JINJER’s TATIANA SHMAILYUK: ‘I Don’t Like The Huge Hype We’re Having Right Now’

Super Metal World recently conducted an interview with frontwoman Tatiana Shmailyuk of Ukrainian modern metal frontrunners JINJER. You can listen to the entire chat at this location.

On the reaction to their new studio album, “Macro”:

Tatiana: “So far, I haven’t yet heard any negative reactions to the album, so, that’s good. I’m not the one who is surfing the Internet in search of comments and reactions. I don’t care what people think because I have a lot of things to do. I don’t know…so far so good. Again, I haven’t heard shitty responses to the album.”

On the songwriting approach to “Macro”:

Tatiana: “I don’t take part in composing music. Everything I do I’m just writing lyrics and trying to feed them into already-written material. I don’t take part in composing it and they, the rest of the guys, write music at their home and they don’t even ask me about my opinion about the material.”

On whether “Pisces” was the song that broke JINJERinto the mainstream:

Tatiana: “Unfortunately, ‘Pisces’ lost its charm. It became viral, which I don’t like. I don’t like the huge hype that we’re having right now. It wasn’t supposed to be like this. This song is very personal and believe me, Pisces are not those people who are begging for our attention. I don’t like this word, ‘mainstream.’ The people made it mainstream; we didn’t. We didn’t really want it to be like this. But nevertheless, on the other hand, it’s really good. It’s really good that this song is so much appreciated.”

On whether she feels “jaded” about JINJER‘s recent popularity:

Tatiana: “The only thing I can say about that, [is] me personally, I feel under the pressure. I feel the pressure a bit, but, I’m sure that people are going to say, ‘Okay, but this is what you wanted, so don’t complain.’ And I will say that when I dreamt about being a singer in a band, I was 11, and believe me, I had no idea that musicians had their own reality to face. I had no idea. And I didn’t read any articles or didn’t watch any interviews because, first of all, I didn’t have any Internet connection on my computer. I imagined it to be a fucking fairytale. [Laughs] Obviously it’s not like that. I didn’t know that I had to do so many interviews. [Laughs] I feel like being a musician in the 21st century is a completely different thing than being a musician in the 20th century in the ’90s, for example, and the ’70s and ’80s. So, I probably cannot compare because I never lived in those times.”

On whether she still gets joy out of being in JINJER:

Tatiana: “Yeah, of course. Of course. Sometimes your exhaustion or your tiredness is so overwhelming that you kind of stop seeing those beautiful things every day. You have to always be focused. I have to be focused all the time on the good which is a really hard thing for me. [Laughs] But I’m trying to be grateful and trying to learn.”

On whether her rough Ukrainian upbringing has any effect on her perspective on the music industry:

Tatiana: “No. I think I was born like this. I believe that, well, a lot of people think that you can shift energies from negative to positive. I think, to my mind, people are born with a certain kind of energy. Someone was born sad and someone was born, I don’t know, very happy and positive and no matter what happens in their life, they are always positive. They don’t even have to make any effort to stay positive. This is genuine energy. And someone is seeing everything in black and white. It’s really hard.”

On whether she’s an introvert:

Tatiana: “Yes. Two-hundred percent introverted. [Laughs] It’s not bad, and again, I analyze myself all the time. Sometimes people make me think I’m kind of retarded or handicapped being an introvert. A lot of people don’t even know that there is a term ‘extrovert’ and ‘introvert.’ They think that those shy people, there is something wrong with them, but hell no, I remember once in my childhood, I was very extroverted, but then something clicked in my head. When I was dancing, like in a circle of our relatives at parties, holidays, then something clicked in my head and I started avoiding people. When our relatives came to celebrate some holiday, I was hiding under my bed because there were very crazy dudes. Like not really my uncle, he’s not my relative, there’s not blood relationships, and he was really loud. [Laughs] And I was hiding from him. I was hiding under my bed so that he didn’t disturb me.”

“Macro” was released on October 25 via Napalm Records. Punishing riffs, aggressively blended vocals and astonishingly deep lyrics make “Macro” JINJER‘s most advanced and undeniable album yet — taking the listener on a journey of trauma, power struggle and greed with a progressive groove metal backdrop. 

