Larry Busacca, Getty Images Frontman Dave Grohl has officially announced that Foo Fighters will indeed be taking an extended hiatus. There’s no word on when Foo Fighters will play a show or record an album again, with Grohl himself writing, “I was serious. I’m not sure when the Foo Fighters are good to play again.” As we recently reported , Grohl told a New York City crowd during his band’s set at the Global Citizen Festival on Saturday (Sept. 29) that Foo Fighters have no additional shows planned. “We’re not making a big deal out of this, but this is it,” stated Grohl. “We don’t have any more shows after this. This is it. We don’t have any ones after this. This is the show where we play as many songs as we can in a short period of time because honestly, I don’t know when we’re gonna do it again, but this is the perfect place to do it right now tonight.” Now, Grohl elaborates further in a post on Foo Fighters’ Facebook page: Hey everyone… Dave here. Just wanted to write and thank you all again from the bottom of my heart for another incredible year. (Our 18th, to be exact!) We truly never could have done any of this without you… Never in my wildest dreams did I think Foo Fighters would make it this far. I never thought we COULD make it this far, to be honest. There were times when I didn’t think the band would survive. There were times when I wanted to give up. But… I can’t give up this band. And I never will. Because it’s not just a band to me. It’s my life. It’s my family. It’s my world. Yes… I was serious. I’m not sure when the Foo Fighters are going to play again. It feels strange to say that, but it’s a good thing for all of us to go away for a while. It’s one of the reasons we’re still here. Make sense? I never want to NOT be in this band. So, sometimes it’s good to just… put it back in the garage for a while… But, no gold watches or vacations just yet… I’ll be focusing all of my energy on finishing up my Sound City documentary film and album for worldwide release in the very near future. A year in the making, it could be the biggest, most important project I’ve ever worked on. Get ready… it’s coming. Me, Taylor, Nate, Pat, Chris, and Rami… I’m sure we’ll all see you out there… somewhere… Thank you, thank you, thank you… Dave [button href=”http://loudwire.com/foo-fighters-best-of-you-top-21st-century-hard-rock-songs/” title=”Foo Fighters: Top 21st Century Hard Rock Songs” align=”center”]
MachineHead1.com Congrats are in order for Machine Head guitarist Phil Demmel and his new bride, Bleeding Through keyboardist Marta Peterson. The couple wed in Las Vegas over the weekend after two years of dating. Just after the beginning of 2012, the couple revealed their engagement . Demmel stated in an interview last fall, “I met the girl of my dreams in Australia the last time we were down there. One of the greatest things that has ever happened to me was on that run. I have very special memories of Australia and know that I was in love for the first time when I was in Brisbane.” The two bands toured through Australia and Japan in early 2010. Demmel’s bandmates were among the first to wish the happy couple the best. In a Facebook posting , they stated, “A hearty congratulations to newlyweds Phil Demmel and Marta Peterson from the entire Machine Head family.” In addition to their marital and musical partnership, Demmel and Peterson have launched the neoFatal lifestyle brand within the past year. You can find out more about the brand here . [button href=”http://loudwire.com/machine-head-aesthetics-of-hate-top-21st-century-metal-songs/” title=”Next: Machine Head: Top 21st Century Metal Songs” align=”center”]
BaronessMusic.com On Aug. 15, Baroness were involved in a terrible bus accident in the United Kingdom. The accident that occurred that morning caused Baroness’ bus to break through a guard rail at 50mph, plummeting 30 feet off a cliff into a wooded area below. Incredibly, every passenger on the bus survived, and in a fascinating recollection written by Baroness frontman John Baizley, fans are now able to understand how truly lucky the band was to survive. No matter your personal religious convictions, or lack thereof, one word can be universally shared to describe the survival of each bus passenger — ‘miracle.’ In Baizley’s written account on his brush with death, which left him with a severely broken arm and leg, he shares with incredible depth exactly what happened, the moment of impact, insight into his near-death experience (which is oddly reminiscent of Woods of Ypres ‘ song ‘Death is Not an Exit’) and much more. Baizley writes: On August 15th, just before 11 am, Baroness and our crew were involved in a very bad crash while on tour. The brakes in our bus failed completely, on a notoriously dangerous, incredibly steep (12% grade) hill in Monkton Combe, UK, on our way from a show Bristol to another show in Southampton. Our bus went entirely out of control, and we had no choice other than hitting a perpendicular guardrail going about 50 mph at the bottom of the hill. The guard rail and the 20 or 30 trees we ploughed through snapped like matchsticks as we went fully airborne and fell down more than 30 feet off of a viaduct to the ground below. Half of the band/crew were asleep while we lost our brakes, and a few of us were awake and sitting in the rear lounge. I was up front with our driver, and I bore witness to the entire thing. Once our brakes failed, the bus could do little more than gain momentum and plummet down the hill. There was nothing anyone on the bus could have done during our descent to avoid the crash, and no one, the local residents, the police or any of us can believe we survived the impact. Most people who have been in accidents understand the pre-trauma sensation of time slowing down. There were almost two minutes during which I knew we were heading for a collision. It felt like two hours. I remember the sound of the air-brakes failing, and the panicked cursing of our driver as we slowly realized how desperate the situation was. I tried as hard as I could to yell and wake everyone up to prepare for impact. I remember the sounds of confusion from behind me as our collective terror rose. I remember seeing the guardrail split, then a cluster of trees smacking against the front windshield. While we were airborne my eyes met with our driver’s. I knew then that we each shared the same look on our face; and I won’t soon forget it. We had spent enough time in the air to appreciate, make peace with and accept a fate we thought inevitable, and we looked at one another with a horribly silent “goodbye” in our eyes. When the bus hit the ground, I flew like a missile into the windshield. I can still see the double-paned auto glass turning blue and the spider-webbing cracks spreading outwards from the impact my body made. I hit the glass so hard, that the entire windshield flew from the frame to the ground, and I bounced back inside the bus. I landed on the ledge of the windshield. This came with an immediate and overwhelming pain throughout my body. I surveyed the damage to see instantly that my left leg was very obviously and badly broken. Then I lifted my arms forward to see if either had been damaged. My right arm was covered in burns, blood and broken glass, but working well enough. My left arm was crushed beyond belief, broken in the middle of the bone in my upper arm (humerus), and hanging 90 degrees backwar ds, with many spurs of bone poking through muscles and sinew at the surface of my skin. The bone was shattered into seven free-floating pieces, and my wrist and hand were swinging behind my back, spasming freely. Instinctively, I reached behind my back, grabbed my wrist and re-broke my arm forwards, hugging it to my chest, where it remained for the next three hours until it was cast in plaster. Meanwhile, I watched as some of the band was able to get off the bus and help the others, many of whom were broken-up as well, and several of whom were unconscious. There was blood, glass and diesel fuel everywhere. We were all rushed to the hospital in Bath, and treated for our various injuries, broken arms, legs, vertebrae, bruises, cuts, etc. Our driver was air lifted to a separate hospital with many breaks as well. A few of us had to remain in the hospital for a few days, I was hospitalized for two weeks, following an eight-hour surgery in which my arm was rebuilt with the aid of 2 massive titanium plates, 20 screws and a foot-and-a-half of wire. The 15? incision took almost 50 staples to close up. I was left completely immobilized for the remainder of my hospital stay, able to do next-to-nothing on my own and in need of constant care. Following those excruciating first two weeks, I was quite literally stuck in an apartment for another three weeks with my family while waiting for my doctor to allow me to safely board an airplane, for fear of bloodclots and swelling. I have just this past week returned back to the US and my home, where I am wheelchair-bound for another several weeks of physical therapy, learning to use my arm and leg again. While I cannot lift a glass of water to my lips to drink with my left arm and hand, I am still able to play music with it. I picked up a guitar and played the day after I returned. Not without pain (for the time being), but the hand still acts out the creative impulses I give it. I’m told I was quite lucky to have regained any use at all of my hand and arm, though I have sustained quite extensive nerve damage. In spite of this and against my