Coheed And Cambria Interview
Claudio Sanchez Talks About The Band’s Latest Album and Band Member
Background
Coheed and Cambria’s albums are concept albums that reveal a science fiction storyline called The Amory Wars, a series of story mediums written by lead singer Claudio Sanchez. The band has released five studio albums, two live albums, and several special-edition releases. In 2008, the band held a four-day concert series, Neverender, during which they played their first four studio albums in succession. Their fifth studio album, Year of the Black Rainbow, which is a prequel to the series, was released on April 13, 2010.
Coheed and Cambria has recently finished their fifth studio album Year of the Black Rainbow. It is a prequel to their conceptual story, having events that take place before The Second Stage Turbine Blade. A novel was released to accompany the album co-written by Sanchez and Peter David. This novel is currently only available with the special edition of the album. The second track from the new album, “The Broken”, was released on iTunes on February 9, 2010. “Here We Are Juggernaut” became available for streaming on MySpace on March 4, 2010 and became available to purchase through iTunes on March 9, 2010. On April 7th, the entire album became available for streaming on Myspace. The album was released on April 13th in both a standard, iTunes special, and deluxe edition (with the deluxe edition including the “Year of the Black Rainbow” novel and a special Year of the Black Rainbow “Black Card” that provides the holder early access to some Coheed shows.
The first three tracks, excluding the instrumental opening track, were released on the Rock Band music store on April 20, 2010. These include “The Broken”, “Guns of Summer”, and “Here We Are Juggernaut.”
What can we expect from the new album?
Expect the unexpected as Chris would say. It’s certainly a mature sounding album, there’s a lot of interesting textures, there’s something for everyone really.
Has your style or sound changed?
We’ve definately explored a lot more territory with this album, as opposed to the past, in terms of the things we used, some of the starting points and the song-writing.
The concept behind the abum?
With Coheed there’s always the concept behind it. The Black Rainbow is not actually a literal rainbow, it’s actually its absence in reality and kinda sparks questions as to how it occurred, is it God or is it a dictator ruling everything and that kinda sparks the creation of Coheed and Cambria to kinda correct what’s happening.
What was it like working with Peter David?
I met Peter David, my co-author, through a friend. I actually knew about Peter’s work on The Incredible Hulk and his creator-owned comic book series, Fallen Angel, but I wasn’t too familiar with his pros work. But my wife, Chandra, actually read one of his pieces called Tiger Heart and she thought it was very strong. So I met with Peter and he seemed like an interesting character, and he posed a lot of questions for the mythology which allowed me to work on it a bit more and allow it to grow. It just felt like the perfect pairing as opposed to some of the people I’ve worked with in the past who didn’t really ask a whole lot of questions…
And you’ve worked with new producers…
For this album we actually chose a production team of Mr Atticus Ross and Mr Joe Barresi, and both have great bodies of work behind them including Teeth, Year Zero, NIN, Tool, and Queens Of The Stone Age. It just felt like the perfect pairing - where one had strengths and one might have had a weakness, if that makes any sense, they very much balanced each other out and brought their own unique approach to the table. It was a great experience for me, it was certainly the most fun Coheed record I’ve made.
How was new drummer Chris?
This is actually the first album that Chris had a chance to participate in. And he definately owns it and he brought an incredible work ethic to the table which made me and the others want to match it. He definitely shines on it - you can definitely hear it on ‘Guns Of Summer’ and ‘The Broken.’
Are you excited about returning to the UK?
I’m excited in general about touring everywhere. I’m really proud of this record and anxious to kinda share it with everyone, so when we return to the UK in June it’s going to be a great time.
So, what’s next?
It’s too far off to really know. I mean right now we’re really focusing on the US run that we’re doing and what kind of presentation we’re going to bring to that tour. And so I’m not exactly sure what it’s going to be for even that. So it’s hard to say and a little too far off to know right now.
Portrait Photos by Davey Wilson
Tarja: Live & New LP
TARJA: THE QUEEN OF METAL OPERA SECOND ALBUM UNDER THE ‘TARJA’ BANNER NOW SLATED FOR A SEPTEMBER 3rd RELEASE VIA SPINEFARM RECORDS UK…
TARJA TURUNEN, former Nightwish front woman and singer supreme, has started the countdown to her second studio album ‘Tarja’ with a major collaboration, recently appearing on Europe’s foremost TV show ‘Wetten Das’ alongside hard rock legends, the Scorpions.