Montreal Progressive Death MESSORA Unleash Second Single ‘The Pond’ Off Upcoming Album ‘The Door’

Montreal Progressive Death MESSORA Unleash Second Single ‘The Pond’ Off Upcoming Album ‘The Door’

Debut Album ‘The Door’ Out October 4th

Photo Credit: Vladim Vilain

n anticipation of their upcoming album “The Door”, Montreal’s MESSORA have released their second single ‘The Pond’

“The Door” is constantly shifting between genres, and creates a visceral atmosphere that can’t be confined to a single category, be prepared to hear death, melodic, doom and progressive elements throughout the seven tracks on the album. Looking to challenge listeners, MESSORA presents an album that requires attention and an open mind, as Zach Dean quotes:

“I am trying to present fans with a record that you listen to front to back and come out of feeling different. Maybe not even different, maybe just more like yourself. The album as a whole is very varied musically while remaining focused and tight. It’s very clearly a metal album but you can hear that we want to go to different places and incorporate different influences throughout the record. Most of the songs are very long and have very complicated structures and changes, but it’s always meant to feel right and musical rather than abrupt and meaningless.”

Among the proggy, more experimental tracks on the album, ‘The Pond’ is an introspective and tense journey that is slower than the other offerings on the record. Dean explains:

“I wanted this song to be more slow, atmospheric and short that the other songs on the record, and I stuck to this idea while I was writing it. This track is very interesting to me because I didn’t think that something like this would end up on the record. It started as a 12-minute monstrosity in the same vein as The Veil and The Falling Star, but I ended up scrapping most of it and just kept about a fifth of the ideas and turned them into this more atmospheric and slow cut. The lyrics take place in the new “world” that you finally fall into after entering The Door.”

Any metal lover who craves proggy and dark music especially along the lines of OpethPsycroptic, and Gojira will find MESSORA to their liking. 

‘The Pond’ is streaming via an exclusive premiere on MetalUniverse.netHERE.

Track Listing:
1. The Door (6:04)
2. Tethered (1:34)
3. The Veil (9:40)
4. The Falling Star (8:48)
5. The Pond (5:30)
6. Untethered (3:31)
7. The Tide (9:08)
Album Length: 44:19

Show Dates:
Oct 5 – Montreal, QC – O Patro Vys (Album Release Show)
Oct 12 – Sherbrooke, QC – Le Murdoch

More info:

Formed as a solo recording project in 2016 in Montréal, Québec, Messora has become a band that obscures and challenges genres. To the band, the music comes as what feels best in the moment. To the fans, it is a kaleidoscope of sound that appears different at every glance and to every eye.

Messora has been described as Death Metal, Black Metal, Thrash Metal, Progressive Metal, Melodic Metal, and Doom Metal by fans and showgoers. The elements that make up the music may seem familiar to some, yet the whole remains a challenge to define.

The band knows how to set themselves apart from others musically as well as aesthetically, with showmanship and presentation second only to musical performance during their live show. They demand attention with their presentation but keep it with the strength of their performance and musicianship. Having shared the stage with bands such as Carach Angren, Mors Principium Est, and Wolfheart, Messora always delivers, visually, aesthetically and musically.

“Combining a variety of genres, the group made good impressions on those who shows up early with their tight musicianship and ability to change pace on a moment’s notice” – Apt 613

“… Messora was a whirlwind on stage. It was hard to believe that a half hour had passed when they began to play their final song, as each song had layered onto each other leaving viewers with a feeling that the experience was almost surreal.”- Splice Media Group

OPETH’s New Song “Heart In Hand” Brings Out Heavier Sound

If you’ve been missing the heavier side of Opeth‘s music (sans the growls) from albums like Pale Communion and Heritage, then you’re absolutely going to love the band’s new song “Heart In Hand”. Sure, the song takes tons of progressive cues from the band’s more recent output, but there’s tons of sinister, twisting riffs in there that haven’t shown up in quite some time now. Also, yes – this is the song you heard part of in Opeth’s recent tour trailer.

In Cauda Venenum is out September 27, and will be released in both Swedish and English language versions. Pre-order all of ’em here.



Here are the Opeth’s upcoming tour dates.

12.07. PL Warsaw – Prog In Park
06.07. TK Istanbul, Rock Off Fest
27.07. RO Sibiu – ArtMania Festival
02.08. D Wacken – Wacken Open Air
03.08. S Öland – Borgholm Brinner
09.08. B Kortrijk – Alcatraz Metal Festival
11.08. NL Leeuwarden – Into the Grave
18.08. USA Las Vegas, NV – Psycho Las Vegas

02.11. UK Leeds – Damnation Festival

27.10. UK Norwich – UEA
29.10. UK London – Palladium
31.10. UK Glasgow – SWG3
01.11. IRL Dublin – Olympia Theatre
02.11. UK Leeds – Damnation Festival
03.11. UK Bristol – O2 Academy
06.11. B Brussels – Ancienne Belgique
08.11. D Munich – Backstage (Werk)
09.11. I Milan – Alcatraz
10.11. CH Zurich – Volkshaus
11.11. F Paris – L‘Olympia
13.11. D Cologne – E-Werk
14.11. D Wiesbaden – Schlachthof
15.11. D Nuremberg – Meistersingerhalle
16.11. D Berlin – Huxleys Neue Welt
17.11. DK Copenhagen – Det Kgl. Teater SOLD OUT