logic and reason, when I pick up an instrument, my hand remembers exactly what to do. It’s far from perfect, and will require a lot of therapy in order to recover mobility and strength, but I am encouraged by the ability I have been allowed. I do not believe in superstitious signs, but I am truly overwhelmed to have been granted the continued use of my hands. As a result of the crash, I feel encouraged not only to recover, but to move forward with Baroness, as we had been doing every day previous to August 15th. This accident has inflicted an injury which has left its mark on the band: physically, mentally and spiritually. In order to rehabilitate ourselves fully, we must work towards and then past the goals we had prior to the accident. I will consider our immediate recovery a success only on the day we plug back in to play another show. We cannot allow this accident, which I believe is unrelated to the band or our music, to slow down or stifle what has become so much more than a passionate hobby for the four of us. Through Baroness, we have discovered a method by which we may harness our drive to create, and channel all the emotion, anxiety and pain in our lives into something constructive. Music is the universal means of communication we have chosen to express ourselves. Our message has never been one of the absolute positive or negative, neither black nor white. True life occurs within the shades of grey, and I see this experience form that perspective. It seems only fitting to me that we continue working towards creating and performing again as soon as possible, as this band and its music are the vehicle through which we grow as individuals, artists and brothers. The injury the band suffered is an injury to my family and loved ones. Rather than allow it to become a wedge that forces us apart, I would like to see this experience become part of the glue that strengthens us. We have only begun to accomplish what we set out to do through this band. There is so much more to say, and though we do need to heal up a bit; we will not allow any of those things to be left unsaid. I have no regrets about touring. I don’t blame music or the touring lifestyle for my current physical state, or for the accident itself. It happened the same way all things happen: randomly. If I was a carpenter, and I was injured on the way to the job-site, I wouldn’t consider quitting my job. That is truly how I see this situation. Baroness doesn’t stop because we got hurt on the way to work. We love what we do much more than that, and we have chosen this path because it offers us an unpredictable adventure. With any adventure that involves travel, and with any real passionate pursuit, one will occasionally come face-to-face with the reality of living on the other side of the yellow line. I didn’t choose to be a musician in order to live a risk-free life, safely avoiding bumps and bruises. I didn’t choose to play music because it seemed like a simple opportunity to make some quick cash. Nor did I ever make the assumption that things would get easier as we progressed. We can do nothing but attempt to make something constructive and beautiful out of all this disaster, and we are well on the way to becoming active again. I have used this time, stuck inside my own head, to consider the importance of music and Baroness in my life. I can say, after nearly 6 weeks of reflection, that I feel more resolute and passionate about our music than ever. I have come to realize the importance of time in this particular equation, that is, I have none to waste and none to spare. There is no better moment than now, broken and in physical stasis, to devote ourselves more fully towards our art than ever. We cannot allow the traumatic fallout of our crash to cripple us internally. It seems simple: the shows we have cancelled we will reschedule and play in the future. It isn’t going to happen next week nor will it be next month. But it will happen. We will be back on tour as soon as we possibly can. There was one moment in the crash that cut me deeply. For one heartbeat and one tiny sliver of time, I became disconnected entirely. It was, specifically, the moment I impacted with the glass. In that barest heartbeat of a moment, I came face to face with the infinite. I didn’t see a light, or the tunnel or hear any music. Nor did I get a “best-of” montage of my life. Instead, I felt the tip of my nose brush up against the very same fate I had accepted moments before. I looked into a cold, unreflective mirror. It was the dark, silent, dispassionate logic of the end. I realized in that moment that life can be seen as a light switch: “on” or “off”. When the moment passed and I heard the screaming, felt the pain, and tasted my own blood, I was overcome with joy. I was ecstatic to be back amidst all that chaos and horror because it was alive and real. I finally glimpsed the relative importance of all things. The support of our fans, our friends and our families has real meaning to me now. I say that now honestly, without false humility. Thank you. Everyone. Till the wheels fall off . . . John Baizley & Baroness BaronessMusic.com BaronessMusic.com BaronessMusic.com [button href=”http://loudwire.com/baroness-march-to-the-sea-best-2012-rock-songs/” title=”Baroness: Best Rock Songs of 2012″ align=”center”]
