After a week of speculation, it has been confirmed that Lamb of God skinsman Chris Adler (left) has joined Megadeth in the studio.
Megadeth frontman Dave Mustaine said, "Chris is a tremendous talent, and an amazing person. He is going to bring a new level of excitement and energy to Megadeth that the fans are going to lose their minds over. I have nothing but respect for my previous drummers, but this is going to absolutely KILL! Back in 1989, MEGADETH originally worked as a three piece —guitar, bass and drums—when we laid down the framework to our Grammy-nominated platinum album 'Rust in Peace.' I want to thank the other members of Lamb Of God for allowing this opportunity to take place for all of us in the metal community."
Chris Adler offers, "Megadeth was the game changer for me. Growing up, there was no other band that meant as much to my musical interest and direction. There is no doubt I would not be doing what I have been doing for the past three decades had I not stumbled across 'Killing Is My Business' and the bible of all metal, 'Peace Sells' in my formative years.
"About 10 years ago, Lamb of God toured with Megadeth and I was able to share that story with Dave and David, and we have kept in touch ever since. When Dave called me a while ago and asked if I was interested in making a thrash metal album with him, I felt like I must've been on a hidden camera show. I was trying to play it cool, but I was speechless other than YES! Once I called my wife and my band guys to let everyone know, I had some time to really think about it and how I can best fit into this situation. I'm coming into this on fire. There is an incredible amount of respect, but the goal here is to make the very best thrash album we can. Together, I believe we can do something very special! Get ready for a very exciting chapter in the Megadeth legacy."
Megadeth's new album will be the follow-up to 2013's 'Super Collider.'
In November of last year guitarist Chris Broderick and drummer Shawn Drover left Megadeth.
Here is part 5 of Suicide Silence's weekly tour video updates for Revolver. Check out the video below and let us know what you think in the comments!
The following article is from Revolver's April/May 2015 issue. It is available for purchase in our webstore.
We're om kind of the beginning stages of the finishing stages, if that makes any sense," says Slayer bassist and vocalist Tom Araya of the legendary thrash band's forthcoming full-length. "We're doing the mixing and mastering now, but we still need to sit down and figure out the album title, the album cover, the song titles, and the song list. We've recorded 13 songs for it; we'll probably put ten on there, but who knows? Maybe you'll get lucky and we'll put all 13 on there!"
The as-yet-untitled album, the band's 11th studio LP—and their first for Nuclear Blast—was produced by Terry Date (Pantera, Soundgarden, Korn) over a four-month period at Hollywood's Henson Studios. "Terry's been a big part of it," says Araya. "He's been the 'unbiased ears,' which is what you really want when you're working with someone, and I think he got some really great performances out of us. It was a pleasure working with him."
The tracks for the album were primarily recorded by Araya, guitarist Kerry King and drummer Paul Bostaph, the latter of whom rejoined the band in 2013. It's the first album Slayer has made primarily without the help of guitarist and co-founder Jeff Hanneman—who died of alcohol-related cirrhosis of the liver in 2013—and Araya says it was difficult to get used to the absence of his longtime colleague.
"Ever since his passing, it's been like that—just odd and strange, because he's never gonna be there again, you know?" he says, with a noticeable sadness in his voice. "Even when we were doing stuff without him while he was still alive, that felt strange. Yeah, I missed him during the process. But the way things turned out, I think he was definitely a part of it, even if he wasn't there physically."
Hanneman is physically present on one unnamed track, however. "The whole process of this album started three years ago, when Jeff was still a part of it," says Araya. "There is one track on there that we recorded with him, that he did play on, which was completely done except we hadn't finalized the vocals for it. So we were fortunate to have something that he had participated in."
Exodus guitarist Gary Holt, who filled in on tour for Hanneman during his illness and after his untimely death, was invited to record solos for many of the tracks. "Kerry asked Gary to come in, and he shredded some leads on quite a few songs," Araya recalls. "He came down and damaged his wrist. I'm serious! Well, he didn't damage it, but his wrist was pretty sore—that's what he claimed," he laughs. "Gary gave it all—and he was a man about it, too!"
