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Lamb of God follows 2020’s No. 1 Hard Rock Album with a vicious new testament. Riding high on a creative renaissance saluted by the likes of Rolling Stone and NME, the Grammy-nominated goliath returns with the gloriously unhinged Omens, produced by longtime collaborator Josh Wilbur (Korn, Megadeth).
Omens Arrives October 7
The first single, “Nevermore,” arrives on Friday, June 10. Omens follows on October 7 via Epic Records.
Lamb of God’s “Omens” album artwork
The New Wave Of American Heavy Metal architects will support the new album with a massive Live Nation produced U.S. headlining tour, The Omens Tour, featuring special guests Killswitch Engage on all dates. Different legs will also see support from Baroness, Motionless In White, Spiritbox, Animals As Leaders as well as Suicide Silence and Fit For An Autopsy. The tour kicks off September 9 in Brooklyn and runs through October 20, see full routing below. Tickets go on sale starting Friday, June 10 at 10am local time here.
Citi is the official card of the The Omens Tour. Citi cardmembers will have access to presale tickets beginning Tuesday, June 7 at 10am ET until Thursday, June 9 at 10pm local time through the Citi Entertainment program. For complete presale details visit Citi Entertainment®
“Two decades ago, Lamb of God, along with Killswitch Engage, were a part of a new wave of American heavy metal music. Our scene grew from a small, loosely connected network of underground shows in basements and warehouses, into a global phenomenon that helped define an entire generation of modern heavy metal. We are thrilled to announce The Omens Tour, which celebrates not only the perseverance and impact of that original movement, but also the creativity and originality of the bands that it influenced. Heavy metal is alive and well. The Omens Tour proudly showcases the depth and diversity of our scene. This is not a tour to miss.” – Mark Morton
Densely muscular, soaked in unnerving spite, with a pessimistic eye toward inner struggles and global affairs alike, Omens is a furious entry in the Lamb Of God catalog, perhaps their angriest album yet. “The world is crazy and keeps changing. Omens is a reaction to the state of the world,” explains vocalist D. Randall Blythe. “It’s a very pissed-off record.” He pauses for emphasis. “It is extremely pissed-off.”
Omens is also Lamb Of God’s most diverse affair. The band tracked live in the room together at Henson Recording Studios (formerly A&M Studios) in Los Angeles, California, a location that birthed classics from The Doors, Pink Floyd, The Ramones, and Soundgarden, among others. “The inner workings of the band have never been better,” explains guitarist Mark Morton. “You can hear it in Omens. You can see it in our performances, and if you’re around us for five minutes, you can feel it.”
The Omens album pre-order is live now here, boasting several exclusive items, including a signed colored vinyl variant, shirt, hoodie, and signed CDs with an alternate color cover. All physical CD and Vinyl releases will include a free access code to watch the livestream viewing of “The Making of Omens” documentary, which will premiere the week of album release.
Omens Tracklist:
Nevermore
Vanishing
To The Grave
Ditch
Omens
Gomorrah
Ill Designs
Grayscale
Denial Mechanism
September Song
The Omens Tour dates:
Lamb of God w/ Killswitch Engage, Baroness, Suicide Silence
Sep 09 – Brooklyn, NY – Coney Island
Sep 10 – Camden, NJ – Freedom Mortgage Pavilion
Sep 11 – Alton, VA – Blue Ridge Music Festival
Sep 13 – Youngstown, OH – Youngstown Foundation Amphitheater
Tempe, AZ — Swedish neo-classical metal guitarist Yngwie Malmsteen thrilled eager Marquee Theatre guests, along with openers Jessikill, Culprit and Deimer. The May 24th show was part of the “Parabellum Tour 2022”, named after Malmsteen’s 2021 album. Hehas been known as the gold-standard of guitar players throughout his career and fans couldn’t get enough of his masterful riffs, or the giant wall of 44 Marshall amplifiers. The show definitely “goes to 11” – as multiple people mused, referring to the famous line from “Spinal Tap”. How could it not? This tour doesn’t skimp on skills or thrills!
Jessikill
Jessikill from San Antonio, Texas opened the show with power-metal songs so heavy you can feel the bass in your soul. Led by Jessica Marie Espinoza on vocals, the band boasts 3 albums and awards that include “Best Metal Band”, “Top Local Band of the Year” and “Best Female Performer” at the 2016 SANA Awards. Jessikill has played opening spots for such national acts as John 5, Faster Pussycat and Jake E. Lee since they formed in 2012.
On lead guitar and keyboard is the talented Jyro Alejo, on drums is Jordan Ames, and bringing that big bass sound is Arturo Knight, who is also a backup vocalist. Regrettably, their set was short, clocking in at 18 minutes. It was hardly enough to showcase Espinoza’s vocals, which switched from a rough growling to high-note harmonies with effortless transitions, leaving the room wanting more.
Culprit
Seattle’s pre-grunge era band Culprit played a six song set, including title track “Layin’ Down the Law” and “Holy Roller” from their upcoming album. Established in 1981, Culprit tours with one original band member, bassist Scott Earl, and the current lineup includes Gabriel Colon on vocals, Fred Aching on drums, and P.J. Toyne on guitar.
The band’s Wikipedia page cites the original band’s break-up in 1985 to pursue “other endeavors”. Culprit still maintains an 80’s hair-metal band feel, sound, and look. Colon sings while swinging the microphone stand in a Steven Tyler-esque fashion, dressed in white leather hip-hugging pants and jacket with no shirt. Limited only by the seemingly short set, Culprit’s act stood the test of time and proved to be a solid opener for the tour.
Deimer
Not many musicians have IMDB credits that include being killed by Michael Myers in the “Halloween” movie series, but Kurt Deimer does. His character “Teller” didn’t survive the 2018 film with Jamie Lee Curtis, but Deimer is the one killing it in real life. He has a diverse resume including his title of President and Chief Executive Officer of Coolants Plus, Inc. (a wholesale chemical company), further IMDB acting and producing credits, and leader of the band Bald Man, whose 10 song debut album Music For the Rest of Us was released in 2020.
