath the music video.

Kataklysm, “The Killshot” Music Video

Kataklysm, Unconquered Album Art + Track Listing

Nuclear Blast

01. “The Killshot”
02. “Cut Me Down”
03. “Underneath The Scars”
04. “Focused To Destroy You”
05. “The Way Back Home”
06. “Stitches”
07. “Defiant”
08. “Icarus Falling”
09. “When It’s Over”

2020’s Best Metal Albums (So Far)

Powered by ProGo Productions

The Hunna’s High Energy ‘I Wanna Know’ Is a Jam You Can’t Miss

How much do you miss live shows? After watching The Hunna‘s “I Wanna Know” video you’re going to be missing them even more and be all the more anxious for the band to return to the concert stage.

This rocker is just brimming with energy, so much so that we dare you not to rock out to this track. It includes a prerequisite energy expelling “Woooo!” and a killer all out jam out to conclude the track, leaving you breathless by the end.

“‘I Wanna Know’ is up there for us with one the best songs we’ve ever written,” says The Hunna’s Ryan Potter. “It’s high octane all the way through and doesn’t let up, it’s kind of our Motley Crüe moment on the album. We played it on tour before we’d even started recording the album from a demo we did with Feldy and it was insane every time!”

The singer continues, “Its story comes from a place of extreme lust and infatuation with someone, wanting to know how they tick, what they feel, what they believe, wanting to be apart of anything they do, almost so much you could literally blow up.” Check out the lyrics for the track below.

I wanna know where you’re getting your drugs
I wanna know what you breathe in your lungs
I wanna know who you kiss with your lips
Kiss with your lips
Kiss with your lips

I wanna know how to get in your bed
I wanna know how to fuck with your head
I wanna know how to lie to your face
Lie to your face
Lie to your face

What you wait what you wait
What you waiting for
I can taste it
I can taste it

Na na
Na na
Na na na

I CANT FAKE IT

I wanna feel all the heat of your sweat
I wanna strip you from your toes to your head
I wanna see what you can do with those hips
Do with those hips
Do with those hips

I wanna live with you by my side
I wanna die with you on my mind
I wanna kill what you leave behind
Leave behind
Leave behind

Fittingly, the band chose to showcase the pure unadulterated energy the song exudes in the live setting for their video (seen below). You can look for “I Wanna Know” on the band’s upcoming album, I’d Rather Die Than Let You In, which is due Oct. 2. The band worked on the record with producer John Feldmann, and the set includes guest turns from Blink-182’s Travis Barker, Twenty One Pilots’ Josh Dun and Fall Out Boy’s Pete Wentz. Pre-orders are available here.

The Hunna, “I Wanna Know’

300 Entertainment

2020’s Most Anticipated Rock + Metal Albums

Powered by ProGo Productions

Greg Puciato Unleashes Heavy ‘Do You Need Me to Remind You’ Song

Dillinger Escape Plan may be no more, but singer Greg Puciato is still cranking out crushingly heavy music. The latest song from his forthcoming solo debut, Child Soldier: Creator of God, is “Do You Need Me to Remind You?,” a track that reminds us of the singer’s great range.

The song starts off in a more sludgy vein, pummeling beats crushing over slow ebbing wall of distorted low end guitar. Pulling back for the vocal, Puciato’s soulful yet gritty vocal delivery takes center stage, giving the song a darker and more vulnerable vibe until the chorus arrives with Puciato flipping the switch on a more aggressive delivery. The track itself ebbs and flows in waves between crushing heaviness and more melodic moments.

The new song is yet another example of the dedication Puciato has thrown into his new record, playing many of the instruments on the album on top of delivering killer vocals.

The singer, who played everything but drums and some programming for the record, explains, “I’d been writing for so many different projects, Dillinger, then The Black Queen, and Killer Be Killed…and I just kept on writing, It felt as if I had more to say, but nothing that necessarily filled the script of those bands, so I ended up with something that I found to be intensely personal and super satisfying, but also confusing as far as what to do with it. When I realized that it was a solo release, it was sort of an ‘oh that’s interesting’ moment, both terrifying and exciting at once, and challenging, and new, and that combo is almost always a good sign, so I committed to it.”

He continues, “It’s important to continue taking risks in order to grow both your creativity and your future possibilities, to create new avenues and freedoms for yourself, and it also felt like a good time for me to integrate and own everything that I am into one thing, without fragmentation or limitation. I needed to come out from telling myself that I always have to be ‘guy in a band,’ and to release this as my own name.”

“Do You Need Me to Remind You?” follows his previous solo tracks “Fire for Water” and “Deep Set.” If you like what you hear, the new album Child Soldier: Creator of God is currently available for pre-order at this location. The album will drop on Oct. 23. See the full track listing and artwork below the new video.

Greg Puciato, “Do You Need Me to Remind You?”