10.12. AUS Adelaide – Thebarton Theatre
11.12. AUS Perth – Astor Theatre
13.12. AUS Melbourne – Palais Theatre
14.12. AUS Sydney – State Theatre
15.12. AUS Brisbane – The Tivoli

Influences And Recollections of a Musical Mind

Written By Braddon S. Williams

Gojira: L’Enfant Sauvage

French progressive death metal maestros Gojira released their major label debut in 2012, the ferociously creative L’Enfant Sauvage (French for The Wild Child). Led by Joe Duplantier on lead vocals and guitar and his brother Mario Duplantier, one of the best and most original drummers in extreme metal.

Gojira writes songs with deep philosophical meaning, often with an environmental message, setting them apart from most of their contemporaries.

The music is savagely heavy, but somehow cerebral and thoughtful at the same time. Some of the highlights of L’Enfant Sauvage include The Axe, The Gift Of Guilt, Planned Obsolescence, Liquid Fire, Explosia, Mouth Of Kala, and Born In Winter.

I was extremely fortunate to witness Gojira live with my 2 favorite bands, Opeth and The Devin Townsend Project. Gojira joined their ranks with their intensely hypnotic and brutal performance.

I can’t recommend them enough…if you haven’t heard them yet, what are you waiting for?

On This Day in History

I was way too young to have been able to truly appreciate this then. Nor was I into Rock and Metal as nearly as much as I am now. The timing was all off. Haha. Shoulda, coulda, woulda been there but nah… Haha. I wish!

On this date in 1996:

Lollapalooza came to the UNO Arena Grounds in New Orleans, Louisiana. Joining headliners Metallica were Soundgarden, Rage Against The Machine, (the) Melvins, and Screaming Trees, among others.


2018 Hard Rock + Metal Album Release Calendar

Kevork Djansezian, Getty Images / Theo Wargo, Getty Images  Read More: 2018 Hard Rock + Metal Album Release Calendar | http://loudwire.com/2018-hard-rock-metal-album-release-calendar/?trackback=tsmclip

With so many new metal and hard rock albums being released each week, it can be difficult to keep up. We’re making easier for you, keeping track of all the 2018 releases in one convenient location.

Check back often, because this list is updated on a regular basis. Dates are supplied by record labels and are subject to change.

Upcoming 2018 Hard Rock + Metal Releases:

January 5, 2018

Magick Touch – Blades, Chains, Whips & Fire (Edged Circle)

Shining – x: Varg Utan Flock (Season Of Mist)

Sinistro – Sangue Cassia (Season Of Mist)

Summoning – With Doom We Come (Napalm)

Vhorthax – Nether Darkness EP (Iron Bonehead)

Vile Ones – Teeth EP (Good Fight)

Watain – Trident Wolf Eclipse (Century Media)

January 12, 2018

Audrey Horne – Blackout (Napalm)

Avatar – Avatar Country (eOne)

Black Veil Brides – Vale (Lava/Republic)

Bleeding Gods – Dodekathlon (Nuclear Blast)

Centuries – The Lights of This Earth Are Blinding (Southern Lord)

Corrosion of Conformity – No Cross No Crown (Nuclear Blast)

Hamferd – Tamsins likam (Metal Blade)

Heidevolk – Vuur van Verzet (Napalm)

Joe Satriani – What Happens Next (Legacy)

Kayak – Seventeen (InsideOut)

Leaves Eyes – Sign of the Dragonhead (AFM)

Panphage – Jord (Nordvis)

Sages – Sleepwalker (Seek And Strike)

Scaphism – Unutterable Horrors (HPGD)

Tankard – Hymns for the Drunk (AFM)

Ty Tabor – Alien Beans (Rat Pak)

White Wizzard – Infernal Overdrive (M-Theory)

January 19, 2018

Anvil – Pounding the Pavement (SPV/Steamhammer)

Arkona – Khram (Napalm)

Black Label Society – Grimmest Hits (eOne)

Cane Hill – Too Far Gone (Rise)

Deathless Legacy – Rituals of Black Magic (Scarlet)

Hyvmine – Earthquake (Seek And Strike)

Inquisitor – Stigmata Me, I’m in Misery (Hammerheart)

Joe Perry – Sweetzerland Manifesto (Roman)

Lione/Conti – Lione/Conti (Frontiers)

Magick Touch – Blades, Chains, Whips & Fire (Edged Circle)

Magnum – Lost on the Road to Eternity (SPV/Steamhammer)

Mare Cognitum – The Sea Which Has Become Known Re-Release (I, Voidhanger)

Massive Assault – Mortar (FDA)