In 2022, Deimer and Canadian Bon Jovi guitarist Phil X (Xenidis) joined forces to provide direct support for the Parabellum tour. Deimer, sporting a black top hat and bedazzled beard, took the stage with a powerful presence. Teetering on the stage’s edge, he enticed the crowd with his catchy harmonies and haunting spoken lyrics on the band’s songs “Hero”, “Only Time Will Tell”, and “Back of the School”, as well as a metal version of Pink Floyd’s “Have a Cigar”. The set concluded with a heartfelt plea by Deimer to the crowd, asking that we “be nice to each other”.
In researching Yngwie Malmsteen, the term “virtuoso” is used repeatedly to describe him. Born Lars Johan Yngve Lannerbäck in Stockholm, Sweden, Malmsteen’s first band was formed when he was only ten years old. His musical influences included the classical genre, and in particular, the genius of Johann Sebastian Bach, as well as more contemporary artists, such as Ritchie Blackmore. His forty-year career includes 22 studio albums, and in 2009 Time Magazine named Malmsteen number 9 amongst the 11 greatest guitar players of all time.
Malmsteen played a ninety-minute set, covering a variety of hits from his expansive music career. Setting the mood were red stage lighting and fog machines, and the sound from the wall of Marshall amplifiers was so intense it felt like it could knock you into the wall. A cover of “Smoke on the Water” by Deep Purple with vocals by Malmsteen and a very metal version of the “Star Spangled Banner” were interlaced with classical and bluesy riffs. A master at his craft, Malmsteen plays with a finesse and skill unlike any other and sets the bar for aspiring guitarists.
A fan commented on the artist’s official Facebook page that his wall of Marshall amplifiers was fake, but Malmsteen was quick to retort, “I know it’s really sad, they’re very expensive and I take the real deal and everyone is accusing me of them being empty, it’s ridiculous :(”. Another fan made the astute observation that “The Great Wall of China and Yngvie’s wall of Marshalls are the only man-made objects visible from space.” They’re not wrong.
This was a Tuesday night that won’t soon be forgotten. It was mind-blowing. The 2021 release of the Parabellum album is available online, and one can assume it’s as fierce through headphones as it was live. “Parabellum” is a well put-together tour with the unique combination of Jessikill, Culprit, Deimer, and Yngwie Malmsteen.
On the cusp of the release of the Crashing Cairo’s next single “Souls”, frontman Robert Wax discusses how the Beatles and David Bowie made him fall in love with music, the importance of U2, full-circle moments, working with legends, drawing inspiration from a radio contest, and what the future holds for the band, in the inaugural Burning Hot Interview video.
Burning Hot Interview featuring Robert Wax of Crashing Cairo
Crashing Cairo’s New Track “Souls” to Release on July 8, 2022
About Crashing Cairo
Monday Changed Everything album artwork
Hailing from metro Detroit, Crashing Cairo first broke onto the scene with their 2008 debut Monday Changed Everything, and the band has been going steady ever since. On their 10th anniversary, their EP At Speeds that Destroy brought some exciting new course for the group, as a shot-in-the-dark email by Wax gave them the opportunity to work with not one but two legendary producers. Wax is a modern-day renaissance man, as he is not only a singer and songwriter but also an actor, writer, and producer.
Crashing Cairo’s “89HRS” Music Video
Listen to Crashing Cairo on “The Jaw Cairo Show” on KWSS, FM 93.9 in Phoenix
Pop-punk band Brooklane recently released their new single “Breakaway” on April 28th of this year, and they are gearing up for a tour with details yet to be revealed (get notified here). Inspired by bands like The Story So Far, State Champs, and Neck Deep, they debuted with the Roll With the Punches EP during the pandemic in 2020.
Burning Hot Events’ music journalist Ryan Novak and Brooklane discuss the new single, recording during the pandemic, cover art, mental health, new directions for the band, and more.
Brooklane Interview
Q & A with music journalist Ryan Novak
RYAN:What was the recording experience like for your debut “Roll With the Punches” (2020)? Was it recorded pre-pandemic?
“The recording experience for “Roll With The Punches” was pretty standard for the most part until the pandemic hit. We had to find ways to finish recording safely. Luckily, we just had to add finishing touches and were able to release it during the pandemic.”
RYAN: “Roll With the Punches” was first released as an EP but is now listed as a deluxe LP released in 2021.
When was the decision made to expand it?
“We made the decision to expand it because we wanted to provide our fans with alternative reimagined versions, as well as softer songs to diversify our catalog.”
RYAN: I’m always fascinated by cover art. Your early singles and first album all featured color variations on the same image: of an arm preparing to throw a Molotov cocktail.
“Roll With the Punches” EP artwork
Was there a reason behind this specific image, especially with the political upheaval in America these last five years?
Honestly, that cover art has no greater meaning other than being reflective of our energetic and explosive sound, while staying true to our band’s visual aesthetic.
RYAN: The album has got some strong punk, pop punk, and hardcore DNA in it, which makes the tracks “Here to Stay” and “Empty Room” stick out to me. The slower tempo and acoustic guitars really highlight the heartbreak of the lyrics on each.
Were both songs always written to be more emotionally raw in that way?
Yes! Both of the songs were intentionally written to be more emotionally raw. We always try to pull from all of our personal experiences to help as many people as possible. Fun fact, “Empty Room” was never written for Brooklane and almost didn’t make the record.
Brooklane
RYAN: As a huge fan of punk and hardcore, what always drew me to it was that the music provided an emotional outlet for pent-up emotions. The best bands to do it always have lyrics that express these same feelings. “Here to Stay” and “Bite the Bullet” dig into dealing with a broken heart, and “Anxiety” deals with mental illness and reminds me, at least thematically, of The Offspring’s “Gotta Get Away.”
While a lot of people will share more freely about dealing with heartbreak or regret over a breakup, there’s still a societal stigma with mental health. Was it difficult being as open on “Anxiety”?
Anxiety is something that we all struggle with as band members and it is so important to us to be open and honest to our fans who may benefit from relating to what we are going through. We write these songs to help our personal healing journeys, but more importantly, for everyone else in the world who may be struggling. If we didn’t open up about these hard topics in the hopes to destigmatize these conversations, we would be doing a disservice as musicians with a platform.
RYAN: The deluxe edition of the album featured reimagined versions of “Anxiety” and “Ship Wrecked,” which highlights the melodies of each song even more.
What was the inspiration behind doing these reimagined tracks, and could they be a possible direction the band might take on future albums?
