Police Investigating B.B. King Murder Claims

McKagan had this to say about the break up, "I think every band is different, for sure. With our band, it was a lot of things. We just got really big. Once we started getting big, we got really big really fast. And there's no 'how-to' instructional manual for that thing, what happens to your life. We just fall into every kind of stupid typical thing that we thought we'd never fall into."

"The sensation of finalizing our newest album is one of relief and joy, wrapped within a massive whirlwind of excitement," says Cazares. "We really feel this is a very special Fear Factory album.

"While being careful not to replicate ourselves, this album still has a very classic Fear Factory vibe that we feel will appease both old and new fans. The aggressive, melodic and industrial elements are all intact and shine more than ever.'

"Burt and I produced the album with Rhys Fulber co-producing. Damien Rainuad and Giuseppe Bassi handled most of the keys and pre-production. We also enlisted the masterful metallic skills of Andy Sneap for an amazing mixing job!"

Taylor tells Kerrang (via Blabbermouth), "I take a lot of 'popular music' to task and people who are hailed as geniuses but didn't really earn it. Some of the things that come out of these people's mouths are just f-ing unbelievable."

He also took exception to Fall Out Boy's recent album title. "I've got a couple of friends who are in this band, but Fall Out Boy saying they're going to 'save rock 'n' roll' � Are you f-ing kidding me? You? With the s-t that I've heard for the last two albums, that's you saving f-ing rock and roll? No, I don't think so."

He then ties that album title in with recent claims by Gene Simmons of KISS about the state of the rock music scene by saying and how he doesn't see things the same way, "But whether it's Fall Out Boy saying they're saving rock 'n' roll or Gene Simmons saying rock is already dead, I'm standing here with sold out shows, a No. 1 album around the world and I'm going, 'Really? When did this happen?'"

The tour will also feature sets from Born Of Osiris, Veil Of Maya, The Acacia Strain, Obscura, After The Burial, Cattle Decapitation, and Beyond Creation.

The tour will be kicking off in Denver, Co. On July 28th at The Summit Music Hall and the announced dates will be wrapping up on August 23rd in San Francisco, CA at The Regency Ballroom, with more dates still to be announced.

Clown tells Loudwire: "It takes six months to make a record, so it could be as early as the first quarter of 2017. We're in the rhythm of writing all the time, which is a very helpful tool. It's not anything that won't get used. Usually if we're writing, it's passion."

The fall trek will be dubbed The Tour Majestic and will feature support from Hatesphere. The tour will be kicking off on November 27th in Malm�, Sweden and concluding on December 19th in Lyon, France.

Soilwork Dirk Verbeuren had this to say about the tour, "It's been ten years since an unforgettably epic European tour with our brothers in Hatesphere. Now that our tenth album is almost ready to be unleashed, we can't wait to once again share the stage with Hatesphere and bring you another monumental dose of top class melodic death metal!"

"In The Line of Fire" was captured during the band's Ultimate Stage headline set at the Loud Park Festival in the Saitama Super Arena, Japan back in 2014.

The DVD was mixed and mastered by Damien Rainaud in Los Angeles, CA., produced and edited by Herman Li and will include the following songs: "Fury of the Storm," "Three Hammers," "Black Winter Night", "Tomorrow's Kings," "Seasons,"" Symphony of the Night," "Cry Thunder," "Ring of Fire," "Through the Fire and the Flames" and "Valley of the Damned."

"Although I paid nearly double the asking price, I felt as if I had to get involved, especially after hearing the plight of fans who had failed to raise the necessary funds to buy the house owned and lived in by one of the musical heroes of my youth," Goldman said.

"Joy Division left a musical legacy which has influenced many of today's bands. The Joy Division legacy deserves to be taken into the 21st century, to raise awareness into one of the most seminal bands in the history of contemporary music."

While proud of everything he and Max achieved with the band before Max left in 1996 and he walked away 10 years later, Igor says it's tough to see the band continue with vocalist Derrick Green and drummer Eloy Casagrande in their places.

Cavalera - who now plays with Max in Cavalera Conspiracy - tells AntiHero: "It's tough, because, of course, we're super proud of everything we've done with Sepultura. The little thing that bugs me is that I think they're deteriorating the brand itself of Sepultura with fans by doing the tours and continuing without me and Max being there. So it's tough. But at the same time, there's nothing that we can do about it. We've gotta do what we do and keep playing."

He tells Metal Injection: "I've talked to all of those guys except the bass player, and he is the one that has it in for me. Some of these musicians like to use this term 'lead singer's disease,' and I think that's a way of dealing with the extra attention that the frontman gets.

Producers have released a trailer for the game last week featuring NIN track The Wretched, and tweeted: "Please join us in thanking Trent Reznor for his vision."

Originally called Moral Minority, the band featured a singer called Brian who left before a name change to Glut Trip and the addition of a new singer, Roger Smalls.

Sult tells My Global Mind: "Neil sang on the second Moral Minority demo if I remember correctly. Then Brian decided he wanted to be the singer and wanted Neil to do samples. Brian got really into Ministry and he wanted to do a Ministry type thing.

Tuck tells Kerrang (via Blabbermouth): "We've got massive hopes for this album. We truly believe it's going to be the biggest metal record of the year. We've had these feelings in the past and we've always been spot on, but this one feels way more special than anything else we've ever done. So fingers crossed, it's going to do what we want it to do."

While his second outing was inspired by 19th-century material, its follow-up is based in current times, which suggested a different direction to him. Wilson tells the Boston Globe: "For me, the concept is always responsible for the musical palette.

"The Raven was an album where the underlying concept was the classical ghost story, with an emphasis on so-called 'Gothic' fiction. That suggested to me a more vintage musical palette.

