Today's Day in Rock Stories

Deftones To Play Paris For First Time Since Terrorist Attacks

Diamond made the revelation during a lengthy interview with Metal Hammer where he was asked his experience of being at the same studio complex as Metallica. (The thrash legends recorded their landmark "Ride the Lightning" and "Master of Puppets" albums at the facility.

"Yes, that brings memories back for me of Ride the Lightning, but also Master of Puppets because they were both done at Sweet Silence," Diamond said. "They were checking out ideas at our rehearsal because it was in the same building they were working in. We would be rehearsing and they would come in and take over the rehearsal place after we went. I think that they had a few amps and other stuff that they brought up to use. We would be up there hearing riffs before it was released to anybody. I remember one night James and Lars came back to my apartment and we were all getting drunk with Timi and this American girl that was visiting from California. That was at my haunted apartment.

He then explained a "haunting" experience at the apartment, "I had a small apartment, it was up on the top floor and it was super haunted. I lived there for quite a few years and lots of people have experienced stuff up there. It's not just like when you got drunk, it would happen at any time. But that specific night, Timi was with this girl that he had met in California. He didn't tell her he had a girlfriend in Denmark, so when she came to visit she couldn't stay with Timi, so she stayed in my apartment.

However, in a lawsuit filed in Nashville, the estate of Bo Carter claim that the song in question was actually a rendition of Carter's Corrine, Corrina - a track which, over time, became interchangeable with Alberta, according to Carter's step-grandson Miles Floyd.

Floyd's lawyer Barry Shrum tells the Associated Press (via Canoe): "This is a situation where you have the estate, the rightful owners of Bo's intellectual property, just trying to get what's rightfully theirs and get credit where credit is due.

He tells NME: "When we started gigging way back when, as soon as we started playing this song's opening chords, young girls in the audience would f***ing freak out. They thought we were Satan's f***ing friends or something.

"That's when the whole Prince Of Darkness sh*t started. When people get excited about Halloween coming around each year, all I think is, 'Well, we used to have Halloween every f***ing night.'"

But Dylan has been silent since the announcement, despite the Swedish Academy reaching out to him. This led Academy member Per Wastberg to call the singer-songwriter "impolite and arrogant."

But Dylan has now responded, calling the Academy's permanent secretary Sara Danius to officially accept the honor. He says: "If I accept the prize? Of course. The news about the Nobel Prize left me speechless. I appreciate the honor so much."

When he left Asking Alexandria in 2015, Worsnop said he wanted to focus on his work with We Are Harlot and on his solo career. Announcing his return to Asking Alexandria this week, Worsnop insisted a new We Are Harlot album was on the way and that his solo career would not be abandoned.

Now We Are Harlot insist they "will not be sidelined in any way" by Worsnop's return to Asking Alexandria. They say: "At this point we will wait to see what happens and we will keep our fingers crossed along with all of you. But rest assured, Harlot will not be sidelined in any way and know full well that you will have a new Harlot album in your hands by February. One way or another.

He said: "I felt this one I came up with really nailed what I was going through when I was writing the record. It's a place I always go to - it's the inspiration when I'm writing music.

Machine Messiah was produced by the band and Jens Borgen of Fascination Street Studios in Orebro, Sweden. Borgen has previously worked with Soilwork, Opeth, Katatonia and Amon Amarth.

Guitarist Andreas Kisser says: "I found the work of Camille Della Rosa during some research I was doing to look for alternative artists to work on the cover of our new album.

"I had the concept in my mind and the name of the album, Machine Messiah, but that didn't matter much since I was looking for different styles and ideas, different artists.

Take It on Faith features 12 new songs, and features a band put together by producer and engineer, David Z (Prince, Etta James, Buddy Guy). The lineup includes Ben Fowler (Lynyrd Skynyrd, Hank Williams), the late Richie Hayward on drums, Jack Holder on guitar, Bruce McCabe on piano and keyboards, Reese Wynans (Stevie Ray Vaughan and Double Trouble) on organ and David Smith on bass. ZZ Top's Billy Gibbons co-wrote one track, "Good Side of Good".

The longtime Skynyrd guitarist and his wife have been making music together for more than 35 years. Dale opened up for Skynyrd in '77 while she was singing with 38 Special; then as part of Rossington Collins Band in the '80s and now as part of Lynyrd Skynyrd.

"We do meet-and-greets every night when we're on tour," Gary says. "Fans just kept asking us if we were ever going to do anything again, and we kept saying no, but even the Skynyrd band would say, 'Hey, go do something-the fans want to hear it.' Finally, we thought, 'Well, let's just do it.' Right now, we consider it a gift to the fans. We did it for them, and I hope they like it.

The EP package is being released to mark the New York outfit's 30th anniversary. It'll include five tracks along with an art book featuring rare photos and personal liner notes from artists including AFI's Davey Havok, Hot Water Music's Chuck Ragan, Gorilla Biscuits' Arthur Smilios and Dropkick Murphys' Matt Kelly.

Last month, guitarist Pete Koller said: "30 years - well, it was fun. I would not say an achievement because we never really wanted to achieve something. We just kept on playing.

"There are also no regrets. What's done is done and if you f***ed something up back then, so what?

Snow Cats and White Offerings are available to download now via iTunes, while the 14-track album is available for pre-order. It was recorded at Megawatt Studios in Los Angeles, and was produced by Puget and Matt Hyde, with AFI revealing in July that they were working on the record.