We really wanted to produce these reimagined tracks to further diversify our catalog and give our fans musical variety overall. We felt strongly like some of these more emotional songs should have more emotional instrumentals. We definitely hope to continue weaving these types of tracks into our albums in the future!
“Breakaway” single artwork
RYAN: I really like the new single “Breakaway” because it feels like the whole band leveled up on the song, especially because it has a great “firework” music moment with the sort of muted opening chords building to an explosion as the band goes full force into the song. Across the board, it feels like everyone really shines.
Was there a feeling during the writing and recording of the song that this would be something as special as it seems for the band?
“Breakaway” is a song that we all really love and all individually relate to as members as it was written based upon our own personal experiences. With that said, we really wanted to give it the spotlight it deserved as a single, especially during Mental Health Awareness month.
You just announced that you’ll be crowdsourcing your next album.
What motivated this decision to have direct support from your fans ahead of the release?
“We are headed into the studio with Andrew Wade next month to create our dream EP, and thought this would be a great opportunity to ask for support from our fans to help us in our mission to destigmatize mental health by utilizing our music to start important conversations so we all feel less alone in this world.”
Brooklane live in concert
What are you most looking forward to about playing on tour? Obviously “Breakaway” will get its first live performances across the cities…
“We have a ton of shows in the works for this year and can’t wait to finally connect with our fans in person.”
Glendale, AZ — Pearl Jam’s concert at Gila River Arena, with support from Pluralone, has been in the making for some time. You could say it’s been since the original date in May of 2020 as part of the Gigaton Tour, however, for me this show has been overdue since December of 1991, when I got a copy of Ten. I fell in love with Pearl Jam, only for the chance to see them live evade me for nearly thirty years, living in my mind through their MTV Unplugged performance, playing “Rockin’ in the Free World” with Neil Young at the MTV Video Music Awards, various talk show appearances, and multiple live albums and videos from over the years. At the show, though, I met fans who were well into double and even triple digits for seeing the band. I was assured repeatedly that it would be an unforgettable evening.
Eddie Vedder
Considering his status in the history of rock ‘n’ roll, it was surprising for the show to open with Eddie Vedder strolling out alone without any undue fanfare and simply introducing himself to the crowd with, “Hi, I’m Ed.”
Anyone who follows Pearl Jam’s setlists online for each tour stop would have been aware that he’s been doing this on the tour, treating the crowd, so far, to solo covers of Warren Zevon’s “Keep Me in Your Heart for a While” during the tour opener in San Diego, and a double dose of Tom Petty with “I Won’t Back Down” on night 1 in Inglewood and “Wildflowers” on night two. For Arizona, he played his own “Far Behind” from the soundtrack he did for Into the Wild. Vedder’s voice is so powerful, so transcendent, that even for those who might not be familiar with his emotional score for the film were quickly enveloped in its beauty. As he wrapped up the song, he gave an introduction to the show’s opener Josh Klinghoffer, heaping praise on him.
Pluralone
“I’m really excited to be here, but I’m gonna play a song that doesn’t sound like I am”, Klinghoffer greeted the crowd, following Vedder’s introduction. Billed under his project Pluralone, the talented multi-instrumentalist filled the arena through a variety of instruments, even if he took moments to jokingly chastise some of the more complicated electric instruments for not working properly. Mid-set, he gave a shout out to one of Arizona’s greatest bands, asking, “How can I be in Phoenix, Arizona without paying homage to the Meat Puppets?!”, before launching into a cover of “Backwater” from their 1994 album Too High To Die.
Most are familiar with Klinghoffer for his time with the Red Hot Chili Peppers, but if you are not already, it is well worth your time to check out the music he is making as Pluralone. The sounds he is able to produce solo would leave anyone believing they were listening to a full band if they only closed their eyes as they took it all in.
He closed out his set with a cover of John Lennon and the Plastic Ono Band’s “Give Peace a Chance,” noting that it was Victory Day in Russia.“I don’t know why they call it that since they’re the ones starting all the wars.”
He got the crowd to join in on the chorus and played around with the lyrics, even working in a tribute to the departed Taylor Hawkins with “Everybody talkin’ ‘bout Taylor Hawkins… Taylor Hawkins… man I miss Taylor Hawkins,” which elicited cheers from all corners of the arena. “This might be presumptuous of me, but I thought we’d just keep singing it until Pearl Jam comes out in 30 minutes. If you do, I’ll cover Jane’s Addition,” he jokingly offered before exiting the stage, leaving the crowd to solo acapella the final run through the chorus.
Every Pearl Jam show has a completely unique setlist. While a lot of bands are comfortable with having the same set night after night, with little variation, every Pearl Jam performance is completely fresh. This is why “Wash” was a shocker as a show opener. First appearing as a B-side on different editions of their first single “Alive,” it’s a darker song and not what you might expect from Pearl Jam, but it still crackled with an electricity, as the band performed bathed in a blue light. It was like a prayer cast from darkness and despair just hoping for salvation. As the song faded, they immediately launched into “Given to Fly” from Yield, which brought the few people who weren’t already standing to their feet.
After over 30 years, Pearl Jam is still anchored by founding members Eddie Vedder, Mike McCready, Stone Gossard, and Jeff Ament, and hasn’t had any changes since Matt Cameron took over the drums on the band’s fifth album Yield. The touring band is filled out by Boom Gaspar, a Hawaiin native Vedder met through C.J. Ramone, and by Klinghoffer pulling double duty throughout the tour. Collectively, they are as tight a band as you are going to find in this or any generation.
“I don’t know how it feels out there, but it feels pretty good up here,” an enthusiastic Vedder told the crowd. Pearl Jam’s performance came almost exactly on the two year anniversary of when it was originally scheduled, in May of 2020 to support their 11th studio album Gigaton. “Good things come to those who wait. My good friend Tom Petty used to say the waiting was the hardest part,” he added. Pearl Jam never makes any stop on their tour feel like just another show for the band and throughout the night, Vedder launched into several monologues with the crowd that showed how Phoenix was a special stop for them.
