GALLOWS★MADINA LAKE★LACUNA COIL★GUNS N’ROSES

SHINEDOWN+TAKING BACK SUNDAY+ENTER SHIKARI+FIGHTSTAR

CHIMAIRA+CANCER BATS+GO:AUDIO+FILTER+STEEL PANTHERplus!

iron maidenTHE BEAST SLAYS SOUTH AMERICA!

FREE POSTERSYOU ME AT SIX•PAPA ROACH

MASTODON•PEARL JAM•TESTAMENT

ISSUE NO 1257APRIL 18 2009/£2.20

AUS: $6.95WWW.KERRANG.COM

METRO STATIONLADIES, M� T TRACE...

METALLICANEWSTED’S BACK!

FOR ONE NIGHT ONLY!

KER1257 cover april#17AEB8.indd 1 9/4/09 11:35:51

NewsFor all the latest news:

www.kerrang.com

GALLOWS VOCALIST Frank Carter has described their hotly-anticipated second album as a damning indictment of all that is

wrong with Britain today.“We live in a selfi sh society,” says frontman

Frank Carter. “Britain is a place where greed and aggression rule, aspirations are low and a young generation is desensitised to the world around them.”

The Watford punks recorded the 13-track album late last year at Rak Studios, London with producer GGGarth Richardson (Rage Against The Machine, Biffy Clyro).

Here, Carter gives Kerrang! an exclusive track-by-track breakdown of their follow-up to 2006’s Orchestra Of Wolves, which the band believe is a “kick up the arse for everyone”.

“It’s a fucking depressing album,” he admits. “Saying that, a lot of the most positive things have come out of the most negative situations. When you’ve hit rock bottom, at least you’re safe in the knowledge you can’t get any lower. That’s what we think about England. We’re at the bottom... and we can only go up.”

THE RIVERBANK“This song sets the record and marks the beginning of this story based around London. The noise you hear right at the beginning is actually the tide of the River Thames. It’s a short, sharp statement of intent and is probably the slowest song we have ever written.”

LONDON IS THE REASON“This song is about the kids, the next generation, and taking the power back. When a country goes into disrepair, as Britain has, the power goes back to the people. The kids are the future and they have the most control. Unfortunately, the generation gap is so small these days that it’s hard to teach your children what’s right or wrong, when you don’t have a very sharp understanding about life yourself.”

LEECHES“This track is about priests, the clergy, holy men and holy women and people that claim that title for themselves. I despise religious fanatics and people who claim they are a closer link to a higher being. They suck all the life out of people. They’re scaremongers. They claim they preach the good word – but you go read the Book Of Revelations, and you’ll see it has very little good word in it.”

BLACK EYES“I had this weird idea about politicians and liars, and how when they told conscious lies,

08 KERRANG!

their eyes would bleed black. It would make the world a much safer place. It amazes me that a man like Tony Blair could take our country to war and not be afraid of the fact that every single person in this country knew where he lived.”

I DREAD THE NIGHT“This is about binge Britain and people living for the weekend. I think the main reason for people doing that is fear – being scared of being stuck and then drinking yourself into oblivion. In a more literal sense, it’s also about how much I hate being in a band sometimes.”

DEATH VOICES“This track is the Apocalypse, and the four horsemen, opening the seventh seal and wreaking havoc on the world. It’s ultimately a story about the end of the world. Pretty fun.”

THE VULTURE (ACTS I & II)“I was thinking about all the forgotten children who die before their parents, and this track is about one of those poor bastards becoming Death’s apprentice. Death to me is a much more imaginative concept to me than God – I thought it would be interesting to think about someone training to be his apprentice and learning to reap souls. Act I has me singing. I felt a little vulnerable, as I haven’t sung much before. It sounds okay and I don’t cringe too much when I hear it!”

THE RIVERBED“The lyrics at the beginning of the album were pretty condemning and suggest there is nothing left, whereas this point – the beginning of the second half – is a bit more positive, in the most negative way. The words are very family orientated and are about us as brothers in the band. When the end comes, I know I won’t be alone, I know I will never be as lonely as I have been. I have overcome a few things in the past year and I know I’ll never feel as alone as I did then.”

THE GREAT FORGIVER“The Great Forgiver is the big guy in the sky.

This song is all about my complete and utter confusion as to what Heaven is and whether it exists and in what capacity. Preachers tell us that if you confess your sins, and ask for forgiveness, then all will be forgiven. If that is the case, then as far as I am concerned, Heaven will be full of serial killers, rapists, paedophiles, cowards and traitors. I would rather go to Hell and rot in fi re and eternal damnation than spend time in Heaven with all the scum who have been forgiven for their sins.”

GRAVES“This is a very short and succinct story. We all end up in the ground. It doesn’t matter who you are, what you are fi ghting for, what you want out of life, whoever you are – you will end up six feet under. We all go the same way, under the sod.”

QUEENSBERRY RULES“They are boxing rules and this song is about knife crime. I’m harking back to a better day where men would settle disputes like men, and get in the ring and sort it out in 10 rounds. Nowadays, if you think you have a problem with someone – before you’ve even had the chance to sort it out – they have stabbed you from behind and you’ll probably die. There is no honour or anything gentlemanly about that. When kids are fi nding a reason to carry a knife to school, then you have to realise that this is the war that we should be fi ghting. Not in Iraq – but on the streets of London – making sure that our children are safe.”

MISERY“Simply put, I was at my lowest ebb probably that I have ever been in my life. I didn’t wanna be around much anymore, and I wrote that song, and it made me feel better. ’Misery fucking loves me, and I love her too’. There is a lot to be said for taking some time out and going to a dark place.”

CRUCIFUCKS“This is complete and utter condemnation of everything in the world that I feel is wrong. The racists, religion, anti-dogma, anti-authority – this is the anti-everything song. At this point in the record, people can sit back and contemplate everything that they have just listened to, and then listen to it on repeat. Before they know it, the tide kicks back in, it all starts again, and they can start crying...”

Grey Britain will be released in the UK on May 4 via Warner Bros. Gallows are touring the UK in May with Every Time I Die and more. See Gigs for details.

“THIS IS A FUCKING

DEPRESSINGr This song is all about my complete and utter

confusion as to what Heaven is and whether

ALBUM!”

Words: K

atie P

ars

on

s

Frank Carter: Feel bad

hits of the summer

EXCLUSIVE: GALLOWS

EMBRACE THEIR DARK SIDE ON GREY BRITAIN

KER1257 news 8-9 april 18.indd 6 6/4/09 16:03:44

xxxxxxx xxx

KERRANG! 09

FeedbackWhat’s the most depressing album in your collection? Tell us on www.kerrang.com.

KER1257 news 8-9 april 18.indd 7 6/4/09 16:03:48

SHINEDOWN PLUS: HALESTORM,

10 YEARS THE FILLMORE, NEW YORK 31.03.09

KKKKWORDS: DANIEL LUKES PHOTOS: DAVID BERGMAN

FLORIDA CLASSIC ROCKERS IGNITE

AND INSPIRE NEW YORK CITY.

NIRVANA HOLD the dubious honour of being a classic rock band (yes, they were also that), who overnight made classic rock itself seem like a dated, twee, overly polished genre. Megabands in their wake have done the genre no favours: Nickelback, Creed, Hinder – all ghastly exemplars of crass American overstatement. You could lump Shinedown in with those cats, and forget about them, and doing so you’d possibly be cheating yourself out of a fi ne fucking band in the process.