TARJA HAS just announced a headline London date for Wednesday, October 13th – only the third time that the former Nightwish singer has played live in the UK under her own name. The show will take place at the Shepherd’s Bush Empire in West London, with a special guest act due to be confirmed shortly.
More immediately, however, Tarja will be releasing a new track, ‘Falling Awake’, on July 19th as a vinyl 10” only via Spinefarm Records UK. This highly collectible format will be limited to 1000 copies, all of them pressed onto ‘marbled’ vinyl & numbered by hand, and will be available exclusively from online retailer What Records (www.whatrecords.co.uk ).
‘Falling Awake’ is the first track to be released from the forthcoming Tarja outing, ‘What Lies Beneath’ This version of the track differs from the one that will appear on the album in that it features a special guest appearance from Five Finger Death Punch and former Alice Cooper guitarist Jason Hook. Mixing has been handled, as with much of the new album, by renowned UK producer Colin Richardson, whose track record numbers artists such as Slipknot, Machine Head & Bullet For My Valentine.
The B-side of the 10” is ‘The Good Die Young’ – a specially mixed version of the song from the new Scorpions album, ‘Sting In The Tail’, with Tarja’s vocals now more prominent overall. “It was such an honour to be invited to take part in the Scorpions last album,” says Tarja. “I am sure they will keep this particular record in their hearts the same way the fans and I will.”
Tarja has been hard at work on her latest studio album, ‘What Lies Beneath’, the follow-up to 2007’s ‘My Winter Storm’ opus – a record that has now sold in excess of 250,000 copies in Germany alone, picking up gold & platinum awards along the way. ‘What Lies…’ looks set to take Tarja’s unique musical mix of drama ‘n’ decibels to a whole new level of success.
“We worked on 33 songs this time around from which I decided to record 17,” Tarja explains. “It has been great to have the freedom to produce my own record for the first time; these sessions have been such a gift, a real learning process and a true joy. In many ways, it feels like the first time…”
‘What Lies Beneath’ is scheduled for release on September 3rd 2010 via Spinefarm Records UK, preceded by single/video ‘Until My Last Breath’ on August 16th. Further UK shows & festival appearances are being looked into for 2011.
http://www.tarjaturunen.com | http://www.myspace.com/tarjaturunen
http://www.spinefarmrecordsuk.com http://www.myspace.com/spinefarmrecordsuk
Rainer: Story Teller Supreme
In the late 90s a CD album appeared in my collection and I had no memory of how or when I acquired it. Maybe it was this ‘mystical’ appearance that stopped me from playing it for several years… but play it I eventually did. The artist was Rainer and the album was called WORRIED SPIRITS, and the reason I eventually got round to playing it was because in 2002 I received another album by Rainer called THE FARM.
Few other albums have had such an emotional impact on me. There was something about THE FARM that was different but I couldn’t put my finger on precisely what it was. The blues songs and vocals were beautiful and deeply moving, the National Steel guitar work quite extraordinary, the overall ambience live and real.
This album became the subject of a ‘Revelations’ radio show on Wed June 30th, if ou missed it check out http://soundcloud.com/krazyj where you can listen again or download the hour special…
One song in particular almost had me in tears. ‘The Farm’ sounded like a genuine goodbye from someone close to departing this earth…
Someone that I know
Taught me
Without really teaching
About this world now
Not like it was than
And it would rain more often
I remember the farm now
And mamas bright dress
And the look on your face when she left
How did we ever survive
With so much missing
That never came back it just stayed missing
I feel I’m growing radar
Receiving messages
From out in the plains of Kansas
Someone somewhere
Someplace out there
And in my arms now
I feel my baby
And it’s as good as I’ve felt lately
O Lily I love you/don’t know how I ever
Got by without you
Never gonna leave here
Never gonna change that
No matter how many come to lay me flat
It was on hearing this song that I read the album’s sleeve notes, and realised what I had been listening to…
Liverpool Summer Pops 2010
LIVERPOOL SUMMER POPS FESTIVAL 2010: http://www.cmpentertainment.com/
The summer pops return once again to the banks of the Mersey. This year with an added ‘Fringe’ event, something for everybody at this exciting festival of sound!
