Explore every episode of the podcast Where Did Mary Go?

Before meeting him, a future bandmate of Chuck Billy’s recalled seeing him work his way to front row of a KISS concert in this way: 

“One figure stood out among the carnage, someone so large, he could push his way through anyone else in that crowd.  With a height of 6’4”, wild black hair, and a chest like a gladiator, he stood out.  Slithering to the front row, he ruthlessly pushed aside anyone who stood in his way.  Beers were knocked over, their contents spilling out… this was not someone to be messed with."

That’s the perspective of a young Alex Skolnick, who would receive a phone call from Chuck seven years after that show, when Steve “Zetro” Souza left to join Exodus, about the band that would become Testament’s frontman vacancy.  Though there have been many departures and returns of group members and twists and turns to their musical style, Chuck and guitarist Eric Peterson have been the mainstays guiding Testament for over four decades. Their fourteenth studio album, Para Bellum, was released in October 2025  to much acclaim, showcasing a set of songs that collectively may represent the band’s most diverse offering in their storied catalog. 

Ahead of the group’s upcoming Thrash of the Titans 2026 tour with Overkill and Destruction, I had a chance to catch up with Chuck and speak about a number of topics, including:  

• the songwriting process for Para Bellum, the diverse nature of the songs on the record and how each stands alone, the inspiration behind “Infanticide A.I.,” and why it was time to include another ballad on a Testament record.
• his process for developing lyrics to songs, how working with the riffs from Eric Peterson helps him create vocal melodies, and the trial and error of deciding what vocal style to use.
• how the addition of drummer Chris Dovas has influenced and reinvigorated the group, the irony of now being influenced by bands Testament once inspired, and how the band is curating the setlist for Thrash of the Titans. 
• the Practice What You Preach 35th anniversary tour, the beauty of a show ending at 10:00pm, the possibility of future anniversary tours for Souls of Black and The Ritual, and Chuck’s recent appearance with Metal Allegiance at NAMM.
• Testament’s cover of “Seek and Destroy” for a compilation dedicated to Kill ‘Em All, the importance of Metallica in the Bay Area thrash scene, memories of Cliff Burton, a pop quiz about the quote mentioned above, and reflections on how long Testament can keep going.

Chuck was a pleasure to speak with and I thank him for taking the time to answer all of my questions thoroughly and carefully.  Be sure to check out Testament on tour in the United States this spring! 

Enjoy!

The concept of death and Mayhem have been intertwined since most of the world first learned about them.  It’s been an integral part of the black metal pioneers’ story that has become so synonymous with the group that for a long time, it overshadowed their actual music, as many of the infamous events the world came to know them for occurred prior to the band actually releasing a full-length album.  One of those tragedies was the suicide of frontman Pelle Yngve “Dead” Ohlin, which is what ultimately led Attila Csihar to travel from his native Hungary to Norway to join Mayhem to record vocals for what would become one of the most influential black metal releases of all time – De Mysteriis Dom Sathanas.    

But before that record would see the light of day, tensions within the burgeoning black metal scene, which Mayhem was integral in creating, would reach a point of no return that led to international infamy.  Varg Vikernes of Burzum, who also played bass on De Mysteriis, would travel to Oslo and murder Mayhem guitarist Euronymous on August 10, 1993 by stabbing him over twenty times in supposed self-defense.   As news spread of the event, Euronymous’ death brought worldwide scrutiny and examination of the Norwegian black metal scene, casting light upon other crimes committed by members of its so-called Inner Circle, which included murder and serial church burnings. 

Ironically, founding bassist Necrobutcher, who left Mayhem after Dead’s suicide based on how Euronymous publicized it, would end up rejoining and restarting the group following a discussion with drummer Hellhammer at the guitarist’s funeral.  The two began discussing how to proceed with releasing the album in the coming year, reuniting due to death.  Finally, after ten years together, De Mysteriis Dom Sathanas finally saw the light of day in May 1994 as the group’s first full length LP. 

While all of this was happening, Attila heard nothing from the band.  He eventually was told second-hand about what had occurred, and unbeknownst to him, Mayhem had reformed.  Upon establishing contact with his former bandmates during a tour in 1998, it was agreed upon that Attila would return to the band if the opportunity arose, which it did by 2004.

Now, after 40 years in existence and after several studio albums that have followed their elusive first, Mayhem are back with Liturgy of Death, which examines a topic that has been so prevalent and attached to the band throughout its existence.  Ahead of its release, I had a chance to talk to Attila about a number of topics, including:

• the lyrical theme for the new album, why it was time to tackle death at this point of his career, the beliefs that informed his philosophy, and some deep metaphysical pondering about the universe.
• the intention of references like “dead church burn” and “deathlike silence” to the group's controversial past, the religious language used in the lyrics and their significance, and opinions about embracing death as an inevitability.
• Mayhem’s 40th anniversary tour, playing with Dead’s original band Morbid in Stockholm, musings about why Dead joined Mayhem, and an upcoming Tormentor and Morbid show on Friday the 13th of next year. 
• his initial reasons for going to Norway from Hungary when joining the band, any apprehension he had about entering the Norwegian black metal scene, his thoughts on Euronymous and Varg, and the recording of the legendary De Mysteriis.
• the long path he took back to reuniting with Mayhem in 2004, how he feels Liturgy of Death adds to Mayhem’s legacy, reflections on the group’s history, and how l

Imperial Triumphant has been pushing the limits of metal since they formed in New York City in 2005.  By incorporating avant garde, jazz, and experimental sounds into their black metal delivery, the trio has risen to prominence with their last string of releases, culminating with this year’s Goldstar which has been praised by critics and fans alike as one of the top metal releases of 2025.  Though frontman and guitarist Zachary Ezrin was inspired to pursue black metal by the bands that dominated the Norwegian scene of the early 1990s, Imperial Triumphant delivers a brand of the genre that focuses on the group’s hometown:  New York City.  Or, as they like to put it, they “only play the sounds of New York City as [they] hear them.”

After touring all over the world this year, including an opening spot for Mayhem on their North American tour, Imperial Triumphant played a hometown show at Le Poisson Rouge in the heart of Greenwich Village on December 12th.  Billed as the Jazz from Hell Festival, the concert featured Kilter and Jerseyband in opening slots, alongside the Goldstar Metropole Orchestra, a brass section conglomerated of the players from the two aforementioned bands accompanying Imperial Triumphant on stage for their headlining set.  Ahead of the festival, I had a chance to speak with Zachary about the hometown show and a number of other topics, including:

• being able to play a show in the friendly confines of New York City after touring the world, the band’s writing process for Goldstar, recording at the legendary Menegroth studio hidden in Woodhaven and being the last ever album made there.
• shooting a video on top of the Chrysler Building, the band’s knowledge of architecture, the black metal elements of New York City, and collaborating with Dave Lombardo from Slayer.
• the new graphic novel called Merkurius Gilded that Zach wrote the story for, the juxtaposition of decadence and decay present in the city, and how Kenny G. ended up on one of their songs.
• a discussion of Imperial Triumphant’s masks and their significance, and a very important mathematical question.  

Imperial Triumphant continues to push the boundaries of what metal can be, and with Goldstar being their tightest and most streamlined album yet, fans of the band should be very excited for whatever comes next.  Enjoy!

