Revolver TV was on site to see all the action, including performances from some of rock’s heavyweights, including Alice In Chains, Soundgarden, Limp Bizkit, Rise Against, Bush, Deftones and many more.

Check out the video below and get tickets now HERE for the remaining World’s Loudest Month shows – Rockfest on May 11, Rock on the Range on May 17-19, or Rocklahoma on May 24-26!

This year, the third annual Monster Energy’s Welcome To Rockville expands to two days — April 27 and 28 — at Jacksonville’s scenic Metropolitan Park along the beautiful St. Johns River.

The region’s biggest rock event will feature headlining performances from Alice In Chains and Limp Bizkit (marking the band’s first hometown show in over a decade), as well as Jacksonville legends Lynyrd Skynyrd. The power-packed lineup for Monster Energy’s Welcome To Rockville also includes: 3 Doors Down, Shinedown, Stone Sour, Three Days Grace, Papa Roach, Bullet For My Valentine, Halestorm, Buckcherry, Hollywood Undead, Skillet, All That Remains, Device (featuring David Draiman from Disturbed), Asking Alexandria, Escape The Fate, Filter, In This Moment, Steel Panther, Motionless In White, Pop Evil, Otherwise, Saving Abel, Nonpoint, Red, Young Guns, Thousand Foot Krutch, Gemini Syndrome, Girl On Fire, and more.

A special Monster Energy’s Welcome To Rockville ticket presale will take place on Tuesday, January 29, and Wednesday, January 30, at select Metro PCS stores. No ticket service fees will be charged during the presale. The regular ticket onsale begins Friday, February 1, at 10am EST at www.WelcomeToRockvilleFestival.com, all Ticketmaster locations and select Metro PCS stores.

Two-day General Admission tickets will be just $99.50 plus service fees and single day General Admission tickets will be $54.50 plus service fees. A limited number of two-day VIP tickets and hotel packages will also be available. For full details, visit: www.WelcomeToRockvilleFestival.com

“After selling out the last two years of Monster Energy’s Welcome To Rockville, I now see that the city is ready to bring a full-fledged two-day rock festival to downtown Jacksonville and make it a staple in North Florida music for years to come,” says Danny Wimmer of Danny Wimmer Presents. “We have great radio partners at ROCK 104.5 and X102.9 providing amazing support to the city and event which will make this year’s festival more massive than ever.”

Metropolitan Park offers a scenic, spacious site for Monster Energy’s Welcome To Rockville that’s just a few hours drive from cities including Orlando, Tampa, Gainesville, Savannah and Tallahassee, and is easily accessible by plane from around the country. Metropolitan Park is a premier 27-acre recreational facility along the beautiful St. Johns River in downtown Jacksonville, Florida at 1410 Gator Bowl Blvd.

Monster Energy’s Welcome To Rockville is produced by Jacksonville native Danny Wimmer (one of the partners in the massively successful Rock On The Range and Carolina Rebellion festivals) of Danny Wimmer Presents. The festival is fueled by Monster Energy. Additional sponsors for the event include f.y.e., Metro PCS, Beacon Audio and Revolver Magazine.

Monster Energy’s Welcome To Rockville kicks off the 2013 World’s Loudest Month. Created in partnership by AEG Live, Right Arm Entertainment and Danny Wimmer Presents, the World’s Loudest Month features the biggest names in rock music performing in five distinct U.S. concert atmospheres: Monster Energy’s Welcome To Rockville, Carolina Rebellion, Rockfest, Rock On The Range, and Rocklahoma. In 2012, the World’s Loudest Month featured over 100 artists playing for more than 200,000 rock music fans across the country on five consecutive weekends, confirming that rock music is as vital as ever.

As part of the 2013 Monster Energy’s Welcome To Rockville expansion, the festival will feature a large media and radio tent to accommodate local and national radio and press outlets from around the country.

For more information on Monster Energy’s Welcome To Rockville, visit WelcomeToRockvilleFestival.com. For the event’s Facebook page, head here.

Monster Energy’s Welcome To Rockville is made possible through the support of sponsors including Monster Energy, f.y.e., Metro PCS, ROCK 104.5, X102.9, Beacon Audio and Revolver.

By Stephanie Castor

Black Light Burns, the Los Angeles-based quartet fronted by Limp Bizkit guitarist Wes Borland, released their sophomore album, The Moment You Realize You’re Going to Fall, August 13 via Rocket Science/THC Records.