We at ’shake’ hope to see you all there enjoying some of the best artists to be found anywhere in the world, each year the ‘pops’ strives to be bigge and better and with the summer heat in full force there can be no hotter place to be than the home of rock n’ roll… Liverpool…
Wednesday 7th July 2010 – Liverpool Echo Arena
CROSBY, STILLS & NASH
£40.00 (a limited amount of Gold Circle and VIP tickets available)
Friday 9th July 2010 – Liverpool Echo Arena
STATUS QUO
£32.50 (a limited amount of Gold Circle and VIP tickets available)
Saturday 10th July 2010 – Liverpool Echo Arena
BEATLES DAY – THE CONCERT
£24.50 (a limited amount of Gold Circle and VIP tickets available)
Friday 16th July 2010 – Liverpool Echo Arena
JOOLS HOLLAND AND HIS RHYTHM & BLUES ORCHESTRA
£29.50 (a limited amount of Gold Circle and VIP tickets available)
Wednesday 21st July 2010 – Liverpool Echo Arena
ROD STEWART
£60.00, £70.00 (a limited amount of VIP tickets available)
Sunday 25th July 2010 – Liverpool Echo Arena
ZAPPA PLAYS ZAPPA
£27.50 (a limited amount of Gold Circle and VIP tickets available)
Saturday 31st July 2010 – Liverpool Echo Arena
THE AUSTRALIAN PINK FLOYD SHOW
£32.50 (a limited amount of Gold Circle and VIP tickets available)
Electric Picnic: Ireland 2010
Electric Picnic extends another warm invitation to all lovers of music, art, culture and general frivolity to our annual little get-together in Stradbally, Co Laois, 3rd, 4th & 5th Sept. A world ready to entice & enthrall you, tickle and tease you.
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Soilwork: The Panic Broadcast
There are few artists that need no introduction, but Sweden’s SOILWORK are definitely one of them. Hailing from the town of Helsingborg, their reputation as one of the country’s finest exports is well-deserved. Few bands have melded the aggressiveness of metal with genuinely catchy choruses to such impressive results. Before you start name-dropping the latest metalcore sensation, let’s just get one thing straight: SOILWORK did it first, and better! One listen to the band’s latest album, “The Panic Broadcast”, makes it obvious that they’re still miles ahead of the competition.
SOILWORK – which is not a reference to cultivation, but to working their way up from the ground – have established a solid reputation alongside fellow countrymen prodigies like In Flames, Meshuggah, Arch Enemy, Dark Tranquillity and The Haunted. Surfacing in 1997 with a five-track demo, “In Dreams We Fall Into The Eternal Lake”, SOILWORK commenced with four individuals, expanding members prior to their first full-length release. “Steelbath Suicide”, the band’s official debut, saw the light of day in 1998 and immediately caused a major positive stir in the metal underground. Undergoing a small line-up change, the band once again entered Studio Fredman and created “The Chainheart Machine”, one of the year 2000’s most intense and remarkable metal releases. Exploring more dynamic structures, the album showcased evident musical growth and provided the necessary elements to commence sculpting the SOILWORK sound.
In 2001, “A Predator’s Portrait” hit the metal scene with ferocity, capitalizing on the songwriting strengths and diverse musicianship of the band and taking fans and critics by surprise. Continuing to smash metal boundaries through melodic chaos and high-speed delivery, SOILWORK’s expanded sound set them apart from the rest of the Swedish contingent, opening their music to a wider prospective audience. Highlights for the band that year included their performance at Wacken Open Air in front of more than 20,000 fans, as well as their first-ever American appearance at the Milwaukee Metalfest.
Hitting a potent blend of aggression and melody, SOILWORK stepped it up like pros for the critically acclaimed “Natural Born Chaos”. Released in 2002 and produced by Strapping Young Lad mastermind Devin Townsend (Stuck Mojo, Lamb Of God), SOILWORK reached a whole new level on their referential fourth outing. The album showcased a staggering performance from frontman Björn “Speed” Strid, ranging from the thrashy vocals he established on previous works to the harmonic arrays of choral stability, and displaying enough talent, ability, dexterity and confidence to take SOILWORK’s music into virtually any direction. This highly successful release landed the band’s first American tour supporting Hypocrisy, Killswitch Engage and Scar Culture. Never slowing down, SOILWORK birthed “Figure Number Five” in the following year. Yet another step ahead for the Swedes, this potent piece of energetic metal led to two more massive American tours alongside acts such as Chimaira, In Flames, As I Lay Dying and Bleeding Through, as well as highly successful tours in Europe, Japan and Australia.
