Artist Interview

Death metal supergroup Bloodbath, which now features Paradise Lost's Nick Holmes on vocals, will release their first album since 2008, 'Grand Morbid Funeral,' on November 18 via Peaceville. In anticipation, the band has teamed up with Revolver to premiere a new song and lyric video for, "Famine of God's Word." Check it out below and let us know what you think in the comments!

To get 'Grand Morbid Funeral,' visit Peaceville's webstore. For more on Bloodbath, follow them on Facebook.

Bostonian thrashers Revocation will release their new album, 'Deathless,' on October 14 via Metal Blade Records. In anticipation, the band has teamed up with Revolver to premiere the entire album right here, right now! Check it out below—the stream will only be available until Monday, October 13, at midnight EST—and let us know what you think in the comments.

To get 'Deathless,' visit Metal Blade's webstore. For more on Revocation, follow them on Twitter and Facebook.

Slipknot appear on the cover of the latest issue of Revolver, which is on newsstands now and available online. As the band prepares to unleash its highly anticipated new album, '.5: The Gray Chapter' (check out the new tracks "The Negative One" and "The Devil in I"), Revolver is looking back on the making of each of the masked maniacs' previous records.

MORE SLIPKNOT: Read about the making of their 1999 self-titled album. Read about the Making of 'Iowa.' Read about the making of 'Vol. 3: (The Subliminal Verses).'

Here, band members who played on 2005's live album '9.0: Live'–including deceased bassist Paul Gray–look back on the making of the record.

By Jon Wiederhorn

For a band like Slipknot, who have always thrived more onstage than recording in the studio, making a live album was nothing short of a necessity. The opportunity came during the group's 2004–2005 world tour in support of 'Vol. 3: (The Subliminal Verses).' Slipknot had noticed, when they taped their 2002 live DVD, 'Disasterpieces,' how well they performed when they knew they were being recorded for posterity, and they delivered with similar intensity and precision for '9.0: Live.' Assembled from shows in Tokyo, Osaka, Singapore, Las Vegas, Phoenix, Dallas, and New York City, the double-disc set features songs from all of the band's previous three albums, including seldom-played tracks like B-sides "Get This" and "Purity," which was removed from Slipknot for copyright reasons, as well as the first-ever performance of Iowa's "Skin Ticket."

JIM ROOT I'm not a huge fan of live records. There have been a few great ones in the past. I was a little nervous about it because when we're onstage, I don't really think about guitar playing. And when you put out a live record, you're under a microscope. You hear every little flaw. You miss a note or fall behind the beat or there's a clam here or a clam there, that's it. That's forever. Our sound engineer recorded over 100 shows and then he came to 'Iowa' to do some editing, and once he got done with editing for all these songs, which is a shitbucket of work, he brought a stack of CDs to my house and they were all labeled. So after listening back to all that, it just became a matter of us all agreeing what the good shows were.

PAUL GRAY The live album was awesome. I think we put out one of the best live albums of all time. [Iron Maiden's]' Live After Death' is great. But I would say 'Live After Death' and then fuckin' '9.0.' We were gonna do one show, but we thought people from Detroit would be stoked if they had a song on the album, and people from L.A. would be happy 'cause there was a song from there. It was a pain in the ass to put together, though, because you had to listen to all the same songs from 50 fucking cities. You'd say, "I really like the way fuckin' Detroit, Chicago, and Houston sounded." And someone else would go, "Fuck you, that was the worst show!" So there was definitely a lot of figuring shit out. And that thing sold a lot of records for a live fucking album and there's no overdubs. That's the thing, too. All these bands do a "live" album and it's a live recording with extra guitars and backup vocals. But when you get our live album, it really is us live.

COREY TAYLOR I think the live album is good. It's just hard for me to listen to because of the way my mask makes my vocals sound. My old mask was very thick and it wasn't very good to perform in because it would come off a little and I would literally be jamming the mic into my fucking mask to sing. To me, it always sounded like I was in a tunnel. It thinned out the sound and didn't have that natural, good, husky feel to it. And that's one of the reasons my new mask is very flush to my face. It sounds like I'm singing. But I remember the shows that we used to do, and I stand behind it as a live album. I think it's one of the best ones out there.