Greg Puciato, Child Soldier: Creator of God Artwork + Track Listing

Federal Prisoner

Heavy of Stone
Creator of God
Fire for Water
Deep Set
Temporary Object
Fireflies
Do You Need Me To Remind You?
Roach Hiss
Down When I’m Not
You Know I Do
Through The Walls
A Pair of Questions
Evacuation
Heartfree
September City

2020’s Most Anticipated Rock + Metal Albums

Powered by ProGo Productions

Pallbearer Reveal Sabbathian Track ‘Forgotten Days’ + New Album

Pallbearer have just released the debut single from their upcoming fourth studio album, Forgotten Days. The album’s title track is filled with Sabbathian doom riffs, mixed in with Pallbearer’s signature vocal style.

The Arkansas act emerged in the 2010s as one of modern metal’s most consistently brilliant acts, hitting a new height of popularity with 2017’s Heartless.

“I’m extremely stoked to finally share this song with everyone,” says singer/guitarist Brett Campbell. “The video for ‘Forgotten Days’ tells the story of an unfortunate traveler who journeys too far, and becomes lost in the depths of both inner, and outer, space. What is real when you cannot trust your own mind?“

“Joe [Rowland] and I have always written lyrics separately,” adds Campbell. “But we always end up with lyrics that are connected by threads. I’m not sure why that is. Maybe it’s because we’ve been in close proximity for a long while. Between Heartless and Forgotten Days, we were home for an extended period of time. I think we finally had time to reflect. Memory is a big aspect of the new record. The passage of time. How things change as perspective changes. Was the past truly the way that you remember it at all?”

Forgotten Days is us exploring what is natural to us,” adds bassist Joseph Rowland. “The songs tell me where I need to go when I write. We wanted to focus on songs that were visceral and enjoyable to play live – that our audiences would enjoy experiencing. We’re also getting back to more of the groovier and heavier elements of Pallbearer. Heartless is fairly uptempo and technical. This one is a little more open, it hammers you.”

“This record has a lot of thematic ties to our first record,” Rowland continues. “When we were writing Sorrow and Extinction, my mother was terminally ill. It’s been 10 years since she passed. It’s taken me all of this time to take a really good look at myself. While we were writing Forgotten Days, I knew, ‘Now is the time to sit down and begin to understand who I have become.’”

Forgotten Days will be released via Nuclear Blast on Oct. 23. Listen to the album’s title track and check out its artwork and track listing below.

PALLBEARER – Forgotten Days (OFFICIAL MUSIC VIDEO)

Nuclear Blast

Pallbearer, Forgotten Days Track List:

Forgotten Days
Riverbed
Stasis
Silver Wings
The Quicksand of Existing
Vengeance & Ruination
Rite of Passage
Caledonia

The 66 Best Metal Albums of the Decade: 2010 – 2019

Powered by ProGo Productions

Avatar Deliver Dystopian Nightmare With ‘Colossus’ Video

The future may not be a bright one, especially if the narrative of Avatar‘s latest video comes to pass. The band just released their third song off the upcoming Hunter Gatherer album, a song called “Colossus,” and it comes with a rather disturbing prophecy.

After a prologue from singer Johannes Eckerstrom, the action pulls back to a disembodied robot forced to continually assemble items with growing frustration. Being presented a treat, the mood starts to change but the complexity of the task remains an issue, leading to a further demoralizing conclusion.

The song itself speaks to our continual reliance on technology and the darker side of what that might bring, although as singer Johannes Eckerstrom shared with us late last year, it also might be our future salvation. Have a look at the video below.

“Colossus” follows the previously released tracks “Silence in the Age of Apes” and “God of Sick Dreams.” All three songs are featured on the Hunter Gatherer album, which is due Aug. 7. Pre-orders are available at this location.

Avatar, “Colossus”

2020’s Best Metal Songs (So Far)

Powered by ProGo Productions

Listen: Cover of Queen’s ‘Flash’ + ‘The Hero’ Is Super Impressive

The Lonely Ones, formed by four members of Bobaflex in the summer of 2019, are here with a thrilling cover of Queen’s The Flash movie soundtrack hits “Flash” and “The Hero.”

Queen are easily among the most difficult rock acts for any artist to cover, which is what makes this version from The Lonely Ones a much-needed burst of sunshine, even to those hunkering down indoors in the midst of a pandemic. Really, you’ve got to hear these vocal harmonies.

“We recorded ‘Flash’ in 2019 — a pretty dark year for the four of us on all fronts,” said the group. “Our original musical output reflected that darkness so recording a cartoonish, triumphant, heroic cover song seemed like a good counter-balance.

Bringing things to the present day, The Lonely Ones explained, “Fast forward to spring 2020 and the impending COVID-19 Stay at Home order. With limited time and help from some fans we got our friends together to film a music video while we were still able. It’s July now and, with the future more unclear than ever, it seems like the perfect time to release the most positive song we have. We hope you enjoy it.

And you should enjoy it. “Flash” and “The Hero” come off Queen’s first-ever soundtrack album, which was released for the 1980 space opera flick Flash Gordon, based off The Flash Gordon comic strip. Queen’s hit songs are in such abundance that tracks such as these are often overshadowed, even as the band’s legacy grows.