Pennsylvania’s Halestorm, led by the stunningly gifted and attractive Lzzy Hale are deeply classic hard rock with a modern edge, W.A.S.P. by way of Sevendust if you will. Though they build their smouldering chunks of melody and riffage out of elements you’ve heard before, Halestorm’s delivery and songs are nothing short of note-perfect and instantly memorable, and if they don’t become incredibly massive im-mediately, there’s something very wrong with the world. Tennessee’s 10 Years are better than they were supporting Mudvayne here three months ago: sometimes beefy and arresting, other times poignantly me-lodic, they could still be a much better band without that Tool-lite thing they still so obstinately cling to.

Shinedown sold this place out, and Shinedown are going to shine tonight, no puns about it. On record, yeah, they’re a little polished, a little generic. Live they are the bomb, whether you like them or not. And whether it be the metallic judder of Cry For Help or Devour (Shinedown are not afraid of their metal, another point in their favour), or just a clear heartfelt quality that permeates all of their material, even such cheesy ballads like Burning Bright we could otherwise do without. Musi-cally they do nothing less than give their all tonight, yet as tight as the playing is, it’d be a lie to omit that it’s Brent Smith who makes this band. The man is simply a masterful entertainer and frontman, a star: part wide-eyed preacher, motivational speaker, manly fi reside story-teller, Meat Loaf-in-his-prime house-and-arse-shaker. “I want you to become fearless” is his empowering refrain, as he repeatedly brings this room together in a unity of purpose: honest, stirring, positive-minded. Cynics can scoff all they like: Second Chance caps this great sweaty evening of classic American rock in grand and heartwarming fashion.

S OS O

LivesKKKKK=CLASSIC KKKK=EXCELLENT

KKK=GOOD KK=AVERAGE K=POOR

How was it for you?

BRENT SMITH SAYS:

“It was extraordinary, it was amazing. The

whole show is supposed to be an event,

when you come and see Shinedown.

We’ve always said the same thing about

everybody in the audience: we only have

one boss and it’s all of them. As long as

they had a great time, that’s all that mat-

ters. You’re not supposed to come and

see Shinedown and be sad, but feel, quite

frankly, that you can take over everything. I

think that people come and see Shinedown

because they want to feel empowered;

I think that’s what we do. It was great,

fantastic, had a blast.”

18 KERRANG!

Shinedown: Shining brightly

d n

i-

d.

e

eg. Iwn

Eric Bass: Um, he plays the bass

KER1257 lives1 p18-19 april18.indd 1 6/4/09 17:08:16

“Actually, guys, I think I’ll keep my jacket on”

Zach Myers got his guitar stuck to the ceiling again

Brent Smith: The man in black

KERRANG! 19

KER1257 lives1 p18-19 april18.indd 2 6/4/09 17:09:00

sold-out shows... the world premiere of Flight 666... iron MaiDen cause chaos in Brazil and we’re with them to witness the hysteria...

FLYING HIGH

24 kerrang!

y

IRON MAIDENWords: Simon Young Photos: Ashley Maile

KER1257 maiden 24-2#17AD80.indd 2 9/4/09 12:08:40

MARCH 14. 1pm. 26°C. There’s not enough talcum powder in the world to combat the humidity. Cinelândia, an ornate public square in the heart of Rio de Janeiro, is bustling with hundreds of rock fans. Shoppers wander past, their pace slowing down to a standstill to take in the metal mêlée that fi lls the air.

Today is a very special day on the Iron Maiden calen-dar. The band – vocalist Bruce Dickinson, bassist Steve Harris, drummer Nicko McBrain and the triple guitar team of Dave Murray, Adrian Smith and Janick Gers – will shortly arrive at the Cine Odeon BR, along with fi lmmak-ers Sam Dunn and Scot McFadyen. They’ll emerge from their van, blinking in the harsh daylight, to greet fans who’ve patiently waited hours to see the world premiere of Flight 666, an access-all-areas fi lm documenting life on the road with one of the world’s best-loved heavy metal bands as they attempt one of the most ambitious tours in rock history.

A deceptively small public address system, fl anking the doors leading to the foyer of the cinema on Praça Floriano – a street named after the second president of Brazil, Floriano Peixoto – blasts Iron Maiden’s back cata-logue at deafening volume. Only the fans’ continuous, infectious chants of ’Olé-olé-olé-olé! Maiden! Maiden!’ can be heard above the screaming guitar solos. Almost everyone here is wearing an Iron Maiden T-shirt featuring the familiar, emaciated face of the band’s undead mascot Eddie. Those who aren’t, are working, yet join in the chanting all the same.

Alex, a 30-year-old metal fan from Rio, bought his ticket to the premiere as soon as it was announced in the local press a month ago. Like everyone else gathered here today, he’s waited several hours to catch a glimpse of his idols.

“When I was young, my parents divorced and my father left all of his records,” he explains. “I listened to Iron Maiden’s fi rst album and became a fan instantly. I love the band, I love their passion. In fact, all of Brazil love Maiden!”

Like a budget Presidential motorcade, a lone police offi cer on a motorcycle slowly guides a black Mercedes van with tinted windows down a cobbled street adjacent to the cinema. The blood-curdling roar that greets the band as they leave the vehicle is enough to make your ears bleed. The band and fi lmmakers, closely followed by several burly members of Maiden’s road crew – just in case anyone gets too enthusiastic – make their way up the barricaded pathway, pausing to sign autographs and pose for photographs for the assembled Brazilian and international media.

“Iron Maiden is a religion in South America!” Alex shouts, turning to sprint into the horde of screaming fans. “They’re a fucking religion!”

“THERE’S NO hiding place,” laughs Harris as the band arrive at the Hotel Intercontinental, greeted by a mob of fans clutching albums, posters and pretty much anything a Sharpie can make a mark upon. The fans queue up and get an autograph and pictures before the band are ushered into the peace and quiet of the air-conditioned lobby.

“Everyone is respectful if they know they’ll get an autograph,” he notes. “Otherwise, it can get really hectic. Some fans really freak out and panic if they think they’re going to miss out.

“In Ecuador, there was absolute mayhem at the airport,” he adds. “We literally couldn’t stop as we had places to go. It was pandemonium. It’s tough when people have waited to see you.”

Nicko McBrain admits that the band often feel like prisoners in their hotels, especially while touring South America.

“It’s hard getting out of the hotel sometimes,” he says. “It’s a bit of a bugbear. I like signing autographs and hav-ing my picture taken with the fans and we try to set aside some time each day to do that. But sometimes there are too many people.

“In the hotel, it’s a different story,” he adds. “Adrian mentions in the fi lm that hotels are a home away from home and a sanctuary. A no-go. It’s a diffi cult line to cross. Once you’re out of the hotel, you’re fair game. They’ve got spotters on bikes outside the back of the hotel and phone their mates to let them know who’s left and things like that. It’s like an SAS operation – you’ve got to admire the effort they put in!”

“Sometimes you need to get away from the madness,” says Harris. “We’re not a band who thrive on this atten-tion. We’re quite private people, really.”

The 112-minute fi lm Flight 666 follows the band on the fi rst leg of their Somewhere Back In Time World Tour in February and March 2008, an ambitious tour which saw the band customise a Boeing 757 aircraft and play 23 sold-out shows in 13 countries over 45 days, travelling the world and performing to almost half a million fans.

Every step of the way, Dunn and McFadyen – the criti-

cally acclaimed directors of rock documentaries Metal, A Headbanger’s Journey and most recently, Global Metal – were there every step of the way, armed with a HD video camera and capturing over 500 hours of footage. The result? A revealing portrait of a globally successful band who, throughout their career, have rarely let anyone glimpse behind the Iron curtain.

“It took a couple of weeks for us to get used to the cameras,” reveals Harris. “You’ve got to have your space. Especially when you’re in the sanctuary of the plane or the bus, it was weird – at fi rst – having a camera in your face.”