Mithridatic – He Who Lies Underneath (Xenokorp)

Nekrokraft – Witches Funeral (The Sign)

Of Mice & Men – Defy (Rise)

Ozone Mama – Cosmos Calling (Ripple)

Perfect Beings – Vier (InsideOut)

Terror Universal – Make Them Bleed (Minus Head)

Walking Papers – WP2 (Loud & Proud)

January 26, 2018

Accuser – The Mastery (Metal Blade)

Agrimonia – Awaken (Southern Lord)

Alestorm – Captain Morgan’s Revenge: 10th Anniversary Edition (Napalm)

Ammunition – Ammunition (Frontiers)

Anguish – Magna Est Vis Suignah (High Roller)

Black Moth – Anatomical Venus (Candlelight)

Centuries – The Lights of the Earth Are Blinding (Southern Lord)

Dommengang – Love Jail (Thrill Jockey)

Frank Hannon – From One Place to Another Vol. 1 (Self)

Hooded Menace – Ossuarium Silhouettes Unhallowed (Season Of Mist)

Howling Sycamore – Howling Sycamore (Prosthetic)

John 5 and the Creatures – It’s Alive (Self)

Labyrinth – Return to Live DVD/CD (Frontiers)

Loudness – Rise to Glory (earMusic)

Machine Head – Catharsis (Nuclear Blast)

Mammoth Grinder – Cosmic Crypt (Relapse)

Mike LePond’s Silent Assassins – Pawn And Prophecy (Frontiers)

Nebula – Let It Burn Re-Release (Heavy Psych Sounds)

Orphaned Land – Unsung Prophets and Dead Messiahs (Century Media)

Phil Campbell and the Bastard Sons – The Age of Absurdity (Nuclear Blast)

Philip H. Anselmo & The Illegals – Choosing Metal Illness as a Virtue (Housecore)

Portal – Ion (Profound Lore)

Slow – V: Oceans (Code666)

Steve Hackett – Wuthering Nights: Live in Birmingham (InsideOut)

Tribulation – Down Below (Century Media)

February 2, 2018

Don Broco – Technology (SharpTone)

Genocide Pact – Order of Torment (Relapse)

Long Distance Calling – Boundless (InsideOut)

Spite – Antimoshiach (Invictus)

Therion – Beloved Antichrist (Nuclear Blast)

W.A.S.P. – Re-Idolized (The Soundtrack To The Crimson Idol) (Napalm)

Wishbone Ash – Raw to the Bone Reissue (Cherry Red)

Wishbone Ash – Twin Barrels Burning Reissue (Cherry Red)

February 9, 2018

Crescent – The Order of Amenti (Listenable)

Crucifyre – Post Vulcanic Black (Pulverised)

Erdve – Vaitojimas (Season Of Mist)

Fight the Fight – Fight the Fight (Blacklight/Metal Blade)

Frozen Crown – The Fallen King (Scarlet)

Fu Manchu – Clone of the Universe (At The Dojo)

Good Tiger – We Will All Be Gone (Blacklight/Metal Blade)

Harm’s Way – Posthuman (Metal Blade)

King Witch – Under the Mountain (Listenable)

Rumahoy – The Triumph of Piracy (Napalm)

Voodoo Circle – Raised on Rock (AFM)

Wedge – Killing Tongue (Heavy Psych Sounds)

February 16, 2018

Angra – Omni (earMusic)

Asenblut – Legenden (AFM)

Barren Womb – Old Money/New Lows (Spartan)

Escape the Fate – I Am Human (Eleven Seven)

Heavatar – Opus II: The Annihilation (earMusic)

Horizon Ablaze – The Weight of a Thousand Suns (Leviathan)

Jinjer – Cloud Factory Reissue (Napalm)

Letters From the Colony – Vignette (Nuclear Blast)

Lurker of Chalice – Lurker of Chalice Reissue (Nuclear War Now!)

Melted Space – Darkening Light (Sensory)

Neal Morse – Life & Times (Radiant)

Nebula – To the Center Reissue (Heavy Psych Sounds)

Novareign – Legends (M-Theory)

Ophe – Litteras Ad Tristia Maestrum Solitude (My Kingdom)

Painted Doll – Painted Doll (Tee Pee)

Pianos Become the Teeth – Wait for Love (Epitaph)

The Plot in You – Dispose (Fearless)

Pop Evil – Pop Evil (eOne)

Visions of Atlantis – The Deep & The Dark (Napalm)

Windhand/Satan’s Satyrs – Split EP (Relapse)

February 23, 2018

Animal Drive – Bite! (Frontiers)

Armored Dawn – Barbarians in Black (AFM)

Black Moth – Anatomical Venus (Candlelight)

Black Wizard – Livin’ Oblivion (Listenable)