One such moment came when Vedder told the story of Tom and Avis. In 1988, when Eddie Vedder wasn’t “Eddie Vedder the lead singer of Pearl Jam and member of the Rock & Roll Hall of Fame” but was just a young, directionless kid like any of us at that age, he was driving through Arizona on his way back to San Diego and his car broke down in Gila Bend. Stranded and with no money, he was taken in by an older couple named Tom and Avis who gave him a place to stay while his car was being repaired. Today any of us would be more than willing to let Eddie Vedder crash at our place for a day or two, but to take in a broke, stranded kid named Ed Vedder speaks to the inherent good we sometimes forgets still thrives in the world, even when everything else seems, at times, to be relentlessly awful.
The story of Tom and Avis was followed with a soulful rendition of “Elderly Woman Behind the Counter in a Small Town” and quickly followed by “Corduroy” and “Quick Escape,” the latter off of Gigaton, showing that the new work stands toe-to-toe with the band’s back-catalog classics.
“You have the freedom to fuck up and learn and grow from fucking up. If anyone tries to judge you for fucking up it’s probably because they’ve fucked up and are trying to divert attention form their fuck ups by making you feel bad for yours,” Vedder told the crowd; though attributing the words to Jeff Ament. They then dipped back into Ten, the band’s run through “Why Go,” which had the crowd air guitaring and shouting the lyrics into the rafters. Vedder shouted out the Arizona Coyotes for loaning the band their arena for the night and acknowledging Coyotes players Christian Fischer and Clayton Keller, who were at the show. He dedicated Gigaton’s “Superblood Wolfmoon” to them. “I figure Wolf is close enough to Coyote.”
All across social media prior to the show was an ADOT highway sign reading “Even Flow on the gas. Keep left to pass,” which amused the band. “Shoutout to the pot-smoking employee who made that sign. Life’s incredible, so keep eating those edibles,” Vedder laughed. The moment of amusement was followed by the band performing “Even Flow,” which featured Mike McCready doing an extended mid-song guitar solo behind his head in one of the most awe-inspiring moments of the night. Following “Dance of the Clairvoyants,” Vedder talked about the band’s friend, retired astronaut Scott Kelly. At Kelly’s request, the band played “Black,” arguably Pearl Jam’s greatest song.
Afterwards, Vedder talked about the band’s admiration for former state representative Gabby Gifford and her husband Senator Mark Kelly (twin brother of Scott Kelly). He then turned his attention to the recent Supreme Court decision on Roe V. Wade, punctuating his expression of frustration about the decision with a performance of “Daughter,” tagged with a rare performance of “W.M.A.,” (both from Vs), tweaking the lyrics to “Police shot my daughter again…” It was one of the night’s highlights. They followed it with “Porch,” which was the song the band closed their 1992 MTV Unplugged performance with and Vedder took a sharpie and wrote “Pro Choice” on his arm.
With the crowd riding the high wave of “Porch,” the band exited the stage briefly, returning with haste. “We’re having too much fun to be gone for too long!”Before playing the first song of the encore, Vedder put a spotlight, literally, on his niece who was at the show (missing her graduation from ASU to do so) and dedicated the No Code gem “Smile” to her.
“We lost so many wonderful people in the last few years, like my friend Tom Petty. We also recently lost Eddie Van Halen who was a friend.” This set up Mike McCready to show off exactly why he is one of the greatest guitar players of his generation, as he busted out a solo cover of Van Halen’s “Eruption.” Following “Do the Evolution,” Vedder told the story of a woman he had met who had lost her sister to COVID. With her in attendance, he dedicated a gorgeous rendition of “Better Man” to her. “This is for all the badass women out there and all the badass men who support them”, Vedder said as a set up to the band’s cover of Eddie Holland’s “Leaving Home.”
05/09/2022
Photography: Rodrigo Izquierdo, Burning Hot Events
www.BurningHotEvents.com
As “Leaving Home” faded out, they shifted into performing “Alive,” a song that seems to take on a special significance over the years as a reminder that even in the worst of times, to appreciate your continued survival. The crowd sing-along was the connective tissue of the night, bringing everyone together for a beautiful moment. In those moments, the personal, philosophical, political, religious, and whatever difference that tragically gets too much focus in our day-to-day existence vashined, as the chorus echoed from every corner of the arena and collectively rose to the heavens. If “Wash” started us in darkness and despair, then “Alive” pulled us out, refreshed, and renewed like a musical baptism.
As they closed out the night with the grace and beauty that is “Yellow Ledbetter,” the “Jeremy” B-side-turned-beloved-live-show-staple and bonafide Pearl Jam classic, we were each sent out into the cool desert evening knowing that even in the most dire of times, there are the Tom and Avis’s of the world passing along simple acts of kindness to a stranger and there is a good fight to be fought, because even the smallest of us is capable of so much more than we think. It was a night worth the two-year wait. It was a night worth my 30-year wait.
Pearl Jam Setlist from Phoenix 5-9-22:
Wash (tour debut)
Given to Fly
Elderly Woman Behind the Counter in a Small Town
Corduroy
Quick Escape
Why Go
Superblood Wolfmoon
Alright (tour debut)
Even Flow
Dance of the Clairvoyants
Black (with “We Belong Together” tag)
I Got Id (tour debut)
Red Mosquito (tour debut)
Sleeping by Myself (Eddie Vedder song) (tour debut)
On July 29th, extreme metal masters Arch Enemy will unleash their 11th studio album,Deceivers, via Century Media Records. For fans that can’t wait for the record’s release, the band is now offering a new 7″, Sunset Over The Empire(due out May 20th) – with the title track also appearing on Deceivers.
Single cover artwork by: CVSPE
Arch Enemy’s founder and chief songwriter Michael Amott comments: “I am thrilled that we are releasing our next single ‘Sunset over the Empire’ not only digitally everywhere as usual, but also as a physical 7″ vinyl record. I’m a big fan of the vinyl format myself and I think this killer looking 7″ will be a nice collector’s item as it’s a limited run. The B-side is an instrumental we’ve never released before on a record, and the A-side is one of my fave tracks off our new upcoming album ‘Deceivers’!”
Sunset Over The Empire Tracklist:
Sunset Over The Empire
The Judging Eyes
Sunset Over The Empire will be released as a digital single, with video, in the coming weeks. Stay tuned!
