A three-and-a-half-minute medley of tracks that will appear on “Poetry For The Poisoned”, the highly anticipated ninth studio album from KAMELOT, can be streamed on the band’s MySpace page. The CD will be released in North America on September 14 via the group’s own label, Kamelot Media Group (KMG Recordings), and in Europe on September 10 through earMUSIC/Edel. Marquee/Avalon Records will make the CD available in Japan.

KAMELOT’s reputation among fans and media alike is marked by enthusiasm as well as esteem, with each of its eight studio albums to date surpassing its predecessor in terms of songwriting, production and commercial results. As one of the most difficult-to-categorize artists on the metal scene, KAMELOT is ready to release its most insightful and ambitious album to date, “Poetry for the Poisoned”.

Throughout the recent years, KAMELOT’s releases have achieved cult status around the world, and “Poetry for the Poisoned” will “once again raise the bar for others to follow,” according to a press release. “The new studio album blends their trademark KAMELOT sound with new elements and a creation of musical art that will set a new standard in the genre.”

“Poetry for the Poisoned” was mostly written in the remote woods of Norway to the final songwriting sessions in a remote region of Germany. The compositions take the listener through many emotions and dynamics that touch the soul and the mind.

“I think this album is by far our most diverse, fusing new ideas and elements along with the traditional KAMELOT sound and style that we have established over the years,” states KAMELOT guitarist Thomas Youngblood.

Recordings took place in the familiar Gate Studios in Wolfsburg, Germany with producers Sascha Paeth and Miro. Additional tracking also took place in Tampa, Florida as well as various studios in Sweden, Greece and the U.S.

“Poetry for the Poisoned” features guest appearances by Simone Simons (EPICA), Gus G. (OZZY OSBOURNE, FIREWIND), Björn “Speed” Strid (SOILWORK) and Jon Oliva (SAVATAGE, JON OLIVA’S PAIN). The artwork was created by many great artists, including Seth Siro Anton, Natalie Shau and Michal Loranc.

“‘Poetry For The Poisoned’ is a mix of progressive elements, modern rock, dark arts and also power metal,” states Youngblood. “It comes at a time where many people around the world are searching for something to grab on to spiritually, including myself. I recently lost my mother and to be honest it was very hard on me. So there are some melancholy moods reflected on this album.”

Frontman Roy Khan assures that “Poetry for the Poisoned” will both please the band’s existing following and expose the universe of KAMELOT to a whole range of new fans. “‘Poetry for the Poisoned’ is our longest and toughest production so far, but when I hear the result I know it was well worth the struggle,” he says.

“Poetry For The Poisoned” will be available in three versions:

* Regular CD edition
* Digipak CD with bonus DVD
* Two-LP gatefold vinyl edition

DVD bonus material:

* “The Great Pandemonium” video
* Exclusive and in-depth interviews with each KAMELOT member
* “Pick and Play” for the song “The Great Pandemonium”
* “Poetry For The Poisoned” background images
* Exclusive video footage from Norway Rock festival 2010
* Bonus song “House On A Hill” (uncut version)

“Poetry For The Poisoned” track listing:

01. The Great Pandemonium
02. If Tomorrow Came
03. Dear Editor
04. The Zodiac
05. Hunter’s Season
06. House On A Hill
07. Necropolis
08. My Train Of Thoughts
09. Seal Of Woven Years
“Poetry For The Poisoned”
10. Pt. I – Incubus
11. Pt. II – So Long
12. Pt. III – All Is Over
13. Pt. IV – Dissection
14. Once Upon A Time

Simone Simons — the longtime girlfriend of KAMELOT keyboardist Oliver Palotai — previously appeared on the song “The Haunting”, which was included on KAMELOT’s 2005 album “The Black Halo”.

KAMELOT will embark on its first North American tour in two years in September. Support on the trek will come from LEAVES’ EYES and BLACKGUARD.

KAMELOT is:

Roy Khan – Vocals
Thomas Youngblood – Guitar
Casey Grillo – Drums
Oliver Palotai – Keyboards
Sean Tibbets – Bass

Click here to watch the trailer.

Source: www.blabbermouth.net

Bloody-Disgusting.com: You just recently finished the [Rockstar Energy Drink] Mayhem Festival where you were one of the headlining acts. How was the tour as a whole?

