Device, the new industrial-rock project led by Disturbed’s David Draiman, will release their self-titled debut on April 9. The album includes guest appearances by Geezer Butler of Black Sabbath, M. Shadows of Avenged Sevenfold, Serj Tankian of System of a Down, Tom Morello of Rage Against the Machine, Lzzy Hale of Halestorm, and Glenn Hughes of Deep Purple and Black Country Communion.

In anticipation, the band is streaming the album in its entirety. Check it out below and let us know what you think in the comments.

For more information, visit deviceband.com and check out the band on YouTube, Facebook, Twitter, Soundcloud, and iTunes.

Device, the new industrial-rock project led by Disturbed’s David Draiman, will release their self-titled debut on April 9. The album includes guest appearances by Geezer Butler of Black Sabbath, M. Shadows of Avenged Sevenfold, Serj Tankian of System of a Down, Tom Morello of Rage Against the Machine, Lzzy Hale of Halestorm, and Glenn Hughes of Deep Purple and Black Country Communion.

In anticipation, the band has debuted their cover of the classic Ozzy-and-Lita Ford duet “Close My Eyes Forever,” which sees Draiman tackling Ozzy’s vocals and Halestorm‘s Lzzy Hale taking on Lita Ford‘s parts. Check it out below, see what Draiman has to say about the song in the video, and let us know what you think in the comments.

For more information, visit deviceband.com and check out the band on YouTube, Facebook, Twitter, Soundcloud, and iTunes.

Halestorm — featuring Lzzy Hale, one of Revolver’s Hottest Chicks in Hard Rock and Metal — beat out heavyweights Anthrax, Lamb of God, Marilyn Manson, Iron Maiden and Megadeth last night to win the Grammy award for Best Hard Rock/Metal Performance for “Love Bites (So Do I).”

The song, the opening track from The Strange Case Of…, the band’s 2012 album, was up against “I’m Alive” by Anthrax, “Blood Brothers” by Iron Maiden, “Ghost Walking” by Lamb Of God, “No Reflection” by Marilyn Manson and “Whose Life (Is It Anyways?)” by Megadeth.

The Black Keys — those two blues- and garage-loving Ohioans best known for recording raw, stripped-down, “mid-fi” albums — picked up four Grammy awards last night. The duo, Dan Auerbach and Patrick Carney, earned Best Rock Album for El Camino (released in December 2011), plus Best Rock Song and Best Rock Performance for “Lonely Boy.” Auerbach scored a bonus Grammy as Non-Classical Producer for the Black Keys’ El Camino, plus his work on Dr. John’s Locked Down album and two discs by Hacienda.

Album of the Year went to Mumford & Sons for Babel. Record of the Year went to Gotye (featuring Kimbra) for “Somebody That I Used To Know,” while Song of the Year went to Fun. for “We Are Young.”

It was a disappointing night for Jack White, who was nominated for Album of the Year, Rock Album of the Year (both for Blunderbuss) and Best Rock Song (“Freedom at 21″) but lost in every category. His Third Man Records label mates, Alabama Shakes, also lost in three categories, including Best New Artist and Best Rock Performance.

Performance-wise, White performed with both his all-female and all-male bands. Black Keys tore through “Lonely Boy” with Dr. John; a tribute to the late Levon Helm of the Band featured Zac Brown, Elton John, Mavis Staples and Brittany Howard of Alabama Shakes, who performed “The Weight.” Bruno Mars kicked off a Bob Marley tribute with his own song, “Locked Out of Heaven,” before introducing Sting, who led the band into “Walking on the Moon.” Rihanna, Ziggy Marley and Damian Marley finally joined them for Bob Marley’s “Could You Be Loved.”

For the show’s finale, Tom Morello, LL Cool J and Chuck D performed “Whaddup.”

Other guitar-centric or noteworthy Grammy wins:

• Best Blues Album: Locked Down, Dr. John (produced by Dan Auerbach)
• Best Score Soundtrack For Visual Media: The Girl With The Dragon Tattoo, Trent Reznor & Atticus Ross
• Best Reggae Album: Rebirth, Jimmy Cliff (featuring a cover of the Clash’s “Guns of Brixton”)
• Producer Of The Year, Non-Classical: Dan Auerbach (of the Black Keys)

For a complete list of winners and losers, visit the official Grammy awards website at grammy.com.