Amid preparation for a fall tour with Psychostick and The Witch Was Right, Borland sat down to discuss the new album, gear, sonic experimentation and a lot more.

REVOLVER: Given your history in visual arts, does music travel similarly through your mind? When writing and producing, what do you see? Math and numbers? Colors and movement?

First, I’m sort of thinking about a lot of different things that have happened in my life as well as different cinematic landscapes or ideas. I’ll think about a lot of things I’ve seen recently, because I am a painter too. I’m always looking at other artists and trying to get inspired by different things. I just collect images from clippings from magazines or whatever.

I’ll sort of think about all of these things and start writing, and I think a lot of these visuals inspire me to think about what those images would sound like. Like, I know how it looks, but how does it sound? And I do that a lot as far as trying to paint things that I hear and make music that I see, I guess.

They kind of go back and forth and cross over into each other. It’s never about math. Ever. I’ve never really been schooled in music theory. I’m a guitar player, and I attack the guitar in a certain way that it not fully unique to me, but it’s more unique that some other people. I’m not a shredder, and I’ve never aspired to be a virtuoso player. I’ve always wanted to be a songwriter and a storyteller and somebody who conveys a feeling to the listener or the viewer.

As Black Light Burns and Limp Bizkit progress, do you find it more difficult to keep stylistic differences separate?

Not really, especially because they’re progressing further and further away from each other all the time. I feel like Limp Bizkit is going in a direction that allows me to access some wild and experimental elements of myself, but it is primarily aggressive hip-hop/rock/pop music. The feeling of it is more of a party and is, musically, how I’d spend my Saturday night [futureusgallerylaughs].

Like if I was with a bunch of people in Manhattan that wanted to go bar-hopping, it’s something I would normally do with Limp Bizkit, but it’s more of a light-hearted good time, whereas with Black Like Burns it’s more so like opening my chest up and vomiting out all of my emotions.

I won’t say Black Light is completely a mourning experience. It’s not a funeral. Our shows are definitely fun, and we are light-hearted about having a good time as far as when we play and put 100 percent into all of our shows. It’s still born out of despair and emotion. That’s the heart of it, and our albums get more and more experimental all the time.

I don’t think it’s hard; I think the first record, Cruel Melody, overlapped a bit with Limp Bizkit, but now if I write something that’s more experimental, I’ll pitch it to Black Light. The same goes for Limp Bizkit if I write something that is a bit more poppy and commercial sounding. Now they are just getting further and further apart.

To have people react to a song and just know it is so flooring. It is such an incredible feeling. It never gets old, either. Even with really old songs with Bizkit. We could be performing some of the first songs we’ve ever written together in front of an audience and have them react, and they’re still like, “Wow.” I’m sick of the song, but they make me not sick of it, you know? It’s like watching one of your favorite movies with someone who has never seen it before.

When playing any song in front of an audience, you’re watching them experience it, and it changes. In a lot of ways, it’s almost like the music is just the background buzz to what’s happening between you and the audience in the room.

What different guitars, amps, effects and various instruments were used for the recording of The Moment You Realize You’re Going to Fall?

We used a 1964 Gibson Thunderbird bass and an Ovation Magnum II, which is one of the only good things Ovation has ever done as a company, and they stopped doing it. It’s a really weird-looking bass, but it’s got a unique sound, and I just love them for some reason. They are really weird, and I guess they were just a failure at the time. I tend to gravitate toward instruments that were failures and that they stopped making because they don’t sound like a PRS or Les Paul. It’s something so different.

For the guitars, I think it was mostly Telecasters for the neck pickup position, a Hagstrom 3, an old Teisco Japanese Jaguar sort of guitar that sounds really nuts and has a bunch of electronic problems but it’s really rowdy. I really wanted to make a record that was heavy but not metal. I wanted a lot the heaviness to be in the bass and have the guitars be more of a bite-y rock sound. I think that worked out.

We used a lot of little amps, a bunch of 10-inch-speaker Epiphone and Gibson amps as well as a couple Fender amps. We were using a lot of Zvex pedals that are just kind of unruly and have a bunch of different types of fuzz. We were just experimenting a lot and chaining a bunch of stuff together. One pedal that was really cool was a green pedal called the Bag of Dicks. It actually comes in a paper bag [futureusgallerylaughs].

I think I found it at Tour Supply in LA. That thing just generates constant noise if you’re not playing through it. It only had two knobs, gain and volume, but somehow it just had all of these different positions you could put them in that just did terrible things. It was just like, “Why is that happening?” and “I don’t know why it’s happening, but hit record!”