Chris: It was great! We didn’t know what to expect coming in. In fact, when we first signed up for it, we were slightly hesitant, just because with the bands that were on it; we didn’t know if our fans would really appreciate us doing a tour with some of those bands. Not to say that I don’t like those bands, they’re fine! But our audiences are not necessarily the same. But what we learned was that the tickets were cheap, some of our good friends were on the second stage, so we didn’t think anybody would really complain about the deal, when it came down. And also what we figured out, kinda early on, was that even though we wouldn’t normally play with KORN or ROB ZOMBIE, that a lot of the people who like those bands, the people that are coming to see them, may never have seen a band as heavy as LAMB OF GOD and we may be able to turn on some of those people to something a little more on the dark side. And I think it worked! I think the tour went great! We played the small shows, which was like 16,000 people, so we had a great opportunity to spread the word if you will.

Bloody-Disgusting.com: You’ve got tour dates lined up in South America as well as dates with METALLICA again later this year. What other tour plans have you got in the works?

Chris: Well, we’ve been out since December of 2008 and the longest we’ve been home is three weeks since then. So, we’re going to end in December of 2010, which would make it a full two-year touring cycle, which a lot of bands don’t get to do these days really. We’re very lucky that people want us to come around that much. So that’s it! Mayhem was our last U.S. run. We’re going to take the month of January off, see if we can reconnect with our family, see what that life looks like [laughs]. Then maybe we’ll get together and start writing a new album!

Bloody-Disgusting.com: So there are tentative plans to approach a new album in the beginning of next year?

Chris: Yeah! Actually one of our guitar players, Mark [Morton], has like seven or eight demos he has put together on his own. Willie [Adler], the other guitar player, has three or four as well. February, we’ll put our heads together and see if we can mash those into something special.

Read the entire interview from Bloody-Disgusting.com.

Source: www.blabbermouth.net

Every new album of Maiden has its own new facts; an unplugged ballad “Journeyman” in “Dance Of Death”, tracks such as “The Legacy” in “Matter Of Life and Death”. Well so does “The Final Frontier”, an album that sounds a lot different compared to Maiden’s past work and we’ll have to admit that someone who has not followed Maiden’s work through the last 10 years will not be able to understand the band’s work in this album.

“The Final Frontier” begins with a 4 minute –approximately- intro which could as just well be a separate track or even out of the album. The main song is a typical opening track of a Maiden album that gets us going and maybe if Maiden change their current tour setlist, it will be a very good opener. “El Dorado” was and still is a song that I never liked since I first heard it in June. Maybe now I understand how it fits to the rest of the album but even if this track was missing, it wouldn’t make any difference.

“Mother Of Mercy” is another anti-war song similar to “The Pilgrim” of “A Matter Of Life and Death both in music style and in lyrics. Next, Maiden talk about their nostalgia of home with “Coming Home”, a very emotional song with melodic riffs and a catchy chorus. “The Alchemist” is a typical up tempo song of Iron Maiden, something that exists in every single album that the band has made since “The X Factor”. Nice song but not the best of its kind. Until now, “The Final Frontier” is a typical Iron Maiden album, high quality but nothing has really changed comparing to their past work. The album really takes off with “Isle Of Avalon”, “Starblind”, “The Talisman” and “When the Wild Wind Blows”. This is where the whole band stick together and put their creativity and skills into work and make something really unique with the exception of the typical “The Man Who Would Be King”. The performance of the whole band is exceptional one more time however the production of “The Final Frontier” doesn’t help the tracks in any way and at many points, it confused me.

To sum up, if two and a half tracks were missing, we would be talking about another very good album. I am talking about the intro of the first track, “The Alchemist” and “The Man Who Would Be King”. If those were missing, the album wouldn’t have any well shown weaknesses. But even with these, we are talking about a respectable work that will win over all those who liked “A Matter Of Life and Death”. Maiden, even though they do so, don’t need to gain new fans and make music just as they want to. And surely, someone can appreciate their work and every bands work, not by comparing but by listening.

After one single listen the unbelievable power that explodes in every second of “Heirs to Thievery” made me feel like a giant at the end.Full of fresh ideas and these familiar killing riffs will secure you for the quallity of this release.Lurking at the depths of death metal and grind core,Misery Index ’s show time is rising! The songs are not luck of inspiration.Indeed they’re strong,speed and bloody mixed with the great drum playing.