Photo: grammy.com/photos

In this exclusive video made for Revolver, Disturbed and Device vocalist David Draiman discusses how and why he recruited Halestorm singer Lzzy Hale for Device’s new remake of “Close My Eyes Forever,” which was originally recorded by Lita Ford and Ozzy Osbourne.

Lzzy Hale was “the right woman to play the role of Lita,” Draiman says in the video, which features the other members of Device. “Lzzy is the strongest, most distinctive female voice in rock today. I think she’s just as good as it gets.”

Besides Hale, Device’s long-awaited debut album will feature Glenn Hughes of Deep Purple and Black Country Communion, Geezer Butler of Black Sabbath, Tom Morello and a host of other talented musicians and friends.

Check out the video below!

Device will release their debut album this spring. Look out for more updates as we get them! (And we will be getting them!)

The 2013 edition of Revolver‘s annual Hottest Chicks in Hard Rock calendar — featuring Taylor Momsen of The Pretty Reckless on its cover and exclusive pinups of 12 of the loveliest ladies in music — is available online. The calendar also packs plenty of hard-rock and heavy-metal trivia, including landmark album release dates, historic concerts, musician birthdays, and much more! Get yours now.

Lzzy is of course currently featured on the cover of our annual Hottest Chicks in Hard Rock issue, which also features Maria Brink, Kimberly Freeman, Nita Straus and more. The issue is available on newsstands now, as well as right here in our online store.

REVOLVER Your new album was originally planned to come out this fall but was bumped to early next year. What happened?
LZZY HALE We’ve been on the road for, like, three-and-a-half years and so we have, like, tidbits of songs here and there, you know, whenever we could–we have a little rig that we travel with. And, you know, the blessing and the curse was, we started really, you know, digging into this and I ended up penning some of probably the most personal songs that I’ve ever written. And then people with the label called me up. They’re like “Hey, we didn’t know this about you! Uhh could you do more?” So we got really deep into it, and it’s good because now, like, we can see the record for what it is and it’s not gonna be this big, rush job to get it out, and then, you know, we might be disappointed with it later. We’re so excited right now about everything.

For you, writing this more personal material, was that hard for you to get out?
I think it was. It was difficult for me at first to figure out what I wanted to say on this record and considering it all really falls on my shoulders and the guys have to live with it. That happened last time with “I Get Off” and they’re like “Uhh, you sure you want to say this on the radio? And are we gonna have to do these backing vocals?” But it’s fine. They’ve been really good and just kind of said, “Hey, you know, whatever you’re feeling, go for it.” So I have. And that means, you know, no real holding back, which is either a good or a bad thing. The reason why we dragged it on a little longer is just because we wanted to see how far we could take it–or how far I could take it, at least. There’s always a line. There’s a line somewhere, right? We’ll find out. You’d think that we had crossed it already.

And a lot of the stuff has actually been inspired by, you know, our fans and their stories and, you know, I’m doing the advice column for Revolver and a lot of that is great fodder for new songs, just some of the craziest questions, which I’m totally happy to do, you know? Sometimes I start thinking, Well, why on earth would they want my advice? You know, I’m the last person in the world they should be asking this, but OK.

You mentioned “I Get Off,” and your first album also had “Dirty Work.” Both songs have plenty of sexual innuendo. Is that something we can expect more of on the new album?
You know, I think that’s just kind of a part of my personality. I mean, I room with a bunch of boys: You could say the sky is blue and they’d find some way to make it into a joke. And I’ve walked into it so much, where I’m not even thinking about it anymore, whereas usually one of the guys will be like, ”Well, if somebody wanted to take this in the other way, they probably could.” But, yeah, you can definitely, I mean, especially if you’re looking for it, I’m sure you can find it. And then there are some obviously on purpose because I just, you know, I fell in love with the whole twist of phrase thing.