Harris is fi ercely protective of the band he formed in Leyton, East London, 34 years ago and concedes it was hard to let go and place trust in Dunn and McFadyen for this project.

“I was dreading watching it for the fi rst time,” he admits. “I’ve spent so long doing editing for Iron Maiden videos I wanted it to be someone else’s take on the band. I thought they had done a great job. A really great job.”

In a couple of hours, the band will take to the stage at Praça da Apoteose, a purpose-built parade area in downtown Rio de Janeiro where samba schools compete each year during the famous carnival.

There’ll be no samba tonight as 15,000 fans – each paying R$190 (approximately £58) – are here to see one band: Iron Maiden.

Backstage, the mood is calm and relaxed. In the green room, Smith relaxes with his wife Nathalie, while Murray picks at the buffet: a vibrant display of fresh fruit, breads, sliced meats and tortilla chips. “The local catering is usually of a good standard but I don’t touch anything otherwise it’ll end up on the fi rst row!” laughs Harris, watching his bandmate at the spread.

Three fans – Ricardo (38), Rodrigo (33) and Andreas (37) – who have travelled 220 miles from Rio, are waiting backstage to present the band with Club de Regatas Vasco da Gama football shirts, emblazoned with Eddie on the back. As the adopted mascot of the Força Jovem (Young Force), the band turn a blind eye to the copyright infringement due to the rather excellent publicity.

“It’s a tradition that’s been going since 1987,” explains Andreas. “We love the album covers and we made fl ags. I think it scares the other teams and their fans.”

After a quick chat about football, a few photos and autographs, it’s time for Harris and Dickinson to get mas-saged by Peter, the band’s personal masseur, change, and limber up for the sold-out show.

INSIDE THE arena, the atmosphere is crackling with anticipation. Soldiers brandishing machine guns wander through the ground unnoticed as fans try to catch the eye of wandering bar staff who are carrying cold beer, soft drinks and water in a cardboard box above their heads.

The merchandise stand is doing brisk business, with specially designed South American tour T-shirts (£21), ladies vests (£18), Egyptian-themed chain wallets (£18) and tour posters (£6) being exchanged for fi stfuls of crumpled Brazilian dollars.

After what seems like an eternity, the lights go down and the crowd begin their familiar ’Olé!’ chant as the band’s intro tape of UFO’s 1974 classic Doctor Doctor and the band’s very own 1980 instrumental Transylvania begins. Footage from Flight 666 rolls onto video screens to the side of the stage.

An air raid siren wails as Winston Churchill’s ‘We Shall Fight On The Beaches’ speech begins. An explosion of lights is greeted by a deafening roar as the band begin Aces High, bounding onto a replica of their classic 1985 World Slavery Tour stage set: a scaled down pyramid, hi-eroglyphics and 25-foot gold sarcophagus which cracks open to reveal a mummifi ed version of Eddie.

Moments after the band’s fi nal encore, Sanctuary, the band, soaked in sweat and utterly spent of energy, are handed towels and whisked into a fl eet of vans and escorted by police motorcycles back to the hotel and into the bar. Job done.

WHILE DICKINSON’S bandmates enjoy a lie-in the morning after their sold-out Rio de Janeiro show, the vocalist is preparing for the fl ight to São Paulo.

Post-show, Dickinson was forced to have an early night. As a qualifi ed pilot, Civil Aviation Authority regula-tions state that he must have a minimum rest period of 12 hours from leaving the stage to entering the cockpit.

“I don’t fl y all the time on the tour,” explains Cap-

>>

“Ed Force One means we can play more shows in fewer days” BRUCE DICKINSON

KERRANG! 25

Captain Bruce shows off his Cockpit...

KER1257 maiden 24-28 (con)newapril18.indd 3 9/4/09 16:08:41

48 KERRANG!

METRO STATION

KER1257 metrostation p48-49 april 8 .indd 6 6/4/09 15:32:56

As he says, when he leans back and contemplates this: “All of us in the band, basically, are just outcasts and fuck-ups. I never really fi tted in.”

METRO STATION are a band that’s easy to dislike. Despite their singer’s protestations that the last thing he wanted was to be associated with the Disney success of his sister, it was on-set during the fi lming of Hannah Montana that he was introduced to his fellow vocalist Mason Musso, the older brother of another star of the show.

Lightweight, throwaway and the closest thing to bubblegum without being chewable, it seems exactly the sort of music that a Disney executive might wish to sign up, ship out and cash in on. However, as Cyrus insists, there are other things going on.

“It is very poppy music with a nice title but there’s a hidden meaning all along,” he says. “We like the fact that the fi rst time people hear our music they might think it’s good pop music but, when they go home and listen to it, they think, ‘Wow, did he really just say that?’

“People see our titles like Shake It and Seventeen Forever and they think the song’s about something totally different to what it’s actually about. Shake It has a much deeper meaning than some dance that kids are doing. A lot of people think Seventeen Forever is about being a kid forever, but it’s actually about wanting to be in a relationship with a girl who’s underage so bad and how age limitations don’t let you do that. We like to shock people.”

PERHAPS PART of the desire to shock people comes from the desire to be noticed. Growing up with a famous father and a famous sister meant Cyrus was rarely the centre of attention. It’s something he acknowledges.

“I wanted to play music so badly, it was all I wanted to do, but there was so much attention around my family that people weren’t going to recognise me,” he reveals.

It led to a tricky childhood. Raised on a ranch in Thompson’s Station, Tennessee, a tiny, poor and rural backwater, he had to go to school as the son of a rock star.

“Everyone at my school, of course, knew who my father was and knew about my family. It made it very hard,” he says. “I had to choose my friends very wisely. You had to know if people were friends with you for the right reasons. It was defi nitely something I had to face that no-one else at my school was going through.”

Come the summer holidays, when his contemporaries were settling down for two months in front of the TV, he would go out on the road with his father, waking up in a different town every day, sitting by the side of a stage every night. While that lifestyle would be a dream to many – and Cyrus doesn’t complain about it – it did mean that forging relationships at

school from shared experiences was diffi cult.“I was going to a normal school but I was living a

completely different lifestyle to the other kids. I was doing things that kids my age weren’t doing. That had been going on since I was four,” he says. “Then, when my sister’s career took off, it made life even crazier.

“I loved my home in Nashville but I defi nitely needed to get the hell out of there and do something bigger and better with my life. It wasn’t until I moved to California that I found my place.”

HE HAD been writing solo songs since the age of 13 after his father had given him an acoustic guitar. And, on being introduced to Musso, he discovered his future songwriting partner had been doing exactly the same thing.

Then working in a mall selling shoes, having dropped out of high school early, Cyrus said he was

determined not to give the fruits of the pair’s musical endeavours to his sister to see what she could do for him.

“If I’d done that, or if we’d gone on the route of the Jonas Brothers – that Disney, clean-cut image – then people would have thought this was fake and we wouldn’t be where we’re at now,” he says. “I wanted to feel that I got where I was because of my hard work, not because of my dad’s previous work or my sister’s work. A lot of kids of famous celebrities who try and make music are looked down on.”

The self-titled record they made, released in America two years ago and recently out over here, has not only set the band on the fast track to becoming,

well, huge, but has also turned Cyrus into something of a pin-up. It’s not something he’s unhappy about, either.

“Growing up, I was never the kid who the girls wanted,” grins the 20-year-old, who’s currently single. “I didn’t get a lot of attention from girls and now I’m in a band, things have changed very fast. All of a sudden, girls fall in love with you! I do love it. Because the second it stops, what do you have anymore?”