Once more the vocals of Jason Netherton seems to stand great and perfectly connected with the soul of the music.So angry annd violent as the songs demand it!Some of the great moments of the album are “The Seventh Cavarly”,”You lose”,”Sleeping Giants” and “Day of the Dead”.

“Heirs to Thievery” is  progress of the brilliant past of band.Misery Index is one of few bands that every work ia glowing like a diamond! I must write a word about the lyrics part of band that in every album is worth to spend time to seek deepest thoughts and truths,but this time I feel “the call of ressurection” making fearfull sounds,strong and loud,as never before!

So give yourself this pleasure.34:21 minutes of ear’s pleasure. ”I cannot ressurect the living whom have died or lay to rest the dead tha are alive.”

(A short audio clip of Serj Tankian talking to The Pulse of Radio about SYSTEM OF A DOWN’s current status is available at this location [Real Media].)

Meanwhile, Odadjian himself said in a new interview with Hustler magazine that SYSTEM went on an “indefinite break” to save the band from splitting up permanently.

Odadjian explained, “We won a Grammy and we had two number one records. We were making a lot of loot [money]. Then some people within the group of four brothers started seeing things differently . . . and their actions made the reactions of others pretty unbrotherly-like.”

The bass player added, “All of a sudden band members are having problems financially. . . . [and] fighting about, ‘I want my style of music to be this and that.’ I love them. They’re my brothers, but I couldn’t see my brothers digging into each other’s pockets and killing each other’s artistic creativity.”

Odadjian said that the band members vowed to come back “when we again have the hunger and the fire in our eyes that we did when we started SYSTEM OF A DOWN.”

“Only Time Will Tell” reflects clearly an improved band, released just one year after their first album” Definitions”. What I should notice is that the second half of the album is quite worthy and more interesting than the first half. Perhaps another arrangement or including less tracks would be a wiser choice and would make the album more enjoyable. If I was asked to pick a top-three that would be Portrait, Cemetary Dates  and No Fate ,No End. I tried hard to get rid of my subjective tastes, and still there is nothing to make me hesitate to say that this is by no means an album that would thrill you, nothing new, nothing innovative, nothing memorable.

Should I point out the band’s good playing and clever orchestration, or even the flawless production?Hell,yes.But in my humble opinion these are not the top qualities a new band should focus on.Asking your audience to close their eyes and recognize , being as sure as death ,your art…well, that is a dream every band should be working on.     Hoping to hear something descriptive of  their own soul, free from external needs and expectations, I’ll be waiting for a third album by these five talented musicians. Until then, if you ,Reader, are a fan of pleasant,melodic, easily-heard and perfectly executed typical metal-core, take this album and enjoy!

Crystal Tears; The very promising band from Thessaloniki Greece looks more active than ever. The founder of the band Chrisafis, talks about the new album and other interesting things around the band and Greek scene in general.

First of all, we would like you to give a presentation of the band from the beginning until now for the ones not knowing the group.

Hello Angel and thanks for hosting Crystal Tears in Metalpaths online pages! Oh… ok, Crystal Tears current line-up includes Ian Parry on vocals, Dimitris Goutziamanis and Kostas Sotos on the guitars, Alex Chamalidis on the bass and Chrisafis Tantanozis on drums. We were formed back in late 90s and after a few cd demos, an official album release (“Choirs Of Immortal”) and numerous activities, here we are, June 2010, celebrating the release of our new album, “Generation X” through 7Hard records. Some of our highlights are our appearances with WASP, Jag Panzer and Riot and our co-operations with illustrators Joe Petagno (MOTORHEAD etc.), Meran “Darkmouth” Karanitant (Six Feet Under, Hatebreed etc.), producer R. D. Liapakis (Mystic Prophecy etc.) and mega producer Chris Tsangarides (Judas Priest, Thin Lizzy, Gary Moore, Depeche Mode, Brude Dickinson, Helloween etc.). Hmm… I hope I covered all 13 years?

We’d like some words for the first album of the band, ”Choirs Of Immortal”. It’s been 4 years since its release. Are you satisfied from the album in overall?