Listen to The Lonely Ones’ cover below and follow the band on Facebook, Instagram and Twitter. Check out their tour dates beneath the video too.

The Lonely Ones, “Flash / The Hero” (Queen Cover)

July 18 – Pataskala, Ohio Desert Knights Annual Summer Bash
Oct. 15 – Mishawaka, Ind. @ Smokestack Brew
Oct. 16 – Janesville, Wis. @ The Back Bar
Oct. 17 – Ringle, Wis. @ Q & Z Expo Center
Oct. 30 – Battle Creek, Mich. @ Music Factory
Oct. 31 – Akron, Ohio @ Empire

55 Best Metal Covers of Classic Rock Hits

Powered by ProGo Productions

Static-X Triumph Through Journey Saluting Wayne Static on Album

The date is almost here, with the members of Static-X about to complete their goal of honoring late bandmate Wayne Static by issuing the first volume of their Project Regeneration set this Friday (July 10).

Loudwire was given an advance listen to the new album, which features some of Wayne Static’s final vocal recordings. We also had a chance to speak with the band in advance of the album release, getting additional detail on the timeline of the recordings, discussing the painstaking process of putting the record together around Wayne’s uncovered demos and speaking on the personal nature of reuniting the Wisconsin Death Trip era lineup to work with Wayne’s recordings. Plus, they also share some of their favorite Wayne Static stories.

As for the record itself, the dedication to honoring not only Wayne Static but their collective legacy shines through, making Project Regeneration, Vol. 1 one of the best releases of their career. Fans of the “evil disco” vibe will be grooving at high energy to the infectious sounds, though it’s safe to say that you can feel all eras represented. You should be able to feel it in the heart and in the ears that this one was a labor of love. This serves as not only a love letter to Wayne, but the fans as well. Check out our chat with Static-X about Project Regeneration, Vol. 1 below:

I do want to start with the demos. Listening to this record, there are certain songs that feel reminiscent of the early era Static-X and put me right in that Evil Disco feel. I wasn’t sure how much of that was a byproduct of this being the Wisconsin Death Trip lineup of the band.

Part of the fun was trying to pinpoint where these demos might have come in the timeline of the band’s career. I was curious if there were more specifics as to when Wayne recorded his vocals on these songs, because it feels like it could have spanned different periods.

Tony Campos: It’s hard to say for sure, when Wayne recorded some of that stuff. We used those DA88 machines for both our live backing tracks and for demoing stuff and we had them for the better part of our career. My best guess is, the vocals from the main tape that we were able to salvage were probably recorded sometime between Shadow Zone and the end of the touring cycle for Start a War. There’s some programming in there that sounds like Koichi, and he recalls collaborating with Wayne while on that tour, but none of us can clearly decipher what came when.

We can say for sure, that the vocals on the songs “Hollow,” “Bring You Down,” and “Something of My Own” were recorded during the Start a War studio sessions. Those songs were the weakest out of the 16 songs we were working on, so they got left behind. Wayne’s vocal performances were great, but the music underneath just wasn’t as strong when compared to songs like “Dirthouse” or “Start a War.”

It was cool to revisit that stuff and write some heavier, more authentic feeling, WDT style riffs underneath Wayne’s voice. There was one song on the original five demos that I first got a hold of that had Wayne’s vocals, which ended up becoming the song “Follow.” I’m guessing that was done around 2013/2014, shortly before his passing.

Static-X, “Hollow” Video

Tony, this project began with some of Wayne’s demos being passed on to you. What are your recollections of first listening to what was shared? And how exactly did things evolve from there in you bringing Ken and Koichi into it?

Tony Campos: When I first heard the demos, I thought there wasn’t much there. It was just one or two riffs and some programming for each song, and only one had any vocals on it. I think also, I didn’t dig into the material too much because it hadn’t been too long after Wayne’s passing. I guess it was just too soon.

It wasn’t until late 2016, I had a lot of down time at home, so I revisited the demos, and began to see some of the potential. I had already been back in touch with Ken and Koichi, so the following year, I reached out to them and shared the idea of finishing up the songs.

Xer0, you previously discussed this not being a normal album and having to work with the vocals provided. That must have led to some improvisation surrounding what you had, as we can hear in some of what sounds like sampled dialogue in some of the tracks to help fill in around. Am I hearing samples or did you and the band record something new to create some of those little pieces of dialogue?

Xer0: The samples are just part of that early Static-X sound, though we may have overdone it a bit on this one (laughs). Actually, a good bit of that stuff was already within Wayne’s demos, so we wanted to preserve those visions. Some of it is a recreation of old movie samples and some of it we just made up.

Very early on there was talk of possibly having some guests, but when more Wayne demos were found, that became the base of this record. That said, were there any guests that did make the final cut on the album or is it just the core group?