SHAWN "CLOWN" CRAHAN I did all the art [for the record]. We had a big blowout because there's a Maggot's hand reaching over the top [in the album cover photo] and you can just see the wonderful motion of the music. The kid needs to come over the top. And if you look real hard you'll see Sid [Wilson]'s hand and he's trying to make that connection. That was the whole metaphor behind the live record: Band meets fan. And there was such a war over that. People thought I took the fuckin' photo and that's why I wanted to use it. You know, like I got some secret agenda or something. I'm like, "Uhhhh, I'm onstage." But that's so cool because they know, Don't keep anything from Clown. He might be walking around with a fucking camera for all we know. I really like that art and it got everyone turned fucking upside-down, man.

MORE SLIPKNOT: Check out our gallery of the most insane Slipknot fan tattoos!

King Diamond has been haunting headbangers since the early '80s as vocalist for Mercyful Fate. Albums like 'Melissa' and 'Don't Break the Oath' are regarded as some of the best metal records of all time, and the band is cited as prime inspiration for the second wave of black metal, not to mention a little band named Metallica, who recorded a medley cover of their songs. Remarkably, as The King—born Kim Bendix Petersen—moved to solo work, his sky-scraping falsetto never slipped and he maintained his rightful place in the metal pantheon, delivering classics like 'Abigail.'

Now, the notorious member of the Church of Satan is back, with a career-spanning "best of," 'Dreams of Horror,' which is due for release in November, and a headlining North America tour featuring what the King premises will be one hell of a stage production. Here, Revolver catches up with King Diamond as he prepped at his home in Texas for the upcoming trek. We talked about his future plans, his lifestyle changes since triple bypass heart surgery—oh, and how brains look like cornflakes.

REVOLVER Let's talk about this North American tour. I heard there will be an elaborate stage setup—what can you tell me about it?
KING DIAMOND It's the entire European production we did back in Open Air, which was like 92,000 people.  That whole production is going into theaters over here. We have made sure things can fit beforehand. Some promoters even cut a few seats so we could expand the whole thing. It was updated from last year's and quite a few new things came back. We have a lot of lights we bring ourselves to really enhance that 3D feeling. There are several backdrops now to make a total change of what the stage looks like throughout the show. Old tricks are back in, the coffin cremation trick, which is an old magicians trick that we did back in the Conspiracy days. So the doctors are back on stage and someone gets burned in the coffin—the whole thing is much more than ever before. We have a gigantic Baphomet symbol that lights up behind. The production is two stories so we have stairs leading up—lots of good exercise actually. [Laughs]

We were testing it in Europe, not just to play Wacken, but also some small shows. We played at an amusement park in Stockholm—it was the oldest one in Sweden. It's not like we got the part where we play amusement parks, no, not like that. [Laughs] It was a historic stage [Gröna Lund]. We got high marks from the people there who said we have the best sound they've ever heard. It was still bright when we played, we started at 8 but up North there in Sweden in the summer it's bright up there. Then we went indoors in Berlin and what was interesting was I saw a comment on Facebook after we played Wacken and some guy saw some photos we posted ourselves and he said, "Man, if I didn't know any better, that was the Berlin show I saw." That's the cool thing, we can bring this whole production to theaters. It will probably be the most people have seen in those theaters I think. It's very elaborate. It's the biggest we've had.

As a band, we look better than we ever have before and we sound better than we ever have before. For me personally, my voice has never been this good. It's been about four years since the triple bypass. A lot of stuff had to be done. I'm breathing differently and I had to learn how to breathe again because they collapse your lungs for the operation. The rehab and everything else you know, and cutting smoking out—that really has done something to my voice that blew me away. I cannot believe that today it is easier for me to sing all those notes than it was. I feel confident going on tour, knowing we're going to give our fans something they will never forget, I know they will never forget this. There's so much to take it that it's a heavy impression to give.

It sounds like it's going to be fantastic.
Oh, it is. [Laughs] We've gotten so much good response from it.  Some of it is not what you'd expect, like "At the Graves," except for back in '89, I think that's the only time we've ever played that song. It is challenging as hell, but it is fun. Like I said, these sound engineers you know it's going to be perfect, you have nothing to worry about when you're going onstage. A lot of times in the old days, you didn't have the best equipment to work with.