Of course! It was the toughest effort I had to deal with to that date. The band decided to call it a day and I had to carry a whole album totally on my own, be it compositions and song-arrangements, production, recordings, mix and mastering. In the meantime and while the album was on the procedure, the vocalist was found, Dimitris re-joined and recorded the solo parts and finally, R. D. Liapakis with Christian Schmid did a huge mastering! Let us not forget Joe Petagno, who handled over the cover artwork of the album. Pure Steel records, which was the label behind the album, is a small indie label based in Germany that did its best to support and promote the album! “Choirs Of Immortal” was a bet I fortunately won and I feel ecstatic only by the fact that I can hold it in my hands! It is already sold-out by the way…

Let’s go to the new album. It’s entitled ”Generation X” and has a great cover! Give us a little details about the recording process, the production and everything you’d like to add.

Ha, ha thanks a lot! The cover artwork is mastermind’s Meran “Darkmouth” Karanitant. Extra credits go to R. D. Liapakis, who set the guidelines for its materialization. Ok, last year we packaged our luggage and traveled with our instruments and dreams at the Prophecy & Music Factory studios in Germany, where two people were waiting to torture us, R. D. Liapakis on the production duties and Christian Schmid behind the console. But the torture proved constructive… hmm… maybe we should start worrying about this… What makes me truly happy is the fact that we managed to have our own sound, no fake audio at all. For instance, on the drums it’s just me, the drum-kit, the click and my mistakes… ha, ha! And I’m happy about that, because it’s not a matter of having the best sound, for a music production is always subjective at the end of the day, the foremost is to have your own sound! This is inspiration and also, the correct balance between quality recording and quality performing. “Generation X” consists of 10 metal tracks and musically talking there are heavy detuned guitars, fast double-bass drums and Ian’s flexible british voice, so, I could call it a kind of hybrid of a melodic heavy/power metal I guess… ha, ha! Generally talking, we worked our asses off to the latest detail for this album, from the recording procedures to the band’s performance, from the cover artwork & booklet design to the band’s logo itself, from the photography and video-clip (directed by Jim Evgenidis, www.iconfilmworx.com) to the band’s presentation on the Internet. Fortunately enough, we were surrounded by very caring people that helped us cross paths we never knew that existed! And there’s a long way to go…

The band has the big luck to have Ian Parry as a singer. Tell us a few things about your cooperation with him. How did you get in touch, how this whole thing happened.

Do you like souvlaki? I guess you do! Me too! Ok, when I was serving my obligatory time in the army and we were taking a few hours off, well… while others were heading for souvlaki, gyros and ice-cold greek frappe coffee, I was searching for Internet access to find the next Crystal Tears singer… Fortunately, all that diet period paid off with… Ian Parry… hurray… ha, ha! I remember seeing him back in late 90s, when he was supporting Stratovarius with his main band Elegy, well… at the end of the night everyone was left speechless with his vocal and stage abilities… Actually, there were other singers that surprisingly enough gave a positive feedback to our call, all well-known for their services in the metal scene, but it seemed we would work with Ian from the very start… Practically talking, apart from his wonderfully flexible voice and his amazing stage performance of course, he lives in Europe and apart from his personal project that is under no deadlines, he’s not fully occupied by a main band… There’s a mutual understanding and it seems to work really great together! At least this is how it seems these three years we are together. Musically talking… we’re not a couple of course, ha, ha!

Tell us a little about the lyrics of the album. Finally, what could be the Generation X of our times?

You and me! Actually it’s about all the worried people regardless age, sex and social position that feel restrained in this world, unsafe. The ones that want to shout, but they can’t. The ones that feel they have so much to offer, but situations won’t let ‘em… The ones that look for a shoulder to cry on, for someone to rely on, ‘cause we all need someone… Life is tough out there and sometimes we’re our victims of our own selves, we must not forget how to have fun too… We have to put a smile on our face and say that nothing else matters, if you know what I mean…

You have been around the Greek scene for many years. What differences do you see now compared to the past? Do Greek bands have better potential to achieve something nowadays?