He needn’t worry, judging by the hysteria that surrounded him on the band’s most recent UK visit, this looks likely to continue for some time...

METRO STATION’S SELF-TITLED ALBUM IS OUT NOW.

KERRANG! 49

METRO STATION are a band that’s easy to dislike.Despite their singer’s protestations that the last thing he wanted was to be associated with the Disney success of his sister, it was on-set during the fi lming of Hannah Montana that he was introduced to his fellow vocalist Mason Musso, the older brother of another star of the show.

school from shared experiences was diffi cult.“I was going to a normal school but I was living a

completely different lifestyle to the other kids. I wasdoing things that kids my age weren’t doing. That hadbeen going on since I was four,” he says. “Then, when

i t ’ t k ff it d lif i

a

METRO STATION’STRACE CYRUS ISSHAPING UP TO BE THEPOSTER BOY OF ‘09 AND HE’S LOVING IT...

IT’S NOT hard to spot Trace w in the ultra-hip surroundings of the St Martins Lane Hotel. He sits alone at a breakfast table, straight hair down to his shoulders, lip

studs, cheek stud and nose ring, in a vest that reveals his long arms. Along those arms are a complex pattern of tattoos starting from the ‘Stay Gold’ across his knuckles, past the Apache chief on the back of his right hand, the Cyrus written in capitals on his wrist, and right up to his shoulders, neck and across his chest. There, in two-inch high letters, are the words ‘Songs Of Victory’, the fi rst tattoo he ever got – paid for by his mother. Above that is his latest one, spread across his neck, it took fi ve days of agony in a Los Angeles hotel room to complete. Many of them are religious, like Cyrus, and include verses from Psalms.

He’s eating in the hotel’s restaurant. In front of him is a plate of fruit; ordered are two fried eggs and toast. He’s in stark contrast to his surroundings – all white walls, designer light bulbs, hushed service and expensive taste.

But then, Trace Cyrus has always been somehow at odds with what’s around him. The adopted son of singer Billy Ray Cyrus, he grew up in country music’s hometown of Nashville, yet preferred the likes of Dashboard Confessional and Blink 182 to the more prevalent steel guitars.

The brother of Disney starlet Miley Cyrus – the blonde, sanitised lead of hit show Hannah Montana – he now makes music in his band Metro Station that, while saccharine sweet on the outside, contains lyrics that include references to drug taking and underage sex.

ABOUT METRACE GETS PERSONAL

I AM...

“insane and crazy”.BEING 20 RULES BECAUSE... “I can drink [alcohol] in a year”.PEOPLE LIKE ME BECAUSE...

“I’m charming”.MY WORST HABIT IS... “not answering my phone”.MY FAVOURITE TATTOO IS... “the Indian chief Geronimo on my hand with Cyrus written above it. I got it for my dad”.PEOPLE DON’T KNOW THAT I... “that I’m a pescetarian – I don’t eat meat”. I LOVE...

“girls with dark hair and brown eyes”.I WISH I...

“was smaller. I hate being so tall”.

y

h

o that. We like to determined not to give the fruits of the pair’s musicalendeavours to his sister to see what she could do for

“I WAS NEVER THE KID WHO THE GIRLS WANTED”

As he says, when he leans back and contemplates this: “All of us in the band, basically, are just outcasts and fuck-ups. I never really fi tted in.”

METRO STATION are a band that’s easy to dislike.I

T’S NOT hard to spot Trace w in the ultra-T hip surroundings of the St Martins LaneHotel. He sits alone at a breakfast table, straight hair down to his shoulders, lip

studs, cheek stud and nose ring, in a vest that reveals

Words: Tom Bryant Photo: Ashley Maile Big thanks: Eclipse Tattoos

KER1257 metrostation p48-49new april 8 .indd 7 7/4/09 16:30:24

ABOUT THE only way left to escape the global recession is to live under a rock, and there aren’t many rocks big enough. That option hasn’t been open to Lacuna Coil, who have enjoyed an almost perfect career trajectory, each album surpassing the last, each tour including new territories and welcoming fresh faces. Now, in this atmosphere of fear and uncertainty, Lacuna Coil have followed up 2006’s Karmacode with an album that walks respectfully in its shadow, that dare not stray from its trodden path, that introduces new songs in the style of old friends. With 500,000 sales of their last album, any notion of change has simply proven too scary for the Italian stars.

Lacuna Coil are battening down the hatches, watching the storm clouds gather, and sticking to what they consider they do best. This means more focus on the aerodynamic pop-metal tune, nearly all feeding from the satisfying male/female vocal exchange of singers Andrea Ferro and Cristina Scabbia. It means less – none, in fact – of the darker, more gothic-tinged metal that fi rst launched the band into our world. Survive shines the torchlight fi rmly on Lacuna Coil’s current path, a clobbering mêlée of guitars and Arabic infl uence leading to a sweet, understated vocal from Scabbia and a gutsy, singable hook fronted by Ferro. It is the latter who injects the venom that makes I Won’t Tell You the album’s best track, a fast-driving rock song with another scything arc of a chorus.

Spellbound, The Maze and Underdog also combine shades of grey to an otherwise upbeat, see-your-face-in-it sheen, while I Like It is strangely aglow, Scabbia singing uncharacteristically merry words like ‘I’m free to do what I like, I’m celebrating my life’. Weirder still is Unchained, Scabbia sounding upsettingly like a cat mewling to be let out. She thankfully compensates for this puzzling performance on the shining ballad Wide Awake.

Lacuna Coil’s fi fth studio album seems to have been recorded beneath a neon sign repeatedly fl ashing the words ‘safety fi rst’. It’s mostly a collection of songs more akin to Linkin Park (minus the rapping) than their goth metal roots. It has the thrust to maintain the band’s steady ascendancy but is perhaps unlikely to be stood alongside Karmacode or 2002’s Comalies in 10 years time. For better or for worse, Shallow Life is an album for today.DOWNLOAD: I Won’t Tell You, The Maze.FOR FANS OF: HIM, Within Temptation.

AlbumsKKKKK=CLASSIC KKKK=EXCELLENT

KKK=GOOD KK=AVERAGE K=POOR

52 KERRANG!

LACUNA COIL

SHALLOW LIFE(CENTURY MEDIA)

KKKWORDS: STEVE BEEBEE

GOTH-LITE STARS PLAY

TO THEIR STRENGTHS ON

CAUTIOUS FIFTH ALBUM.

3 KILLER SONGS FROM LACUNA COIL’S BACK CATALOGUE

HEIR OF A DYING DAY (Unleashed Memories, 2001)HEAVEN’S A LIE (Comalies, 2002)DEVOTED (Karmacode, 2006)

Back trackCRISTINA SCABBIAVOCALS

THE INSIDER

KER1257 albums 1 p52-53 april 18.indd 46 6/4/09 16:21:09

KERRANG! 53

CONTEMPLATIVE EXCURSIONS FROM EX-IRON MONKEY MAN.THE HAUNTED sounds of Crippled Black Phoenix take in prog guitars and synths alongside sepia-tinted snatches of old, weird England, as former Iron Monkey/Electric Wizard drummer Justin Greaves directs a revolving group of musicians, including Mogwai’s Dominic Aitchison and Gonga frontman Joe Volk, to breathe life into his curiously out-of-time compositions. Also available in extended form as two complementary albums, this second (and third?) release fi nds Greaves expanding on the outsider folk, mournful balladry and space rock introduced on 2007’s A Love Of Shared Disasters, with both titles hinting at the black-humoured fatalism conveyed within.DOWNLOAD: Rise Up And Fight.FOR FANS OF: Mogwai, Pilgrim Fathers.