There was a lot of that kind of stuff going on as far as experimentation, but it was really fun. A lot of it is improvised, even to the point of sampling circuit bent toys. We were careful about experimenting. It was controlled and edited. It wasn’t like we said, “Oh, we’re gonna go fart in a buck and record it.”

Many people will argue that anyone can pick up an instrument and learn how to play. You’ve always incorporated visual aesthetics and unconventionality into your music. How would your differentiate an artist from a musician?

I think there are people who aren’t artists who are musicians, and I think there are people who aren’t musicians that are artists. There are people who are both, but I don’t feel like there are things that are created from musicians. There are people who are amazing violinists, but they don’t really write very much. Or when they do write it all falls into these parameters that they’ve been taught — sequences. It’s the mathematical thing we talked about. Musicians can tend to get mathematical and just go, “Here you go. Sounds great.”

That works well for scoring film, but I think that a lot of those people don’t have a screw loose, and maybe that’s the difference. Maybe artists have something inherently wrong with their brains and musicians don’t. Artists have this handicap [futureusgallerylaughs], and that’s what makes them somehow digest things and spit them out in a way that only makes sense to some people.

Keep up with Black Light Burns at their official website and Facebook page.

As the biggest, if only, rock band on hip-hop label Cash Money Records (Lil Wayne, Nicki Minaj, Drake), rap-metal trailblazers Limp Bizkit are taking advantage of their bosses’ resources to freshen up their sound on their upcoming seventh album. The band has the skeletons for 14 songs and are working in Miami with producer DetaiL to add some extra bling to the bang.

“We’re going two different directions right now,” says guitarist Wes Borland. “One direction is very heavy like our last album Gold Cobra, but with me pushing the riffs further than they were before. But we’re also working on hip-hop club tracks that have guitar and Fred on them. We’re coming from two very different places on this and right now they’re starting to cross over into each other, which is exciting. We don’t want to make Gold Cobra II.”

While past Bizkit records have been recorded in a fairly traditional manner, the band is taking a more free-form and experimental approach these days, writing on the spot and recording in spurts. “We’ve had a lot of little scattered sessions and we’re firing out ideas into the darkness and seeing what sticks and what starts to form and become something new,” Borland says. “I’ve gotten really intense about writing snappy, complicated riffs that have a lot of dive bomb-type whammy bar push-and-pull suction sound in them. It’s too soon to tell where we’re going with it all. We’re not at the point where everything flows or makes sense, but we’ll know when we get there.”

In addition to working with DetaiL, Limp Bizkit wrote a song with rap superstar Lil Wayne. However, the track was recorded before the band was off its old label Interscope so it’s unclear what will happen to the tune. “It came out great and I love it,” Borland says. “But right now it’s just sitting on a shelf collecting dust. I certainly hope it comes out, but I can’t be sure.”

The follow-up to Gold Cobra doesn’t have a release date yet, but Limp Bizkit plan to launch a major U.S. tour in October with Borland’s side project Black Light Burns opening the show. The band’s second album, The Moment You Realize You’re Going to Fall, the follow-up to 2007’s Cruel Melody, comes out August 14.

“I wanted to take the cleanliness of Cruel Melody out and make us sound more like a band,” Borland says. “I also wanted  to go lighter on the electronic elements and try to recreate synth-type sounds with guitar.”

Borland, who recorded the new Black Light Burns album in his home studio, also wanted the music to sound more raw, impulsive, and experimental than its predecessor. “It’s noisy and wild and organic,” he says. “I tried to leave a lot of mistakes in there and also do a lot of circuit-bending, where you take children’s keyboards and wire in a bunch of new electronics that distort and warp the sound. They’re incredibly unpredictable and you can get nasty noises out of them. I used a lot of them to create dirty-sounding soundscapes. I also tried to do as many vocals as I could in one take so you can hear me running out of breath. It adds a type of urgency that we didn’t have on the first record.”

Metallica always seem to find a way to keep their place atop the metal kingdom. With both the band’s spirit and that of fans raised after the throwback Death Magnetic release, James, Lars, Kirk, and Rob take a break from working on their follow-up to hit the road this summer and play their landmark “Black Album” in its entirety. The excitement is palpable.