Pre-order Sunset Over The Empirehere, where the 7″ is available in the following versions:
White Vinyl (limited to 1000 copies; available via CM Distro Europe)
Transparent Orange Vinyl (limited to 500 copies; band exclusive)
Deceivers
Album artwork by Alex Reisfar
Tracklist
Handshake With Hell
Deceiver, Deceiver
In The Eye Of The Storm
The Watcher
Poisoned Arrow
Sunset Over The Empire
House Of Mirrors
Spreading Black Wings
Mourning Star
One Last Time
Exiled From Earth
About
A collection of 11 tracks that are ruthlessly catchy and mercilessly violent, Deceivers stands toe-to-toe with the highlights of the band’s storied catalogue. Roaring to life with “Handshake With Hell”, Arch Enemy make it clear they are out for blood, and every track is a hit, from the moody “Poisoned Arrow” to the titanically anthemic “One Last Time“. Sounding more energized than ever, the quintet is operating at the highest level, delivering a maelstrom of diamond-hard riffing wrapped around cinematic melodies, thunderous drumming and towering vocals. Arch Enemy has proved, yet again, that they are unstoppable.
To hear more from Deceivers, the latest single, “Handshake With Hell“, can be streamed here – where the album is also available for pre-order in many limited edition formats, such as:
Digital album
Ltd. Deluxe 2LP+CD Artbook
Ltd. Deluxe CD Box Set
Ltd. Black & colored 180g LP
Special Edition CD
and more
Ltd. Deluxe 2LP+CD Artbook
Deceivers STORM Bundle
Touring
Last week, Arch Enemy and Behemoth returned to the states to co-headline “The North American Siege 2022” tour with Napalm Death and Unto Others as special guests, before Arch Enemy appears at select summer festivals; the rescheduled “European Siege 2022” tour (with Arch Enemy, Behemoth, Carcass, Unto Others) will kick off in the fall.
See below for all dates; tickets can be purchased here.
PHOENIX — Apocalyptica finally brought their Cell-0 Tour to The Van Buren after being postponed for almost two years. Originally, they were scheduled, with the support from Lacuna Coil, for May 10th, 2020, but due to the pandemic it was pushed to April 2022. Having been released in 2020, this is the first time songs from the Cell-0 album were performed by them live in Phoenix. Most know The Van Buren as a standing-room only venue, but this show was seated to allow guests to close their eyes and lose themselves in the music.
Lacuna Coil kicked off their set with the song “Blood, Tears, Dust” from their 2016 album Delirium. Vocalist Cristina Scabbia addressed the crowd before the following song, saying, “Phoenix, are you out there?” and the crowd roared back.
They did not disappoint fans, playing a song from nearly every album, and five from their newest one released in 2019: Black Anima. Known as a gothic metal band, it’s clear they lean into that image with bassist Marco Coti Zelati, guitarist Diego “Didi” Cavalotti, and drummer Richard Meiz all wearing black and white face paint. Meanwhile, vocalists Scabbia and Andrea Ferro were dressed in all black with the band’s logo on top of their sleeves and fake blood painted on their hands.
“Phoenix, Arizona, how are you guys doing tonight? It’s been forever and it feels great to be back in this beautiful place with you guys celebrating this comeback after twenty-six fucking months. I’m telling you; it still feels very surreal to be back, but we have all the energy of the world to share with you guys tonight. Are you ready to party with us? I think it’s time to be reckless!” Scabbia shouted before they played “Reckless” from Black Anima.
“Are you having a good time so far?” Scabbia asked, pausing as the crowd cheers. “Good, because this is exactly what we’re here for. Well, I don’t know if each one of you is familiar with Lacuna Coil, but you might remember this next song, it’s called ‘Heaven’s A Lie’.” Many in the crowd stood to film and sing along with “Heaven’s A Lie”, a throwback from their 2002 album, Comalies.
“This goes out to all of us for surviving this damn pandemic! Just wanna save me!” Scabbia screamed as the intro to “Save Me” began. Later on, she said, “We came all the way from Italy to raise our truth!” as the band started the song, “Our Truth.”
Lacuna Coil concluded their ten-song set with “Nothing Stands in Our Way”. Most of the crowd stood for their entire set, singing and raising their horns in the air.
Over black, nature music swelled in the background before the sounds of strings drifted over the audience. Then, drums shook each person to their core as the lights went up, highlighting that Apocalyptica had now joined the stage. After opening with “Ashes of the Modern World”, cellist Eicca Toppinen paused to address the excited crowd, “Good evening, Phoenix. How are you guys doing tonight? It sounds like you’re already having a good time. Are you ready?” He paused to hear the audience’s fervent response, and with enthusiasm, he added, “Come on! Are you ready?” The crowd screamed back, ready for more.
Their first three songs were all instrumental as Toppinen, Paavo Lötjönen, and Perttu Kivilaakso shredded their cellos and Mikko Sirén rocked on the drums. “Thank you!” Toppinen replied to the roaring audience. He continued, “Do you guys happen to know any of our vocal tracks? Are you ready to sing with us? Let’s welcome to the stage, Franky Perez!” Perez ran on stage, mic in hand, and sang, “I’m Not Jesus” from their 2007 album, Worlds Collide.
Toppinen leaned on his cello as he addressed the audience again: “Hello, Arizona. Actually, just before this tour, January 2020, we released a new album called Cell-0. Anyone here heard of it?” He shielded his eyes, looking over the cheering hands in the air. “Good for you,” he jokes. “Just makes me wonder what the fuck is wrong with the others. But don’t worry, we will give you a dose now because we’re going to play a few of those instrumentals. Let’s start with the ballad, it’s a song about hope: ‘Rise’.”
“I actually have to say at this point, that how incredibly amazing it is to be here tonight. After waiting over two years and all you people coming still to have fun with us. It’s beautiful.” Toppinen then motioned to the side of the stage and said, “Let’s get the maestro himself back on stage, Franky Perez!” Toppinen and Perez then side hugged.
“As many of you might know we made a full album with Franky in 2015, the Shadowmaker, and toured for two to three years but after that, we went into this 20th anniversary Metallica thing so it’s really cool that Franky reached out to us. I thought this would be perfect for us to be together,” Toppinen concluded as their newest single “I’ll Get Through It” (released March 17, 2022) began.