RCA Records In astrological terms, the transit of Venus is when the planet passes between the Sun and the Earth, displaying as a black disc moving across the sun for a period of several hours to stargazers around the globe. The occurrence happens approximately every 240 years or so and is not entirely predictable making it a very rare phenomena. In musical lingo, ‘Transit of Venus’ marks the return of Canadian rockers Three Days Grace and the follow up to their 2009 disc ‘Life Starts Now.’ While the connection between the two transits may not be completely transparent, the anticipation and excitement surrounding both mixed with the unpredictable nature of the two seem to pull them together, or at least into the same galaxy. Three Days Grace went into the making of ‘Transit of Venus’ with a very focused goal of digging a little deeper, pushing a little further, and allowing themselves to experiment with new instrumentation and layers without completely diverting from the Three Days Grace brand that they have cultivated throughout their career. ‘Transit of Venus’ definitely marks a new direction for the band infusing electronic elements over textured sonic landscapes while maintaining their love for catchy hooks served up courtesy of guitarist Barry Stock and drummer Neil Sanderson, pounding bass lines provided by Brad Walst, and the signature raspy rock vocals of Adam Gontier. The celestial disc begins with ‘Sign of the Times,’ an out of this world, ethereal, slow-moving opus that starts things off with a moody, sullen vibe before it kicks into high gear, reminding music fans of why they fell in love with Three Days Grace in the first place. The rest of the disc tends to follow that same path, new progressive elements hitting the Three Days Grace of old head on, melding into well-rounded tunes that sound meticulously crafted and built from the ground up, layer by layer, brick by brick. The first single, ‘Chalk Outline’ is a chugging, dark, anti-love song of good times gone bad allowing guitarist Barry Stock to shine throughout. Most of the disc’s 13 songs cater to an angrier, darker place but then up from the ashes comes ‘Unbreakable Heart,’ one of the most ambitious songs on the album. The tune blends acoustic melodies with orchestral hues hugging the inspirational lyrics being sprung from Gontier’s soul, “ You want to fight back / It’s building inside you / Holding you up / Taking you hostage / It’s worth fighting for .” 3DG also give a nod to Michael Jackson on the disc with their version of the King of Pop’s ‘Give in to Me,’ speeding the song up a bit but staying pretty true to the overall vibe of the song. Overall, Three Days Grace accomplished what they set out to do with ‘Transit of Venus,’ they’ve stepped out of their comfort zone, ditched the formula, and went all in, holding nothing back in the true spirit of rock. The reward clearly outweighed the risk on this one and the additional elements enhance the songs without taking them hostage and the identity that Three Days Grace has forged for the past 20 years is clearly better for it. Here’s to 20 more.
Facebook: Machine Head There’s one chant that Machine Head fans worldwide recite when in the presence of their metal heroes — “Machine F—ing Head!” With the organically grown mantra having graced t-shirts, patches and other Machine Head paraphernalia, the motto will soon be the title of an upcoming live double-album, set for release on Nov. 13. Undoubtedly a fantastic live act, Machine Head illicit fan responses like few others can. ‘Machine F—ing Head’ is long overdue, as the band’s last live record, ‘Hellalive,’ was released nine years ago, with albums ‘Through the Ashes of Empires,’ ‘The Blackening’ and ‘Unto the Locust’ having been unleashed since ‘Hellalive’ hit stores in March 2003. ‘Machine F—ing Head’ was recorded throughout various tour stops from around the world during 2011, and will feature new and old fan favorites such as ‘Imperium,’ ‘Aesthetics of Hate,’ ‘Locust,’ ‘Ten Ton Hammer,’ ‘This is the End,’ ‘Halo’ and many more. “The Head Cases have been so intense on this tour cycle that we had to start capturing the shows, especially with technology making it so much easier to