Chama, the title of Soulfly’s thirteenth studio album released on October 24th through Nuclear Blast Records, is a Brazilian word with a dual meaning: it means both ‘flame’ and ‘a calling.’  The album is accompanied by a short story describing the journey of young man searching for meaning and direction in life traveling from the Brazilian slums to the jungle seeking inspiration, led by a flame.  When you consider Soulfly frontman Max Cavalera’s musical career, the name and story are perfectly apropos, even mirroring his own odyssey to where he is today in the metal world.

Max found himself in a situation similar to the protagonist of Chama tale after the loss of his father at an early age in his native Brazil.  His family had to move to a less affluent town in his teenage years, and he was left with anger and sadness as a teenager searching for direction and purpose.  That calling turned out to be heavy metal, as he and his brother Iggor channeled their emotions into creating the music that would make Sepultura the most famous metal act to emerge from their home country.   Infusing traditional Brazilian sounds and instrumentation with killer riffs and anti-establishment lyrics led Sepultura to international renown before Max left the band in late 1996.  

Again faced with a difficult, emotional obstacle to overcome, the fire still burned within Max to continue to create the music he believed in.  Soulfly was born from that passion in 1997, with the goal of creating a band without permanent members that relied on collaboration and innovation with numerous artists who shared his vision.  Thirteen records later, Chama continues the tradition set forth from the first Soulfly record, merging industrial and jungle sounds with a host of guest collaborators.  I had a chance to speak with Max about the new album, and a number of other topics, including:

• the reception of the Chama and the new songs Soulfly have been performing live, the companion story written by Max’s son Igor that complements the music on the record, the potential for an animated piece to accompany the music of Chama, and a discussion of old school stage sets versus new age screen presentations for live bands.
• the guest solo from Michael Amott of Arch Enemy on “Ghenna,” the different collaborators used on the new record, his struggle trying to get idol Tom Araya to sing some classic Slayer lines on “Terrorist,” and his bucket list of dream guest appearances for future Soulfly albums. 
• how it feels to be able to play music with his sons Zyon and Igor, a sparsely attended autograph session he had on his first trip to New York at Slipped Disc in Valley Stream, a tale of two albums he bought based on how cool the album covers were, and a healthy discussion of vinyl records.
• Max’s feelings about the prospect of retirement and reflections on how it feels to be widely known and respected for music that celebrates his heritage and have it be embraced on a global scale by fans. 

It was an honor to speak to such a legend in the metal world, and Max seems as down to earth as you would imagine from his lyrics and general outlook on life.  After forty years and an innumerable number of classic records, it’s clear from speaking to Max that he found that flame and his calling early on in life way back in those hungry days in Brazil, and from the fire and passion he exudes while talking about Chama, it sounds like he has no intentions looking back or slowing down anytime soon.

Enjoy! 

When Agalloch surprisingly disbanded in 2016, there was a collective sign of disappointment from those in the know in the metal community at losing one of its most creative, authentic, and genuinely unique bands.  Agalloch rose to prominence through a progressive metal alchemy that combined black metal, neo-folk, and atmospheric elements which set them apart from their peers in the late 1990s and early 2000s, specifically with their debut album Pale Folklore (1999) and its landmark follow-up, The Mantle (2002).   Subsequent album and EP releases, and gradually more frequent live performances, continued to elevate their status in the metal world up through 2014’s The Serpent & the Sphere, all while retaining the artistic integrity that created one of the most loyal fan bases in the world of heavy music. 

John Haughm, who founded Agalloch in 1996, had been arguably the biggest  creative force in the group, whether through his work on guitar, clean and harsh vocals, songwriting and lyrical compositions, or designing the artwork of every release.  Once Agalloch disbanded, Haughm dedicated himself to a solo project he had started after a particularly inspiring trip to the desert.  He would become more prolific with his solo venture, releasing what he’s dubbed the Nomad Trilogy, which culminated with the release of The Devil’s Coil last year.  Somewhere along the line, his friendships with founding Agalloch members Don Anderson and Jason William Walton were mended as well, leading to a reformation of Agalloch for select live shows in 2023, much to their devoted fanbase’s delight.

Over the last two years since reuniting, Agalloch have performed in Brazil, Australia, made appearances at festivals across the United States and Europe, and played select shows along the West Coast with Haughm performing his solo material as an opening act.  Many of these destinations had been points of contention during the band’s 2016 demise, but are now being fulfilled with the clarity of a decade for their founding members.  I had a chance to catch up with John to discuss Agalloch’s resurgence, as well as a number of other topics, including:

• his most recent solo release recorded at a local college, his experience doing similar recording projects when he was a college student in Seattle, and a surprise Alice in Chains anecdote.
• the concept behind the Nomad Trilogy, how he uses visual images as a source of musical inspiration, the cyclical nature of the storyline, and the meaning behind the map coordinates in the title of The Devil’s Coil.
• the reception of his solo work live, how it feels to perform the material, his experience opening shows for Agalloch and other groups, and the genesis of his collaboration with Obsidian Tongue.
• how the Agalloch reunion became a viable option for the original members, memories from their initial reunion shows in 2023, opening for Emperor, and the new mix of Marrow of the Spirit and how it became a reality from a chance conversation in Europe.
• the initial reception to The Mantle, the inspiration he drew from the Portland area for both the music and imagery of the album, plans for future Agalloch music and shows, and reflections about the artistic integrity of Agalloch and his solo work. 

As an unabashed Agalloch fan, it was surreal to get to speak with John about a band that has produced some of my favorite metal records of all time.   As you’ll be able to see with our discussion of The Mantle, I hold their work in very high regard and am excited to see what the future holds for the group now that they’ve returned. Enjoy!

Amorphis' fifteenth studio album, Borderland, was released on Friday, September 26th. To celebrate this milestone release in the band's 35th year of existence, founding member and guitarist Esa Holopainen and keyboardist Santeri Kallio made an appearance across the pond at Lucky 13 Saloon in Brooklyn, a metal institution since 2003, on Friday evening. Labeled as a record release party, the two key songwriters from Amorphis mingled with fans from New York City and its surrounding areas, talked about their fantastic new record that was played in full at the event, posed for pictures, and shared drinks with Finnish metal enthusiasts who were in attendance like myself.

Prior to the record release party, I had a chance to speak with Esa about Borderland and a number of other topics, including:

• the band's recent festival date in Turkey, the crowd's reaction to their new material, and traveling across the globe within a week's time.
• New York airport traffic, Esa and Santeri's adventure into New York City to Times Square and the Empire State Building, and the best time and places to visit in Helsinki.
• the band's history of playing in Brooklyn including a show at the famous L'Amour, the cancelled dates from the Tales from the Thousand Lakes 30th anniversary tour, and a Borderland North American tour in 2026.
• his personal approach to songwriting for the new record, a question about the beer vending machine they had to install in the group's old rehearsal studio in Nosturi, and the lost art of sneaking into rock shows.

Special thanks to Esa for being so patient while I dealt with technical issues and gracious with his time both on and off camera, and eternal gratitude to C-Squared Music and Reigning Phoenix Music for allowing me to attend such a special event. Borderland is a beautiful record and a fantastic addition to Amorphis' already sparkling discography that further cements to group's legendary status as titans of Finnish extreme metal. It's proof of the band's commitment to evolving with each and every record, as they have for the past thirty-five years, and shows they have no intentions of slowing down anytime soon.