One of the events where this takes place is Sonisphere Spain (held in Madrid) which sees Metallica sharing the bill with other great bands such as Soundgarden, the Offspring, Slayer, Limp Bizkit, Mastodon, Evanescence, and Machine Head. It is here that it becomes obvious why Metallica are the biggest metal band on the planet. While the others seem to feel fatigue (Machine Head) or sleep through their set (Limp Bizkit) or need a warming-up period (Soundgarden), the Four Horsemen put on an extraordinary show. (Admit it, their recent performances have been nothing special, at least here in Spain.) The band destroys the stage immaculately on songs such as “Hit The Lights,” “Master Of Puppets,” “For Whom The Bells Tolls,” “Battery” (accelerated as always), “One,” and, indeed, that full review of the album that launched them to world domination. Listen again to “Wherever I May Roam,” “My Friend Of Misery,” or “The God That Failed.” Each produces indelible memories for an audience of more than 60,000 people filling the Getafe Open Air stadium.

Chris “Weird Biker” Krovatin is the author of two young adult novels,

December is the harvest time for metal journalism. That’s when all of us misanthropic black-clad fucks put together our end-of-year lists, going over our entire musical diet for the last 12 months in an attempt to compile a decent final 10. And while it’d be easy to do a best/worst list, I want to take the high ground and not point out a Worst Album list. That’s just petty. (My 10 best of 2011, if you’re wondering, are: All Pigs Must Die, the Black Dahlia Murder, Tombs, Origin, Toxic Holocaust, Ash Pool, Revolting, Vreid, Hate Eternal, and the Atlas Moth.)

Artwork, however, is different. If your album is bad, fine. You know who you are, probably. When it comes to the music, let’s let it die—everyone’s made a Cold Lake in their lives, so let’s be the bigger man about it.* But there’s no excuse for shitty artwork. In fact, if your album sucks, the least you can do is put something really fucking amazing on the cover (for instance, I’ve always been 50-50 on Lair of the Minotaur, but their covers are damn cool). And unlike your music, which we all know sucks, your stupid choice of artwork is fair game for public condemnation. So here are my picks for this year’s Six Best and Worst Album Covers.

The Six Best Album Covers of 2011

1) Book of Black Earth, The Cold Testament Yes. With this cover, Seattle’s death-metal masters found a perfect image to describe their enthralling brand of fuzzy blackened death metal. If this doesn’t become a back patch soon, someone has to die.

2) All Pigs Must Die, God Is War You know what’s great? When your favorite album of the year has hands-down one of the coolest covers of all time. My No. 1 record of 2011, ladies and gentlemen, and it bears this breath-taking cover, courtesy of artist Florian Bertmer. It’s good to be the king.

3) Autopsy, Macabre Eternal This is one of those covers that’s comical to describe: Two zombies carry a giant stone skull towards an almost-completed statue of the Grim Reaper. Best part? That’s pretty much what the album sounds like.

4) Mhorgl, Heresiarch Until recently, I hadn’t heard of Australia’s Mhorgl, but not only is their brand of black thrash totally badass, the cover of their new record is a Miltonian flurry of demons, devils, wraiths, and fallen angels. When you stare into this abyss, it screams, “Charge!”

5) Chthonic, Takasago Army There’s something about a soldier carving a symbol into his forehead with a huge knife that touches me deep inside. The question is, what character is he carving? This album’s about Taiwanese soldiers, who spoke Mandarin Chinese, fighting for the Japanese! Then again, it might just be an inverted cross.

6) Mastodon, The Hunter Here, the Georgian metal titans left the world of over-the-top van-side illustration and had themselves a Communist Party. I mean, come on, how cool is this 3-D multi-jawed beast-creature? And look at the new logo—insane!

The Six Worst Album Covers of 2011

1) Cradle of Filth, Evermore Darkly Do you guys remember the Cradle of Filth I remember? The band that would put bathtubs full of blood and nude women on their albums, who put out the ‘Jesus is a cunt’ shirt? Remember that? So why does this album have a chick on a park bench for its cover?

2) Wayne Static, Pighammer You know what, I love this album title. It has so much potential to inspire a good cover—oh. Oh, you…you just want a picture of you, with scars, in a kimono. Oh, that’s, that’s cool…no, really, it shows a lot of…erm. Well.

3) Decapitated, Carnival Is Forever Yikes. I don’t know where they were trying to go with this cover, but Decapitated really fell short here. It seems like it’s really trying to say something, but…I dunno. It’s like a parody of a nu-metal album cover. Not a fan.

4) Sebastian Bach, Kicking and Screaming You really have to wonder about these hair-metal dudes sometimes. Like, was it the drugs? Was it the weird biker/homegrown sexuality being bred in the ’80s? What happened, once upon a time, that made them possibly think shit like this looks cool?