Although you’re kindly suggesting that I’m old, I’m never tired of answering this one… ha, ha! Ok, lots of things have changed the last decade, from the way people communicate with each other to the way music is treated. When I was 17… but wait a minute, that was only a few years ago, hmm… let’s say 15 so as not to sound exaggerating, I could never imagine that I would exchange ideas digitally via the Net or straightly talk to my favourite musicians or producers and easily book a deal… ha, ha! Actually it’s a tricky situation, technology helps musicians a lot, that’s why we all embrace it one way or another, however, we always have to bear in mind quality performance and sound. Ok, if we wanna talk about the Greek metal scene nowadays, well, in my opinion, it’s gone from bad to worse… There’s no music industry here, be it labels, production studios, illustrators etc., with some very few exceptions, of course, that can’t be called solution… Ok, being a follower of our scene for lots of years now I can honestly say I am proud of our bands in the extreme sound mainly. But what amazes me most is the boost of younger dudes that know how to play surprisingly well! Guys that are not even adults yet, but have attitude and are opinionated in music. I wish I was like this, when I was 16… which was only a few years ago, ok… ha, ha? But more solidely, I think we are far back to what we could call “a scene”. There is no quality, there is bad business and we stubbornly deny the truth. Greeks are rebels, we do not like to bow are heads and face reality. We have always liked the ones, who have talked nice about ourselves. This is not irrational or unfair, however, it prevents us from moving forward. That is why there are bands that call it a day with the first slaps on the face and do not give their heart and soul to get real better each time. What we mostly care is a free pass in a club for a show or our drinks, because we play in the x band and write to the x webzine and we overlook the essence, which is see how we can become better musicians and persons. And what is more, we wonder why labels abroad do not easily accept Greek bands. The same goes with Greek record companies… too much of improvised moves. Studios? Everything depends on the band. Musicians should know how to build their sound from one point, a studio is just a room with mediocre equipment, if you can find your sound with mediocre technology, then you are the dude. As for sound engineers and producers, there are a few bright examples in rock/metal, who usually lose their interest due to lack of responsibility from bands, it has always been a chain reaction. Arghh… I don’t know, I am quite disappointed from our country and frustrated. We are obsessed to do things the easiest way with the biggest profit. I have traveled abroad, I’ve been to Germany and I have lived in the UK… live venues, gig promoters and organisers, fans… man, there is a different mentality out there. Greek families wish to raise their kids as doctors and lawyers, while young men seek for safety in a public sector dayjob! This is what they have been feeding us, but what happened to dreams? Nothing is impossible, do you have the balls? Just act! The question is are you dedicated enough? You have to run for your music, for no one is waiting for you!

On the one hand, the band exists for very long and didn’t get the recognition it deserved. On the other hand, you now have your opportunity to prove your worth. Which are your feelings about this? Do you feel some things were left behind or you’d just take the chance and go until the end of the road?
I think there’s a reason for everything. Yes, there might be times I feel that if we were out 10 years ago, we might have been living from music now, but again maybe not. Everything happens for a reason. I always give my best shot and whatever comes it is always welcome, good or bad. Yes, true indeed, things are getting much better, but I’ve always believed in a step each time. This makes our band and our music more solid and unbreakable. Of course and I’ll go until the end of the road and believe me, there is a looong way to go. There are so many things going on my mind, creative things.

We’d like some words about the METALLY INSANE project you did some years ago. Many co-operators in something unique in the Greek scene. Did it have the response you were looking for?

Of course! It was released back in 2003 and now you’re asking me about this… Do you see what I mean… ha, ha? Anyway, for me it’s just enough I had the chance to co-operate with all those wonderful people from the participants, of course, to mega Chris Tsangarides! I didn’t have any kind of expectations back then and now it is released in a special deluxe limited edition through Pure Steel and Steel Gallery records! This is so great!

What advice would you give to new bands that start their musical vision and if you have any new good bands to propose to listeners.

My advice? Hmm… you still insist in a gentle way that I’m old I think? Hmm… ha, ha! Ok man, what I’d like to say is never give up. The ones that don’t make it, are the ones that quit, think about it… This metal path we ‘ve chosen is not paved with gold and there are no bed of roses. It takes tons of patience and slaps in the face. We all need to be new age Phoenixes… Sometimes you have to lose to know how to win. If you wanna make the difference, do not choose the easy way and do not take things for granted, for there is ton of good musicianship out there. No pain, no gain. We should keep our heads low and concentrate on our music, action speaks louder than words. Hmm… yes, there are quite a few new good bands out there and although I feel like spitting out names that are hanging from the edge of my tongue right now… ha, ha, well, I’m not to, you’re gonna see and hear ‘em anyway, you’ll see what I mean soon enough…

The last words are yours. You can send a message or add anything you’d like to or we didn’t ask you. Thank you very much for the interview!