The follow-up to to 2015's The Grand Experiment is due out on November 11 via Radiant Records. And Morse admits the band struggled with some melodies for the album - but woke up with some ideas that made it on to the record.

He tells The Huffington Post: "On Tuesday morning at about 4am I woke up with some ideas and by noon I had written the framework for three or four songs that completed disc two.

"Bill Hubauer, our amazing keyboardist, also dreamed a theme into existence. We actually call it 'Bill's dream theme.' Usually on a big epic album like this, you'll have at least three slow beautiful themes, but this album only had two.

Bassist Paul Moorghen says: "Getting Aggie and Liam successfully embedded into the band has rejuvenated and reinvigorated the whole vibe around the band.

"The songwriting, the rehearsing, the recording process have a new found energy which has translated directly into the music, which is what this is all about."

Also joining the big acts on the bill at Nickelsdorf Pannonia Fields are Pierce The Veil, Simple Plan, Architects, Of Mice & Men, Rancid, Suicide Silence, The Dillinger Escape Plan, Hatebreed, In Flames, Devildriver, Airbourne, Avatar and David Hasselhoff.

It's the latest in a raft of 2017 festival announcements for System Of A Down, who haven't been seeing playing together since last year's shows marking the 100th anniversary of the Armenian genocide.

Is the band's first ever live concert film. It will be available on various formats, including a limited DVD+2CD Digipak, standalone DVD, 2CD jewelcase, gatefold 3LP on black vinyl + 2CD and as a digital download.

It was recorded live at a show in the band's hometown of Oslo on June 4 of this year. The release came about on the back of a crowdfunding campaign.

Leprous say: "After a year of intense preparations with the production of our upcoming live release, we're very proud to share a first clip with the world.

"Leprous has always been a very active live band, and the live sound is a very important part of the band's identity. The concert at Rockefeller in Oslo was a milestone for us and it perfectly shows what Leprous 2016 is all about."

The 18-date tour kicks off in Sweden on March 25 and includes three UK dates and a show in Dublin. Mayhem's controversial past includes the tragic murder of founding guitarist Oystein 'Euronymous' Aarseth, who was fatally stabbed by then bandmate Varg Vikernes.

The Early Years 1965-1972 is released on November 11 and includes 20 previously-unreleased tracks, seven hours of live material, 15 hours of video and three feature films. A double-disc highlights album entitled The Early Years - Cre/Ation will be released alongside the set.

"Jupiter" is perhaps the most unique song of the band's career to-date (October 2016). Aside from being our second-longest song so far, at just over 10-minutes, we realized after completing it that the structure is literally "progressive" in the true sense of the word, which we felt was a first for us, even as a "Progressive Metal" band. Rather than a more formulaic structure - typically Verse / Chorus / Verse / Chorus, etc, "Jupiter" is more asymmetrical and through-composed, so with the exception of a few spots, it's one big gradual build in energy and dynamics until the ending climax. Aside from some of the interludes on the record, it's probably also the most dynamic song overall, so some could consider it "the ballad" of the album.

It started with just a small acoustic theme that I began messing with around 2010, which would later become the Intro/Outro and reappear thematically in different forms and places throughout the song. The very first incarnation of which can actually be heard here at 2:49 in our 2011 Teaser clip. This was before Alan Hankers (Piano/Keyboards), Ivan Chopik (Guitar), and Jacob Umansky (Bass) had joined the band, so it was only Eddie DeCesare (Drums), Rob Richards (Vocals), and myself at the time. A cascading and cycling gesture where one voice at a time moves by only one note in either direction while another remains constant throughout, eventually bringing you somewhere completely different from where you started - shapeshifting almost like liquid, which I feel may have set the song up for its progressive nature because it later proved to be quite challenging to continue writing from. Years later, I ended up coming up with the accelerated lead guitar sequence at the very climix of the song, which we kind of knew we wanted to eventually arrive at in the song, so the beginning and end were basically written first and we then had to figure out how to get from one to the other naturally without forcing anything.

When we began writing the song again with the new members, it had to be done largely through file sharing ideas and demo clips over the internet because we were all scattered across the country at the time, but one of the upsides to a usually less-than-ideal situation for most bands was that any given member's ideas would then inspire and allow other members to compose entire sections, including for other instruments in the band. So, in many instances, the parts that each of us play were actually written/arranged by a different member, which makes it feel like a truly collaborative effort (for us, at least) even though much of it was done separately and drawn out over the course of 6 years. When we were eventually able to meet up and live (hibernate) in the same house for a month to flesh out the record together, we showed up prepared with each other's sections/parts learned, and that allowed us to really feel the song out together in real-time, so that's when it really began to transform and take on a new life.

FUN FACTS: We got to introduce some new sounds and textures for the first time with this song, like reverse piano, real acoustic piano, solo acoustic guitar (not new for the band, but new for this album), slide guitar, and Ebow guitar.

One of the more unique characteristics of this one is its more loose, flowing timing (we weren't so concerned with being "perfect"). In fact, the piano parts were all recorded live by Alan on a mic'ed grand piano in real time (for the entire record, actually), so the timing of the parts couldn't be fixed or "perfected" with studio magic afterwards as they often are.

Most of the solos were either improvised in one take, or are slightly refined versions of demos that were improvised in one take.

And most bands have their fair share of underwhelming working titles, much like an inside-joke that only they understand, and before the lyrics were written, we appropriately and not-so-creatively dubbed it "Acoustic Song" since we only had the acoustic intro at the time. As for the actual meaning of the song, we'll let you decide that for yourself ;)