Mark Menghi certainly didn’t take the traditional route to prominence in the rock and metal world.  In fact, if you look back at his story, it might sound pretty familiar.  For starters, he worked at a record store he frequented often, the legendary Looney Tunes in West Babylon on Long Island.  Inspired by the likes of Black Sabbath, Iron Maiden, and Cliff Burton-era Metallica, he began playing in local bands during his youth that scrapped their way through every tiny venue with the same do-it-yourself ethos that every other band starting up tends to inherently have. 

Though his journey as a musician stalled for a bit, Mark found himself with an opportunity to work on the business side of the music industry. He began to build a rolodex of contacts that read like a “Who’s Who” of the rock and metal world.  In time, Menghi would call upon these friends to form Metal Allegiance, which first performed in 2015.  He would also tour with Joe Satriani, one of his first contacts from the business side of the music world, in 2023 and get to perform in front of a crowd at his hometown theater at Jones Beach. 

But despite all the star-studded recordings and performances in the rock and metal world, the one artist who remained a constant in Mark’s world as a music fan was Chris Cornell.  As any rock music fan of the 1990s and 2000s, Cornell’s music was as inescapable as it was beyond reproach, as Soundgarden, Temple of the Dog, Audioslave, and his solo material dominated the airwaves and eardrums of every self-respecting music fan during that time.  Menghi’s introduction to Cornell came a bit before the casual grunge fan during his days working at Looney Tunes.  His friend and co-worker handed him a cassette of Louder than Love, Soundgarden’s 1989 major label debut for A&M.  From that day forward, Cornell would become Menghi’s musical constant. 

That love for his music has now inspired Menghi’s latest musical endeavor.  Named King Ultramega, the project features famous guest musicians from the rock and metal community who share his admiration for Chris Cornell covering songs from his many projects.  I had a chance to speak to Mark about this new project and many other topics, including: 

• his musical journey, local Long Island record stores and concert venues, and the importance of the Jones Beach Theater.
• how his love for Soundgarden developed, his impetus to start the King Ultramega project, and how he decided to turn it into a full album’s worth of songs.
• having the blessings of Vicky Cornell and Kim Thayil for King Ultramega, the gravity of having Kim re-record one of his own songs for it, and the great care needed to curate a project with such a legendary name attached to it. 
• recording “Rusty Cage” with William DuVall, Bill Kelliher, and Charlie Benante, the adventurous decision to have Joe Satriani cover Chris’ vocal line in “Be Yourself,” and speculation on my part as to what song Alissa White-Gluz from Arch Enemy will be featured on.
• the timeline for King Ultramega’s releases including the hyped October single, talk of the new Metal Allegiance record that will be released in 2026, playing Cliff Burton’s bass, and commiserating over missing Ozzy’s final show.
• mourning the loss of Brent Hinds, compassion for his friends in Mastodon, revealing that Brent was supposed to be featured on a track from King Ultramega, and reflections on Mark’s journey to where he is today in the music world.

Speaking with Mark, it’s clear that he understands what this project mean

Throughout his spectacular career, Gene Hoglan has been involved with some of the biggest names to ever play heavy metal.   From his earnest beginnings as a lighting tech with Slayer, that led him to be featured doing backing vocals on “Evil Knows No Boundaries” from Show No Mercy, to being bestowed the nickname “The Atomic Clock” during his time in Strapping Young Lad alongside Devin Townsend, and then being tabbed to play in Testament alongside Alex Skolnick and long-time partner in crime Steve DiGiorgio, Hoglan’s discography reads like a who’s who of the heavy metal community.

But this fall, Gene will be focused on two projects that are near and dear to his heart, as they both pay tribute to members of groups he’s been involved with that have passed on. Dark Angel are set to release their first album of new material since 1991 next week when Extinction Level Event premieres on September 5th through Reversed Records.  An album that was over a decade in the works at least, it features material Hoglan worked on with now departed lead guitarist Jim Durkin, who passed away in 2023.  The new album, and subsequent first North American tour for the group in three decades, are dedicated to Durkin and the group hopes to honor his memory with both. 

After leaving Dark Angel in 1992, Hoglan received an interesting offer from an old friend.  Through a mutual acquaintance, he was told Death frontman Chuck Schuldiner was looking for a new drummer.  Having toured with Death with Dark Angel, and knowing Chuck from his days in the early ‘80s trading tapes with him, Hoglan was intrigued by the opportunity and ultimately joined as things fell apart with Dark Angel.  He would end up being a part of two of the most iconic extreme metal albums ever released, as Death would produce 1993’s Individual Thought Patterns and 1995’s godly Symbolic during his tenure with the group.  Schuldiner would famously pass away in 2001 from complications from a brain tumor, leaving a legacy as the Godfather of Death Metal for his pioneering writing and playing, evidenced by Death’s flawless back catalog.   

Upon the re-release of Individual Thought Patterns in 2012, former members of Death took part in a benefit show to raise money for cancer research to coincide with the reissue.  Named Death to All, the group played here and there over the years until recently deciding to embark on tours to honor Chuck's legacy. After a run last year to celebrate Scream Bloody Gore and The Sound of Perseverance, Death to All will be hitting spots across North America in November to celebrate anniversaries of Spiritual Healing and Symbolic.

Ahead of both of these tours and Dark Angel’s release of Extinction Level Event, I got to speak with Gene about these projects, as well as:

• finally being able to release a new Dark Angel record after a decade of work, how he and Jim Durkin worked on the new record together, and how the new album and tour honor his legacy as a founding member of the band.
• trading tapes with Chuck, how he ended up playing drums for Death on Individual Thought Patterns and Symbolic, and the creative processes for creating two death metal masterpieces
• his working relationship in the studio with Schuldiner, how Death to All came to be to celebrate Chuck’s memory, Chuck’s legacy, and a list of musicians who have played alongside the group during it’s performances throughout the years.
• how he ended up in Opeth’s video for The Grand Conjuration

When Dan Briggs joined Between the Buried and Me in early 2005, the band was at a bit of a crossroads.  After releasing The Silent Circus in 2003, an album that showed flashes of their future progressive sound, the group went through a number of personnel changes that eventually brought Briggs into the fold, alongside drummer Blake Richardson and guitarist Dustie Waring.  Alongside founding members Tommy Rogers (lead vocals) and Paul Waggoner (lead guitar), this lineup would write and record 2005’s Alaska, which firmly pushed the band’s sound further into the territory explored on its predecessor.  The newly configured group toured relentlessly for the next year and a half, spending countless in vans across different countries learning and bonding with one another through musical tastes and influences. 

When they finally returned home from the road, Between the Buried and Me would produce maybe their most complete work with 2007’s Colors, which is considered by many to be one of the greatest progressive metal records ever made.  The sum of that bonding and the statement of a band trying to define their place in the musical world, Colors also firmly entrenched the band as a premier force in the world of progressive metal.  That title has yet to be relinquished, evidenced by the rich, dense discography they have produced since, which includes a number of concept records that expertly mix a plethora of contrasting musical styles that all work under the umbrella of Between the Buried and Me.

Now on the precipice of releasing their eleventh studio album, The Blue Nowhere, I had a chance to speak with Dan about the new record, set to be released on September 12th through InsideOut Music, and all things BTBAM, including:

• the recording process for The Blue Nowhere, writing a concept record with no characters, how he developed the idea for the lead single “Things We Tell Ourselves in the Dark,” and the band’s general songwriting process.
• how the group incorporates so many different styles of music and makes them fit, the stunning two-track conclusion to the new album, and what the setlist may look like on their upcoming North American tour.
• the lineup changes when he joined the band prior to Alaska and how those changes shaped the future sound of the band, bonding over shared music interests and long van rides, and the surreal nature of touring with Dream Theater and Opeth after the release of Colors.
• a discussion of the nature of music fandom and reflections on his 20th anniversary of being in Between the Buried and Me. 