Is there a sample lyric that particularly stands out?
On the lighter side, there’s a song that I wrote called “I Hate it When You See me Cry,” and it’s interesting because, when I wrote it, the guys were like, “You know what, you’re so right.” Because I used to, you know, hide a lot of stuff from them. I was kind of always keeping this camaraderie and this not really talking about or burdening anybody with some of my issues or some of the things that I’ve gone through. And so this time around, everyone’s kind of allowing me to do that, so I’m seeing the advantage of that.

I have some songs that are specifically for the breed of chicks that come to the rock show, not necessarily because their boyfriend dragged them there, or they didn’t have anything better to do that night, you know? We saw our first lady mosh pit the other day and it was brutal. It was seriously like Ladies’ Mosh Pit Time. Oh, my goodness. And, like, I was debating with the guys, I’m like, “I think that that was rougher than any of the male-dominated ones.” But, you know, how it is: Bitches be crazy. And I say that being a female.

You mentioned on Twitter that you thought Corey Taylor was the hottest dude in rock…
Well, here’s the thing: This is just the kind of girl that I am, but, you know, a lot of it is just because I got to know the guy and, I mean, he’s such an incredible sweetheart. I’m gonna totally ruin his hard-ass reputation right now, but, you know, there’s something that I’ve always liked about the scary-looking guy that will, you know, in the morning call me Darling. There’s just something about that.

But I don’t think that anyone has really ever given him the recognition for what an incredibly handsome smile he has. He never gets recognized for that. It’s the mask–it throws people completely off.

Recently you were Tweeting with Sebastian Bach and talking about doing a duet. Is that something you’d definitely like to do?
Absolutely, are you kidding me? I grew up on that stuff, thanks to my parents, you know? And so, it’s kind of just a crazy turnaround to have him be Tweeting me, you know? Like, Oh, my God, Sebastian Bach is following me on Twitter! But it’s great, man. We covered one of his songs on a covers EP that we released a few months ago. We covered [futureusgallerySkid Row's] “Slave to the Grind.” And shortly after we released it, he got in contact with us and, like, they put our version of it on the website. I mean, he’s been a complete sweetheart about it all and, yeah, he’s been telling me, “Hey, what would we sing if we ever got together?” I would love to make that happen. He’s a beautiful man, why would I not?

What’s your pick for the sexiest hard-rock or metal song?
Oh, sexiest hard rock song, let’s see… You know what, I’m gonna have to go with Slipknot’s “Gehenna.” It’s amazing. And the first time I ever heard it actually was the first time I was hanging out with Corey Taylor, right before—it’s on the All Hope Is Gone record—and right before they had released the record, he had kind of a rough of it and he’s like “I need to show you this song.” And it literally, I don’t know, it got me all tingly. And I was like, “When is this record coming out, because I’m going out to buy it.” But every time that song comes on, I still get chills, you know? I guess it’s the combination of the performance of Corey and just, you know, the words actually speak to me more so than anything else, you know, in my own battle of this weird kind of two-faced personality that I have.  It’s definitely a sexy song.

REVOLVER What is the title of your new release?
LZZY HALE Wouldn’t you like to know! We haven’t yet decided what we are going to call the record. I’m guessing this is what it feels like naming a kid. Do you call it what it looks like now, or what you think it’s going to grow up to look like?

How are the songs sounding for your new album?
The new songs sound amazing! We recorded drums to two-inch tape, and I never realized what a huge difference it makes! I can literally hear Arejay ’s zany personality coming through on recording!

Are you trying anything different with your songs this time?
We are experimenting a lot with our guitar tones. We are pushing ourselves outside our comfort zones so there will be many little weird nuances and surprises for you!

What’s been the most adventurous thing you’ve done in the studio so far?
We turned the lights down and put up a disco ball in the live room and jammed on nearly every instrument they had there…all day…while recording all of it! There’s some incredible stuff on that track!

What did you learn from doing the covers EP, which included songs by the Beatles, Lady Gaga, GN’R, and Heart, among others, that you’re putting to good use this time?
It’s amazing how much you grow as a musician and a songwriter by learning some of the greatest songs ever written! What I’m applying to our new record is the resistance to settling and the confidence in knowing that there really is no limit to how much you can actually pull off!