Click Here To Bookmark DayInRock.com - Make The DayInRock.com Your Homepage - RSS feed
Guns N' Roses will launch their 2020 shows at the 2020 Bud Light Super Bowl Fest in Miami, FL on January 31, as part of Super Bowl weekend in the city, with a series of Central and South American dates to follow in March and April.
Slash recently reconfirmed that the reunited group has been actively recording new music for what would be their first studio album since 2008's "Chinese Democracy", and first with the guitarist since 1993's "The Spaghetti Incident?" See ticket on sale detailshere.
"First of all, this is a must-see show," Thayer tells David "Gus" Griesinger of BackstageAxxess (see video below). "If you haven't ever seen KISS, this is definitely your last opportunity to come to see the show. It's something you never want to miss. At least once in your lifetime, you've gotta see the show. This show is built, as you've seen, it's the biggest one we've ever done and I'm not just hyping it. It's really incredible. We put a lot of time and effort into preparing for this in the first place. It's really paid off. The reviews, the response from fans, everybody across the board has been phenomenal.
"The shows have been sold out or close to sold out. I think we've played for almost two million people in 110 shows in 2019. The tour is going to go through 2020 and into '21. Our last show is going to be in New York City on July 21, 2021, but we're not announcing what venue it is yet. We have an end date now that we're going to work toward, so that gives a little more perspective to really this is the end of the road and everybody can see this is the schedule moving forward.
"Now is the time to come see the show," urges the rocker. "Even if you saw it last year, we're going to come out with new songs in the set starting February 1 on this leg, and revamping and freshening it up for 2020." Watch the interviewhere.
Lars wrote on Instagram, "Reed.. Thank you for the crazy good times we had together. Thank you for always having the biggest smile on your face. And thank you for the f***in grooves and that pocket that was all your own...making Corrosion Of Conformity swing like nothing else! Rest In Peace brother."
The band broke the sad news of Mullin's passing on social media on Monday. They wrote, "Reed, It's with heavy hearts that we say goodbye to a friend, a brother and pioneer. Love and condolences to the family, friends and fans who will miss you and thanks for the music"
Initially entering a Los Angles hospital for a 'small procedure' over the Christmas holidays, the rocker experienced a slight setback dealing with a virus after being diagnosed with Pleurisy of the right lung - a form of pneumonia - before being eventually released after a week's stay.
Black Star Riders have just released a video for their new single, "In The Shadow Of The War Machine", from 2019's "Another State Of Grace" album.
"The track describes the condition in which we all currently live in: a world where economical interest prevails over the common good; a world where we are forced to face constant uncertainties," says the band. "The music perfectly reflects the content: the pounding rhythm of each verse echoes the oppression of the war machine; the heavier and more aggressive chorus underlines the frustration we feel rising every day." See his Instagram post and the videohere.
The 20 Years of Bad Luck Tour will be kicking off on May 28th in St. Louis, MO at The Pageant and will wrap up on July 2nd in Nashville, TN at the Cannery Ballroom.
The band had this to say, "In our early years as a band, we never would have imagined that we would have been celebrating twenty years but we did always know that we wanted to be the kind of band that stood the test of time.
"While we wanted to celebrate the music that we have made over the last twenty years, we also wanted to be able to thank the fans for always allowing us to be who we wanted and for all the support." See the dates here.
According to the album announcement "There are lo-fi four-track tape recordings, there are songs recorded with a single microphone in a basement, there are big studio fully-produced hook-laden pop songs, and there is a LOT in between." Listen to the track here
Robert Pollard and co will be supporting the new album with the launch of a U.S. tour this spring that will be kicking off on April 3rd at the Ottobar in Baltimore. See the dates here.
The new visual is from a track from The Three Tremors-The Solo Versions," 3-disc package which features each of the singers (Tim 'Ripper Owens of Judas Priest Iced Earth fame, and Sean "The Hell Destroyer" Peck of Cage, Death Dealer, and Harry "The Tyrant" Conklin of Jag Panzer, Satan's Host, Titan Force) singing the songs from their self-titled debut. Watch the video here.
Sean had this to say, "This video has some cool footage from our recent round of touring and speaks to the state of our media world we live in today where free speech is constantly under attack. Heavy metal has always been on the frontline defending and rebelling against censorship in all of its forms."
Harry commented, "This reminds me of what it was like to be in high school and rocking out in your bedroom to heavy metal feeling like it was you against the world!"
Tim added, "This is one of my favorite songs on the record and it this radio edit version rocks. I like what they did with it and we felt strongly that is deserved a video to hammer home the strong message it has."
Fans can catch them on the road for their just expanded U.S. tour. See the dates here.
The band will be joined by Carousel Kings at the 12th annual festival and their performance will take place Friday, May 1st, 2020 at Chameleon Club.
LAUNCH founder/director Jeremy Weiss and former tour manager for The Juliana Theory had this to say, "We are ecstatic that The Juliana Theory accepting our invitation to perform at LAUNCH 2020! This band crafted some of the single greatest, time-honored Indie and Emo songs of their generation.
"Alongside close contemporaries like Jimmy Eat World, Saves the Day, The Get Up Kids, My Chemical Romance, Sense Field and more, they are part of the blueprint of modern indie music.
"To be able to hear classic tracks from their "Emotion is Dead" and "Love" albums, in their originally written, intimate, acoustic forms is an additional, major bonus!"
The song comes from their forthcoming "The Emergency" EP and is their first new track since 2018's The Awakening. The song will be hitting digital retailers on January 31st but fans can check out a lyric video here.