It was great speaking to Dan about his career with the group to this point, and Between the Buried and Me fans worldwide should be very excited about The Blue Nowhere, as it only adds to the sparkling legacy of one of the most impressive acts in the world of progressive metal today.  Enjoy!

When founding members Tomi Koivusaari, Esa Holopainen, and Jan Rechberger named Amorphis in 1990, they must have had a view to the future of the band.  A play on the word amorphous, which means having no definite form and unclassifiable, no word can better explain the last thirty-five years of the band’s history in regards to their music and lineup.   The legendary Finnish band has become synonymous with their namesake, as they’ve delved in and out of doom, death, folk, progressive, and other styles that seamlessly blend into their now-trademark sound. 

The same can be said for the group’s lineup, as they’ve endured a number of original members leaving the band and returning, with new players joining up along the way and staying in for the long haul.   Only guitarists Holopainen and Koivusaari have remained steadfast throughout the entire three and a half decades.   Others have weaved in and out, with drummer Jan Rechberger rejoining permanently in 2002, and bassist Olli-Pekka Laine returning from a 17-year hiatus in 2017 to complete the return of all original members that played on their 1992 debut The Karelian Isthmus. 

The same ever-changing nature of the group can also be applied when discussing  their lead vocalists.  On the first two records, Karelian and the iconic Tales from the Thousand Lakes, Koivusaari served as the unwilling vocalist, providing death growls though he preferred to focus on his duties as a guitarist.  After making his feelings known to his bandmates, they recruited Pasi Koskinen, who admirably filled the role while Amorphis pushed into progressive and folk directions that weren’t possible without clean singing.  He lasted with the group for ten years prior to his departure, but ultimately his bandmates were concerned he was too focused on his other projects, while fans questioned the direction the group was heading in as album sales floundered and the growls disappeared.

After sifting through hundred demo tapes for a new singer, Amorphis ended up auditioning Tomi Joutsen through a recommendation from someone close to the band. He was chosen almost immediately.  Being a fan of the band, Joutsen encouraged his new bandmates to return to their mix of clean and harsh vocals they had been known in their early years. The group began work on their 2006 return to form Eclipse, and have not looked back since.  

Now, as Joutsen enters his 20th year with the group, he has delivered perhaps his finest vocal performance on Amorphis’ upcoming fifteenth studio album, titled Borderland.  I had an opportunity to speak with Tomi about a number of topics, including:

• the band’s experience creating Borderland, the decision to switch from producer Jens Bogren to Jacob Hansen, the disparity between the two lead singles from the record, and the disco elements contained within the album.
• the core lyrical themes of the album, the unique approach to lyric writing employed by Amorphis, and how Tomi translates and arranges the lyrics to match up with the music his bandmates have created.
• the work he has done to improve his clean vocal singing style, his favorite personal contributions to the album, and why Borderland was the most demanding Amorphis record he’s worked on to date.
• the band’s touring plans, a discussion of “Weeper on the Shore,” and speaking about the Tales from Lake Bodom split with Children of Bodom from 2015.
• the experience of being a fan and joining the band, a discussion of the death of Ozzy Osbourne and his favorite Sabbath albums, and reflections on playing in a group that had such an influence on creative the vibrant Finnish

When Children of Bodom played their final show on December 15, 2019, it quite possibly could have been the last time their brilliant keyboardist Janne Wirman ever played a single note of music he wrote.  The last show came as a culmination of a tumultuous year that saw the band split ways with lead guitarist and vocalist Alexi Laiho after a series of disagreements, exacerbated by his increasingly erratic behavior due to alcohol abuse, which made it impossible for the legendary Finnish band to continue on as they were.  Wirman and the remaining original members of the band each decided to start pursuing careers outside of the music industry afterwards, with Janne opting to enroll in architecture school.  Laiho would carry on with a new group, Bodom After Midnight, but only briefly as Alexi would tragically pass away in December 2020, succumbing to the long term effects of alcoholism. 

Between the hell the band went through in 2019 just trying to keep everything together, to the loss of his dear friend and bandmate, Janne became so disillusioned with music and the music industry that he considered never playing again.  In fact, he went on for nearly four years without doing so, until he finally relented to the urging of his brother, Antti Wirman, a long time member of Janne’s Warmen side project and a ferocious guitarist in his own right, and bassist Jyri “Snake” Helko.  The way Jyri and Antti tell the story, they basically refused to let Janne quit music, saying in interviews afterwards that he was simply too talented to be “just an architect,” which is quite a statement in and of itself.  Once Janne gave in, the three of them went to a cabin outside of the Helsinki area and were able to come up with demos for new Warmen material on the very first weekend, which became the genesis of what would become 2023’s Here for None. 

There was one slight issue, however: the band had no lead singer.  After briefly considering Bjorn "Speed" Strid from Soilwork, the members of the band decided that Petri Lindroos, formerly of Norther and currently of Ensiferum, would be the perfect addition to round out their lineup.

Now, Warmen are ready to release their follow up to Here for None, aptly titled Band of Brothers, which is due out on August 15th through Reaper Entertainment. 

Ahead of the release of Band of Brothers, I had a chance to speak with Antti and Janne about a number of topics, including:

• how Antti and Jyri convinced Janne to continue making music, how the band settled on Petri Lindroos as their frontman, the writing process for Band of Brothers, why they picked the eponymous title track as the first single, and a question about a certain sign from Antti's home studio.
• a discussion of the rest of the album’s tracks, their cover of “The Kiss of Judas” and the importance of Stratovarius as a band to a young Janne and Alexi, their plans to play live, and Janne’s thoughts on Warmen playing Children of Bodom songs live.
• the experience of being interviewed for the Children of Bodom oral history due out in August, Antti’s stint playing as touring guitarist in the band in 2015, the brothers’ explanation of Antti only being listed as a guest musician on the first Warmen album, and Janne’s history of posting on heavy metal message boards.
• when Janne knew he was part of something special playing in Children of Bodom and reflections about being grateful to be able to play music again as a hobby as brothers as opposed to a career. 

Speaking with Janne and Antti, it’

So the story goes, Tom Angelripper and his original bandmates started playing music as a means to escape a life of working in the coal mines in Germany.  Now nearly 40 years later, after influencing innumerable thrash, death, and black metal bands over their historic career, Sodom is preparing to release their 17th studio album The Arsonist through Steamhammer/SPV on June 27th.  Ahead of its release, I had a chance to speak Tom, the only original member remaining, about a number of topics, including:

·      the writing process for The Arsonist, his process for developing lyrics for the songs on the record, how Tom decides which vocal style suits the music best, and his inspirations for both lyrics and vocals.  

·      a discussion of Tank and Algy Ward and the song on The Arsonist that’s dedicated to him, the tribute to original Sodom drummer Christian “Witchhunter” Dudek on the new album, and memories of Witchhunter commemorated in the lyric video for the song. 

·      Tom’s feelings on being an inspiration for the Norwegian black metal scene, “Obsessed by Cruelty” and its production value, how it influenced Mayhem and Burzum, and plans for a reissue of the album.