Blood Chalice – Sepulchral Chants of Self-Destruction (Regain)

Cabal – Mark of Rot (Long Branch)

Chris Bay – Chasing the Sun (SPV/Steamhammer)

Coreleoni – The Greatest Hits Part 1 (Frontiers)

Deathwhite – For a Black Tomorrow (Season Of Mist)

Dukes of the Orient – Dukes of the Orient (Frontiers)

Fight the Fight – Fight the Fight (Blacklight/Metal Blade)

Huntsmen – American Scrap (Prosthetic)

Ignore the Sign – A Line to Cross (SPV/Steamhammer)

Insect Ark – Marrow Hymns (Profound Lore)

Keiji Haino and Sumac – American Dollar Bill… (Thrill Jockey)

Megaherz – Komet (Napalm)

MGT – Gemini Nyte (Cleopatra)

Nick Oliveri – N.O. Hits At All Vol. 4 (Heavy Psych Sounds)

Spiny Normen – Spiny Normen (RidingEasy)

Tengger Cavalry – Cian Bi (Napalm)

We Sell the Dead – Heaven Doesn’t Want You and Hell Is Full (earMusic)

March 2, 2018

Ancst – Ghosts of the Timeless Void (Lifeforce)

Andrew W.K. – You’re Not Alone (Sony)

Michael Schenker Fest – Resurrection (Nuclear Blast)

Nebula – Dos EPs Reissue (Heavy Psych Sounds)

Oceans Of Slumber – The Banished Heart (Century Media)

March 9, 2018

Killer Boogie – Acid Cream (Heavy Psych Sounds)

Krosis – Solem Vatem (Unique Leader)

Ministry – AmeriKKKant (Nuclear Blast)

Myles Kennedy – Year of the Tiger (Napalm)

Of Feather and Bone – Hymns of Perversion (Profound Lore)

Pestilence – Hadeon (Hammerheart)

Tax The Heat – Change Your Position (Nuclear Blast)

March 16, 2018

Black Foxxes – Reiði (Spinefarm)

High Reeper – High Reeper (Heavy Psych Sounds)

March 23, 2018

Dark Buddha Rising – II EP (Neurot)

Monster Magnet – Mindf–ker (Napalm)

Throneless – Cycles (Black Bow)

April 6, 2018

Hypno5e – Alba: Les Ombres Errantes (Pelagic)

April 13, 2018

Crematory – Oblivion (SPV/Steamhammer)

April 27, 2018

Anthrax – Kings Among Scotland DVD (Megaforce

ZAKK WYLDE: ‘My Friends Went To College. I Went To OZZY OSBOURNE University’

Guitarist Zakk Wylde (OZZY OSBOURNE, BLACK LABEL SOCIETY) recently guested on SiriusXM‘s “The Jenny McCarthy Show”. The full interview can be viewed below. A few excerpts follow below.

On the last time he was clean-shaven:

Zakk: “Probably after I did that ‘Rock Star’ movie. I had to shave every day when we did the movie, but at the end of the movie, they did this thing of, ‘Where are they now?’ I had this big beard I had to wear — just, pretty much like what I got now. I remember doing it, and I just go, because I had to put it on every day for the scenes, I was, like, looking at myself and I go, ‘I look like a complete jackass with this thing on. I’m definitely going to grow this out once this movie’s over.'”

On BLACK LABEL SOCIETY‘s new album, “Grimmest Hits”:

Zakk: “The lyrics are grim, and there are no hits. People ask me, ‘Is this a greatest-hits record?’ I go, ‘No. In order to have a greatest-hits record, you’ve had to have hits.’ We don’t have any hits, so therefore, it can’t be. But you shoot low, so this way, if people listen and go, ‘This is horrendous,’ you go, ‘Well, I told you going in.'”

On his memories of joining Ozzy Osbourne‘s band:

Zakk: “I was 19 — right before I turned 20. That’s when my drinking problem began. I drank until then, and then it was just double-fisting from that point on. When I first started with [Ozzy], I remember Sharon [Osbourne] — who I lovingly refer to as Mom, because she’s been, like, my mom since I was 19 years old — she called [Zakk‘s wife] Barbaranne up and goes, ‘Excuse me, Barbaranne…’ I would be the only one that would hang out with Ozz, because everyone else was, like, ‘I don’t want to get stuck in the web and get, you know, canned over here because I’m the one enabling him.’ But I would always hang out with him, because I was just like, ‘Man, how come nobody wants to hang out with Ozzy?’ Then they go, ‘Jackass, you must be a rookie, and you have no idea what’s going on around here.’ So anyway, I’d hang out with [Ozzy] all the time and we’d be drinking, but the whole thing is, she’d go, ‘Barbaranne, does Zakk have a drinking problem?’ [Barb] goes, ‘Oh, no, no. He drinks milk.’ [Sharon] goes, ‘Not anymore, he doesn’t.’ A lot of my friends went to college, and I went to Ozzy Osbourne University, which was like ‘Animal House’ on steroids.”