5) Limp Bizkit, Gold Cobra I like it when album art says something. For instance, when an album features a morbid sigil by Wes Benscoter, it says, “Good times ahead.” When it’s covered with Vince Locke’s unholy zombiescapes, it says, “This is a Cannibal Corpse record.” And, in the instance of Gold Cobra, it says, “Urinate here.”

6) Lou Reed & Metallica, Lulu To be fair, I’ve never heard this album, only the criticism of it, so for all I know the music rules. But man, how much did they pay the beret-wearing Sarah Lawrence sophomore who made this piece of shit? (Answer: Too much.)

*Actually, I have to be a dick about the new Morbid Angel. Sorry guys, big fan of your stuff, but you really shat the bed with the lights on with this new record.

The band is also unveiling the video for the title track, which features cameos from Fred Durst (Limp Bizkit), Jacoby Shaddix (Papa Roach), Joey Jordison (Slipknot), M. Shadows (Avenged Sevenfold), Brian “Head” Welch (formerly of Korn), Lacey Sturm (Flyleaf), Aaron Lewis (Staind), Joey Belladonna (Anthrax), Kalen Chase (The Changing), C.J. Pierce (Drowning Pool), John DeServio (Black Label Society), Chad Gray (Mudvayne, Hellyeah) and Brian Fair (Shadows Fall)! Check it out below and let us know what you think in the comments.

REVOLVER How did the SLoT form?
NOOKIE Our male singer, Cache, and guitarist, I.D., got together after a concert in 2001 or 2002. I joined the group in 2006. They said that they should do something like what they just heard, but do it better and different. They got another couple of their friends together and found a singer. So they had three guitarists, a singer, and a drummer. Cache put away his guitar onstage and has been the male voice since the beginning, but he still writes a lot of the songs along with the rest of the band, musically. The band had two songs picked up by a Russian blockbuster movie called Boomer before they even had decided on a name for the band. They had literally one day to choose a name, so they voted and decided on the SLoT.

I joined the band shortly after I moved to Moscow to study music. My vocal coach at the institute I was studying at told me that the SLoT was looking for a singer and so I tried out. They had me re-record the vocals on the album they had just released with their second singer, and it was re-released. Lots of confusing details about the band, but we’ve been pretty stable for the last five years. The band has had two drummers, three bassists, and three female lead singers since it started nine years ago. Nobody can get our name right or our roster right online. Our Japanese release this year in May even printed the wrong name for our bassist on an insert they included with the CD. For the record, our bassist’s name is Nixon and our drummer is a fan of The Big Lebowski and calls himself the Dude.

How would you describe your music?
Modern rock that consists of a mix of various genres. Electronic, clean vocals, rap, screaming vocals, heavy guitars, acoustic guitars, industrial effects, and traditional Russian melodies. Modern sound mixes various styles and pulls from various types of genres. Rock music has been moving towards pop. Pop is moving more towards rock. Hip hop is mixing with metal, think about Lil Wayne at the MTV Music Awards this year. Soon I think all the music will be without genres and we’ll just have really one popular style. Experiments with music are OK–you can stretch the boundaries of what’s possible as long as the final product is good music. That’s what really matters.

What is your goal with the band?
To make music that makes our fans think for themselves and be themselves. We don’t preach in our lyrics, we don’t tell people how to live. We show things from our own perspective and let people make their own decisions about if it’s right or wrong or some kind of example to follow. Also, we’re not trying to be in one genre like metalcore or rapcore or industrial or hip-hop rock or heavy rock or anything when we write our music. We just want to make music that we like. It’s why our record label went crazy trying to put a genre tag on our CD because it really isn’t any one genre. We’ve got songs competing against brutal death metal on the charts, and other songs that could compete with Lady Gaga or trip hop on our CD. We don’t care about tags–we just make music that we like and that sounds good to us.

What is the rock scene like in Russia?
It’s all underground. Rock almost doesn’t exist as an industry. We have lots of good bands here, and a ton of great music of course. But there’s no system to promote it here. It’s hidden away from all the big media and mainstream news and all other things like that. What they call rock music on the Billboard charts here is really folk music, and not anything close to actual rock. There’s no young bands on TV or radio, just mostly old men and old women who sing this kind of traditional Soviet music. There are a ton of pop acts, and some are really good. I know everybody has heard of t.A.T.u. as an example, but even the good pop acts are struggling in Russia–not as much as rock, but they still struggle. The SLoT has been a headliner on literally every major rock festival in Russia, and yet still we struggle for mainstream acceptance.