Tony Campos: Al Jourgensen does a guest vocal on the last track of the album called “Dead Souls.” It’s one of my favorite tracks on the album. The original demo reminded me of a Ministry song called “The Fall,” and I thought Al would be perfect for it. Al even told me, “You picked the right song for me.” Ministry was a big influence on us, and I know Wayne would be so stoked to have Al sing on one of our records. I really appreciate him doing it.

We may circle back to some of our other friends for Vol. 2, but we really wanted to work to get the most out of any of the vocal tracks that Wayne left behind. There are still a bunch of songs with Wayne’s vocals that we are working on for Vol. 2.

Ministry’s Al Jourgensen

13th Planet

Xer0, since this was not the normal type of recording process, which of these songs came together the easiest and was there one that gave you the most difficulty in providing what you wanted out of it?

Xer0: That’s a tough question. This was a very unconventional process. Like Tony mentioned earlier, the music for songs that featured Wayne’s voice were mostly built entirely from scratch. We had those couple of the demos recorded during the Start a War album sessions, but almost all the rest of the tracks featuring Wayne’s vocals were absent of any music underneath them on the demo tapes. In the end, we got really lucky finding what we found and the logic behind why the vocals were all by themselves without any music isn’t as strange as it might seem.

I’ll elaborate. When somebody is using DA88 tape machines to record demos, they will generally connect two machines together and each machine will record onto its own separate tape. The machines link up and play the tapes back simultaneously. All of the tapes that we found were damaged from moisture and several simply wouldn’t play. The main tape that we were able to extract most of Wayne’s vocals from only had tracks with vocals and programming recorded onto them. I’d imagine that there was a second tape somewhere, but it was either missing or it was one of the several tapes that were completely trashed.

I wish we would have been able to salvage more, but what we did recover, was through a painstaking process of piecing things together over a number of days.

Tony, much of this has been not only about saluting Wayne, but also recreating, revisiting and reviving the feelings and emotions of the Wisconsin Death Trip era. Given the different nature of this recording process, what were your feelings after signing off on the completed record that fans are about to hear? What did this time with these guys in the studio mean to you?

Tony Campos: Yeah, things are way different now than they were when we made WDT, but we really got into that headspace and vibe of that era. Even on the songs where Wayne is singing more, as opposed to the gruff, staccato style he’s known for, we feel like we could’ve written those riffs during that era of the band.

We’re really happy with the end result. Being in the studio, working with the guys again, as well as working again with Ulrich Wild, was a blast, and just another cool way to reconnect and remember all the good times we had with Wayne.

Static-X, “All These Years” Video

While the album does pay proper respect to Wayne, it is still a very personal record for each and every member involved here. Are there little Easter egg nods to your own past Static-X history within the music you wanted to put in personally recognizing your own previous histories on this record?

Tony Campos: I wouldn’t necessarily call them Easter eggs, but there certainly are nods to the past, like the Otsego song. There’s a certain familiarity, certain notes, chords and phrasings that are present, that help give it that WDT vibe.

Ken Jay: Ulrich is the bigger Easter egg, to be honest about it. He has two rules for us when recording; 1) Screaming is fun 2) Everybody should have fun in the studio. However, musically we had to get back to the “fun” part of what we were. I thought that that would really be the true way to honor Wayne.

While we do have an edge, one of the things that made the band initially was the bounciness and fun of Death Trip. So to me “bringing the disco back” seemed to be the most important element of the past to recapture. That isn’t really an Easter egg, just a healthy nod to the past!

Xer0: I was just happy that we were able to get an Otsego song on this record. We also have an Otesgo song in the works for Vol. 2.

Do you have a favorite song on the record, and why does that track stands out to you?

Tony Campos: I really love “Dead Souls,”the last song on the record. It’s got this really dark, sad beauty to it. Koichi wrote this really awesome guitar line for it. We haven’t had acoustic guitar on a track since “December,” which was the last song on WDT, so in a way, it kinda brings things full circle. We always had an experimental track at the end of the record, so it was really cool to get to do that again.

Ken Jay: It is all incredibly emotional for me to listen to. That caught me off guard a bit. For some reason though, “Terminator Oscillator” just grabs me for some reason. It sounds like we could have recorded it in between Death Trip and Machine. It is just straight up stupid fun.

Koichi Fukada: “Dead Souls,” I don’t know exactly why but this song keeps on playing repeatedly in my head.

Static-X (1999)

Courtesy of Static-X

Tony, Ken and Koichi, this lineup was the one that introduced most of us to Static-X. How vital was this past year plus to get that feeling back of playing together again and appreciating what each of you bring to the Static-X sound? How long did it take in the studio before it started feeling like the Static-X that you each were looking for?

Tony Campos: Just being in the same room with Ken and Koichi again after so long was a great experience. Once we got into the rehearsal room and started jamming some old songs, it came back pretty quick. After that, we knew we still had that vibe and love for the songs, and that we could pull this off in a way that the fans would appreciate.

Koichi Fukada: When we first got together after all these years and started playing songs, to my surprise, it was instant for me to feel like we are back in Static-X.