With new drummer Dirk Verbeuren on board, 2005 saw the release of the band’s sixth album “Stabbing The Drama”. Followed by some aggressive US touring with the likes of Fear Factory, Darkest Hour, Strapping Young Lad, Dark Tranquillity, Hypocrisy, Mnemic, Darkane, Threat Signal and highlighted by a spot on Ozzfest’s second stage alongside headliners Black Sabbath and Iron Maiden on mainstage, the record quickly became their most successful so far. In December of 2005, in the midst of all this road warrior madness, longtime guitarist and founding member Peter Wichers left to pursue a career in producing. But nothing could stop SOILWORK’s bulldozing momentum as they soldiered on with the help of several fill-in guitarists.
After some rigorous auditioning, a suitable replacement was found in the form of Dimension Zero/Pathos guitarist Daniel Antonsson. With a strong line-up in place once again, SOILWORK released their seventh album “Sworn To A Great Divide” in the Fall of 2007. For the first time since “Natural Born Chaos”, Björn “Speed” Strid collaborated again with musical genius Devin Townsend, resulting in some of his most diverse vocals ever and ultimately some of the band’s strongest material. Massive touring ensued: after supporting Lamb of God and Killswitch Engage on a full-blown US arena tour, SOILWORK conquered Eastern territories such as Russia, Taiwan and Malaysia, followed by headlining stints in Japan and Australia as well as a plethora of Summer festivals, culminating in a direct support slot for Metallica in Madrid in front of 50,000 crazed fans.
After a short but well-deserved break, the news came that former guitar player Peter Wichers was ready to join the forces again. SOILWORK welcomed him back with open arms, reinforcing their strength and hunger in the process. Dirk Verbeuren’s bandmate in Scarve, guitarist Sylvain Coudret, completed the new line-up which instantly embarked on a European tour and an 8 week North American marathon, before starting work on what was to become their ultimate masterpiece.
Set for release in July 2010, “The Panic Broadcast” showcases a newly energized SOILWORK, steering clear of all conventions and, as “Speed” eloquently put it, fully embracing the “bigger than life” ethos. Everything on this eighth album is indeed bigger, better and stronger, from the massive real-life production courtesy of Peter Wichers and Jens Bogren, to the catchy yet adventurous songwriting and the stellar musical performance of what is without a doubt the band’s strongest line-up to date, including longtime members Ola Flink on bass and Sven Karlsson on keys. A living proof that SOILWORK have matured without losing their edge, “The Panic Broadcast” will most certainly take the world by storm!
SOILWORK are a masterful incarnation, taking modern metal to the next level and thus generating a whole new genre of prolific music. Even the legendary metal god Rob Halford (Judas Priest) named them a band to watch for in the new millennium! With eight albums behind them, SOILWORK have managed to create a distinctive sound in metal, effectively building a dedicated fanbase with each successive release and displaying the accomplishments of a rigorous and persistent devotion. They prove to be the living embodiment that a propitious act can turn out to modernize the face of music.
Guitarist, songwriter & producer Peter Wichers has recorded a track by track breakdown for the band’s upcoming album “The Panic Broadcast“!
Check it out below:
“THE PANIC BROADCAST“
01. Late For The Kill, Early For The Slaughter
02. Two Lives Worth Of Reckoning
03. The Thrill
04. Deliverance Is Mine
05. Night Comes Clean
06. King Of The Threshold
07. Let This River Flow
08. Epitome
09. The Akuma Afterglow
10. Enter Dog Of Pavlov
www.soilwork.org | www.myspace.com/soilwork | www.nuclearblast.de/soilwork
Download 2010: Planet Rock!
Download Festival 2010…
Planet Rock Radio had a competition for a ‘Listener’ to go to Download. All they asked in return was for a review. The winner was Beth Charlesworth & this is her Download!
Managed to get Friday off at short notice, took a train up there around Friday lunchtime and set up camp in time to catch the first band I wanted to see (Anathema), although it seems I was not well enough acquainted with their back catalogue to know most of their set. Then went to the main stage via the bar because Killswitch Engage were on and I just knew they’d play their famous cover of Holy Diver as a tribute to Ronnie James Dio. They did indeed, as their final song. I stayed back away from the crazy pit that kicked off as a result and was therefore able to raise a pint of cider to the memory of the great man as they played.
Stayed put for a couple of songs by Them Crooked Vultures, but whenever I’ve heard them on the radio, they’ve always sounded like the lowest common denominator of the three famous components (Queens of the Stone Age, Led Zeppelin and Nirvana) and so it proved live, so I quickly got bored and went to find some dinner. After another trip to the bar (wine this time: with AC/DC up next, I had to have a whole lotta rosé!), I found a suitable position in which to watch the headliners.