OLLY THOMAS

JAPANESE GROOVERS MAKE SERIAL KILLERS SOUND OH-SO GOOD.DEATH METALLERS Macabre already did the ‘writing a really heavy concept album about a serial killer’ thing, but there’s something about hearing these rabidly Sabbath-obsessed Japanese nutcases singing about serial killers in such an ass-shaking, super-groove way that makes the idea both brand new, and more disturbing than death metal ever made it sound. Take The Gray Man (Albert Fish); Fish was a child-murdering cannibal, but in Church Of Misery’s world that’s no reason why a song about him can’t boast riffs Tony Iommi would have been proud of. In this context, serial killers really do sound great.DOWNLOAD: The Gray Man (Albert Fish).FOR FANS OF: Black Sabbath, Cathedral.

NICK RUSKELL

CASTROVALVACASTROVALVA(BREW)

K

CHURCH OF MISERYHOUSES OF THE UNHOLY(RISE ABOVE)

KKKK

MELODIC DEATH-METALLERS ROLL OUT A HEADY BAVARIAN BREW THAT REALLY HITS THE SPOT.MANAGING TO wield the (relatively) crisply produced riffage of latter day Amon Amarth without over-egging the straight-faced lyrical bravado or saturating their sound with broken-cement-mixer vocals, Akrea display the power, song writing sensibility and melodic balance to sit alongside Europe’s death metal elite. Boasting a remarkable conviction, both in the refusal to depart from their native German-language and in delivering exactly the kind of crowd pleasing, if slightly more simplistic, sound that defi es pretentious Viking-metal pigeonholing, it’s refreshing to see youngsters more interested in banging heads than chasing metallic street-cred. True, this won’t stretch your intellect, but you won’t fi nd much better to raise a pint to either. DOWNLOAD: Imperium.FOR FANS OF: Amon Amarth, Dark Tranquillity.

SAM LAW

TRIPPY, PSYCHEDELIC STONER ROCKERS TAKE TWO AND PASS.IT TAKES a while for Black Math Horsemen to break out the guitars but when they do, the riffs arrived with jagged and effortless regularity. Likewise, they appear just as content to drone up into the ether with a vocalist who sounds like he’s communicating from the far side of a network of underground tunnels.So, while there’s a certain variety to their sound that normally isn’t present among peers who either want to bust their lungs to sound like stoner rock linchpins Kyuss, Black Math Horsemen fall down slightly because, unless you’re nodding off, Wyllt isn’t much of an awakening.DOWNLOAD: Deerslayer.FOR FANS OF: Kyuss, Electric Wizard.

ALISTAIR LAWRENCE

BASS: HOW LOW CAN YOU GO? PRETTY DAMN LOW APPEARS TO BE THE ANSWER.IF INSTRUMENTAL albums, by general rule of thumb, are uniformly pretentious wank then “Improvisational, bass-driven, progressive rock” (it says here) instrumental albums are surely the spawn of Satan himself. There’s more noodling here than there is at Wagamama’s head offi ce, and the galloping bass line is so deep only moles can hear it. There are segments where you can genuinely feel yourself turning into your dad and muttering that it’s all “just noise” while urging them to get proper jobs. The one vocal track, Bellhausen, is the only time any defi nable song structure raises its head for more than a few seconds. The rest; just feedback and autofellatio.DOWNLOAD: Bellhausen.FOR FANS OF: Death From Above 1979, Tool.

MARK GRIFFITHS

BLACK MATH HORSEMENWYLLT(UNDERGROOVE)

KK

UNHINGED FORMER PRIMUS FRONTMAN GOES COMPLETELY MAD.COMMISSIONED TO write two soundtracks, one for a computer game about mushrooms and another for a fi lm about a marauding wild boar, Primus frontman and all around mentalist Les Claypool seems to have almost entirely lost the plot. Musically, this is an astonishing feat of the imagination – weird tabla beats, percussive acoustic bass, growling vocals, bizarre lyrics and scratched violins all fl utter in and out and that’s just on the intro to one song – but as an album to enjoy, this is a tricky listen. Like the soundtrack to a particularly terrifying and toxic acid trip, this is the music they play on the other side of the looking glass.DOWNLOAD: Mushroom Men.FOR FANS OF: Tom Waits, Mike Patton.

TOM BRYANT

LES CLAYPOOLOF FUNGI AND FOE(PRAWNSONG)

KKK

AKREALEBENSLINIE (DRAKKAR)

KKKK

CRIPPLED BLACK PHOENIX200 TONS OF BAD LUCK(INVADA)

KKKK

YOU RECORDED IN LA – HOW DIFFERENT

WAS THAT FOR YOU?

“Going out to America was great fun while it was different because it kind of made the whole experience more intense. When you’re recording in England, after you’ve done a day’s work you go home and keep the music side in the studio. This time we were completely immersed in it.”

HOW DO YOU THINK IT DIFFERS FROM

THE LAST ALBUM?

“I think the songcraft on this album is better. We really focused in on the structure of our songwriting this time. There’s more to this album than the

last one, there’s more to take from it.”

WHICH TRACK MEANS THE MOST

TO YOU?

“It’s a lot more personal this time around, the lyrics are a lot more personal. The song that probably means the most is Unfamiliar Ceilings, that was written in a real tough time. We were recording the demo, and that day something massive happened in my life and I literally wrote the lyrics that day. I didn’t change the vocals from that day, the demo made the album. I thought I’d never replicate those vocals on the album.”

TALES FROM THE STUDIO...

KER1257 albums 1 p52-53 april 18.indd 47 6/4/09 16:21:23

LONDON THE AQUABATS, MC LARS, FAILSAFE

(Academy, Islington: 0844 4772000)

LONDON THE PRODIGY, DIZZEE RASCAL (Arena,

Wembley: 0870 060 0870)

LONDON SACRED MOTHER TONGUE, IDIOM,

SANGUINE, SPITTING BLOOD (Gaff, Holloway Road:

020 7609 3063)

LONDON LIMEHOUSE LIZZY (Hub, Morden: 020

8761 9078)

LONDON AC/DC, THE ANSWER (O2 Arena, Greenwich:

0844 8440002)

LONDON REIGN SUPREME, 50 LIONS, THE RIVER CARD,

SOCIAL SUICIDE (Underworld, Camden: 020 7482 1932)

MANCHESTER PAPA ROACH, FILTER, DEAR

SUPERSTAR (Academy: 0844 4772000)

MANCHESTER ...AND YOU WILL KNOW US BY THE

TRAIL OF DEAD, MIDDLE CLASS RUT (Academy 3:

0844 4772000)

NEWCASTLE EVILE, WARPATH, MUTANT (Academy

2: 0844 4772000)

NORWICH CATCH 22 (Queen Charlotte: 01603 631144)

NOTTINGHAM DEVIL SOLD HIS SOUL, SHAPED BY

FATE, ABANDON HOPE, TWISTED WHISTLE (Seven:

0115 9704662)

PETERBOROUGH LOWER THAN ATLANTIS, BRIDES

(Park: 01733 555883)

PETERBOROUGH THE ASSASSINATION OF... (Solstice:

01733 560231)

WREXHAM ROLO TOMASSI, GRAMMATICS, PULLED

APART BY HORSES (Central Station: 01978 311857)

FRIDAYAPRIL 17

BILSTON FRED ZEPPELIN (Robin 2: 01902 497860)

BIRMINGHAM EARTH, STEMBO (Hare And Hounds:

0121 444 2081)

BLACKPOOL MAV, LEGION, DANSE OF THE DEAD,

TRAPPED NERVE (West Coast Rock Café: 07707 290710)

BRADFORD BON JOVI EXPERIENCE (Gasworks Bar:

01274 414155)

BRISTOL THEM IS ME, RIOT:NOISE, ROXY’S

WARDROBE (Croft: 0117 987 4144)

CAMBERLEY HI ON MAIDEN (Agincourt: 01276 22225)

EDINBURGH YASHIN (Studio 24: 0131 667 1167)

GLASGOW ...AND YOU WILL KNOW US BY THE TRAIL

OF DEAD, MIDDLE CLASS RUT (Oran Mor: 0870 264 333)

HITCHIN KILLER MESSIAH, SHOGUN AND ABADDEN

(George Venue: 01462 432779)

IPSWICH THIS YEARS CRISIS (Blue Room @ P.J.