Ken Jay: Personally, the physical preparation was hardest at first. I quit working early in 2019 and just focused on working out and playing. Within 15 seconds of starting the first song (“Bled for Days” for those interested) at the first practice in the rehearsal space I knew that not only did I miss playing those songs and the band, I felt we were going to be on top of our game so to speak. For some reason we just “fit together.” That all came back quickly.

In reality the emotional part was what we had to figure out and the most difficult. We are all grown men now. We each had personal feelings to get through during the tour that came to the surface. I think during the album tracking, rehearsing, press, etc, maybe we just repressed those feelings a bit.

Seeing Amy (Wayne’s younger sister) in Atlanta was an incredibly emotional experience and prepared us somewhat for seeing the rest of Wayne’s family at the Grand Rapids show. I feel like those moments in Grand Rapids after the show with Wayne’s family, because of the outpouring of emotions, it felt like all of the pressure we had been putting ourselves under was just gone. It was a relief.

It wasn’t like we hadn’t felt like a band before that or that we weren’t having fun. That particular show just still seems like such a milestone for the band as a whole. We could move forward after that.

You’ve got a great record here and while touring so far has been dedicated to saluting Wisconsin Death Trip, are there any tracks off Project Regeneration, Vol. 1 you’d like to see added live when touring resumes?

Ken Jay: “Terminator Oscillator” seems to be getting a lot of love. I think we should plan to play that one soon.

I wanted to offer you each a platform to share a favorite Wayne Static memory and the chance to speak on what a gift it has been to have these vocals to help bring this band back together.

Tony Campos: Man, there’s so many.  One that comes to mind, it must’ve been like ’97-’98. We had just played the Troubadour, and both Wayne and I had eaten some pot brownies from a fan named Cisco that used to come to our shows all the time. He swore they weren’t that strong, so we figured we’d be alright. When we got back to the rehearsal space to put our gear away, the brownies hit us both hard. We were completely useless, and just sat on the loading dock laughing our asses off, while Ken and Koichi put away all our gear. I think that’s why I never saw him smoke weed or eat another edible again.

Having these tracks with Wayne’s vocals was certainly an unexpected surprise, and just the most amazing opportunity to get to work with our old friend again. The demos he left behind that didn’t have his vocals were cool, too. In a way, it was kind of like working with Wayne back in the day, as he would come into the rehearsal space with a program on his Alesis HR-16 and a riff or two. Vocals would come in last. With these vocal only tracks, it was a kind of  an “in reverse” process.  We had to write around what Wayne had already laid down. It was a different process, but a really cool way to interact with Wayne again. The entire process has just been a very special experience.

Koichi Fukada: We really had great chemistry between from the beginning. The WDT or that EVIL DISCO sound was a result of the chemistry that we all had together and Wayne was our creative hub that brought all of our different musical influences together.

Ken Jay: When I tried out for Wayne and Eric Harris (Deep Blue Dream) in late summer of 1988, I worked my butt off for 10 days after getting their demo. Their demo was so different than anything I had ever played. I had really only been in cover bands that played a few originals, but this demo was unique to say the least.

I didn’t have any money to rent a practice space but the carriage house I lived in at the time had a basement/crawl space that I could set my drums up in. Mind you, it had a concrete floor but the ceiling was only about five feet tall. I had to lower my cymbal stands and use kind of a side arm delivery just to hit the cymbals. This was also August in Chicago, My “practice space” had no air conditioning and even running a fan didn’t help at all. The fan just spread the humidity out!

I memorized every single note of those six songs and worked on my tempos. I had it nailed. The night of my audition I borrowed a car, packed up my drums and head to the band’s practice space. I had only met Eric to get the demo and not had the pleasure of meeting Wayne yet. Eric had told me, “Yeah, he’s just really quiet.” So, I am fairly sure that while Wayne shook my hand that first meeting, he didn’t really say, “Hi”, “Hello” or “Greetings” … he really was THAT quiet.

So I get set up and stretch out a bit. Wayne and Eric just decide to play the songs in the order on the demo and have me count off. I felt like things are going fairly well for the first 30 seconds or so and then Wayne abruptly turned around and flagged us all down. I thought we were done already. I thought, “Man, I thought things were fine,” but I was a little heartbroken about it and stood up to start taking down my cymbals.

Wayne looks at me and says very loudly, “Can we possibly PAY you to stay in this band?” To this day it still just makes me smile.

Xer0: I’m just grateful and proud to be a part of something that has this much of a rich history.  I give all of the glory to Wayne and to the three original guys who stood next to him and helped to define this great band’s sound. This is a very unique situation, and I am honored and humbled to be part of it all.

Beyond the Project Regeneration tour and the album release, where would you like to see things go from here?

Tony Campos: Where do we go from here?  Well, we still have Vol.2 to get done.  That’s the next goal, so we’re just focused on that, and just enjoying the moment. After this, we’ll see. It’s really up to the fans. If they want to keep seeing us do Static-X, I’d love to keep working with Ken, Koichi, and Xer0.  Ultimately, we do what we do for our fans.  We’re nothing without them, and we are eternally grateful for their support through all the years.