Good old Acca Dacca delivered in spades. I doubt most of the blokes in the crowd were actually paying the band as much attention as they deserved, because of the sheer numbers of girls getting lifted on peoples shoulders and flashing their tits when the cameras for the big screens were on them, but from where I was standing (not on anybodys shoulders, and I kept my kit on: tartiness has never been my style) they put on one hell of a show. They brought the huge steam engine, the inflatable Rosie, the huge Hells Bell (on which Brian Johnson swung), and a formidable battery of cannons but more importantly, they brought the killer riffs of all the anthems I’d been waiting years to hear and the energy of guys half their age.
Got in at opening time on Saturday and headed directly for the second stage, where Rise to Remain opened proceedings. Austin Dickinson (son of Bruce) tries very hard not to sound like his father, taking Howard Jones of Killswitch Engage as a role model instead, so there was a risk that with both on the festival bill, this would be a case of deja entendu, but he is sufficiently dissimilar for it to work and although he sometimes growls the patter with audience too, a lot of what he says sounds reassuringly familiar. The band specialise in fast, heavy, melodic riffs and slower, soaring choruses, and have already made quite a name for themselves: the crowd the length of the second stage barrier must have been at least 8 or 10 deep at 11am. Listening to them, I could tell why. Found myself wishing Bruce’s Rock Show email was still active so I could fire off an email to him in the States and let him know the lad had done well.
No use moping about that, of course, because Hellyeah were about to start a cracking set on the main stage so I headed over to hear their blend of thrash metal and classic Southern rock (via the bar - because it would’ve been sacrilegious to hear them play Alcohaulin Ass without a drink in my hand). There was a long break to take in the general atmosphere of the place before Megadeth came on. I am not that enamoured by some of the tracks on their latest album for lyrical reasons, and of course they started with those, Mustaine’s diction painfully clear. But once they got onto the classics, including a sizeable chunk of Rust in Peace to celebrate David Ellefsons return to the band, and an emotionally-charged rendition of Trust everyone got caught up in it and just let the hell loose.
Made a detour to the Bedroom Jam tent for Breed 77. Thought I’d be able to get to the front, but only made the third row and therefore got inadvertently caught up in a pit, when I’d never imagined there would be one. Breed really went for it, to the point where it felt like there was electricity sparking off them. If you went to see them instead of the football, you got rocked senseless.
Wish I could’ve said the same for RATM. Stayed well back for that one, because only a fool goes anywhere near a pit when Rage hit the stage, and got completely ratted beforehand to help myself get into the spirit, but it was no use. Zack de la Rocha went off on one of his rants and I just switched off.
Crystal Castles: CRYSTAL CASTLES (II)
Crystal Castles - CRYSTAL CASTLES (II) - Fiction Records
It was a little over two years ago that Crystal Castles released their debut album amidst a mass tide of electro pop that was sweeping the nation, yet they stood out amongst the crowd back then and received plaudits from critics and fans alike. Since then, of course, the world and his wife have all bought second-hand synthesisers, with a view to gaining a slice of the action. So does the second edition of the Crystal Castles discography still rise above the rest? Well, despite little departure from the debut, the answer is yes!
There’s the same amalgam of nineties dance influences such as house, trance and rave and a clear leaning towards the big beat of The Chemical Brothers. The execution has a bold vibrancy to it, which is what separates the Canadian duo from their counterparts. Much of the current synth pop output is disingenuous and so to find an honest, committed record like this is actually somewhat refreshing. It does suffer from a lack of pace change though, as the bass drum pumps out dancefloor monotony throughout, broken up eventually by the superb ambience of “Violent Dreams.” The other variation comes in the form of the Faithless pastiche of “Baptism”, which stands out as one of the finer moments in the set.
I remain unconvinced at the long-term validity of the genre and won’t bear any disappointment when it does fizzle out. But when I do cast a glance back at the few finer exponents to be born out of it, I am sure Crystal Castles will be on that (short) list. Chemical Brothers they are not, but this album exceeds the latest offering by messrs Rowlands and Simons, by some measure!
3.5/5
www.myspace.com/crystalcastles
TC
The Mission: Dum-Dum Bullet
THE MISSION ***New ‘Dum-Dum Bullet’ Compilation Album Of Rare B-Sides, Unreleased Demos And 7 New Tracks Released July 5th On SPV / Oblivion***
The Mission, who split in 2008, release their final album, ‘Dum-Dum Bullet’, a new 14 track compilation of rare b-sides, previously unreleased demos, new songs left over from their 2007 ‘God Is A Bullet’ album sessions, plus a brand new extended remix of album cut ‘Dumb’ by Mission guitarist Mark Gemini Thwaite, on July 5th on SPV / Oblivion.