Guys, support the music you have grown up and like! Support new efforts, our music needs it! Rock until we fall!

Interview by: Aggelos “Redneck” Katsouras.

Interview by: Andrew Koran
Video editing by: Aris Deligiannidis

Ok let’s start again. The songs are ok. The riffs are heavy. Every head will bang at their live performances. Warrel is…Warrel, one of the best voices out there. Loomis is one of the best guitar players/shredders out there. The rhythm session stands out like a fist. The lyrics seem predictably politically incorrect. So what’s your problem my schizoid self? Everything in there is heard many times before by the same band! And I really mean everything! After 5 years of waiting and anticipation one of the best modern metal bands managed to produce a sympathetic compilation of leftovers! And of course, I know that these leftovers are a million times better than most of today’s metal song production but we are talking about Nevermore here, goddamn it! Why should I prefer to put this “obsidian” thing in my cd tray and not close my eyes and travel through the opening sounds of a dark weird “ophidian” nightmare!
I have written many lines/hymns to their previous albums but I delete them again and again because I don’t want to focus on the bands past. I want to review “The Obsidian Conspiracy” as a completely separate chapter. Well you know something? Fuck it! Go listen to “The Politics of Ecstasy”, “Dreaming Neon Black”, “Dead Heart in a Dead World” or any of the previous albums. Even Warrel’s solo album is way better than this one. At least it had an identity of itself.

So after multiple listenings (it’s one of my favorite bands, I can’t quite so easily) I can hear it without problem and maybe enjoy it in some parts. But unfortunately, nothing changes from the aforementioned. I pray that this could take a place in the pantheon of my collection next to the other Nevermore masterpieces but as Warrel quotes… “nothing ever changes, when we pray…”

It is a very sad emotion to have to start this live report of a great two-day station in the capital of Bulgaria, Sofia, with the fact that we missed Anthrax due to outer factors. It doesn’t really matter how and why, but the part where we were reaching near the stadium and listening to ”Indians” made us lose all joy we had about the opportunity to witness the Big Four of thrash metal all together, for the first time in history. To make matters worse, the song would break and a part of ”Heaven And Hell” by Black Sabbath was heard, as the ultimate tribute to Ronnie James Dio, whom Anthrax used to love very much, as all metalheads around the world. We finally managed to get inside with the help of a head security guy (wherever you are, thank you mate) and we were ready to see what was coming next).

Megadeth has always been a band that would raise controversy, as far as live appearance is concerned. It is widely known that Dave Mustaine isn’t the best singer in the world and he sometimes really spoils it on stage. But that evening we were lucky to see him in shape, just like the rest band. Lucky I said? Wrong! The weather decided to play games with us and just when the first riff of ”Holy Wars…The Punishment Due” started the massacre, the skies opened and for the next minutes all Bulgaria was in the middle of a tremendous tropical storm, including stonefall (we’re talking about real stones, just like the size of a ping-pong ball). Fans didn’t seem to lose morale and as long as ”Hangar 18” followed, the party had started for good. Chris Broderick proves why he’s worth standing next to Dave Mustaine and the crazy solos mangle our minds.

”Wake Up Dead” is the next one and though we understand that they ain’t gonna play the whole ”Rust In Peace” album, this legendary song keeps us headbanging, and to make matters better, comes ”Head Crusher” from the great new album ”Endgame”,where all fans start training their necks, just like Broderick does without playing when ”In My Darkest Hour” enters. He stands alongside Mustaine, banging his head and hitting his knee with his fist. Epic moment for sure, Megadeth are family again and this is much more important than seeing them live. The vocals are ok, the guitars are cutting wood and the rhythm section is amazing. Next comes ”Skin O’ My Teeth”, things seem to ease a bit and ”A Tout Le Monde” shows us that the setlist is going to consist from as much albums as they can present. But it’s time to move on to something faster after this short break.

To be honest, I never believed I would see Megadeth and they would play ”Hook In Mouth”. Thrash is alive in our hearts and around us all and no matter the sky’s outburst, we ain’t gonna give up until the end. ”Trust” is the next one and the first feeling when you listen to it is that despite it ain’t that fast, it’s a song that stood the test of time very easily, a necessary live classic. ”Sweating Bullets” marks the best Dave Mustaine of that evening. It’s a song that he always gets theatrical and can’t be missing from the band’s live set. From the same album ”Countdown To Extinction”, next was ”Symphony Of Destruction”, one of the three most recognizable Megadeth songs. It’s about ten times better in a live occasion and this was proved once again.