The song whisked people away. Couples cuddled closer in their seats. In the front row, a man drummed the beat onto his wife’s back as her gaze was glued to the stage, and she mouthed along with the words. People all around were caught in the moment, truly feeling the music in their hearts, in their bones. Being in the middle of the audience you can understand why this Finnish symphonic metal band from Helsinki has been killing it since 1993.
Franky smiled, saying, “You guys are going to do this a bunch of times tonight but I want to join you, please join me in giving this amazing band a round of applause tonight.” A sea of clapping hands and cheers filled the venue. “So, my name is Franky Perez and I’m from Las Vegas, Nevada. When you think about people from Vegas and people from Arizona, we understand each other. We see each other on the street and we just know… it’s the dry heat.” It’s funny ‘cause it’s true. “This song is called ‘Shadowmaker’,” Franky finished, as the cellos and drums shifted into the song’s intro.
The crowd banged their heads along with Toppinen and Kivilaakso as their bows cut into their strings and their long hair flew. At times, they raise their cellos in the air. The energy was alive, the music was alive. Toppinen grabbed the mic, shouting, “Come on Arizona. Sing if you know it!” as they played a cover of Metallica’s “Seek & Destroy.”
After playing fifteen amazing songs, Toppinen asked, “What do you think, should we play one more song? Do you want to hear one more? Good. That’s very nice because I really think we should play you one more song. As you know from our background, we are classical bastards so I think it’s fair to play one classical for you tonight. During all the times Apocalyptica actually only recorded one so far but it makes sense to stay on our socials because you never know what’s going to happen next. But now, a classic from black metal.” They concluded the show by playing the Edvard Grieg song, “In the Hall of the Mountain King”.
As the music faded out, Apocalyptica was given a standing ovation. A cheerful Lötjönen handed two eager fans their paper setlists, and Toppinen addressed the audience one final time: “Thank you, Phoenix. Thank you so much. Thank you everybody for coming and taking your time to come tonight. I also want to thank our Italian friends, the great first band tonight. Let’s give a big hand for Lacuna Coil. Have a good evening. On your way out, pick up a new t-shirt because you smell like shit. I don’t know, maybe it’s us.” The crowd laughed, and Toppinen chuckled before getting serious, “Honestly, take care of yourselves, take care of each other. Love each other and love yourselves. See you guys all soon. Because Apocalyptica will be back and that’s for fucking sure!”
And with that promise, Apocalyptica exited stage right as their fans screamed. What an epic concert for metal fans! It was definitely an unforgettable show for everyone who was lucky enough to bear witness.
PHOENIX— Valley local and current lead singer for Warrant, Robert Mason, performed at Cactus Jack’s Bar and Grill Friday night in Ahwatukee. What is special about this show is the intimate setting and interaction with the artist that is so rare and delightful, you never forget it. Mason recruited metal cover band Drop D from Tucson, Arizona to share the stage both April 15th at Cactus Jack’s, and again April 16th at Encore in Tucson for a show benefiting Women Warriors, a non-profit group supporting female veterans.
Mason on keyboards and lead guitarist for Drop D,Thomas Bach, kicked off a brief set with an incredible duet of Bob Seger’s song “Turn the Page”. Mason proved quickly why he has no problem heading such bands as Warrant, Lynch Mob, Big Cock Band, and even vocal support for Ozzy Osbourne. His incredible vocal range with a touch of grit would be a great fit for any band. Next up was Lynyrd Skynyrd’s “Simple Man”. Mason wasn’t shy about using his phone as a teleprompter for the lyrics, saying, “Skynyrd used one at bike week too,” with a grin.
Mason played a solo guitar and vocal version of Ozzy Osbourne’s “Mama I’m Coming Home” after sharing a story about the call from Sharon Osbourne that led to him touring on Ozzy’s 1995-96 Ozmosis Tour. This led into Mötley Crüe’s “Home Sweet Home”, and ended the first set.
Drop D’sFacebook page cites the band as “Tucson’s hard and heavy cover band”. There is not much information online about the band, but they are a fun foursome with lots of energy and a nice variety of songs in their set. They are definitely worth a watch when they come back to the valley. Members include previously mentioned Thomas Bach on lead guitar, KJ Padilla on vocals and rhythm guitar, and Corey Candray on bass. Drummer Bob Allen could not make it, but in his stead Ando Miller literally “lit up” the stage with his color-change drum kit.
An audio clip of “We Are the Champions” by Queen was the intro for the band whose set began with The Outfield’s “Your Love”. Padilla quipped they would play some more “songs older than I am” before covering Cinderella’s “Somebody Save Me” and Queensryche’s “Empire”. The “sound man Tommy” for Cactus Jack’s was invited up on stage and given a set of drumsticks to help play cymbals on Candlebox’s “You”. Van Halen’s “Unchained”, Skid Row’s “Youth Gone Wild” and Poison’s “Talk Dirty to Me” set the tone for the next set.
The final ten songs included both Drop D’s full band and Mason himself on vocals. A great set it was, considering the band claims to have had “no practice” prior to the pairing. Bach jokes that Mason was “just tolerating us”, but Mason chose this band to play these two shows with for a reason: talent, and lots of it. From Deep Purple’s “Highway Star” to Mötley Crüe’s “Kickstart My Heart”, Mason impressed again with his incredible talent behind the microphone. He then covered Dokken’s “It’s Not Love”, then stopped the show. His request? That the audience “engage in this moment” and put away cell phones, get out on the floor and dance.
Mason gave a toast to the audience in their honor, and thanked everyone for their support throughout his extensive career, then encouraged the crowd to sing along with Warrant’s beautiful ballad “Heaven”. He said he was grateful to be able to perform such amazing songs written by such amazing writers over the years. Wrapping up the set were the highly anticipated “Uncle Tom’s Cabin” and “Cherry Pie”, both big hits for his current band Warrant. Mason joined the crowd at the end of the show for photos and autographs, which thrilled the fans and Mason alike.
Robert Mason, 57, has had an extensive career as a vocalist. He joined glam-metal band Warrant in 2008 and remains their lead singer present day. George Lynch’s Lynch Mob Wikipedia page shows his years active as 1991-1994, 2003-2006, and 2018. Robert says he moved to Arizona at the behest of George Lynch back when Chandler and Gilbert were “pig farms” that were turned into housing developments. His local “sleaze” band, Big Cock, wasn’t mentioned out loud by name because the band name “upsets my mom”. He appeared on 3 of their albums as lead vocalist: 2005’s Year of the Cock, 2006’s Big Cock and 2008’s Motherloadalbums, according to Heavy Metal Wiki’s page on Mason.