For example, we performed at the largest music festival in Russia a couple months back, and there they have three stages. Of course, music like ours is on the Alternative Stage. The organizers of the festival, “Nashestviye,” meaning Invasion, put on an Internet poll before the festival where they asked people “who deserves to be on the main stage?” We won the internet voting with thousands of votes. Still they refused to put us on the main stage because they don’t like the kind of music we play. So for the second year in a row, when we came onstage, literally thousands of people walked the kilometer from the main stage to the alternative stage. There must have been 10,000 people for a stage that usually has 100-300 people watching the performers. When we left, most went back to the main stage. I’m not trying to brag at all, but I want people to understand the point that even when fans show the people in control what they want, the people in control still don’t care. They aren’t interested in anything different.

We released our ballad “Mirrors” about a year and a half ago in Russia. It’s not like America where there’s thousands of radio stations that are all important in all the major cities. In Russia, you have only really two main cities and everything else is really spread out, small towns and such. But when this single came out we got the biggest radio station network in Moscow and St. Petersburg to play it. At that time, they were doing their charts based on Internet voting, really a democratic way to decide. We had the No. 1 song in Russia. A few weeks later, the program director of that station got fired and immediately our music was off the station and they eliminated the voting system the same week. If anybody wonders why we made an English-language CD, here is your answer.

Tell us about the band’s latest release?
Break the Code is 15 of the SLoT’s best songs from the last nine years and four studio albums. We hooked up with an American poet from California who wanted to write our lyrics in English and, of course, we agreed. What most people wouldn’t ever know about the CD is that the first eight songs we recorded for Break the Code were produced by [futureusgallerythe poet] from the U.S. while we were in Moscow, and it was done entirely over Skype.

The Russian version of “Time to Go” was about a guy hanging out a beach trying to hit on girls, and the new version is a song about a girl who tells her guy to fuck off. And the new lyrics suit the music perfectly, just in a different way. Also, the reaction we’ve gotten at home has been interesting. A lot of our Russian fans aren’t excited about the new release, and, big shock, they tell us the Russian songs sound better. They make comments online that they don’t want us to do anything in English. They’re afraid we’re going to abandon them and not make more music for them that they can understand. It’s never going to happen. We’re always going to make music in our native language. But there’s no reason to be like the Russian music industry and hide ourselves from the rest of the world.

Where did the name Nookie come from?
Wow, I never get this question. If I told you it was from Limp Bizkit’s song, would you believe me? For me, it wasn’t just because I liked the song, it was because of what this word represents. Why does there have to be so much guilt with sex? Why does having sex have to mean that you have some expectation of something more like commitment or marriage or whatever? Do we react that way to a hug or a kiss or a handshake? Aren’t they personal, too? I think it’s not necessary to have so much stress because you want to have some fun with somebody. Nookie is a fun way to say what we all know it really means, and that’s how I think about it: It should just be fun and without any serious consequences or head trips afterward.

Who are your biggest musical heroes and why?
My biggest musical hero is Kurt Cobain. Nobody changed rock music more than he did since the Beatles. He didn’t know how to lie, and he died too soon.  As far as bands that are modern and current, really no heroes, but I really [futureusgalleryIn This Moment frontwoman] Maria Brink’s voice–her screams are awesome.

What are your favorite hard-rock and metal albums?
Mechanical Animals by Marilyn Manson is a part of the big puzzle of my life’s emotional outlook. It focuses on personal doom and the irrelevance of people in the world.

The Black Parade by My Chemical Romance always makes me feel better when I listen to it. To me, it sounds like some kind of black cabaret–it’s my way of understanding it, like, a dark brothel. I imagine it just like in the video for The Black Parade, where all these freaks are traveling back from a funeral, or maybe on their way to one.

You’ll Pay for the Whole Seat, but You’ll Only Need the Edge by Animal Alpha because Agnete’s vocals are amazing and their music is dark, and she is just insane live.

What is the sexiest hard-rock or metal song and why?
Limp Bizkit’s “Nookie.” We play it a lot as a cover song in our concerts, not all the time, but often enough. I feel like I’m flirting with all the guys in the crowd when I hear “I did it all the for the Nookie.” I just imagine what everybody is thinking when they sing it back to me from the crowd, and it’s like I’m making love to a thousand people at one time, with all the consequences.