record,” says frontman Robb Flynn . “We culled some of the best nights where the band and crowd were on fire and made a bad ass, nearly tw0-hour, double live album, which is a great documentation of where the band is at 18 years deep.” Machine Head will hit the road for a North American tour alongside Dethklok , All That Remains and the Black Dahlia Murder beginning Oct. 24. in Louisville, Ky. [button href=”http://loudwire.com/machine-head-aesthetics-of-hate-top-21st-century-metal-songs/” title=”Machine Head: Top 21st Century Metal Songs” align=”center”] Machine Head, ‘Machine F—ing Head’ Live Album Track Listing 1. I Am Hell (Sonata in C#) 2. Be Still and Know 3. Imperium 4. Beautiful Mourning 5. The Blood, The Sweat, The Tears 6. Locust 7. This Is the End 8. Aesthetics of Hate 9. Old 10. Darkness Within 11. Bulldozer 12. Ten Ton Hammer 13. Who We Are 14. Halo 15. Davidian
Photo Credit: Jamie Betts Photos Nearly a year after the tragic passing of GWAR guitarist Cory ‘Flattus Maximus’ Smoot , everyone’s favorite group of intergalactic metal monsters have released the very first picture of their new guitarist, Pustulus Maximus . Pustulus is the cosmic cousin of Flattus, and the resemblance is uncanny. Much like the case in many families, you can tell immediately that the two were birthed from the same primordial filth. Pustulus sports elegant armor of fallen space-mammoths, along with a striking blue complexion complemented by disgusting red sores. The new guitarist offered his very first statement about joining GWAR via the band’s official website . “At this point I have nothing to say to the press, even though I am talking to you. I will let my guitar speak for itself. But let me add that I am blood-sworn to honor the legacy of the great Flattus and indeed the whole Maximus tribe. I didn’t come here to fuck around. HAIL FLATTUS!” “Naturally we were devastated by the passing of Flattus,” says GWAR front-thing Oderus Urungus. “But we turned that grief into rage and set about the task of finding a new guitar player. The first thing we did was sound the mighty Horn of Hate, and alert all Scumdogs, scattered across the galaxy as they are, as to what had occurred. What people didn’t know about Flattus was that was is part of a huge tribe of brutish warriors, The Maximus Clan. They are at the core of any Scumdog Legion worth its blood! Planet Maximus is just crawling with them!” Oderus reportedly farted, blowing a hole in the wall, and continued, “Many of the tribe had fought and even played in bands with Flattus, and we began to get messages from across the stars. The Scumdogs were coming! Coming to Earth to lay tracks on our new album, and pay tribute to the mighty Flattus. Soon the War-Barges of Maximus tribe members began to appear in Earth’s orbit…and land outside our great temple! Bubonis, Infectitcus, Fartacus, and many more-all have participated in the creation of the songs that shall be on our new album, which will be out sometime next year. But it was not until the hulking form of Pustulus appeared at the studio door, bloody guitar in hand, that we knew we had our new member. Here was a being that was supposedly born with a guitar in his fist, which of course resulted in the death of his beloved mother, whose body he immediately devoured. If anyone can replace our beloved comrade, it is this foul creature. Because he can f—ing shred.” Be sure to see Pustulus and the rest of GWAR on the band’s upcoming tour with DevilDriver, Cancer Bats + Legacy of Disorder. [button href=”http://loudwire.com/gwar-announce-addition-of-new-guitarist-pustulus-maximus/” title=”Next: GWAR Announce Addition of Pustulus Maximus” align=”center”]
Photo via Atlantic Records Detroit rocker Kid Rock is set to return this fall with a shiny new album called ‘Rebel Soul,’ which is due out Nov. 19. Now, fans have a first taste of what to expect from the album in a rollicking new single called ‘Let’s Ride.’ ‘Let’s Ride’ is a patriotic anthem of sorts, bleeding red, white and blue, with a riff that’s equal parts AC/DC and Rolling Stones, The track’s focus is definitely on the members of the military, with lyrics such as, “Come on and grab your guns let’s ride / May your conscience be your guide / I’ll say a prayer for you to make it through to the other side / Tonight’s the night we fight or die.” With his usual rock ‘n’ roll swagger, Kid Rock delivers lines like, “Grab your gun, son, said we’re heading for war / Like your uncle JT thirty years before / No pussy, no dope, this ain’t Saigon / But keep your heads up for roadside bombs!” ‘Rebel Soul’ is Kid Rock’s follow up to his 2010 smash ‘Born Free.’ Kid Rock produced the disc in his own state-of-the-art recording studio at his Detroit-area home. Listen to Kid Rock, ‘Let’s Ride’