You touched on your triple bypass heart surgery in 2010—have you had to make other serious lifestyle changes aside from quitting smoking?
Totally different. My wife has been very much into this and has been developing and doing all the right things for the heart.  It's like, if you could be in a situation where you could go into remission with what happened, I would be there. The doctors were shocked—"How?" But we did what you told us to do. We're serious about it. You know, every now and then I could eat an ice cream if I really wanted to—but don't. I don't need it. And with smoking, I had no problem quitting. I don't miss it one bit. I used to smoke because I liked the taste of it. Now I'm not fond of how people smell. When I look back, I did not think it smelt as bad as people would say. Now when someone comes in the room after smoking, it hangs in your clothes like, Woaaah. And I do respect that people can do whatever—I smoked because I liked it. Now I exercise. I power-walk five days a week, 1.3 miles. It's all for the heart. I try to do the same things on tour but it's a lot of exercise to do a show—90 minutes up and down the stairs. [Laughs] But the thing is, after the show is over, "Oh, we're done now?" It wasn't like in the old days. There's things you don't think about when you're a singer, especially in live situations. You don't get as much oxygen as others do. Especially singing like I do. You take a big breathe and let it out very slow while you're singing all these notes until you get a quick breath in. So you have to be in really good shape to do it. It's demanding to sing that way.

Everyone wants to know—are you working on new material?
In some ways. I had a vocal studio built at my house. Andy LaRocque [guitarist] has his own studio in Sweden where lots of bands mix, record and master. I don't have the size studio he has at all, but I have my vocal booth. I practice in there for tour. It's ready to record. I just need to learn ProTools properly. I have been watching others do it but after the tour I need to hardcore get into it. I have all the gear. We got a lot of really top notch stuff. He has the same microphones over there in case we're mixing in his studio and suddenly discover I need to do or change something. There will be no surprises for me. I will never sing with a hoarse voice again. I can do whatever I want even if it's 4 o'clock in the morning. I don't have to book time here. When I sit and write on guitar or keyboards, I can imagine a verse going into a chorus, I go right in the vocal booth and see how it works. It's amazing to think, "Why haven't we done this years ago?" It's going to be amazing. I can approach different parts of songs from totally new angles. I never had the chance of going into the studio and saying to the guys, "Hey, I'm just going to fuck around for three days with just the vocals."  It feels like a canvas that you're painting and there's still room to paint on that canvas and have it be in the King Diamond style. We have all the tools at our fingertips now. We're always going to be measured up against 'Abigail' and this and that, but I think we can beat it.

You collaborated with Volbeat on the track "Room 24." I remember vocalist Michael Poulsen saying it was about sleep paralysis—what is your lyrical part about?
He would tell me about some experiences he would have on the road sometimes, hotel rooms. I told my wife and she said that's what it was. Then it came up later about doing a song together. He did his passages and verses and the song is geared towards me, I could feel that. I had a very easy time working on that material. So he wrote about the feelings of sleep paralysis and I wrote about something that happened once on the way up to Seattle. We stopped at some motel for the night. We got whatever room number it was and we got up to the room and went in—it smelt bad, man. Horrible. Like what the hell is going on here? Then I went to turn the lights on over by the bed when I almost stepped in something. I looked down—"What the hell is this?" It looked like someone had dropped a bowl of cereal. It looked like dried up cornflakes on the carpet. I thought, Someone must have gotten killed here. It looked like someone had their head half-blown off and maybe it was brain matter on the carpet. Dried cornflakes? Yeah, some people say it could look like that. Then big wet dried spots. I thought, This is not right. I need to go down and get another room. So I say to the guy at reception, "Hey, this room is not… Did someone get shot up there in a drug deal? What happened?" He said, "You can't go in that room! Who gave you that key?" "Well, you just did." "Yeah, well, you cannot be in that room." "Yeah, I know. Someone took the yellow tape away too early, right?" [Laughs]

To see tour dates and get tickets, visit King Diamond's website.

English hard rock act Orange Goblin released their new album, 'Back from the Abyss,' today via Candlelight Records. In celebration, vocalist Ben Ward gives Revolver a track-by-track break down of the new LP. Check it out below and let us know what you think in the comments.

"Sabbath Hex"
"This was the first song that we had written. It' s a very typical Joe Hoare/Orange Goblin riff and it seemed like the natural choice top open the album as it's straight in, no-nonsense rocker! The title came from an idea I had about putting a curse on anyone in the world that doesn't like Black Sabbath, like those kinda people even exist!"

"Übermensch"
"I'd like to clarify that the title has nothing to do with Hitler or Nietzsche and is actually taken from a really cool comic book about a group of elite Russian 'supersoldiers.' The lyrics aren't about that but are more about trying to be a better man. The song itself is based on a riff that Chris wrote and it has an early Queens of the Stone Age feel to it. We weren't sure it was even going to work until we added the end riffs and it all fell into place at the last minute."