Lyrically, Araya says the album will cover "the usual topics—conflict, confrontation, religion. It's all about the social ills that dominate humankind. It's a Slayer record, you know what I mean?" he laughs. "It's gonna be a really, really powerful record, so let everybody know!" DAN EPSTEIN
Doom act Royal Thunder will release their new album, 'Crooked Doors,' on April 7 via Relapse Records. In anticipation, the band has teamed up with Revolver to premiere their new song, "Wake Up." Check it out below and let us know what you think in the comments!
Torche has premiered a new NSFW Phil Mucci-directed music video for "Annihilation Affair." Check it out below and let us know what you think in the comments!
The group's latest album, 'Restarter,' is out now via Relapse Records.
Alesana will release their new album, 'Confessions,' on April 21 via Revival Recordings. In anticipation, the band has teamed up with Revolver to premiere their new song and lyric video for "Oh, How the Mighty Have Fallen." Check it out below and let us know what you think in the comments!
Guitarist Chris Broderick and drummer Shawn Drover, formerly of Megadeth, have announced their new band, Act of Defiance. The lineup consists of Broderick, Drover, ex-Scar the Martyr vocalist Henry Derek, and bassist Matt Bachand. Here, Broderick discusses the upcoming debut, how he goes through the recording process when he's in the studio, how he feels about live performances, and much more. Read the what the guitarist had to say below and let us know what you think in the comments!
REVOLVER Can you describe the recording process for your debut album and what producer Zeuss brought to to table?
CHRIS BRODERICK To start Shawn and I started off by demoing our material on our own, passing them back and fourth to get constructive criticism from each other. At this point while working on finalizing our deal we wanted to find an engineer that had a modern but natural sound to there mixes and Zeuss came out the best fit for us. The records he did for Arsis and Sanctuary to Shadows Fall all sound perfect for our style of music. From there Shawn met Zeuss in Connecticut the first week of February to get drum tones and get final takes for the CD which came out sounding killer! As I track guitars, I am continually conferencing with Zeuss on song format and other logistics as well as to prepare for the final mix which is getting me really excited about how the final songs will sound, because when you demo a song it's funny how different it can come out by the final version.
With tracking guitars, what are usually the most challenging aspects for you and how critical are you of your own performance?
For me it's definitely the performance and then the tone. I am very critical though I don't want it to sound like a machine, so I like to focus on getting matching takes as tight as possible and not relying on any sort of editing. As of right now I have quad tracked all the rhythms which when tracking that way is where you have to be critical and get each take to match the next dead on. The solo's are in the process of being finished and I am very excited to see what people think of what I have come up with. After that I still have some classical, and clean guitar parts to track and then we move on to re-amping where you listen to how all the instruments and vocals sound together and set your guitar tone to sound best for the mix.
What has the overall studio experience been like working with Henry and Matt and what do they add to the whole process as a whole?
It has been awesome! I have been meeting with Henry to track vocals pretty consistently for the past few months. From the demos to the final takes that we are now working on and I feel like this has helped us in so many ways. For one I have gotten to know Henry a lot better and he is easy to get along with and has no ego what so ever. Two, I feel like both of our skills have grown over this period. I have figured out how to communicate with him in terms of what I might be looking for out of his voice and he is just singing his ass off! I think people are really going to be surprised by what Henry brings to the table. The dude's metal range can go from Bruce Dickinson to Chuck Billy to Mikael Åkerfeldt to early Phil Anselmo, and he can even do Norwegian black metal-style vocals if we asked him to. I have met Matt numerous times and though he was a late addition to our AOD party, he has been a huge help. He's a quadruple threat as a talented guitarist, bassist, singer and song writer. Matt's bass lines have their own personality and individualism that we want in our music. Both Henry and Matt are recent editions to the writing process, but Henry has written a decent amount of the lyrics and I can't wait to see what he and Matt bring creatively to the next CD.
What's your favorite part of being in the studio and what do you find to be the most grueling?
My favorite part of being in the studio is any creative process where you have the spark of imagination that totally elevates a song either on your own or through collaboration with others. It's cool to see what ideas Shawn, Henry or Matt might have to take the song to another level. Definitely the most grueling part is when you are nit-picking performances and re-taking tracks over and over again for a 2% gain in it's sound [laughs].
How do you feel this new material stacks up when compared to all of your previous studio recordings?