Ken Jay: At this point, if it could be safely done, I would REALLY just like to be able to tour.

Koichi Fukada: As we are working on Project Regeneration, I realized that Xer0 functions in a band as our creative hub just like Wayne used to be. I’d like to cherish this because this kind of chemistry is so rare. With this newfound chemistry, I believe Project Regeneration came out as one of our best and I’m sure Wayne would be proud.

Xer0: Looking forward to getting Vol. 1 out to the fans and finishing Vol. 2.  After that, maybe I can come back as a robot and we can do a tour for the 20th anniversary of Machine. Tony, Ken, Koichi?

Thanks to Static-X for the interview. The band’s Project Regeneration, Vol. 1 will arrive this Friday (July 10) and is currently available to pre-order at this location. You can also get it digitally via Apple Music and Amazon. The band is hoping to return to the stage this year. Stay up to date with their touring at their website.

Static-X, Project Regeneration, Vol. 1

2020’s Most Anticipated Rock + Metal Albums

.

Powered by ProGo Productions

Linkin Park’s ‘In the End’ Passes One Billion Views on YouTube

Linkin Park’s music video for “In the End” has surpassed one billion views on YouTube, making it one of the only rock or metal videos to cross the nine-digit mark. “In the End” is Linkin Park’s second video to cross a billion views, after “Numb” surpassed the massive milestone in late 2018.

Contrary to some fans’ memory, “In the End” was not the lead single from Hybrid Theory, though it was undoubtedly the biggest. “In the End” was released in October 2000, one month after the debut of “One Step Closer.”

The monumental cut dropped on October 24, the same day Hybrid Theory was released. The album’s first-week sales, largely on the back of “One Step Closer,” didn’t do gigantic numbers at first, selling 50,000 copies in its first week. However, once “In the End” began spinning on heavy rotation, the album soon went gold and eventually propelled Hybrid Theory to sell 4.8 million copies in 2001 alone, making it the most successful album of the year.

As of this posting, Hybrid Theory has sold over 27 million copies worldwide, making it the best-selling debut album of the 21st century.

Interestingly enough, vocalist Chester Bennington didn’t like “In the End” at first. “I didn’t even want it to be on the record, honestly,” he told V Music over a decade later. “How wrong could I have possibly been? I basically decided at that point I don’t know what the fuck I’m talking about, so I leave that to other people who are actually talented at somehow picking songs that people are going to like the most … now I love ‘In The End’ and I think it’s such a great song.”

According to Setlist.fm, “In the End” is the most-played Linkin Park song in the band’s concert history, having been performed a total of 747 times; just four more than “One Step Closer.”

Check out the lyrics to “In the End” below [via Genius]:

[Verse 1: Mike Shinoda & Chester Bennington]
(It starts with one) One thing, I don’t know why
It doesn’t even matter how hard you try
Keep that in mind, I designed this rhyme
To explain in due time all I know
Time is a valuable thing
Watch it fly by as the pendulum swings
Watch it count down to the end of the day
The clock ticks life away, it’s so unreal (It’s so unreal)
Didn’t look out below
Watch the time go right out the window
Tryin’ to hold on, didn’t even know
I wasted it all just to watch you go
I kept everything inside
And even though I tried, it all fell apart
What it meant to me will eventually be
A memory of a time when I tried so hard

[Chorus: Chester Bennington]
I tried so hard and got so far
But in the end it doesn’t even matter
I had to fall to lose it all
But in the end it doesn’t even matter

[Verse 2: Mike Shinoda & Chester Bennington]
One thing, I don’t know why
It doesn’t even matter how hard you try
Keep that in mind, I designed this rhyme
To remind myself how I tried so hard
In spite of the way you were mockin’ me
Actin’ like I was part of your property
Rememberin’ all the times you fought with me
I’m surprised it got so far
Things aren’t the way they were before
You wouldn’t even recognize me anymore
Not that you knew me back then
But it all comes back to me in the end
You kept everything inside
And even though I tried, it all fell apart
What it meant to me will eventually be
A memory of a time when I tried so hard

[Chorus: Chester Bennington]
I tried so hard and got so far
But in the end it doesn’t even matter
I had to fall to lose it all
But in the end it doesn’t even matter

[Bridge: Chester Bennington]
I’ve put my trust in you
Pushed as far as I can go
For all this
There’s only one thing you should know
I’ve put my trust in you
Pushed as far as I can go
For all this
There’s only one thing you should know

[Chorus: Chester Bennington]
I tried so hard and got so far
But in the end it doesn’t even matter
I had to fall to lose it all
But in the end it doesn’t even matter

“In the End” now joins iconic videos like Guns N’ Roses’ “November Rain,” the Cranberries’ “Zombie,” Nirvana’s “Smells Like Teen Spirit” and Queen’s “Bohemian Rhapsody” in YouTube’s one billion views club.