"The Devil's Whip"
"The first thing people pick up on is the obvious similarity to Motorhead but I say, 'What is wrong with that?' We wanted a short, punchy metal song and that is exactly what this is. The lyrics are about the outlaw lifestyle and being ruled by 'The Devil's Whip.' A perfect song for breaking the speed limit!"

"Demon Blues"
"Another of Joe's riffs that builds in an AC/DC meets The Obsessed kinda way. Very similar in style to previous songs we have done like 'Stand For Something' or '298kg.' The lyrics are pretty dark and at the same time very silly. It was written whilst I was wrapped up in that series 'True Detective,' so that explains some of the weird stuff in the choruses."

"Heavy Lies the Crown"
"Probably the most epic song on the album. It starts off with a nice, mellow blues jam before exploding into a huge thunderous riff. I'm pretty chuffed with the lyrics and the vocal melody on this one and I think it's going to be one of catchier, sing-along numbers. The theme is pretty obvious—warriors, kings, Vikings and war. The end of the song almost sounds like Manowar with the backing vocals chanting 'To Valhalla!'"

"Into the Arms of Morpheus"
"We went back to our Sabbath roots on this one and really upped the whole 'stoner doom' vibe with plenty of washed out wah and crazy bass tones. It has a few tempo changes and goes into a nice breakdown at the end that reminds me of Church of Misery. The lyrics deal with everyone's fascination with sleep (or lack of). We've probably all experienced insomnia or crazy nights where we don't know if we are dead or dreaming so I thought it's a cool subject to touch upon."

"Mythical Knives"
"This song is so uptempo and uplifting. It reminds me of Paul Di'Anno-era Iron Maiden singing about swashbuckling pirates! I love the guitar work on the intro which brings to mind classic Metallica for me. Then the song just explodes into a classic Orange Goblin groove. I think this will soon become a crowd favorite and a staple of the live set."

"Bloodzilla"
"Another of Chris' more uptempo riffs that we all love to play. It's a very straight forward, almost punk-rock song until the massive, heavy riff at the end. The lyrics are total fantasy nonsense and the title came when we were messing about with plays on the word 'Godzilla' as the lastest version of that film had just come out when we were in the studio. I've since been told that 'Bloodzilla' is the name of a comic book that featured in an episode of The Simpsons."

"The Abyss"
"Another epic song with some typical Orange Goblin riffs. The whole song seems to have a weird, creepy sci-fi feel so I wanted the lyrics and the title to reflect that. It about a journey into the unknown and the effect it has on a person that comes back from such a journey. It all fits in perfectly with the album title and the artwork. One of my personal favorites on the record."

"Titan"
"A nice instrumental break that Joe wrote and named. I think the title matches the music really well. It was a late addition to the album, and Martyn and Chris picked it up really quick and did a great job recording this after only a few runs through!"

"Blood of Them"
"Like 'The Abyss,' this song has a feeling of unexplainable mystery and horror, probably because of the pulsing bass riff at the start. The riffs weave in and out and I think Joe had been listening to Pink Floyd and Mastodon when he wrote it. The lyrics are influenced by H.P Lovecraft and his tales of Elder Gods. So we went and found a great sample for the intro to the song that talks about Cthulhu dwelling in his home, the lost city of R'lyeh, waiting to rise again."

"The Shadow Over Innsmouth"
"Another huge, heavy song that we thought would be the perfect way to close the album. Again, the title is taken from an H.P Lovecraft tale but the music fits the story perfectly. I considered writing some words for this but thought better of it, it's a great instrumental that we are thinking of using as our intro music."

To get 'Back from the Abyss,' visit Candlelight's webstore. For more on Orange Goblin, follow them on Facebook.

SiriusXM's Jose Mangin recently chatted with Down's Phil Anselmo on Liquid Metal's 666-LIVE call-in show. Read what the former Pantera vocalist has to say about Housecore Horror Film Festival, Motorhead's Motorboat cruise, the "Anselmost workout plan," and more below (which was transcribed by Josh "Shitkill" Musto), and let us know what you think in the comments!