"Now, here's a concept that's set in the heart of the city in the 21st century. To me that says, 'Okay, you're going to need more electronic sounds, almost semi-industrial sound design, if you want to reflect life in the heart of a metropolis.

"This is a song about living...," says frontman Dave Terry, "weathering the storm, standing unyielding against the forces that assail us on all sides, revelling in the short time we have to live, knowing that whatever may befall us, this time will never be undone; we will always exist, in the past, from today to the most distant of futures."

The band expect to release the new album this fall via Prosthetic Records and the effort will be feature their new bass player Michael Cosio (ex-Abysmal Dawn).

Drummer Mario Moreno had this to say, "2014 was a great year for Exmortus and the campaign for 'Slave to the Sword' has been relentless since its release. This year has been a little quiet for us but with good reason.

"We're excited to announce that we'll be entering the studio at the end of this month to once again record with the mighty Zack Ohren. Zack did a phenomenal job on 'Slave to the Sword' and we're ready to record some more bone-crushing, face-melting shred for you all!"

The band launched their self-titled fourth album in October. Last month frontman Mike Duce said their belief in music had been rekindled after a period in which they "lost their way."

The all ages show is in honor of the 20th Anniversary of the "Glitter n Glam Rockfest" shows that once ruled the Hollywood underground glam rock/shock rock scene of the mid-late 90s and includes sets by Rebel Rebel, Willow Wisp and Molly Vamp. Doors open 8pm.

The 2015 Spiders & Snakes lineup is comprised of band co-founders Lizzie Grey (London, Ultra Pop), on Lead vocals and Tim Yasui (London, Ultra Pop) on drums/Lead/backing vocals and long-time band members Phil St. Vincent on Bass/Lead/backing Vocals and Chris Sheridan (Sweet Savage/James Kottak) on Lead Guitars/Lead/backing Vocals - the very same lineup who recorded the band's ninth studio album "Year Of The Snake" and that is currently on tour this summer in support of this new album.

Year of the Snake features appearances by Billy Sherwood (Yes, Circa), Angelo Moore (Fishbone), Ryo Okumoto (Asia feat Jon Payne/Spock's Beard/Aretha Franklin), Betsy Bitch (Bitch) and Rik Fox (Steeler, Wasp) and was produced by Gavin Ross in Burbank, California, mixed by Anthony Focx (Steven Tyler, Vince Neil, Nightranger, Ted Nugent) in Nashville, Tennessee and mastered by Maor Appelbaum (Yngwie Malmsteen, Rob Halford, Sepultura, Yes) in Los Angeles, California during the Chinese calendar Year Of The Snake.

The festival - which is in its fourth year - will take place in most of Camden's venues, pubs and bars, including Electric Ballroom, Underworld, Proud Camden, Barfly, Jazz Cafe and Dingwalls.

In last week's Radio.com Minimation, Slash told us the story of how he ended up playing guitar on Michael Jackson's 1991 album, Dangerous. The two artists hit it off pretty well. MJ was used to playing with great six-stringers (he'd worked with Eddie Van Halen and Steve Stevens on previous albums). And Slash was used to working with eccentric singers (perhaps you've heard of one W. Axl Rose?).

And so, Slash did a few shows with the King of Pop as his special guest. Of course, MJ already had a guitar player - namely Jennifer Batten, a face-melting soloist in her own right. But no matter how good you are at your instrument, when you're in Michael Jackson's band, there are rules you must follow. Such as, taking part in on-stage choreography. So, it's understandable that she figured, he she had to learn to dance, Slash would as well.

Slash, who at the time was a member of Guns N Roses, the baddest band in the land, was pretty firm on his stance: He was not going to dance. As he told Radio.com, Batten was "losing her mind about it."

At that point, Michael got involved, taking her down to "the sports bathrooms" (i.e. the locker rooms) and moderated. Spoiler: Slash didn't learn choreography.

I wanted to write about a track from our new record American Spring. I think out of all of the songs in our bands history "Brandenburg Gate" is maybe the greatest example of how up for interpretation music can be.

For me it started in a real personal place. Before writing this record I had what I believed to be the most important relationship in my life end. I was searching for self worth and identity. Forced to face and work on things that ultimately could have been the same reasons for my relationships end. In my mind, the lyrics were not metaphorical. I had particularly difficult moments in Berlin, I was referencing those in the song. Knowing that Anti-Flag is not the type of band to put ourselves first I was worried at how my band mates would react to the song. I was worried they would have no personal attachment to it, and it's our experience as a band that those are the songs that die. The ones where all 4 of us are not whole heartedly behind either never see the light of day or are recorded and never played live. So hesitantly I brought it to the others.

Pat (the drummer in Anti-Flag) had a completely different view of Brandenburg then anything I could have seen. I was too close to it. His zoomed out perspective on the lyrics created this backstory about a love song for socialism. My imagery of Berlin and the Brandenburg Gate became a metaphor to Pat for socialism being seen as untouchable in America. How vastly far away universal health care and education seem to be to us in the states. He had parallels for each line. Ones that I would never had seen. We then shaped the remainder of the lyrics to both mirror and reference my emotions but our collective understanding of how no matter how far away the things you want or believe to be important or things you know to be just, they are attainable. The Brandenburg Gate was locked away during the era of the Berlin Wall. Closed form society. It now stands alive, tourists flock to it, it's a meeting point, a protest square. It was once also untouchable, these "socialist" ideas of treating humanity with the respect it deserves will not be untouchable for much longer.

(Side note. Having Tim Armstrong sing on the track was unbelievable to us. Having him sing the word "salvation" made my inner punk rock kid believe that anything is possible.)