With endless stories about rock-and-roll life, Mason’s show was full of witticisms and talent, mixing music and tales of the road and his extensive career. He even encouraged a heckler who shouted out “Uncle Tom’s Cabin” after every song, assuring him he would get to that in the last set. We learned about tour life, Budokan, his friends and not-so-friendly acquaintances in the music business. We learned what it was like being a “hired gun” in the industry too. It was like visiting an incredibly talented old friend to share stories and a night of timeless music.
PHOENIX — Ministry’s concert at The Van Buren, with support from Corrosion of Conformity and Melvins, has been a long time coming. Originally scheduled for July 29th, 2020 and featuring a completely different lineup (Ministry, KMFDM, and Front Line Assembly), the show was of course forestalled by the pandemic. Various attempts were made to reschedule with varying lineups, including a pre-Halloween show with Helmet and Frontline Assembly last October. Through these fits and starts, the show finally happened this past Tuesday, and it was worth the wait.
Corrosion of Conformity
“How many of you fuckers here in Phoenix like heavy shit?” was how Corrosion of Conformity lead singer Pepper Keenan greeted the crowd, as the band launched into “Bottom Feeder (El Que Come Abajo)” from their 1995 album Wiseblood. Heavy was what was promised, and heavy was what was delivered. Pulling from nearly every album since 1991’s Blind, when the North Carolina band moved away from its earlier thrash/hardcore days with the addition of Louisiana native Keenan, their set covered everything from hits from their biggest selling album, 1994’s Deliverance, to the criminally underrated America’s Volume Dealer (2000).
“Nice pipes, y’all”, Keenan said mid-set in response to the crowd’s fierce sing-along to “Shake Like You”, adding, “Thanks for getting here early. We appreciate that shit. I’ve been home sitting in my garage for two years, and that fucking sucked.” In fact, the band was stepping in to replace the previously scheduled Helmet on the tour. CoC’s blend of hardcore and southern rock had the crowd in a frenzy, with the mosh pit never slowing down.
Closing out their set with the 1-2-3 punch of “Albatross,” “Who’s Got the Fire,” and an extended jam on their biggest hit “Clean My Wounds,” it was an instance where you wish every band on the bill could get a full set of time, as their set didn’t even get a chance to touch on recent albums IX or No Cross No Crown nor dip back into the early thrash records like Eye for an Eye or Animosity. Still though, as the crowd would obviously agree, 45 minutes of Corrosion of Conformity blows away 90 minutes of most bands.
“The Melvins are coming up next to bulldoze you,” Keenan had promised at the end of their set, and bulldoze they did. Opening their set with “The Kicking Machine” from 2008’s Nude with Boots, Buzz Osborne’s guitar stands out in the band’s sound. Osborne himself, whose large shock of white hair and stage outfits that have him resembling the leader of an alien race from a long-lost 1950’s sci-fi cult film, is the perfect visual representation of the band’s sound, as it manages to be at times trippy and psychedelic and then shift into something more heavy and dark.
The rhythm section of drummer Dale Crover, whose drumming is so heavy you half-expect to see him using cinder blocks and not drum sticks, and bass player Steven Shane McDonald, whose own all-white outfit, long hair, and goatee made him look like a 1970’s transcendental meditation guru, fill out the band’s legendary sound.
For those not familiar with the Washington natives, Melvins’ experimental style has led people to compare them to bands as far-ranging as Black Sabbath to Black Flag (frontman Osborne, for the record, cites Black Flag guitarist Greg Ginn as his biggest influence), and the band inspired so many other legendary bands from the Pacific Northwest, which is evident from their entire Tuesday-night set, as you can hear what elements of their sound other bands spent their whole careers trying to emulate.
Their set covered all eras of the band, with some nice surprises pulled from their mid-nineties classic albums: 91’s Bullhead(“It’s Shoved” and “Anaconda”), 93’s Houdini (“Hooch” and “Honey Bucket”), 94’s Stoner Witch (“Queen”), and 96’s Stag (“The Bit”). The band was joined by Ministry drummer Roy Mayorga for the two Houdini tracks, playing in perfect tandem with Crover.
This summer, Melvins will be hitting the road again in June and July on their Electric Roach Tour, supported by Helms Alee and Harsh Mellow, stopping in Tucson on June 18th for their only Arizona date.
Ministry
With a chain-link fence set up across the front of the stage before their set began, Ministry had already set a specific atmosphere for their performance. Just moments before they came out, a visual was cast with the familiar blue and yellow Ukrainian flag and a message reading Ministry Stands With Ukraine across it. While other bands choose songs specific to their sound to walk out to, they elected to further drive home their message of solidarity by entering to the Ukrainian National Anthem.
Each member filed out one by one, with lead Al Jourgensen out last. As the band stood ready to perform, he stalked the stage, moving in front of the fencing like an animal who smelled fresh blood. He clawed at, banged on, and swayed the fence back and forth, all the while the audience in turn lurched forward in response, like an aggressive lion tamer goading the beast into action. With the band’s two-drum assault, this dance moved with the rhythm of each song, like watching a violent wash crash into a rocky promenade and then just as quickly recede back.
It’s hard to fathom that Ministry is approaching the 40th anniversary of their first release (1983’s With Sympathy), as their sound still feels eons ahead of its time. Having recently passed anniversaries for two of their greatest albums, they opened their set with “Breathe” from 1989’s The Mind is a Terrible Thing to Taste and “The Missing” from The Land of Rape and Honey. Their entire performance was a multimedia experience, as their backdrop featured images and video that thematically connected to each song, like witnessing a live music video. Mid-set, they broke out a trio of songs from Jourgensen’s many side projects, including 1,000 Homo DJ’s cover of Black Sabbath’s “Supernaut” from Sabbath tribute album Nativity in Black and two songs from Pailhead, Jourgensen’s band with Fugazi’s Ian MacKaye.