·      the differences in the band recording Sodom’s first and second albums, the transition from occult lyrical themes to more political material on Persecution Mania, his reflections on over 40 years in the metal world, and a thank you to Sodom fans worldwide. 

Tom was a pleasure to speak with and expressed gratitude to his fans worldwide at the end of the interview, who will surely be ecstatic to listen to the new material Sodom have created on The Arsonist.  Enjoy!

Though he may not have known it at the time, Alexander Kuoppala’s eight-year tenure in Children of Bodom would prepare him for his future endeavors in music education.  When he joined the group in 1995 when they were still called IneartheD, he was five years older than most of the members of the band.   As the group progressed and advanced their career with each of their first four widely revered records, he became an older brother figure to his bandmates, especially their superstar guitarist and vocalist, Alexi Laiho.  Alexi and Alexander formed a strong bond in those early years of the band, whether through practicing for hours on end, driving the streets of Helsinki and beyond while listening to the Miami Vice soundtrack, or generally discussing life’s ups and downs.  

Though the band’s talent was evident from an early stage, Alexi would get easily frustrated and dejected with a less than perfect performance and want to abandon the entire thing.  It was at times like these that Alexander notes he spoke to the young frontman and tried to impress upon him that there was a third option between perfection and quitting.   The early years of the band were notably difficult for Laiho, as he struggled with depression and self-harm.   During these times, it was often Kuoppala who was called to be by his side to speak with him.

Now, more than two decades removed from his experiences in the band, Kuoppala is an integral member of Rock Camp Finland, which offers year-round music education, clinics, and mentorship for kids and teenagers who are interested in performing rock and metal.  They provide a positive, inclusive environment where these young people can build their self-esteem, work on social skills and personal growth, and interact and play their instruments with esteemed musicians from the Finnish metal scene.  The program also includes clinics with well-known metal players, including Alexander’s former bandmates in Children of Bodom, virtuoso keyboardist Janne Wirman and bassist Henkka Seppälä. The overarching message from Rock Camp is one of inclusion, support, and creating a positive environment for these young players to thrive musically and socially. 

I was able to catch up with Alexander to discuss his involvement with Rock Camp and a number of other topics, including:

• how he became a part of Rock Camp, how the program operates on a day-to-day basis, a growling clinic that’s available, and the students’ reactions to interacting with their favorite musicians. 
• his death metal band Thyrargo, how he came to be inspired to play in bands again, and when fans can expect to hear a full-length album from the group.
• the newly finished Children of Bodom oral history that will be released in August 2025, his memories of the early years of the band, and reconnecting with Janne, Jaska, and Henkka after Alexi’s passing.
• reflecting on the “older brother” role he played with Alexi and the group, a few stories from his time with Alexi, the parallels between his mentorship of Alexi and the work he does with Rock Camp, and his thoughts about the next generation of Finnish musicians embracing Alexi and Children of Bodom. 

It was a pleasure speaking with Alexander about all of these memories he has of the early stages of Children of Bodom, as well as his current pursuits.  His passion for working with the younger generation of musicians is evident in the way he speaks about the joy he gets from seeing them succeed, leaving no doubt he has found the right line of work after departing the band in 2003.  But I guess when you’ve already mentored one of the most famous musicians in Finnish history

When interviewed about Mario Lalli for a documentary about the emerging desert rock scene he grew up in, Josh Homme of Kyuss and Queens of the Stone Age fame described him this way:

“Mario is the one guy who I always thought deserved the most credit for everything.  He was always a few years ahead of his time… He’s always had this way about him – he’s very giving, he’s always done everything for the right reasons, for the art of it, for the love of it, and expecting nothing.”   

Though he’s ambivalent about the "Godfather of Desert Rock" moniker he’s acquired through the years, you would be hard pressed to find a musician from the Palm Desert scene who doesn’t cite Mario as the driving force behind the now legendary genre on music spawned there.  Whether through his playing in bands like Across the River and Yawning Man, buying the generator that powered the now mythic live shows in the desert, opening his own restaurant to double as a live venue for the scene’s groups, or offering the younger generation of musicians a place to rehearse in his own garage, his dedication, influence, and contributions to the now famous stoner rock genre in its infancy are immeasurable. 

After meeting Mario at a Brant Bjork Trio show in Ridgewood, Queens, I asked him for a picture and if I could interview him sometime.  He emailed me right there on the spot, while working the merch booth before taking the stage to play.  We spoke about a wide range of topics, including:

• the recent Stateside Boogie tour with Brant Bjork (Kyuss, Fu Manchu), the release of their new record Once Upon a Time in the Desert and the relaunch of Duna Records, his longtime collaboration history with Brant, and the delicate relationship between art and commerce.
• his incredibly influential band Across the River which paved the way for Kyuss, opening for D.R.I. and St. Vitus, and Across the River never ended up releasing anything official despite being in talks with famed punk label SST.
• the emphasis bands in the desert scene placed on playing live as opposed to recording, the origin of generator parties in the desert, and why they eventually became a thing of the past. 
• the early days of Queens of the Stone Age, touring Europe with them and opening for The Smashing Pumpkins, and writing the lyrics and singing the early version of “You Think I Ain’t Worth a Dollar, But I Feel Like a Millionaire” from Songs for the Deaf.
• a reflection on what it means for a scene he worked so hard in to become so well-known and famous worldwide, and gratitude for being able to do something he loves for a living.

Speaking with Mario, it’s obvious that all the work he’s done to promote his music and the music of others around him was and continues to be done with a level of authenticity that’s impossible to fake.  It may have taken him a little more time to receive that praise and success than others from the same scene that he deserved, but I bet if you asked him, it wouldn’t really make a difference one way or the other.  His passion for his art and being able to create music is reason enough for him to do it, regardless of how many people are listening.    

Porcupine Tree band leader Steven Wilson started his 2022 autobiography, Limited Edition of One, with a story about the band’s last show before the start of their well-known hiatus that began in 2010.   He wrote that subconsciously, while playing before a sold out crowd at the famous Royal Albert Hall, he knew that it would be the last thing Porcupine Tree did for a while.  There was one problem: he neglected to tell all of his bandmates of these plans for quite some time.

One of those bandmates was long-time bassist Colin Edwin, who had joined Porcupine Tree officially in 1993 as the group transitioned into a live unit, and played on every album from 1997’s Signify through 2009’s The Incident. As the days and months and even years wore on without any action on the Porcupine Tree front, Colin found himself left to explore and discover other musical avenues.   As he tells it, he started with a collaboration with another bassist, and through each new project or band, he was able to gain more confidence as a songwriter and player in each new experience as it came along.  

One of these experiences was a band called Obake, featuring an Italian vocalist named Lorenzo Esposito Fornasari, or LEF for short.  LEF would eventually ask Colin to form a group with renowned Italian guitarist Carmelo Pipitone, with the lineup rounded out with drummer Pat Mastelotto from King Crimson.   This is how O.R.k. was born.  

Now a decade into their existence, O.R.k. are about to release their fifth studio album, Firehose of Falsehoods, on March 21st through Kscope Music, adding to their highly revered catalog in progressive circles.  Though spread out between the United Kingdom, United States, and Italy, the group takes a collaborative approach to songwriting in which all members feel free to bring something to the table musically.  By his own admission, after years in a less democratic band, Colin embraced the opportunity to develop and allow that aforementioned confidence to flourish in this new environment, discovering and revealing another side to his musicianship that the world never got to see with Porcupine Tree.  