JOSE MANGIN October is always your month.
PHIL ANSELMO I love October, man. I just wish it was about 20 degrees cooler here in the South—it's hot as hell.
MANGIN Yeah, it's getting pretty cool up here, you're always welcome to come crash at the house in the mancave, we'll have some tacos, guacamole—you know, you've had it before.
ANSELMO Well, if I ever get this damn thing called a vacation I might stop on by and try some of that guacamole that you got and, uh, puff on some other greeneries, and then hopefully watch something mysterious on television.
MANGIN Yeah, dude, well, that brings me to something that I wanted to bring up—this month you're having the Housecore Horror Film Festival, the second annual at Emo's in Austin Texas, October 23-26. Tell us about it.
ANSELMO I'm excited man, I'm excited. We've got awesome movies and awesome bands, and great, great special guests of honor. We've got the entire living cast of 'Texas Chainsaw Massacre,' and a lot of the members of Part II, including my good buddy William "Bill" Choptop Moseley, and it's just gonna be a blast. Everyone knows what an absolute sucker I am for Australian death metal. We got Portal coming and the thrashers King Parrot coming, and Hobbs Angel of Death and…friggin' Voivod! And etc, etc. And oh, man, it's gonna be a blast.
MANGIN What about, I hear there's a Superjoint little jam session, perhaps?
ANSELMO It's happening, man. We're getting together as many of the originals as possible, and we're gonna rock this sucker. We've already been through—I guess about a week's worth of jamming over here, when I get the opportunity to do so. So yeah, man, bring it on.
MANGIN So what sparked this Superjoint Ritual jam session?
ANSELMO Well, apparently there was a poll taken asking the public which band they'd like to see me reunite with from my past, and apparently Superjoint Rit... Superjoint—that's what I'm calling it now right now for legal reasons and whatnot, but apparently Superjoint won. So hey, man, more power to it. And that's something I can pull off. Once again, bring it on and thanks for giving an ass.
MANGIN Hey Phil, is there talk in the future about possibly doing Superjoint again?
ANSELMO No! This is a one-off, so that's why this is like, "If you want to see it then get down and do it."
MANGIN I read that Randy Blythe from Lamb of God is gonna be a part of it—is that still the plan?
ANSELMO Heck yes. Randy's invited and is gonna come curate with me and do a bunch of crazy tasks and help me rile up the joint, so it's gonna be fun, man.
MANGIN Nice! I have to tell you on a side note, because I know how much of a fan you are of horror movies—I just started taking horror acting classes here in New York City.
ANSELMO Whoa now, wait a minute—what in the untrimmed beard of Zakk Wylde does that entail?
MANGIN Dude, it's fucking awesome, man, I have a death coach, and she tells us how to properly die on camera. Then we act out scenes from different horror movies from classics to stuff that's come out in the last few decades. It's pretty intense, dude. It's challenging, but I'm really fucking getting off on it.
ANSELMO Well, I'm gonna have to check out all this horror acting. There's no way I can say I'm excited about all this stuff, Housecore Horror Film Fest Part II, without bringing up my main man Danzig, who is gonna be there with Samhain. That's a biggie, that's a good one right there.
MANGIN That's a huge deal, dude, a lot of great performances at the Housecore Horror Film Festival—Danzig and Samhain, Superjoint, GWAR, Voivod, Eyehategod, Satyricon, Cattle Decapitation, Decapitated, Unearth, Warbeast, Ringworm, and many more bands.

MANGIN How was the Motorboat last week? I know you performed with Down and I know you jammed with the Metal Allegiance—the all-star cast with members from Anthrax, Megadeth, Mike Portnoy, Chuck Billy, Rex Brown, and different dudes jamming. How was the Motorboat?
ANSELMO Well, look, man, it was a blast but the only thing that caught me off guard—off the coast guard—is the second day, which is always the roughest. They had Down playing out on the main deck outside at 1 in the afternoon, and I actually asked the audience and nobody could give me a clear answer. Where is the hangover clause here in the contract, you know, because 1 o'clock in the broad, beating daylight with a Long Island iced tea hangover, let me tell ya brother, that was rough on the old man, I gotta say that. Other than that it was smooth sailing as they say in nautical terms.
MANGIN Did you see anybody upchucking over the side of the boat?
ANSELMO Not off the side of the boat, but I sure as hell saw the reflection in the mirror after I upchucked after the set. Bright red, colorful vomit, don't ask me why.
MANGIN I won't. But I've never been on a boat before, but some of these cruises are becoming so common now and so many cool bands that I love and respect are part of these things. How was Lemmy? How was Motorhead and Lemmy's health and spirits?
ANSELMO Well, look, man, Lemmy is always and always has been a fantastic person, very nice to me. I think he's going through a lot of changes right now within himself, and I'm not gonna get too deeply into this, but you know what? Any negative thing I could say about Lemmy, meaning his health or anything like that goes out the window because the dude is still up there kicking ass. He's a beast and he's still got the shield, still got the sword, and he's wielding it with power. For that I commend him big time. Let me tell you, Motorhead kicks ass. The whole band—Mikkey Dee, Phil and the rest of 'em—big bunch of awesome sweethearts and just dynamite, man. It's great to see Motorhead still rollin' despite Lemmy's health and whatnot. But you gotta figure, you know all of us—we're hard livin', we live the rock-and-roll lifestyle, and like I say to everybody, "What do you want to croak of? Something glamorous, something exciting?" You know, our bodies are gonna catch up to us anyway eventually, so you might as well do it whilst rocking the nation.