The band has never shied away from its politics (their 2018 album AmeriKKKant features the track “Antifa,” for instance), and despite being now almost a 30-year-old song, their performance of “NWO” from Ministry’s landmark album ΚΕΦΑΛΗΞΘ (also known as Psalm 69: The Way to Succeed & The Way to Suck Eggs) seems more appropriate for the times than it did upon its initial release, in this era of increasing social and political upheaval and seems to speak even more so to the political tensions in the country in the five years, especially in light of their opening tribute and show of support for the people of Ukraine. They ended the night with an encore of “Alert Level”, “Good Trouble” (both from 2001’s Moral Hygiene), and a blistering cover of Iggy and The Stooges’ “Search and Destroy”.
Ministry alone is an intense, primal, and heavy concert experience, but when you add to it the Melvins and Corrosion of Conformity it enters an entire new realm. Yes, this concert has been two years in the making, but it was two years worth it. After all, after such a wait, we were all ready for some heavy shit.
Foo Fighters drummer Taylor Hawkins passed away on Friday, March 25th, just hours before the band was scheduled to play at a festival in Bogota, Colombia. While the official cause of death has not yet been revealed, what really matters is that one of the most beloved musicians of his (or arguably any) generation is gone, and in his wake, a huge hole has been left in the music world.
The Foo Fighters are one of the biggest bands in the world, continuing consistently for ten albums spread out across 27 years since their self-titled debut album released in 1995. They famously started out as a solo project for former-Nirvana drummer Dave Grohl, written and recorded by him in the aftermath of the end of Nirvana, following Kurt Cobain’s death. However, what most people think of as the Foo Fighters came together with the addition of Hawkins just after the release of their seminal second album, The Colour and the Shape. He joined the band for the ensuing tour, permanently replacing departing drummer William Goldsmith. He quickly became an integral part of the group and Dave Grohl’s best friend.
His journey to that point, though, was one of a man seizing each opportunity presented to him. In a 2020 interview, Hawkins was asked what his plan B would have been if he hadn’t made it in rock ‘n’ roll. Laughing, he responded, “Weed dealer? Pizza delivery guy? Manager of the drum department at Guitar Center? I don’t know.” It was the third one – manager of the drum department at Guitar Center – that could have been the fate of the man who became not only a legendary drummer and member of the Rock & Roll Hall of Fame, but so beloved by seemingly everyone he encountered, from fans to fellow musicians. Guitar Center was exactly where Hawkins was at when he got the chance to join the touring band for Canadian rocker Sass Jordan.
This led to a two-year gig drumming for another Canadian musician (and legend): Alanis Morissette. He joined right as Morisette was becoming one of the biggest artists in the world, hot on the heels of her Jagged Little Pill album. It was while touring with Morissette that he first crossed paths with Grohl, when Foo Fighters and Morissette played the same festival. The two became fast friends, and when Grohl called Hawkins for a suggestion for a replacement for Goldsmith, Hawkins volunteered and the rest is history. Even within a band with such clear camaraderie as Foo Fighters, Grohl and Hawkins seemed like long-lost twins. Their friendship was endearing and affection for each other was clear.
By his own admission, though, Hawkins admits that early on he battled self-doubt. He felt that if he became a rock star, everything would be better in his life, and in some ways it was but in some it was not. This led to a period of self-examination. Though he had everything he could want, he still struggled with life. Money and fame, for him, didn’t translate to confidence and self-esteem. He seemed to battle these moments with a blue-collar approach to his job: he drummed every chance he got.
While being the Foo Fighters drummer was his main job, he also drummed on albums by Coheed and Cambria, on their Good Apollo, I’m Burning Star IV, Volume Two: No World for Tomorrow album, Eric Avery’s (formerly of Jane’s Addiction) first solo album Help Wanted, and on a Foo Fighter bandmate Chris Shiflett’s side project, Jackson United, splitting drumming duties with Grohl on the band’s third album. All of this was in addition to his own side project, Taylor Hawkins & the Coattail Riders, and his heavy metal cover band Chevy Metal.
Taylor Hawkins (Vocalist), Chevy Metal May 25, 2019: Chevy Metal in concert at BottleRock Napa Valley in Napa, CA
With his passing, the tributes have poured in from all over the music community from acts as diverse as Stevie Nicks, Ringo Starr, Wofgang Van Halen, Questlove, Miley Cyrus, Lenny Kravitz, Tom Morello, Paul Stanley, Gene Simmons, and Peter Criss of Kiss; Axl Rose and Slash of Guns N’ Roses, Susanna Hoffs, Conan O’Brien, and even First Lady Jill Biden. This list could go on and on and double the length of this tribute, but what is clear is that Taylor Hawkins was loved instantly by all he met and worked with. From the fan community, there are hundreds of stories of a guy who took time for every fan he met and always made people feel special.
Taylor Hawkins (Dummer), Foo Fighters June 16, 2018: Foo Fighters concert at the Pinkpop Festival, The Netherlands
Thurston Moore of Sonic Youth once said people pay money to go to concerts because they like seeing people believe in themselves. Even though he admitted to his own struggles with self-esteem, to see Taylor Hawkins drum was to watch someone who truly believed in himself the moment he sat down behind the kit or took over vocal duties, such as his Foo live highlight singing Queen’s “Somebody to Love” – performed in the US for the last time at Innings Festival in Tempe, AZ on February 26th. He clearly relished every moment, never taking a second of joy for granted. Maybe what we loved so much about him was getting to watch someone markedly love what they do.
Regardless of the cause of death, one of rock’s true good guys is gone now. He leaves behind an undeniable legacy. He might’ve been, as music critic and senior editor for AllMusicStephen Thomas Erlewin tweeted, “…the only drummer alive who could support Dave Grohl and not make you wish Grohl was sitting behind the kit.” He played with an unabashed passion, like a guy who had won the golden ticket of life, and was never going to let the opportunity slip from his fingers.
Honor his memory by revisiting his greatest moments: “Breakout” from There’s Nothing Left to Lose, “Times Like These” from One by One, “Best of You” from In Your Honor, or look up any Foo Fighters live performances on YouTube – especially the band’s performance of “My Hero” from the final episode of Late Show with David Letterman. As you do, let his legacy be more than just a great drummer, but a guy who took on every opportunity and gave it everything he had. Relish life, just as Taylor Hawkins did, and rock out every chance you get along the way.
News & Reviews from the Fiery Mosh Pits of Arizona