Prior to the release of Firehose of Falsehoods, I had the chance to speak with Colin about the new record, plus:

• the social significance of the title Firehose of Falsehoods, his personal contributions to the album, O.R.k.’s origin and songwriting process, and how LEF conjures the ghost of Chris Cornell.
• how the band came to work with Serj Tankian of System of a Down, how they got Adam Jones from Tool to design their album covers, and bonus octopus facts.
• former Porcupine Tree touring guitarist John Wesley’s guest solo on the album, PT’s 2003 tour with Opeth, how “Trains” became an unlikely encore song, and a discussion of In Absentia and what influenced its metal direction.
• Colin’s favorite basslines to play from Porcupine Tree, a reflection on the last 15 years since he left the group, and the origin of O.R.k.’s name.  

When Porcupine Tree’s hiatus ultimately ended in 2021 with the announcement of Continuation/Closure, and its release in 2022, Colin would still be awaiting that call from his old band leader, as he was rather informed by a lawyer that he would not be a part of the reunion.  Without the hiatus and events that followed, however, it’s possible he never would have had the opportunity, or need even, to develop another side of himself musically.  In speaking with Colin, it is abundantly clear that he’s gained that confidence he was seeking in 201

Since their inception in 1997, Elvenking have never fit squarelyinto one genre or category in the world of metal.  On a surface level, the casual listener might blindly generalize them into power metal genre based on Davide “Damna” Moras’ soaring vocals and Federico “Aydan” Baston’s fast-paced riffing and lead guitar play.  But when you span the band’s entire catalog, the breadth of their influences are revealed, resulting in a brand of metal that is as much influenced by folk metal legends like Skyclad as it is by melodic death metal pioneers In Flames and Soilwork.  

Through combining classic folk elements like the violin withspots of harsh vocals and even blast beats at time that could seem more at home in classic black metal, Elvenking have perfected their own brand of metal for nearly thirty years.  They prefer to refer to it as pagan metal.

The driving force behind this signature sound are Aydan andDamna, the longest tenured members of the band. After experimenting with different sounds for much of their early career due to a lack of a scene in their native Italy that embraced them,  the two decided to sit down and decide what they wanted Elvenking’s signature sound to be.  The result of this brainstorming session was 2014’s The Pagan Manifesto, which many consider the band’s watershed moment alongside their 2001 debut Heathenreel. 

Now, a little more than a decade after its release, the groupin on the precipice of completing one of the more ambitious projects in recent metal history.  The band’s Reader of the Runes album trilogy is about to be completed on April 11thwhen they release the third installment titled Luna.  The intricate storyline from the previous two releases, 2019’s Divinations and 2023’s Rapture, will finallyconclude, revealing the fate of the eight main characters introduced in the first installment of the concept.  

Ahead of the release of Luna, I was able to speakwith Damna about a number of topics, including:

• the inspiration for the Reader of the Runes concepttrilogy, the band’s experience writing it, and how the story will conclude (no spoilers).
• a brief discussion of classic concept albums, the lost art of the metal epic, and some classic long form tracks from metal history.
•  how fans have greeted the new singles from Luna,Elvenking’s experience playing at Paganfest, and appreciation for Waylander’sReawakeningPride Once Lost.
• working with Dan Swanö (Bloodbath, Edge of Sanity)on Divinations, recruiting Jon Oliva (Savatage) to guest on Era, and the singers who influenced his style most.
• Elvenking’s cover of Belinda Carlisle’s “Heaven Isa Place on Earth,” the story behind their stage outfits and makeup, and future plans for the band.

Alongside being an incredibly talented frontman, Damna is also a student of metal history with a deep affection for classic black and death metal alongside the standard classics. Discussing Elvenking alongside so many legendary albums and artists made for a very enjoyable conversation that you can check out here.  Enjoy!

When Swedish melodic death metal legends Arch Enemy were about to enter to studio to record Burning Bridges in 1999, which would become one of their most iconic releases, they were facing a bit of an issue: they needed a bassist.  The group had just returned from playing tour dates in Japan and, according to lead guitarist and band leader Michael Amott, things were not working out with their current lineup.  That’s when Amott decided to give Sharlee D’Angelo, who he’d known since he was still playing in Carcass, a recruiting call. D’Angelo had joined Mercyful Fate in the early ‘90s and recorded four albums with them, but the future of the band seemed uncertain at the time as their metal icon frontman King Diamond was focused on his solo work.   As Sharlee remembers it, Michael called him on a Thursday, and by that Monday they were in the studio recording one of the seminal albums to emerge from the Gothenburg scene.  And neither have looked back since.

Now a little more than a quarter century later, Arch Enemy are on the precipice of releasing their twelfth studio album, Blood Dynasty, on March 28th through Century Media Records.  It will be Sharlee’s tenth record with the group.  Through various lineup changes over the band’s three-decade history, including three different vocalists and several guitarists, the core of Amott, D’Angelo, and drummer Daniel Erlandsson have remained the driving force behind Arch Enemy’s iconic sound they’ve crafted that permeates from each release in their catalog. Blood Dynasty is no exception to this rule, as the group has once again delivered an excellent offering to the melodic death metal world they helped to create and popularize. 

Ahead of the release ofBlood Dynasty, I had a chance to speak with Sharlee about several highlights from his career, including:

• the writing process forBlood Dynasty, the reaction to the new singles Arch Enemy have played live so far, and the addition of Joey Concepcion on guitar after the departure of Jeff Loomis (Nevermore).
• what fans can expect from the rest of the record outside of the singles, Alissa White-Gluz’s incredible vocal range and how it opens new avenues musically for the group, and the upcoming North American tour with Fit for an Autopsy.
• Sharlee’s influences on his bass playing, making up excuses to hang out with the boys, and honoring classic rock inThe Night Flight Orchestra with Speed Strid (Soilwork).
• how he came to join Mercyful Fate in the early 1990s as his first pro gig, the transition to Arch Enemy and that fortuitous phone call with Amott, and memories of playing withJesper Strömblad (In Flames) and Alexi Laiho (Children of Bodom) on the first Sinergy record, and memories ofAlexi.
• reflections on Arch Enemy’s 30th anniversary as a band and the keys to their success and longevity. 

It was wonderful having the opportunity to talk with Sharlee about all of these topics from his truly unique career playing with most of the legendary metal musicians throughout Scandinavia and beyond.   In addition to the tremendous list above, he’s also played with a number of other bands which haven’t been mentioned, including Spiritual Beggars, Dismember, Witchery, IllWill, and Facelift.  The pure volume of his work and his lengthy successful career speaks to his playing ability and makes it hard not to think he’s one of, if not the go-to bassist in the Swedish metal scene – which is probably what Michael Amott was thinking when he called him back in 1999.

In early 1991, Dream Theater were dangerously close to calling it quits.  The promising young group, which formed at Berklee College of Music in Boston in the mid-1980s under the original name Majesty, had let go original lead singer Charlie Dominici shortly after their 1989 debut record When Dream and Day Unite.   For nearly a year and a half, they had auditioned countless frontmen, with none of them fitting the job description in the right way.  Doubt started to creep in, as the band members started to think that maybe Dream Theater, as they envisioned it, just wasn’t meant to be.

That all changed when days before committing to another singer, the group received a live recording of a Canadian band called Winter Rose, fronted by an aspiring metal singer named James LaBrie.  Founding members John Petrucci (guitar), Mike Portnoy (drums), and John Myung (bass) were so taken by LaBrie’s voice and look that he was immediately flown to New York for an audition on Long Island, and was hired as the band’s singer three days later.  Reenergized, the group even laid down demos for their legendary 1992 release Images and Words on that same trip before James returned to Canada. 