For the end, David Ellefson starts the legendary ”Peace Sells” and we know it’s going to be the perfect ending for the band. It’s so nice to see him back in the band, together with Shawn Drover they are the best rhythm section Megadeth has had for over ten years. Mustaine and Broderick weave giant riffs and as soon as the song ends, they play ”Holy Wars…The Punishment Due” from the beginning, instrumentally without many words. ”Next thing you know they’ll take my thoughts away” says Dave and the show is over. Megadeth showed heart, soul, and power and provided sweat and honesty to all fans. They left the stage happy from the response of the crowd. Warm up was done, time for more.

It was time for Slayer, the masters of extreme sound to be the next act. They started with the title track from the new album called ”World Painted Blood” which disappointed me a lot. At first, the sound isn’t that good, at least Tom Araya is in shape, the vocals are perfect and we can hear his screams clearly even in big distance. ”Jihad” is the second track and the sound is not improving at all, I can barely listen to Dave Lombardo torturing the drum kit, and as far as guitarists Jeff Hanneman and Kerry King are concerned, the strong air seems to take away their riffs and solos. At least ”War Ensemble” fixes things a bit and some movement starts getting through although Bulgarians aren’t the craziest fans you have ever seen.

”Hate Worldwide” was the first song from the new album that was available for fans to listen, so they couldn’t help but playing it live. Then came the best moment of Slayer that evening with the title track from ”Seasons In The Abyss”, an epic tune that is always welcome in concerts. The Slayer trademark ”Angel Of Death” was played in the middle of the set (another thing that spoilled the whole thing) and the crowd starts getting warmed, though it’s the first time I don’t have the urge to be in action in a Slayer gig. Something’s missing for sure, and ”Beauty Through Order” makes matters much worse. This can’t be the Slayer I grew up with, lived with, loved a lot and made a big part of my existence.

Fortunately, they decide to play ”Disciple” and things get much better from this point and on. Araya is really like a monster in a cage. His operation on the neck doesn’t allow him to be as active and energetic as he’d wish, but still he’s a frontman that when he’s in shape, nothing can stop him. Seeing him smile a lot is a little awkward but makes us happy too, while he’s dressed in the national team of Chile uniform. ”Mandatory Suicide” never misses from a Slayer concert and the groove goes on, until ”Chemical Warfare” marks the suprise of the day, as I personally didn’t expect it. But of course, noone can deny moving his ass on that, including me and my friends of course.

For the end they left the monument called ”South Of Heaven”. The scream ”Before you see the light you must die” is one of the stepping stones of our music and Araya keeps smiling threateningly to all of us. Last was ”Raining Blood” where a large moshpit (at last) was created and Slayer leave the stage thanking all the people for the response. It was the fourth time I saw them and I really expected much more. Be it the sound, the fact that Megadeth were much better, the feeling that they were on the stage just to do their part and leave… I don’t know if something of these is really true, but they left me with a bitter taste of unfilled satisfaction and the will to see them live soon, so that I’ll have my joy back.

Metallica were the last to play and they simply proved why they were the headliners of this colossal festival. The familiar intro of ”The Ecstasy Of Gold”, taken from the film ”The Good, The Bad And The Ugly” prepares the ground and it’s ”Creeping Death” that starts the party. The sound is superb and all fans scream ”Die, Die, Die” in the end of the song. Shortly after that, ”For Whom The Bell Tolls” makes the place move left to right, up and down and ”Fuel” puts some more fire into the atmosphere. Many fans may not like it, but it works perfect in gigs, and straight after that, ”Harvester Of Sorrow” brings many smiles on our faces. I personally hadn’t heard this since I first saw them in 1993. It’s amazing how fast years pass by and some thing remain the same.

”Fade To Black” was presented in the best way I’ve listened to it, featuring the acoustic intro played by James Hetfield. The band is in great mood and shape, the fans can’t believe their eyes and Metallica have won the game before it even started. It’s time for some new songs from ”Death Magnetic” to be presented with ”That Was Just Your Life” and ”Cyanide” showing us that they can be played much better live than in the studio. Hetfield dedicates the next one to all the other bands of The Big Four alliance and it’s ”Sad But True” that grooves us constantly, before ”Welcome Home (Sanitarium)” enters, just to be one of the best moments of the night. It’s a song that should never miss from the set and it’s very pleasant that we heard it once again.