Frontman Ron Winter had this to say, "This song was just really fun from the beginning to the end. It's the story of how I met my future wife. As I was producing the lead vocal, the engineer tracking me stopped and said, 'This is crazy. I was here this night!' And he was there, so that was proof to me I really captured the essence of the occasion lyrically.
"It's a melodic roller coaster of nervous excitement, like when you first meet someone special. This is a fun, unashamed love song straight from the emo playbook. Don't quit before the end because this song rides hard until the wheels fall off!"
Paul Martin had this to say about the song and video, "Perspective is so important, more-often-than-not, the difference between our happy places and our darkest spaces is just the angle we are looking from.
"This song is about the journey and the challenges you need to face when you feel lost. It's saying it's fine to ask for help." The video can streamed here.
Martin also had this to say about the album, "We wanted to reflect the diversity, strength and depth of the songs on the album with an undeniable declaration.
"We are so very excited to share these songs, we are extremely proud of how far we have come and what we have achieved with this recording."
The special shows will be celebrating the 20th anniversary of the acclaimed album and will be taking place on April 13th in Portland, Or and April 19th in Dallas, Tx.
These anniversary shows are in addition to the band's previously announced spring tour dates that launch April14th in Spokane, WA at the Fox Theatre. See all of the dates here.
The song "Shadowlands" is far and away my favorite from a crop of songs that, for the first time in a long and varied career, I'm proud of.
It's a Grimms fairy tale of a record, a sticky, dark-forest confection of a disc, an infection vector that slithers between muscle and bone, gently dislocating and dislodging. If you squint, it sounds like the memory of the girl you had a huge crush on in high school who suffered a harrowing car accident, and though intensely disfigured, she remained eye-wateringly gorgeous and majestic even in her brokenness. It's the sound of seeing her again, years later, and you realize you're still irredeemably attracted to her, your eyes drawn to her as she carries herself with a fragile grace through the abandoned car park. "Shadowlands" had to fit within that landscape and yet stand out.
It had sat in Martin's file bank of potential songs for over a year, cobwebbing itself into obscurity, and I loved it as soon as I heard it, its ethereal quality so unlike anything I've ever worked on before. It felt like an honor to work on a track that's not only so far outside of my stylistic realm but also so much richer and more demanding than anything I'd ever been a part of. The more I listened to it the more powerful it became, cycling around like a some beautiful but slightly damaged bird above my head, and the longer it circled the larger it became. The best part was, the lyrics were right there, woven into the very fabric of the song. I could almost hear them calling to me out of the mists. Almost. It loomed in my thoughts all of the time, but my pen, and my keyboard couldn't quite find the code to unleash all those glorious images I had locked in my head. I sat with it and tossed lyrics at it, but the melodic shape seemed to drift. It started to bug me that I couldn't get words to stick to it. I spent hours woodshedding the song, trying one approach after another. I rewrote the lyrics completely. I slowed it down. I sped it up. I started in the middle of the song, repeating a specific part of it over and over and over and over and .. bubkis. So I put it down for a little while, stopped trying to lasso it. It didn't help. Though I'd put it away, "Shadowlands" didn't exactly leave my airspace. For weeks and weeks and weeks, it fluttered at the periphery of my vision, teasing and taunting, the lyrics flitting by as bats in the dusk, never revealing themselves to me.
Yeah, the lyrics were woven into the fabric of the song, but for the life of me I couldn't find a thread loose enough to pull any of it free. It felt like a huge defeat, piquing my ever-present feelings of inadequacy and failure, and I tumbled into a pit. It churned up to the surface the demons I battle every day, the profound and deeply barbed sense that I'm a fake and that nothing will ever change no matter how hard I fight it. I'm an alien. No one understands me, so what's the point of getting out of bed .. ever.
We were coming to the brick wall of final mastering to get the album released before Christmas, and still I was becalmed in the doldrums; no wind, no current, nothing. Nada. Zip. Martin suggested that we leave it for the next record, but I wasn't having that. It tasted too much like acquiescence. I decided that I needed pressure on me to get the lyrics to come spooling out of me, so I told him we needed to get together in two-days' time. That night, my dad visited me. He had died about a year ago, so visitations from him are disturbing despite how deeply I loved him. Ashen grey, he stood on a pile of white bones atop a windswept hill and stared down at me, grey skies and grey hair blown awry as ever, ink-black crows scudding overhead.
The next morning, I went up on the ridge-backed hills behind our house, up onto the South Downs, the chalk cliffs that run along the bottom of the southern English coast. The weather was chilly and grey and spitting rain on-and-off, and it felt right. As I crested the bleached and autumnal hills, I came to a clutch of wind-battered trees where flocks of sheep graze in good times and huddle when the weather's nasty .. and there, across the hard ground, were scattered a collection on bones from some creature .. and as I stared at them, with the wind whipping around me and the gulls calling out towards the bitter, chilly sea in the distance, words drifted loose from the port of my head, through the shipping lane of my mouth and out into the waves of the world. I stood there in the rain and wind, and lyrics formed themselves into interwoven threads seemingly without effort, unbidden and unblocked.
I spent hours up there, wandering the sloping hills, crunching over hillocks of dry tan grass and rocky soil, singing at the top of my lunges into the teeth of the wind, casting my words across the departing afternoon. I sang a song of loss, of fear, of strength, and of holding on against the odds. I sang for all of my friends fighting their own demons, fighting to stay here against the pull of the razor and the handful of pills, fighting to stay afloat against the rising tide of blankets and bills and bullsh*t, fighting to deal with the challenges that being here on this plane presents us every day. I sang for myself too, to remind myself that though I'm utterly alien, perhaps the alien in me makes sense to other aliens out there too.
Hearing is believing. Now that you know the story behind the song, listen for yourself and learn more about the album right here!
Previous Day In Rock Reports
Share this article