Congratulations to Linkin Park for the momentous achievement and watch “In the End” for yourself below.

In The End (Official Video) – Linkin Park

Chester Bennington: A Photographic Look Back Through the Years

Powered by ProGo Productions

Unlocking the Truth Split, But Members Join Singer for Solo Video

Unlocking the Truth turned heads as young preteens spreading the sound of metal playing on the streets of New York, but as the members have aged, different directions are being taken. Singer (and shredder) Malxolm Brixkhouse is starting a solo career, but not without playing with his Unlocking the Truth brothers one last time in his new video.

Brixkhouse’s new solo single “Phantom” has just dropped, with the singer calling upon his Unlocking the Truth bandmates to join him in the video for the track, which can be seen below.

The band first came to national attention while delivering crushing breakdowns for passers by on the New York streets in a YouTube video that went viral. A CNN profile, invites to open for Guns N’ Roses and Queens of the Stone Age, becoming the youngest band to perform at Coachella and a record label deal as the members were turning 12 and 13 all came quickly. The band delivered their debut album, Chaos, in 2016, but have been relatively quiet in recent years.

As for the new Brixkhouse song, it does have some heaviness to it, but also blends in a trap-style vocal in the verse, giving him a solid blend of thrash and hip-hop vibes. The track follows his singles “Bussdown” and “Eeyore,” giving listeners a feel for what his musical future might bring. Look for more singles and videos expected this summer, with his debut solo album coming later this year.

Malxolm Brixkhouse, “Phantom”

2020’s Most Anticipated Rock + Metal Albums

Powered by ProGo Productions

Atomic Bitchwax Ride High With Stoner Jam ‘Scorpio’ Off New Album

Kick out the stoner jams with New Jersey’s The Atomic Bitchwax, who have just released a ’90s-styled music video for the title track to their forthcoming new album, Scorpio.

The power trio have been a reliable force in stoner rock for over two decades now and the acid-washed “Scorpio” finds them in great shape and as youthful as when they started. A no-frills, pounding desert-streaker, this song is pure, upbeat fun capped off by a delightful nod to Black Sabbath.

Listen to the new song below and view the album art and complete track listing further down the page.

Scorpio brings 10 new tracks to the Atomic Bitchwax catalog and marks the first full length from the group since issuing Force Field back in 2017. The record was tracked in January earlier this year at Sound Spa in Edison, N.J. with engineer Stephen DeAcutis.

Look for the album to be out Aug. 28 on Tee Pee Records and pre-order your copy here.

The Atomic Bitchwax, “Scorpio” Music Video

The Atomic Bitchwax, Scorpio Album Art + Track Listing

Tee Pee Records

01. “Hope You Die”
02. “Energy”
03. “Ninja”
04. “Scorpio”
05. “Easy Action”
06. “Crash”
07. “Super Sonic”
08. “You Got It”
09. “Betting Man”
10. “Instant Death”

2020’s Best Metal Songs (So Far)

Powered by ProGo Productions

Ice Nine Kills Announce ‘Shining’ Hotel Acoustic EP + Video Game

If there are certainties in life, it’s death, taxes and that Ice Nine Kills will embrace their love of horror at every opportunity. The latest of those opportunities came when the band played a special fan event at the Colorado based Stanley Hotel, better known to horror movie fans as The Overlook Hotel from The Shining. Now, from that event, there’s a new five-track acoustic EP and video game to celebrate that joyous occasion for the group.

Ice Nine Kills’ Undead & Unplugged Live From the Overlook Hotel is a five-song acoustic EP that will drop tomorrow (June 26), but luckily the band is giving fans an early taste with their acoustic performance of “Enjoy Your Slay” that can be viewed below.

You can also get another taste of the new record in advance by playing the new “The Undead & Unplugged Unlock Maze,” which is a video game set in The Overlook Hotel that if you complete it, you’ll get the EP artwork. Go ahead and take your shot here.

The band’s Stanley Hotel performance came in the midst of their 2019 Octane Accelerator Tour. The intimate show allowed the band to promote their album The Silver Scream … and, yes, of course, get a chance to visit one of the most iconic settings in horror movie history. Novelist Stephen King wrote The Shining after staying at the hotel as a guest.

Ice Nine Kills singer Spencer Charnas says, “We decided to release this EP now to celebrate the 40th anniversary of The Shining, one of the most influential horror movies of all time. As a life-long horror fan, I was thrilled when we were able to enlist the help of Stanley Kubrick’s grandson, Sam to provide guest vocals on the original version of our track, ‘Enjoy Your Slay’ and we were equally thrilled when The Stanley Hotel invited us to play in their infamous ballroom for this special, intimate, sold-out fan event.”

He continued, “The biggest highlight for me was getting to see the real Room 237 (217 in the book), the setting for one of the most terrifying scenes in The Shining. We got some intel from an employee who told us that whilst shooting Dumb and Dumber, which also features The Stanley Hotel, Jim Carrey had insisted on staying in room 217 but got so freaked out on the first night, he had leave the room. We’d like to thank 107.9 KBPI for helping to make this show a possibility and all the Colorado Psychos that came out to make this intimate, unplugged show so special.”