McGinty’s: 01473 25151)

KINGSTON NEVERBORNE, TAINTED SAINTS, PURE

NEGATIVE (Peel: 020 8546 3516)

LEICESTER DRAG THE LAKE, SPYRITUS, AGHAST,

FORLORN (Shed: 0116 2622255)

LONDON THE PRODIGY, DIZZEE RASCAL (Arena,

Wembley: 0870 060 0870)

LONDON PAPA ROACH, FILTER, DEAR SUPERSTAR

(Forum, Kentish Town: 020 7428 4099)

LONDON ENTER SHIKARI, THE BLACKOUT, THE

ACADEMY IS..., THE KING BLUES, EMERY, LIGHTS, IN

THIS MOMENT (Give It A Name @ Academy, Brixton:

0844 4772000)

LONDON DEEPLY PURPLE (Standard Music Venue,

Walthamstow: 020 8527 1966)

MANCHESTER EVILE, WARPATH, MUTANT (Academy

3: 0844 4772000)

MANCHESTER SUPERSUCKERS, NASHVILLE PUSSY,

SABRETOOTH TIGER BAND (Club Academy: 0844

4772000)

MILTON KEYNES LOWER THAN ATLANTIS, BRIDES

(Crauford Arms: 01908 313864)

NEWCASTLE DEVIL SOLD HIS SOUL, SHAPED BY

FATE (Academy 2: 0844 4772000)

NOTTINGHAM ROLO TOMASSI, GRAMMATICS,

PULLED APART BY HORSES (Bodega: 0871 3100000)

NUNEATON ALUNAH (Queens Hall: 024 7664 2454)

PETERBOROUGH FELL SILENT, THE CASINO BRAWL,

BLIND KIDS SEE GHOSTS (Park: 01733 555883)

SHEFFIELD NEW YORK ALCOHOLIC ANXIETY ATTACK,

DEATH BY ROCK ‘N ROLL, JOOLZ DENBY (Corporation:

0114 2760262)

WATFORD SHOTGUN RIOT, BREEDAPART, VIOLATION

COMPLEX (Flag And Firkin: 01923 249806)

WEYMOUTH ONE MORNING LEFT, PROCEED, DEAD

MILE (Queens Hotel: 01305 786326)

WEYMOUTH THE ASSASSINATION OF... (Queens

Hotel: 01305 786326)

WREXHAM DEATHSTARS, THE DEFILED,

MARIONETTE (Central Station: 01978 311857)

SATURDAYAPRIL 18

BIRMINGHAM PAPA ROACH, FILTER, DEAR

SUPERSTAR (Academy: 0844 4772000)

BRIGHTON VICE SQUAD, DERELLAS (Prince Albert:

01273 730499)

BRISTOL PROPAGANDHI, RANDOM HAND, THE

ARTERIES (Croft: 0117 987 4144)

CROYDON THE BOY WILL DROWN, FLESHROT,

SURROUNDED BY DISGUST (Brief: 020 8686 6878)

DERRY SINOCENCE (Mason’s: 028 71360177)

DUBLIN EVILE, WARPATH, MUTANT (Fibber Magees:

00353 18722575)

DUBLIN AC/DC, THE ANSWER (O2 Arena: 00353

1676 6170)

GLASGOW ADRENALINE (Ivory Blacks: 0141 248 4114)

HITCHIN THE ASSASSINATION OF... (Club 85: 01438

434801)

HOLMFIRTH ASIA (Picturedrome: 0161 832 1111)

KINGSTON NIGHTMARE OF YOU, JUKEBOX, THE

GHOST (Peel: 020 8546 3516)

LEICESTER PALMSTRUCK, PEOPLE VS, THE

CARLETONS, MARTYR DE MONA (Shed: 0116 2622255)

LONDON THE PRODIGY, DIZZEE RASCAL (Academy,

Brixton: 0844 4772000)

LONDON SILENT FRONT, IVY’S ITCH, LAKES (Bird’s

Nest, Deptford : 020 8692 1928)

LONDON WHITESNAKE UK (Standard Music Venue,

Walthamstow: 020 8527 1966)

LONDON AGENT ORANGE, LOVE & A .45, SECTION

13, THE EXPOSED (Underworld, Camden: 020 7482 1932)

LONDON BRIDGE & TUNNEL (Windmill, Brixton: 020

8671 0700)

LOUGHBOROUGH SPLITTERS (DogHouse: 07968 785422)

MANCHESTER ESCAPE THE FATE (Academy 4: 0161

275 2930)

WEDNESDAYAPRIL 15

BIRMINGHAM EVILE, WARPATH, MUTANT (Barfly:

0121 633 8311)

BIRMINGHAM LOWER THAN ATLANTIS, BRIDES

(Swinging Sporran: 07910 364046)

BRIGHTON THE ANSWER (Concorde 2: 01273 673311)

GLASGOW THE AQUABATS, MC LARS, FAILSAFE

(Cathouse: 0141 248 6606)

ISLE OF WIGHT THE SHANKLIN FREAK SHOW, FUZZY

DIGITS, WILD OATS, WOODEN BULLETS, (Studio: 01983

530444)

KINGSTON FAST POINT, THE RIVER CARD, HANG

THE BASTARD, HEADCASE, HORDES (Fighting Cocks:

020 8546 5174)

LEICESTER SKARLETT TRIP, PLUTO, SMOKIN THE

PROFIT, CRASH WEDNESDAY (Shed: 0116 2622255)

LONDON PARTYSHANK, GLAMOUR FOR BETTER,

MY TOY BOX (Underworld, Camden: 020 7482 1932)

LONDON THE PRODIGY, DIZZEE RASCAL (Arena,

Wembley: 0870 060 0870)

MANCHESTER LIGHTS, VERSAEMERGE, IN THIS

MOMENT, WHOLE WHEAT BREAD (Give It A Name

Introduces @ Academy 3: 0161 275 2930)

MANCHESTER THIS IS COLOUR, IGNOMINIOUS

INCARCERATION, THE DEAD LAY WAITING, IMMORALITY,

HEIR TO THE THRONE (Music Box: 0161 326 9971)

MANCHESTER THE ASSASSINATION OF... (Roadhouse:

0161 237 9789)

NEWCASTLE A FABLE FOR THE CURIOUS, GRAVITY

SWITCH, SIGNIFIED (Trillians: 0191 232 1619)

NOTTINGHAM ...AND YOU WILL KNOW US BY THE

TRAIL OF DEAD, MIDDLE CLASS RUT (Rescue Rooms:

0871 3100000)

PLYMOUTH DEATHSTARS, THE DEFILED,

MARIONETTE (White Rabbit: 01752 227522)

SHEFFIELD DEVIL SOLD HIS SOUL, SHAPED BY FATE

(Academy: 09050 203999)

SHEFFIELD ROLO TOMASSI, GRAMMATICS, PULLED

APART BY HORSES (Plug: 0114 2762676)