Wayne Hussey explains; “The vast majority of these songs were recorded at the same time as the ‘God Is A Bullet’ album. The band were enjoying a very creative and productive period and obviously had a lot of surplus material left over which I have recently found the time and inclination to complete. Some of these tracks made it to single B-sides and extra tracks etc, but only three of which having previously made it onto limited edition CD release. A couple of tracks here are, in fact, just Wayne Hussey demos, and a couple more tracks would be stretching the truth a little to actually call them Mission tracks as there is no one else performing on them apart from yours truly. But that’s not the first time that that has happened…It’s an album of curios, that will maybe raise a little debate amongst Missionaries; an album of could-haves, would-haves and should-haves…”
The Mission were formed in late 1985 after Wayne Hussey left the Sisters Of Mercy. Since then they have racked up 14 top 40 UK hit singles, sold over 4 million albums, toured the world countless times and headlined some of Europe’s most prestigious festivals. Select highlights of The Mission’s career include seven sold out consecutive shows at the London Astoria, headlining the Reading Festival twice and gigs with the likes of U2, The Cure and Robert Plant.
Tracklisting:-
1. ‘It Don’t Matter Anyhow’ (previously released as an extra track on the ‘Keep It In The Family’ EP)
2. ‘Refugee’ (previously released as an extra track on the ‘Keep It In The Family’ EP)
3. ‘Room 22’ (new song)
4. ‘Chelsea Blue’ (previously only available digitally in Europe as an extra track with the ‘Blush’ single release)
5. ‘Acoustic Blush’ (previously only available digitally in Europe as an extra track with the ‘Blush’ single release)
6. ‘Thine’ (previously only available digitally in Europe as an extra track with the ‘Blush’ single release)
7. ‘So Many Things’ (new song)
8. ‘Still Deep Waters’ (instrumental, previously unreleased)
9. ‘Katya’s Lullaby’ (new song – Wayne Hussey demo)
10. ‘Aquarius & Gemini (a cappella , previously unreleased)
11. ‘The Earth You Walk Upon’ (new song)
12. ‘Stranger In A Foreign Land’ (new song – Wayne Hussey demo)
13. ‘Blush Remodel’ (previously only available digitally in Europe as an extra track with the ‘Blush’ single release)
14. ‘Dumb’ (Dambusters 617 Squadron mix by Mark Gemini Thwaite – previously unreleased)
Murderdolls Women & Children Last
Thursday June 17th sees the infamous MURDERDOLLS premiere a new track from their forthcoming album ‘Women And Children Last’ over at www.roadrunnerrecords.co.uk. This is the first new music from the band since the release of 2002’s ‘Beyond The Valley Of The Murderdolls’, which sold well in excess of 60,000 copies in the UK, gaining Silver status. UK fans should head to the site at 5pm GMT to check it out!
The track ‘My Dark Place Alone’ will be streamed in advance of a free MP3 giveaway of the track, which will commence at 4pm UK time June 22nd at www.roadrunnerrecords.co.uk and last for 48 hours. For anyone who misses the giveaway, the track will be available as a digital single on July 4th.
The undeniable pairing of Slipknot’s Joey Jordison [guitar, drums] and Wednesday 13 [vocals, guitar] is more precisely pissed-off than ever before. For Jordison, who is spending the summer of 2010 touring with Rob Zombie, this album is the start of something very important. “I consider Women and Children Last the first Murderdolls record,” exclaims the multi-instrumental mastermind. “The music is so much heavier now. Murderdolls haven’t lost the fun, crazy vibe, but the topics are smarter. Beyond the Valley of the Murderdolls was like a sketch and this is the real painting.”
To paint this picture with just the right palette of anger and insidiousness, Wednesday dug deep. He declares, “It’s definitely personal. I’ve been doing campy horror lyrics since I was 15-years-old, and I wanted to expand byond that.e For the new Murderdolls, I wanted to keep the humor and violence intact, but I wanted to show a different side of the band. I’m singing about life this time, instead of Dracula. If you really want to get down to it, we’re a sex-drugs-rock-n-roll band more than anything.”
‘Women And Children Last’ will be released in the UK on August 30th. The band will join label mates Korn on the UK Ozzfest date at London’s O2 Arena on September 18th.
Info on the band can also be found here: http://www.roadrunnerrecords.co.uk/artist/Murderdolls
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