On sneaking Ozzy beer while on tour:

Zakk: “That was the best. That wasn’t that long ago — that’s when we were doing ‘Live At Budokan’. Ozzy‘s like, ‘Zakk, you got any beers?’ I’d always have them in my backpack. I go, ‘What, are you trying to get us both fired?’ I was like, ‘I’ll meet you in the bathroom.’ I kid you not — I’m in the bathroom, then he goes in. I was in the bathroom stall and I heard him come in. He was right next to me, shut the door and goes, ‘Okay, Zakk.’ I just slid it over. I hear him crack open a can of Sapporo and then just guzzle it down, and then [he] sneaks and just pushes the empty can back to me, so I can throw it in the garbage as responsible booze-hounds.”

On what makes a BLACK LABEL SOCIETY fan a “berserker”:

Zakk: “That’s [how] we lovingly refer to our BLACK LABEL family, if you’re a berserker. It’s an all-or-nothing mentality — either you’re all in, or you ain’t, so you live like a berserker. Whether you’re fondling the genitalia or whether you’re going to learn how to play the guitar or whether you’re going to have a tomato garden outside, it’s all-in — it’s all-in or nothing.”

On Ozzy Osbourne‘s farewell tour:

Zakk: “The game plan is to go out on this one. It’s great being with [Ozzy] again. It’s hysterical as always. We go out for this thing until 2020, and then we start the ‘Bad Investment Tour’. Basically, the whole reason why we’re touring right now is because Ozz told me, ‘Everything you’ve got, everything you’ve made since you started with me, put it all down on Conor McGregor to win this fight against Mayweather. He did, and I did — and that’s the reason why we’re getting back together to do this tour. We’re broke — we both live in a box down by the river. Hopefully he’ll get better advice from 2020 onward.”

BLACK LABEL SOCIETY‘s 10th full-length album, “Grimmest Hits”, will be released January 19, 2018 via Entertainment One (eOne).

Wylde reunited with the iconic BLACK SABBATH frontman for this past summer’s tour that marked the 30th anniversary of when the two first collaborated together.

Wylde originally joined Osbourne‘s band three decades ago and backed the legendary frontman from 1987 to 1995, then again in 1998, from 2001 to 2004 and also from 2006 to 2009. His guitar playing can be heard on Osbourne‘s studio albums “No Rest For The Wicked”, “No More Tears”, “Ozzmosis”, “Down To Earth”, “Under Cover” and “Black Rain”. The first album with Wylde went double platinum and “No More Tears” remains Ozzy‘s most successful album, going four times platinum in the United States with four Top 10 songs on the U.S. Billboard chart. Wylde also appeared with Ozzy on three live albums.

The Guide to Getting into Nine Inch Nails

Such a limiting term and framework as ‘industrial’ undermines and underestimates the range and quality of NIN’s music. We give you five entry points to the band as its catalogue approaches its 30th anniversary next year.

Photo by Steve Eichner/WireImage(Lollapalooza 1991)

This article originally appeared on Noisey US.

Whether or not Nine Inch Nails qualifies as an industrial band remains one of the dumbest debates ever undertaken in music. Reviled by anachronistic purists still grousing decades later over how the genre got away from its throbbing, gristly origins, Trent Reznor did his time in the Chicago trenches. With credits on records by Pigface and Revolting Cocks, there should be no doubt of his roots. And yet, as the mastermind behind the most successful musical act to ever be associated with industrial, he still gets selectively snubbed by latter-day scenesters who probably wouldn’t have heard of the EBM artists they purport to listen to without that initial Reznor exposure.

Who needs ‘em? With two Billboard 200 chart-topping albums and three RIAA multi-platinum certifications for full-lengths, Nine Inch Nails (frequently abbreviated to NIN by fans) clearly captured a broader and more appreciative audience. While Reznor has collaborated over the years with legends like Adrian Belew, Dr. Dre, and Adrian Sherwood, the project has largely served his singular vision, one that is both darkly intimate and fundamentally apocalyptic. With a live band in tow, NIN persists as a powerhouse, letting his often maximalist works fill enormous spaces that typically host pop stars and sports teams.

Such a limiting term and framework as industrial undermines and underestimates the range and quality of Reznor’s music. While he’ll never get the credit that, say, Radiohead received for subverting genre while still entertaining the masses, there’s nonetheless a breadth to the band’s catalog as it approaches the thirty year anniversary mark next year. In light of this imminent event, now seems an entirely appropriate time to help guide you into the NIN discography.