SWANSEA SUPERSUCKERS, NASHVILLE PUSSY,

SABRETOOTH TIGER BAND (Sin City: 01792 468892)

TELFORD THIS YEARS CRISIS (Haygate: 01952 242616)

THURSDAYAPRIL 16

ALDERSHOT DATA SELECT PARTY, ENJOY DESTROY,

ALL FORGOTTEN, OUTCRY COLLECTIVE, A STRANGER

IN MOSCOW, FOREVER WEDNESDAY (Princes Hall:

01252 329155)

BIRMINGHAM SUPERSUCKERS, NASHVILLE PUSSY,

SABRETOOTH TIGER BAND (Barfly: 0121 633 8311)

BIRMINGHAM LIGHTS, VERSAEMERGE, IN THIS

MOMENT, WHOLE WHEAT BREAD (Give It A Name

Introduces @ Academy 2: 0844 4772000)

BRIGHTON EARTH, STEMBO (St Andrews Church:

01273 418090)

BRISTOL DEATHSTARS, THE DEFILED, MARIONETTE

(Academy 2: 0844 4772000)

BRISTOL FELL SILENT, EVITA, THE CASINO BRAWL,

BLIND KIDS SEE GHOSTS (Croft: 0117 987 4144)

GRIMSBY NIGHTVISION (Yardbirds: 07771 520374)

HARROGATE ASIA (Centre: 01423 500 500)

LEEDS THIS YEARS CRISIS (Primrose Arms: 0113

2621368)

LEICESTER TONIGHT WE FIRE, CALLING THE KID

WEDNESDAY, HEROES LAST ACTIONS, RETROSCOPIC

(Shed: 0116 2622255)

SUPPORT: DIZZIE RASCAL.TOUR DATES: LONDON WEMBLEY ARENA APRIL 15 AND 16, LONDON BRIXTON ACADEMY 18.There are certain rock stars who are more recognisable than others – Keith Flint is definitely not one to blend into the background: “I suppose I do get recognised a lot, but it’s not a problem or anything. I guess one of the funnier times only sort of counts, though. I was in a big shopping centre up in Manchester, and this bloke was pointing at me and yelling really loud (adopts Mancunian accent) ‘Here, look at this one, ‘e thinks ‘e’s the fucking Firestarter! You ain’t the fucking Firestarter, mate!’. And he’s right, I’m not, but it was kinda funny anyway.”

Hot Ticket! THE PRODIGY

Gigs15/04/09 - 21/04/09

SEVEN DAYS OF ROCK!

DNESDAY

NOTTINGHAM: ...And You Will Know Us By The Trail Of Dead

WEDWED

64 KERRANG!

Y,

BRA

012

BRI

WA

CAM

EDI

GLA

OF D

HIT

ee: BRIGHTON: Earth

LONDON PAPA ROACH, FILTER, DEAR SUPERSTAR

h:

D,

2))

,

MANCHESTER: Supersuckers

NORWICH: Senses Fail

Photo

: C

hris C

asey

Photo

: C

hris C

asey

KER1257 gigs p64-65 apr18 NEW .indd 1 9/4/09 12:31:11

MANCHESTER DEATHSTARS, THE DEFILED,

MARIONETTE (Club Academy: 0844 4772000)

MANCHESTER TAKING BACK SUNDAY, UNDEROATH,

THURSDAY, ESCAPE THE FATE, INNERPARTYSYSTEM,

VERSAEMERGE, WHOLE WHEAT BREAD (Give It A

Name @ Academy: 0844 4772000)

MANCHESTER EARTH, STEMBO (Islington Mill: 07947

649896)

MANCHESTER ROLO TOMASSI, GRAMMATICS, PULLED

APART BY HORSES (Satan’s Hollow: 0161 236 0666)

NEATH OCEANS UPON US, FEI COMODO (Windsor

Club: 01639 644398)

NEWCASTLE SUPERSUCKERS, NASHVILLE PUSSY,

SABRETOOTH TIGER BAND (Academy 2: 0844

4772000)

NORWICH SENSES FAIL (Waterfront: 01603 508050)

NOTTINGHAM THE SEX PISTOLS EXPERIENCE,

BLOW UP DOLL (Seven: 0115 9704662)

SHEFFIELD DAVID R BLACK, DOWNSLIDE

(Corporation: 0114 2760262)

WESTON-SUPER-MARE JANEY SUMMER, CUTTING

THE BEEF (Rock Gardens: 01934 627179)

YEOVIL LOWER THAN ATLANTIS, BRIDES (Orange Box:

01935 421702)

YORK DEVIL SOLD HIS SOUL, SHAPED BY FATE

(Fibbers: 01904 651250)

SUNDAYAPRIL 19

ABERDEEN YASHIN (Drummonds: 01224 619930)

BIRMINGHAM THE ASSASSINATION OF... (Barfly:

0121 633 8311)

BRIGHTON LOWER THAN ATLANTIS, BRIDES (Engine

Room: 01273 323161)

BRISTOL DEVIL SOLD HIS SOUL, SHAPED BY FATE,

MERRICK (Croft: 0117 987 4144)

CORK EVILE, WARPATH, MUTANT (An Cruiscin Lan:

00353 21484 0941)

EDINBURGH WE MADE GOD (Studio 24: 0131 667 1167)

EXETER BRIDGE & TUNNEL (Cavern: 01392 495370)

GLASGOW SUPERSUCKERS, NASHVILLE PUSSY,

SABRETOOTH TIGER BAND (ABC: 0870 0600100)

GLASGOW EARTH, STEMBO (Stereo: 0141 576 5018)

HARROGATE DROWNED IN FLAMES, MASSIVE TAXI,

KASIUSS (Viper Rooms: 01423 520567)

LIVERPOOL DEATHSTARS, THE DEFILED,

MARIONETTE (Academy 2: 0844 4772000)

LONDON PROPAGANDHI, RANDOM HAND, CHIEF,

ANONYMOUS TIP (Academy 2, Islington: 0844 4772000)

LONDON ESCAPE THE FATE (Academy, Brixton: 0844

4772000)

LONDON TAKING BACK SUNDAY, UNDEROATH,

THURSDAY, ESCAPE THE FATE, INNERPARTYSYSTEM,

VERSAEMERGE, WHOLE WHEAT BREAD (Give It A

Name @ Academy, Brixton: 0844 4772000)

LONDON UNEARTHLY TRANCE, RAMESSES, BLACK SUN,

ASTROHENGE (Underworld, Camden: 020 7482 1932)

MANCHESTER ENTER SHIKARI, THE BLACKOUT, THE

ACADEMY IS..., THE KING BLUES, EMERY, LIGHTS,

IN THIS MOMENT (Give It A Name @ Academy: 0844

4772000)

NEWCASTLE ...AND YOU WILL KNOW US BY THE

TRAIL OF DEAD, MIDDLE CLASS RUT (Academy: 0844

4772000)

NORWICH THE LIVING END, TELLISON (Waterfront:

01603 508050)

NOTTINGHAM ALUNAH (Old Angel: 0115 9502303)

PORTSMOUTH SENSES FAIL (Wedgewood Rooms:

023 9286 3911)

SOUTHAMPTON NIGHTMARE OF YOU, JUKEBOX,

THE GHOST (Joiners: 023 8022 5612)

MONDAYAPRIL 20

BELFAST EARTH, STEMBO (Auntie Annie’s: 028 9050

1660)

BELFAST SUPERSUCKERS, NASHVILLE PUSSY,

SABRETOOTH TIGER BAND (Limelight: 028 9032 5968)

BELFAST THE ANSWER (Mandela Hall: 028 9091 1062)