With the debut Act Of Defiance release fans can expect mix of thrash metal with elements of other subgenres of mixed in. I think of it like we are the ambassadors of all types of metal [laughs]. It has elements of classical music, but is really heavy at the same time. The cool thing about where we are at is that this is all about the music. We aren't worried about any amount of fame, or income, we just wanted a chance to get our music out and just hope people dig it.
Do you prefer to be a live musician or a studio musician?
I prefer a mix to tell you the truth. Live, obviously, you get the crowd interaction that I love but the travel can get old quick. Being in the studio, has a totally cool creative side to it, but it can get monotonous with the tracking side of things.
When you perform these songs live, do you think you will purposely stick to exactly how it's played on the record or vary it up to the energy of the live show?
I have always thought that when music is released publicly that it becomes the fan's music as much as it is yours and because of that you should stick to the recorded music as closely as possible. With that being said though, I always look for ways that something can energize a live show, things such as bumping up the tempo, or adding sections for crowd participation. In my mind the live show should be all about getting the crowd to be a part of the band and we all get together and have a killer time!
Do you use various tunings and guitars throughout the recording process?
No, but I am not opposed to doing so. I come from a classical mind set where you look at the music you are playing and figure out the best way to play it with the instrument you have. For example I have been playing with the Metal Allegiance project doing covers and in the past if something were tuned down, instead of bringing three or more guitars in different tunings, I would just figure it out on my seven-string.
Anything you want to add?
I want to thank everyone for the huge support of Act of Defiance and hope they like what we bring to the table. It's a mix of styles that won't please everyone, but anyone that doesn't need their music to be pigeonholed into a specific subgenre should really dig it! We are not chasing any dream of pop stardom or Grammys, we just want to play metal!
By now you know Dissimulator vocalist Jared Dines from his viral videos like "Things Bass Players Say in the Studio" and "Things Bands Say to Labels." Check out "Things Musicians Say to Girls" below and let us know what you think in the comments!
Swedish metal act Evergrey will be embarking on a North American headlining tour this summer in support of their latest release, 'Hymns for the Broken.'
Vocalist Tom Englund said, "North American fans, I hope you are ready for this! It has been a while since we've been here and Evergrey is stronger than ever. I hope to see everyone on the road. You won't want to miss it."
Supporting Evergrey are Australian prog-rock act Voyager, as well as Borealis and Oceans of Slumber.
Presented by Revolver and Infinity Concerts, a list of tour dates can be found below.
Aug 26 - Chicago, IL - Reggies
Aug 27 - Cleveland, OH - Agora
Aug 28 - Detroit, MI - Token Lounge
Aug 29 - Toronto, ON - Opera House
Aug 30 - Montreal, QC - Cafe Campus
Sep 1 - Quebec City, QC - Le Cercle
Sep 3 - New York, NY - The Marlin Room @ Webster Hall
Sep 4 - Pittsburgh, PA - Mr. Smalls
Sep 5 - Baltimore, MD - Soundstage
Sep 6 - Springfield, VA - Empire
Sep 8 - Charlotte, NC - The Casbah
Sep 9 - Atlanta, GA - Midweek Mayhem @ ProgPower USA (The Loft) **
**Evergrey and Voyager Only**
Faith No More appear on the cover of the next issue of Revolver, which will hit newsstands on March 31 and is available for purchase online right now. You can view the cover below, which was shot by Revolver Photography Director Jimmy Hubbard.
You also can read an excerpt from the issue's cover story, written by Senior Writer Dan Epstein. In this section, vocalist Mike Patton, bassist Bill Gould and keyboardist Roddy Bottum talk about the band's breakup and how they came back together.
On April 19, 1998, the members of Faith No More made a bid to regain control of their individual destinies by breaking up the band. Gould sent out a press release announcing the band's mutual decision to call it a day. "The split will now enable each member to pursue his individual project(s) unhindered," read the release.
"We broke up under pretty shitty circumstances," Bottum recalls. "We'd gone through so much together, doing what we had to do to get from Point A in the back of a crappy '66 Dodge, to a point where I don't even know how to set up my keyboard stand, because somebody sets it up for me. To get from Point A to Point B is a really long, long road. And for people, good friends, to get from that point to that point at the age that we were, it was really, really a strain on relationships. So by the time we broke up, it was kind of like we never really wanted to see each other again," he laughs. "I mean, that's where we were! It was kind of like going through war together—working together, making decisions together, doing finances together, making art together, living together — it was so much more difficult than any marriage would be, or any friendship would be. It was just really hard on us. So by the time we broke up, it was like, 'Enough!'"