So you want to get into: Hedonistic Heavy Metal NIN?

Twenty five years ago, industrial music changed forever. The September release of the Broken EP shoved all of that leather-clad nastiness and rubbed raw flesh of that truly subversive alternative scene into the oily faces of teenage American suburbanites like a stranger’s filthy unmentionables. After an alternating intro of static and drum, the jarring single “Wish” exploded like a nailbomb with its opening line – this is the first day of my last days – and mangled riff, only to detonate a secondary charge with its epic metal chorus. Taken from a subsequently banned longform video that seemed to portray a grisly murder, the song’s accompanying clip featured the band caged and writhing in performance while a surrounding horde of neo-neanderthals attempted to break through and tear the gents asunder. This display was unsettling even by MTV Headbangers Ball standards of the day, and it laid the groundwork for Nine Inch Nails’ imminent full-on mainstream breakthrough.

The sadomasochistic concerns of Broken and its even more depraved remix companion Fixed were not new ideas in metal specifically or in music generally. Yet rarely had the metaphors been so simultaneously overt and grave as on flagellants ode “Happiness In Slavery.” Continuing that shadowy sexuality, 1994’s The Downward Spiral opened with the sound of a literal beating, leading into the devastating and dogmatic “Mr. Self Destruct.” Recorded at the former home of Manson family victim Sharon Tate, nihilistic numbers like “Heresy” and “Reptile” exude dread and terror even as they appropriate metallic tropes including gratuitous soloing on the latter.

Yet all these brutal guitars existed to mask extraordinary pain, with painstakingly confessional lyrics both whispered and screamed. Never known for poetic qualities, heavy metal has rarely matched the topical tenor of “The Becoming” or with anything resembling Reznor’s grace. While later records considerably dialled back the aggression, NIN always seemed to leave a little room for it to return.

Playlist: “Wish” / “Mr. Self Destruct” / “The Idea Of You” / “Last” / “Heresy” / “Survivalism” / “Somewhat Damaged” / “March Of The Pigs”

So you want to get into: Naughty New Wave NIN?

Like scene progenitors Ministry before them, NIN didn’t start out as an industrial band, all gnashing gears and percussive pistons. Drawing obvious influence from the new wave and new romantic likes of Adam Ant, Depeche Mode, and Gary Numan, Reznor followed the synthpop path set by Al Jourgensen’s early gothy groover With Sympathy on 1989’s full-length debut Pretty Hate Machine. Some real NINcompoops will try and convince you that the Purest Feeling demos are worth tracking down, but the official versions of cuts like “That’s What I Get” should suffice.

Though the genre often gets stereotyped for having an artificially bright sound, genuine darkness prevails with some of its finest practitioners. Numan’s Tubeway Army provided the necessary connective tissue between glam and new wave, and the connection between that group’s “Are Friends Electric” and “Down In The Park” with NIN’s “Closer” and “Every Day Is Exactly The Same” should be apparent to even the laziest of ears. While Reznor lacks the pipes of Dave Gahan or the idiosyncrasies of The Cure’s Robert Smith, he shares their glamorous glum on Pretty Hate Machine’s “Sanctified.”

Even as Reznor’s career progressed into the 21st century, a nostalgic appreciation for the purer electronics of his youth persisted. In recent years especially, the synthesiser freak has doubled down on these sounds for atypical singles like “Copy Of A” and deep cuts like Not The Actual Events’ “Dear World.”

Playlist: “That’s What I Get” / “Less Than” / “Copy Of A” / “Every Day Is Exactly The Same” / “Dear World” / “The Wretched” / “Closer” / “Sanctified”

So you want to get into: Aggro Arena Rock NIN?

If the first time you ever saw NIN live was from the elevated VIP pavilion with a craft cocktail in hand at one of the big corporate American music festivals like Coachella, chances are you’d be into the more rockin’ stuff in the band’s catalogue. While more conventional hard rock had crept its way into the fatty folds of lardaceous double disc set The Fragile, it took centerstage on 2005’s perfectly-titled comeback With Teeth. Guitars had regularly played a role in Reznor’s discography, but comparatively meatier bits like “The Collector” and “The Hand That Feeds” seemed to match the once wiry frontman’s now noticeably musclier beefcake image.

After years of terrifying stadiums with nightmarish noise, the more palatable fare of With Teeth and its dystopian 2007 follow-up Year Zero no doubt reflected a maturity for an artist on the so-called wrong side of 40. Ever the studio whiz, nuanced compositions like “The Beginning Of The End” and “1,000,000” offer sonic depth and even surprise, hardly the lumbering lunkhead rockers of your standard Nickelback clone or ageing arena axeman. Strip away a few layers of distortion and an arty indie vibe emerges amidst some of this tougher material. Case in point: 2013’s critically-acclaimed Hesitation Marks showed off an unlikely angular approach with the boppy “Everything.”