BIRMINGHAM ...AND YOU WILL KNOW US BY THE

TRAIL OF DEAD, MIDDLE CLASS RUT (Academy: 0844

4772000)

BIRMINGHAM NIGHTMARE OF YOU, JUKEBOX, THE

GHOST (Barfly: 0121 633 8311)

FALMOUTH BRIDGE & TUNNEL (Nancy’s: 0871

9170007)

GLASGOW EVILE, WARPATH, MUTANT (Barfly: 0141

204 5700)

INVERNESS WE MADE GOD (13th Note: 0844

4775775)

LEICESTER BLINC 182, HILDAMAY, KYOTO DRIVE,

LYU, 3RD WAY FORWARD (Shed: 0116 2622255)

LONDON SENSES FAIL (Academy, Islington: 0844

4772000)

LONDON HOLY STATE, ALABASTER SUNS, THE TRAIN

CHRONICLES (Old Blue Last, Shoreditch: 0871 9713927)

MANCHESTER DEVIL SOLD HIS SOUL, SHAPED BY

FATE (Music Box: 0161 326 9971)

MIDDLESBROUGH ROLO TOMASSI, GRAMMATICS,

PULLED APART BY HORSES (Uncle Alberts: 01642

247755)

NORWICH DEATHSTARS, THE DEFILED, MARIONETTE

(Waterfront: 01603 508050)

PORTSMOUTH CATCH 22 (Wedgewood Rooms: 023

9286 3911)

WHETSTONE ALITA’S CURSE, IMPERIAL VIPERS,

RUTHLESS TRUTH, CRITICAL PATH (I-Bar: 020 8445 2165)

TUESDAYAPRIL 21

BALLYMENA TYLA (Diamond Rock Club: 07989 588931)

BOSTON ADRENALINE (Axe And Cleaver: 01205

367300)

BRIDGEND THE ASSASSINATION OF... (Saphire: 01656

654461)

BRIGHTON INME (Engine Rooms: 01273 323161)

BRISTOL SENSES FAIL (Academy: 0844 4772000)

BRISTOL CATCH 22, THE JB CONSPIRACY, KENISIA

(Croft: 0117 987 4144)

CARDIFF ESCAPE THE FATE (Solus: 029 2023 0130)

COLCHESTER CANTERBURY, ALL FORGOTTEN (Arts

Centre: 01206 500902)

COLCHESTER DEVIL SOLD HIS SOUL, SHAPED BY

FATE (Twist: 01206 562453)

CROYDON CLASS WAR (Brief: 020 8686 6878)

DUBLIN INNERPARTYSYSTEM (Academy: 003 1877

9999)

DUBLIN EARTH, STEMBO (Whelans: 00353 1478 2420)

EDINBURGH EVILE, WARPATH, MUTANT (Studio 24:

0131 667 1167)

GLASGOW WE MADE GOD (Cathouse: 0141 248 6606)

LEEDS 65DAYSOFSTATIC, AMUSEMENTPARKSONFIRE

(Cockpit: 0113 2441573)

LEICESTER KILLED BY DEATH, RUN AMONGST

WOLVES, REMINITIA, EXIT STATE (Shed: 0116 2622255)

LIVERPOOL ROLO TOMASSI, GRAMMATICS, PULLED

APART BY HORSES (Barfly: 0151 707 6171)

LONDON DEATHSTARS, THE DEFILED, MARIONETTE

(Academy, Islington: 0844 4772000)

LONDON WHITE MAN KAMIKAZE, THE

DESPONDENTS, THE WAXING CAPTORS (Dirty Water

Club @ Boston, Tufnell Park: 07786 805518)

LONDON HYDROGYN, RISE TO ADDICTION (Gaff,

Holloway Road: 020 7609 3063)

LONDON DEATH BY STEREO, NANA’S REVENGE

(Underworld, Camden: 020 7482 1932)

MANCHESTER THE LIVING END, TELLISON (Club

Academy: 0844 4772000)

MANCHESTER AC/DC, THE ANSWER (MEN Arena:

0161 832 1111)

MANCHESTER NIGHTMARE OF YOU, JUKEBOX, THE

GHOST (Roadhouse: 0161 237 9789)

SCARBOROUGH YASHIN (Vivaz: 01723 365710)

SWANSEA BRIDGE & TUNNEL (Sigma: 01792 790088)

TELFORD IGNOMINIOUS INCARCERATION (Haygate:

01952 242616)

KERRANG! 65

For free inclusion, e-mail your gig/

festival details to: gigs@kerrang.com

Please include: 1. DATE 2. CITY 3. VENUE (+ phone

number) 4. BAND (+band genre) 5. SUPPORT

BANDS or FESTIVAL INFO. No attachments!

Note: If any of these details are

missing listing will not be included.

Deadline is 15 days previous to Kerrang!

issue dates.LONDON TAKING BACK SUNDAY UNDEROAATH,

YSYSTEM

BA

BO

36

BR

65

BR

BR

BR

ATH

H,

,

NORWICH: The Living End

LONDON WHITE MAN KAMIKAZE, THELONDON

LEEDS: 65daysofstatic

MANCHESTER DEATHSTARS,THE DEFILED,

SUPPORT: GRAMMATICS, PULLED APART BY HORSES.TOUR DATES: SHEFFIELD PLUG APRIL 15, WREXHAM CENTRAL STATION 16, NOTTINGHAM BODEGA SOCIAL 17, MANCHESTER SATAN’S HOLLOW 18, LEEDS FAVERSHAM 19, MIDDLESBROUGH UNCLE ALBERTS 20, LIVERPOOL BARFLY 21, GLASGOW STEREO 22, BELFAST AUNTIE ANNIES 23, LIMERICK DOLANS 24, DUBLIN ACADEMY II 25, CORK CYPRUS AVENUE 26, BRISTOL CROFT 28, CARDIFF BARFLY 29, EXETER CAVERN 30, BOURNEMOUTH GANDER MAY 1,

SOUTHAMPTON JOINERS 3, OXFORD ACADEMY III 4.

Northern rockers Rolo Tomassi are out on the road in support of their Hysterics album one last time, with a keen appetite in more than one sense. “We’re looking forward to touring in the UK again after Europe, but the promoters do take better care of you over there,” reveals keyboardist James Spence. “What was the best rider we ever had? Probably when we played Germany: it was four tables of food... and a hot meal! If we’d eaten it all at once we would’ve been too drowsy to play, so we sort of picked at it during the day and shared it with the support bands. Then we took what was left away with us and had it for breakfast the next day!”

Hot Ticket! ROLO TOMASSI

SUPPORT: WARPATH, MUTANT.TOUR DATES: BIRMINGHAM BARFLY APRIL 15, NEWCASTLE ACADEMY II 16, MANCHESTER ACADEMY III 17, DUBLIN FIBBER MAGEES 18, CORK AN CRUISCIN LAN 19, GLASGOW BARFLY 20, EDINBURGH STUDIO 24 21, SHEFFIELD CORPORATION 22, LONDON CAMDEN UNDERWORLD 23, PRESTATYN HAMMERFEST 24, LEEDS RIO’S 26, NOTTINGHAM ROCK CITY 27.

What’s more evil than evil? Evile, of course – and they have some pretty damn killer thrash sounds to boot! If you’re the kind of person who just isn’t happy without relentless kick drums shaking your spine loose and your head whipping around in circles at such frenzied speed it might just fly off, then you’re gonna be a slobbering wreck when the Huddersfield boys come through! Get ready for some serious horn-throwing good times!

Hot Ticket! EVILE

DAYMONDMOND

BELFAST: The Answer

KER1257 gigs p64-65 apr18 NEW .indd 2 9/4/09 12:31:53