MANGIN So your Down tour just got announced recently with Orange Goblin, King Parrot from Australia, and the band Bl'ast. That starts off in Texas on December 1.
ANSELMO Yep. We're heading up to parts of the West Coast, as many as we can squeeze in there in December. That's a heck of a bill, man: Down, Orange Goblin, Bl'ast, and King Parrot. That's a fun show. Don't get me wrong, if I wasn't in the band, I actually might go see that show.
MANGIN That's awesome! What's next for you, brother?
ANSELMO Japan with Down. In about 10 days we leave, so when I hang up the phone with you I gotta stretch this creaking carcass out, and go downstairs and bang out a few rounds on the bag because I'll tell ya what—I am a true heavyweight at this point, and I need to get back down to cruiserweight. You know what I'm sayin'?
MANGIN [Laughs] Hey Phil, before you go, can you give us the Phil Anselmo workout plan?
ANSELMO Well…you gotta smoke about a half-pack of cigarettes when you wake up. Getcha bunch of coffee in the gut. Shit it out on the can for as long as you can. Then hit the floor, stretch it out, take your vitamins, and maybe eat something real light. Then gear up and dress out, man—that means puttin' on all the heavy clothes you can—the plastics. And sweatin' it out with the oldie! Goin' downstairs and knocking out as many rounds as possible, thinking about how on earth you would defeat the heavyweight champion of the world, Wladimir Klitschko, and that's a toughie.
MANGIN Well, there you go, that's a whole workout DVD right there, brother. That could be the next chapter in your career!
ANSELMO Well, the worst part would be that the first 45 minutes of the hour-long workout would be me sittin' in bed smoking cigarettes and farting and checking football websites and stuff. [Laughs]
MANGIN [Laughs] Your Saints, dude, are they doing that well? They're not, are they?
ANSELMO Nah, we're the worst team in the league, it makes no sense. Nobody in the town knows what in the tongue of Gene Simmons is goin' on and we're all dumbfounded, flabbergasted, and—as I like to say—bewildered, smoked, and choking on our own spittle, we don't know what's going on with this damn team.
MANGIN It's alright man, we still got a lot of games left. I think we just started Week 4, so I think it's gonna be all right. But I want to thank you for calling up, I know you're busy.  Mr. Philip H. Anselmo, thank you as always for calling up and for being a big supporter of what we do over at the satellites, man.
ANSELMO You bet your zany anus and a half, I thank you for all the support and everybody out there are all of the colleagues at the radio station and whatnot. Alright Ktulu, see ya soon!

Black Veil Brides have announced the pre-orders for their new self-titled album, which will be out October 27 via Lava Records/Repubic Records. You can get 'Black Veil Brides' via iTunes or the band's webstore.

The band has also announced headlining tour dates for "The Black Mass 2014″ tour. Check out dates below.

Check out Black Veil Brides' new music video, for the single "Heart of Fire," below.

Australian metalcore outfit Capture the Crown released their blistering new album, 'Reign of Terror,' earlier this year via Artery Recordings. Today, the band has teamed up with Revolver to premiere their pyrotechnic new music video (directed by Shan Dan) for "Firestarter." Check it out below and let us know what you think in the comments!

To get 'Reign of Terror,' visit iTunes or Artery's webstore. For more on Capture the Crown, follow them on Twitter and Facebook.

Cavalera Conspiracy—the band led by Sepultura's founding brothers Max and Iggor Cavalera—will release their crushing third album, 'Pandemonium,' November 4 in North America via Napalm Records. In anticipation, the band has teamed with Revolver to preview all the tracks on the record. Check out the samples below and let us know what you think in the comments.

'Pandemonium' is available for preorder at Indiemerch.com/napalmrecords/pre-orders and iTunes.