Whenever any well-loved band breaks up, the question of "When are you getting back together?" inevitably becomes part of the conversation. With Faith No More, the odds of a reunion were slim, indeed; though the band's legend and influence continued to grow after its demise, FNM's four core members all seemed happily active in their post-FNM lives. Gould and Patton both started their own labels, Koolarrow Records and Ipecac Recordings, in 1999; Gould went on to produce a wide variety of bands, and collaborated on recording projects with Korn's James "Munky" Shaffer and former Dead Kennedys frontman Jello Biafra, while Patton's discography (which includes several albums with his bands Fantômas and Tomahawk) seemed to expand on almost a weekly basis. Bottum continued to record and tour with Imperial Teen, and got into film scoring; Bordin continued to play with Ozzy, and also filled in for David Silvera on Korn's 1999-2000 tour. "Everybody just went in different directions," says Gould.
But in 2009, Faith No More surprised the world by announcing that they were reuniting their 'Album of the Year' lineup to play some tour dates in the United Kingdom. "We hadn't seen each other in 10 years," says Bottum. "So when we kind of came back to a group place, everyone was 10 years older, 10 years more mature; everyone was really like going out of their way in a crazy, over the top way to ask, 'Are you okay with this? I'm cool with this, are you?' We were making room for each other's creativity in a real grown-up way," he laughs. "Whereas, where we started was just such a bratty place to be, you know?"
"The Second Coming Tour," as it was dubbed, eventually took the band around the world in 2009 and 2010, though they played only a handful of dates in the United States. "When we first got back together, there wasn't actually a lot of interest from promoters in the States in bringing us out," Gould explains. "It was weird; how we're perceived in the States is so much different than in the rest of the world. We have a lot of fans in the States, but the media and the promoters primarily see us as this one-hit wonder that had a hit in 1989, or whatever."
Musically, the band was stronger than ever, thanks to the additional decade of playing under their respective belts. Fans kept their fingers crossed for a new Faith No More album, but the band publicly pooh-poohed the notion, and was reluctant to even discuss the issue amongst themselves. Finally, frustrated with performing set lists made up entirely of old Faith No More songs and various covers, Gould emailed a file of some new music that he'd been working on to the rest of the band.
"I kind of had to break that ice," he says. "Because nobody was talking about making new music. I know I brought it up, but the subject would always change. Nobody ever said no, but nobody ever said yes, either. So finally, I was like, 'I'm gonna say something—at least I'll know where we're at!'" Much to Gould's surprise, everyone responded positively to the track, which eventually became "Matador," the first new Faith No More song to appear in the band's set list in fifteen years.
"Honestly, 'Matador' felt so obvious," says Bottum. "Not in a bad way, but like a comfortable shoe. It felt like somewhere we go typically as a band. We have this language among the four of us that's sort of unique and inherent to people who sort of grow up together; we have a go-to language that we all relate to really well. So hearing it was like, 'Oh yeah, that. I get it!'"
Inspired by the positive band (and audience) reception afforded "Matador," Gould began working with Bordin and Hudson on additional demos for what would eventually become 'Sol Invictus.' "I was very shocked to hear that they'd been working on stuff," laughs Patton. "One night a couple of years ago, I was hanging out with Bill, and he was like, 'I was just working on some stuff. Do you want to hear it?' He played me some stuff, and I was like, 'This is fucking great!' He was like, 'Well, would you like to sing on it?' 'Well yeah, of course!'
"I didn't even know that it was Faith No More music, at first," Patton continues. "But then he told me, 'No, this is stuff that I wrote for us!' And I was a little taken aback… I didn't know what to say. I was flattered, put it that way. I was like, 'Damn! You wrote this shit thinking of me? Like us?' Because my head wasn't even near that space; I was somewhere else.
"Relationships are complicated—put it that way, okay? Maybe some lines of communication [between us] hadn't been exactly open. But I was beside myself, like, 'Oh my god, yeah! Of course! I know exactly what to do!'"