In other Ice Nine Kills news, the band will be doing a live stream Q&A on Saturday (June 27) via Sound Rink Live. Fans can join host Beez in speaking with the band at 8:30PM ET / 5:30PM PT at this location.

The group is also launching an “Enjoy Your Slay” vocal/guitar cover contest starting this coming Monday (June 29). Fans are encouraged to submit videos of themselves playing or singing their cover of the band’s Unplugged & Undead version of the song, with one winner being chosen to receive a custom Ice Nine Kills Horror Axe, modeled after the axe Jack Nicholson used in The Shining. Entry details can be found here.

Ice Nine Kills, “Enjoy Your Slay” (Live Acoustic)

Ice Nine Kills, Undead & Unplugged Live From the Overlook Hotel Artwork + Track Listing

Cosa Nostra PR

1. Savages
2. Thank God It’s Friday
3. A Grave Mistake
4. Love Bites
5. Enjoy Your Slay

15 Rockers Who’ve Appeared in Horror Films

Powered by ProGo Productions

Bring Me the Horizon Release Heavy New Song

Bring Me the Horizon are all about the art of the tease. The genre-fluid group gave advance notice of their new song, “Parasite Eve,” which is out now, as well as the prospect of multiple new records. Singer Oli Sykes has clarified the band’s ambitions, stating that all four record are planned for the next year and will all be billed under the Post Human title.

In an interview with NME, Sykes explained that “Parasite Eve” is a song he had been working on since last year, originally inspired by a Japanese superbug that had adapted to be heat resistant as a result of climate change. When the pandemic hit, the themes connected in an unexpected way and the song, which features a title lifted from a PlayStation video game, was put on temporarily put on ice.

“We shelved the song for a bit because it felt bit too close to the bone,” Sykes confessed, going on to state, “After sitting on it for a while, we realized that this was a reason to release it now more than ever. In our music we’ve always wanted to escape, but there’s been too much escapism and ignoring the problems in the world. It’s not what the world needs. The world needs more and needs to think about it and remember. You can’t just brush over it and expect life to go back to normal, because it fucking ain’t. In so many ways, we need to change. That’s what rock music is about – addressing the dark side and processing it.”

Listen to “Parasite Eve” further down the page.

The frontman alluded to the idea that a pandemic or some other sort of cataclysmic event was inevitable. “This is a moment we all knew was coming one day, but maybe not in our lifetime. Look at the Black Lives Matter protests too. It felt like we were making progress and people were standing up to injustice, but maybe we got too complacent because it’s still happening. It’s time to be pissed off. It’s not the time to say, ‘These days shall pass’ and ‘everything will be okay’, because it won’t fucking be okay unless we fucking do something about it,” Sykes affirmed.

Detailing how Bring Me the Horizon have been writing while in quarantine, sheltering from the pandemic. “Now we’re going to make four different records over the next year and they’ll all share the name Post Human,” revealed Sykes, who elaborated, “They’ll each be tonally different with their own sound and mood. That’s one thing we’ve never really done. There’s often been an over-arching theme on our records, but the music has always felt like a collage. That’s cool and I like it, but sometimes you want a soundtrack for a certain occasion and emotion.”

For fans who have missed the aggression of Bring Me the Horizon’s pre-That’s The Spirit era, there’s no need to worry — Sykes has already proclaimed, “2020 is the year of the guttural.”

As for what the Post Human title means, the singer offered, “The idea behind Post Human is looking at how we’ve stepped out of evolution and the food chain. If we can do that, then we can take responsibility for what we’ve done to the planet and become something better than what humans are right now.”

There’s no concrete release schedule for more new music, but Sykes did vow that the band would be releasing songs with more regularity following the debut of “Parasite Eve.” The singer said he’s open to collaborated with electronic artists and releasing those tracks as they come as well.

Who knows? After Bring Me the Horizon dressed like the Spice Girls at an awards show, maybe we’ll even be treated to a cover of the iconic pop group.

Read the lyrics to “Parasite Eve” here and watch the music video further below.

I’ve got a fever, don’t breathe on me
I’m a believer of nobody
Won’t let me leave ’cause I’ve seen something
Hope I don’t sneeze, I don’t…

Really we just need to fear something
Only pretending to feel something
I know you’re dying to run
I want to turn you around

Please remain calm
The end has arrived
We cannot save you, enjoy the ride
This is the moment you’ve been waiting for
Don’t call it a warning
This is war

It’s the Parasite Eve
Got a feeling in your stomach, ’cause you know that it’s coming for you
I leave your flowers and grieve
Don’t forget what they told you
When we forget the infection
Will we remember the lesson
If the suspense doesn’t kill you
Something else will

Move

Bring Me the Horizon, “Parasite Eve”

See Bring Me the Horizon in the 66 Best Rock Songs of the Decade: 2010 – 2019

Powered by ProGo Productions