Playlist: “1,000,000” / “The Collector” / “The Beginning Of The End” / “We’re In This Together” / “Everything” / “Discipline” / “The Hand That Feeds” / “Where Is Everybody”

So you want to get into: Tortured Torch Songs NIN?

A most improbable balladeer given the violent tendencies of much of the NIN discography, Reznor has been crooning since those Pretty Hate Machine days. The pining of “Something I Can Never Have” provides a suitable introduction to this satisfying section of his oeuvre.

Led by Reznor’s vulnerable voice, these tracks showcase a pensive sensitivity that generally gets buried in the waves of electronics and guitars. Most proper NIN albums boast at least one such example, as do the EPs. So impactful is this material to the fandom that the band could confidently choose the drumless “The Day The World Went Away” as The Fragile’s lead single, an otherwise audacious move in the five year album gap following The Downward Spiral. It peaked at No. 17 on the Billboard Hot 100 singles chart, NIN’s best ever showing there.

Not surprisingly, these are the songs that provide respite from the fury evident during the band’s live shows. An indisputable classic, “Hurt” remains a showstopper, its heartrending contents proving eternal relatable to those whose lives his NIN’s music has touched. Worth noting: it even garnered a cover version by none other than The Man In Black himself, Johnny Cash.

Playlist: “Something I Can Never Have” / “Right Beside You In Time” / “Find My Way” / “The Fragile (Still)” / “The Day The World Went Away” / “The Great Below” / “Lights In The Sky” / “Hurt (Live)”

So you want to get into: Moody Ambient NIN?

Much like the noteworthy industrial musician Graeme Revell of SPK before him, Reznor made a fruitful transition into soundtrack work. Even before becoming director David Fincher’s go-to guy alongside partner Atticus Ross, that penchant for evocative sound design manifested both inside and apart from NIN, from the spare piano-led drone of “Another Version Of The Truth” and the delicate shoegaze of “Beside You In Time” to his discomfiting score for the PC video game Quake. Listening to The Downward Spiral’s beauteous breather “A Warm Place,” one might be bold enough to draw comparisons between Reznor and ambient pioneer Brian Eno.

Those who really want to bliss out or sulk should seek Ghosts I-IV, a nearly two hour long collection of original instrumentals. While some of the material spread across these four contained volumes recalls more song-oriented NIN material, a great deal of it truly celebrates serene motifs and clandestine diversions. Though considered primarily for completists, it could perhaps serve as a less caustic entry point into Reznor’s vast sonic worlds.

Playlist: “A Warm Place” / “13 Ghosts II” / “Another Version Of The Truth” / “Beside You In Time” / “Hand Covers Bruise” / “30 Ghosts IV” / “Adrift & At Peace” / “Videodrones; Questions”

Korn’s Issues Turns 18

November 16, 1999. Korn released the timeless classic “Issues.” It instantly became my favorite Korn album. This was first album that I owned that I could listen to from start to finish. It’s ironic it falls on the same day as my mother’s birthday. Or as ironic as “Life Is Peachy” falls on my grandmother’s birthday October 15th. Without them, I wouldn’t exist. Almost as if I was destined to be into Korn. As far as Metal goes, they are my gateway band after all. Haha.


Conspiracy Theory Posts That Trent Reznor Recently Appeared on Curb Your Enthusiasm

Did Trent Reznor play one of those irritating “living statue” street performers on the most recent episode of Curb Your Enthusiasm, “Namaste”? The question should immediately strike you as odd. For one thing, Reznor doesn’t act (although he was once briefly slated to make a cameo in Abraham Lincoln: Vampire Hunter, which didn’t actually end up happening). For another, if Reznor was going to make an attempt at acting, it seems unlikely that his debut would arrive in the form of a brief cameo on Curb.

And yet, after watching the episode, some Reznor fans are convinced that this was, indeed, the Nine Inch Nails frontman, decked out in silver, on the HBO sitcom.

site, it’s difficult to tell how much of this is meant to be a joke and how much of it isn’t… but the theory points to the cover of Strobe Light, a fake NIN album Reznor announced on April Fools’ Day 2009 as a way of satirizing Scream, Chris Cornell’s much-maligned foray into pop music. See, there’s a certain item Reznor wore on the Strobe Light “cover” that… well, here have a look for yourself:

Boy that’s co…incidental. Funny, but coincidental.

Few things in life would make me happier than imagining what the fucking fuck Larry David and Trent Reznor talked about while Reznor was on set, but I remain unconvinced. I guess we’ll see if Reznor says anything about the theory in the next few days…

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