A little over thirty years later, LaBrie found himself at yet another pivotal moment in the band’s rich history.   Portnoy had famously departed the group in 2010, citing the need for a break while his bandmates were determined to carry on, and was replaced by drummer Mike Mangini.   During his time outside of the band, his relationships strained even further with his former bandmates, to the point where what was supposed to be a proposed hiatus started to look more like a permanent vacation. 

That all changed when Dream Theater played Beacon Theatre in New York on March 4, 2022.  At this point Portnoy had been back in Dream Theater's orbit, having recently played on John Petrucci’s solo album and subsequent tour, as well as the resurrected Liquid Tension Experiment's third album with Petrucci and Dream Theater keyboardist Jordan Rudess.  But the last domino to fall to make this now well-known reunion a possibility came with meeting LaBrie backstage before that show at the Beacon. 

Now that the fences have mended, the fruits of this historic reunion are being realized. Dream Theater is due to release its 16th studio album Parasomnia on February 7th.  It's the first Dream Theater album to feature their classic lineup with Portnoy on drums since 2009’s Black Clouds and Silver Linings.  The group is also due to kick off the North American leg of their 40th Anniversary Tour, which starts on February 7th in Philadelphia and wraps up on March 22nd in New York City.

Ahead of the release of Parasomnia, I had a chance to speak with Dream Theater's frontman about a number of other topics, including:

• the process of welcoming Portnoy back into the Dream Theater fold, the inspiration for the sleep disturbance-related theme of the Parasomnia, and how each member of the band interpreted that theme on the record during the writing process. 
• his approach for writing the lyrics for "A Broken Man," the contrasting lyrical styles of different members of the band, and why he takes a more humanistic approach to his prose. 
• how the band curates its setlist with such a deep discography, plans for a Live DVD from their recent European leg of the 40th Anniversary Tour, and a few stories from the 2002 Inner Tourbulence tour with King's X and Joe Satriani. 
• a discussion of that Winter Rose tape making it's way to Dream Theater, his initial audition, and reflections on what a fateful moment that was for both James and his bandmates. 

As a huge Dream Theater fan who has followed them religiously since my high school days, speaking with James was a true thrill and a dream come true. 

Failure has never really been an option for Jamey Jasta.  He started out in the music business in his early teens during the mid-1990s and he has yet to look back.  When interviewed about his initial impressions of meeting Jamey as a teenager, Brian Fair of Shadows Fall had this to say: "Jamey was the hardest working man in hardcore.   He saw a possibility of making a career out of this long before anyone else I knew did.  But he knew that meant multitasking and having a million irons in the fire.  He booked shows, he had a zine, he started a small record label, he had a band.  We were all like, who is this kid running the Connecticut hardcore scene?"

Now over thirty years later, not much about that description has changed, though the scope of his influence has increased exponentially.  The hustle and drive that he showed as a teenager in that Northeast scene has continued, but on a much broader stage.  He’s toured the world with Hatebreed with every metal act you can name, hosted MTV’s Headbanger’s Ball and interviewed metal royalty from Dio to Lemmy to Iron Maiden, recorded over 700 episodes of his podcast The Jasta Show, produced and distributed records for Dee Snider and countless others, and resurrected the Milwaukee Metalfest.   Jasta has been an ambassador for metal and the metal community, while championing and showcasing up-and-coming bands as much as he’s paid tribute to the legends of the genre with the countless shows he’s organized and the collaborations he’s created.

I had a chance to speak with Jamey about his wide spectrum of achievements in so many facets of music, including: 

• Hatebreed celebrating its 30th anniversary as a band, releasing a Bay-area thrash inspired solo album called …and Jasta for All, and the inspiration and process of resurrecting Milwaukee Metalfest.
• the writing process of the new Hatebreed record, touring plans for 2025, the upcoming Thrash Thursday shows in the leadup to Milwaukee Metalfest, and updates on the March Metal Meltdown and March Metal Matinee.
• how he overcomes writer’s block, a special gift he received from Testament, how he came to produce albums for Many Eyes and Dee Snider, and his dedication to discovering new music.
• his dream guests for The Jasta Show, interview opportunities that he’s turned down, an unfortunate experience with Tool’sFear Inoculum, and reflections on what’s made him so successful in the music business.

For as much as Jamey’s achieved in over three decades in the music business, it seems like the journey is far from over.  When speaking with him about his accomplishments, it feels as though with each achieved goal, there are two or three more ideas that are spawned from their completion.  The overarching theme is that each of these tasks is undertaken with integrity to advance metal, hardcore, and any other genre he engages with in order to promote and elevate those bands to give them that same chance he was looking for back in his early teens.   

With a work ethic like few others in the metal world,  Jasta has proven to be perhaps the most profilic man in metal today.  Jamey may have declared it to the world best himself on the opening track of Perseverance – “You wanna see me fail? You’ll never get your chance.”

Justin Foley joined Killswitch Engage in the fall of 2003 after the departure of their original drummer.  His former bandmate, Howard Jones, had just joined the band as their lead singer and recommended Foley for the vacancy.   A year later, Killswitch Engage would be nominated for a Grammy for their gold 2004 record The End of Heartache and be opening for Slayer as part of the Jagermeister Music Tour – a meteoric rise for a band that just five years prior was playing travelling hours to play basement shows in New England.  

Now some 20 years later, Killswitch are on the verge of releasing their ninth studio album, This Consequence, in February through Metal Blade Records.  Having welcomed original lead singer Jesse Leach back into the fold in 2012 following Jones’ departure, the band have released a number of successful albums over the past decade while touring the globe to play for their ravenous fanbase.  Their latest effort is no exception, as it’s a tight collection of ten well-written songs that contain the classic elements fans have come to expect from a Killswitch record, while signifying another step in the band’s evolution.  

A classically trained percussionist, Justin breaks the mold of the prototypical metal drummer.  His influences range from Charlie Benante of Anthrax to obscure classical Russian composers, and his playing reflects the diversity of that range.   The combination of his technical, savvy, and brutal playing alongside his Killswitch bandmates has allowed the band to rise to worldwide fame.  

Justin spoke with me for about 45 minutes about a number of topics, including:

• the recording process for This Consequence, the approach the band takes to songwriting, and his contributions to the album.
• Killswitch’s upcoming North American tour, why metal bands are not playing New York City these days, and a discussion of lost local venues.
• how his training as a percussionist and playing with orchestras has influenced his playing and writing.
• the events that led to Justin joining Killswitch, reflecting on his whirlwind first year in the group with Howard Jones, and how the group’s cover of “Holy Diver” came to be.
• a healthy discussion of MLB stadiums and the quest to visit each one, his documentation of the band’s live shows, and Killswitch’s obsession with The Price Is Right.
• reflections on the band’s success and a special moment with Charlie Benante of Anthrax.

Justin was a pleasure to speak with and more than generous with his time.  With his self-deprecating sense of humor, he consistently downplayed his role in the group’s success, but twenty years in, his performances like on this record are a big reason why Killswitch Engage are such an incredibly successful band.  Killswitch Engage’s ninth studio album, This Consequence, is due out on Metal Blade Records on February 21st.   

Enjoy!

Reflecting on when Fredrik Åkesson joined Opeth in 2007 after the departure of founding member Peter Lindgren, band frontman and general mastermind Mikael Åkerfeldt said: “Finally, we had a really, really good lead guitar player, so I could step back a little bit…I always wanted a good lead guitarist, but neither me or Peter were able to advance too much in that department.”

Now some seventeen years and six albums later, Åkesson and Åkerfeldt have developed an incredible chemistry that is showcased not only during their live shows, but on their latest record, The Last Will and Testament, which is due to be released Friday, November 22 through Reigning Phoenix Records. It is a concept record that chronicles the reading of a wealthy, conservative patriarch’s final words to his next of kin. Set post-World War I, the story focuses on his family’s reaction to the stunning confessions he reveals in death. It is a tale wrought with deception, infidelity, and murder, all committed in the name of having a rightful heir to his fortunes.

I had the opportunity to speak with Fredrik ahead of the album’s release about many topics related to the album, and otherwise, including:

• how The Last Will and Testament combines the “old-school” Opeth with newer progressive tendencies, what inspired the intricate storyline to the concept, and a discussion of classic concept albums in metal history.

• the way Fredrik crafted his solos on the record, how spiders inspired one of them, and his feelings on the cameos from Ian Anderson (Jethro Tull) and Joey Tempest (Europe).

• the band’s recent show at Kings Theatre in Brooklyn, the possibility of more North American tour dates on this album cycle, and a playful appeal for Opeth to play Madison Square Garden.

• the band’s choice of B-sides for the Watershed record, Fredrik’s experience learning and playing “Black Rose Immortal” live for the 30th Anniversary Tour, and reflections on his relationship with Mikael.

Fredrik was a pleasure to speak with and was incredibly modest for a guy who can absolutely shred. As I say in the interview, I am beyond excited for metal fans everywhere to hear this album because I think it is one of the greatest achievements in Opeth’s long and storied career – which has had plenty of high points already. The Last Will and Testament adds to their already majestic legacy and will further enshrine them as one of the greatest bands, metal or otherwise, of our time.

Frank Hetzel has been a giant in the Seattle metal community for many years – so much so that it’s been said that any metal band who played in the city was booked through him.  After securing national and international band to grace the stages of Seattle, he started to create his own music through Beltfed Weapon, using the connections he had made to secure guest and session musicians to appear on the band’s EPs.  The band’s latest single, “Tortured Within,” features Stu Block on lead vocals.  Stu famously replaced Matt Barlow as the frontman in Iced Earth in 2011, before rejoining his original band Into Eternity in 2021.  He also recently performed with Annihilator, the highest selling metal act ever from his native Canada.  

Stu and Frank joined me for about 50 minutes to discuss: 

• the new Beltfed Weapon track, which also features Bryan Newberry (Into Eternity) on drums, Mike Lepond (Symphony X) on bass, and Kragen Lum (Heathen, Exodus) on lead guitar.
• how Frank and Stu met and came to collaborate with each other, how Frank used his connections within the metal scene to bring on guest musicians, the timeline for the next Beltfed Weapon single that also features Stu on vocals, and a conversation about their biggest influences musically. 
• memories of departed vocalist Tim Aymar (Control Denied) whose last recordings ever were featured on Beltfed Weapon’s 2022 EP Darkened Demise, and praise for his work on The Fragile Art of Existence. 
• an overview of Stu’s time in Iced Earth, spanning from his audition and reaction to learning he got the gig by overhearing Jon Schaffer in another room, to the band’s epic performance at an ancient Byzantine stadium in Cyprus in 2013.
• Frank’s connection to Nevermore, especially Jeff Loomis, who contributes guitar parts on multiple Beltfed Weapon tracks, and reflections about the loss of Warrel Dane. 
• a new Into Eternity record that’s in the works according to Stu, and Frank’s desire to release a full-length Beltfed Weapon album in the near future, and a wishlist of musicians he’d like to work with on future songs. 

Beltfed Weapon’s new single, “Tortured Within,” is available on all major streaming platforms.  A huge thank you to Stu and Frank for joining me and sharing so many stories from their respective careers.

Alex Skolnick is a world renowned guitar virtuoso most well-known for playing in the thrash metal band Testament from the age of 16. He has also played in Savatage, Trans-Siberian Orchestra, and his jazz outfit Alex Skolnick Trio. I spoke to him ahead of his appearance with metal supergroup Metal Allegiance 10th Anniversary Show on September 6th at Starland Ballroom. 

Alex spoke about a number of topics, including:

• how Metal Allegiance formed, the several dozen special guests on their albums, and what to expect at their 10th Anniversary show. 
• his time in Testament and his decisions on leaving and returning to the band.
• growing up in the Bay Area thrash scene, memories of Cliff Burton, and the biggest band to never make it from that scene (bonus Les Claypool story).
• joining Savatage after Criss Oliva's passing for "Handful of Rain" and the quirks of recording that album.
• how he joined Trans-Siberian Orchestra, how studying jazz has improved his ability as a guitarist, and his memories of Joe Satriani as his guitar instructor.
• a healthy discussion of KISS and other bands with longevity, plus much more!

Alex remains a soloing force in Testament, and is still involved in numerous other projects, metal and otherwise. It's hard to tell what he will get involved in next. Enjoy!

Karl Agell, who was Corrosion of Conformity's vocalist on 1991's breakthrough Blind, discussed a number of topics with me, including:

• how he joined Legions of Doom, a doom/stoner supergroup involving ex-members of Trouble, The Skull, Saint Vitus, Pentagram, Leadfoot, and more.
• their first release, The Skull 3, due out September 13th through Tee Pee Records.
• the impact Eric Wagner (Trouble, The Skull) and his passing in 2021 had on this record and on Karl's career.
• his time in Corrosion of Conformity, the recording of Blind, his contributions to the record, and touring with Iron Maiden.
• his departure from Corrosion of Conformity, the tapes of him singing the tracks from Deliverance, and the possibility of any future reunion with COC.
• what fans can expect from Legions of Doom and their sets while touring in support of The Skull 3, which includes headlining Desertfest NYC's pre-party. 

As a huge fan of Blind, it was an incredible experience to speak with Karl about that unique, standout album that blends hardcore, thrash, and many other styles. Legions of Doom and The Skull 3 are also well worth your time. Enjoy!

I've been a King's X fan for over two decades now. The fact that I was able to interview bassist and vocalist Doug (dUg) Pinnick for ⁠ThisDayInMetal.com⁠ was a surreal experience. 

dUg spoke with us for nearly 50 minutes about:

• his upcoming new solo record in October 2024.
• the bizarre experience of opening for AC/DC in Germany.
• how King's X picks their setlist.
• playing Woodstock '94.
• working with Brendan O'Brien on Dogman.
• his cameo on "Lines in the Sand" by Dream Theater. 
• how he feels about King's X being so widely respected without the same level of commercial success. 

Throughout the interview, you can hear dUg's passion for music and gratitude for the musical life he's led. Enjoy!

I started writing about music two years ago, mostly as a joke, and have now found myself producing material for an actual website called ⁠ThisDayInMetal.com⁠. Given access to different musicians for interview, I thought I would share the audio here for those who may be interested. For my first episode, I was joined by Derrick Brumley of the metal band Conquest to promote their new album Paradox, released through Dark Star Records. Derrick spoke about his inspiration for the new album, his admiration for Judas Priest, and his interactions with metal legends that led him to where he is today.