”All Nightmare Long” was the last song we heard from the new album. And the best in my opinion. I consider ”One” the ultimate metal song of all times, but when it comes to see it live it’s really something else. The intro with the gunfires and explosions is really something else, and this time they played it so great that for the first time in a Metallica show, I almost burst into tears. I’ll always be that 7 year old child that once listened to ”…And Justice For All” and then it all changed. Period. ”Master Of Puppets” will always be one of the best songs ever written and this specific album will always remain the best in Metallica fans’ hearts. Then Apocalypse was born, as I  listened to ”Blackened” in a hellish thrashing way. I didn’t believe my ears, it’s still so fresh after 22 years. Shock and awe and everybody is frenzied with no defenses.

”Nothing Else Matters” is a song which brought many fans to our music. Liking it or not, it has remained a classic throughout the years, so you just sit and enjoy without many words. Then Hetfield stands down, the video walls are upon him, showing a pick in his hands with the logos of the four groups and on the back writing Big Four! Then starts ”Enter Sandman” where on the main riff fires explode and the normal set closes triumphantly. It was not the time for them to leave though, but something strange happened. The roadies are on fire, setting the stage for something else. I see them carrying extra percussion, making room for the drums of Lars Ulrich. The truth was revealed a little later when Metallica come out again and they invite all Big Four members on the stage to play Diamond Head’s ”Am I Evil?”.

It’s so surreal to see all those giants of our music embracing each other, especially the moment when Lars and James hug Dave Mustaine remained in history for life, with Mustaine almost ready to cry. Friends will always be friends for life, no matter the controversies. Unfortunately only Dave Lombardo was representing Slayer but that was nothing in front of what we witnessed. As Hetfield said when the song was over, after thanking all the bands, ”I will never forget this, for sure”. It was about time for some ”Kill ‘Em All” stuff with ”Hit The Lights” (!!!) coming first to thrash our necks and backs, and then, ”Seek And Destroy” to end the night in pure satisfaction and fullness. We witnessed the three giants of thrash metal (as we missed Anthrax) and this was history on its own. I expected more especially from Slayer and I really didn’t believe that there would be such big difference between Metallica and the other bands. As I learned, in Greece things were more balanced. With high hopes for the next day, we went to rest our corpses, as there was more to come.

Day 2: Rammstein, Manowar, Alice In Chains, Stone Sour

This time we managed to be on time and what more should we be asking, since when we entered the stadium, Stone Sour started their show with ”Mission Statement”. Corey Taylor in perfect shape and mood, his vocals were excellent and accompanied by a steady band, he enabled us to start the party from early evening. Next was ”Reborn” from the ”Come What(ever) May” album that brought some movement to the crowd and followed by ”Made Of Scars”, showed us that nonetheless, we were going to have much fun. Corey’s fellow mate in Slipknot James Root managed to headbang himself during the whole show, the rest members were excellent and the new song called ”The Bitter End” was a great sample of the following album, about to be released rather soon.

Stone Sour continue without hesitation with ”Your God”, the crowd is really taken by Corey, which seems to have a lot of fun and can’t hide his smile from his face. It’s great to see him enjoying it, since he lost his brother in Slipknot Paul Gray recently. ”Through Glass” is the most characteristic song of the band, with the whole stadium singing along and proving that this tune is going to haunt many generations to come. It was time for one more new song called ”Digital”, also as great as ”The Bitter End”. And then came my favourite one, ”Get Inside”, a neckbreaker that makes you want to kick everyone in the face. Last two songs were ”Hell And Consequences” and of course ”30/30-150”, that closed the idea setlist for the group. Their presence was great and we surely had a great time. I’d love to see them again in a full setlist. Until then, I’m very glad they didn’t let me down.

Alice In Chains was by far the greatest joy we could have these two days. Their fans know that they are much better live, but what we witnessed was beyond any imagination and expectation. Just as they entered, ”Them Bones” made our jaws drop to the floor. Unbelievable energy deriving from all over the place, the band works like an atomic clock and ”Dam That River” continues our insanity. They are not a band, this is a four men army ready to defend its pride at all costs. ”Rain When I Die” eliminates everything inside me and since then, I feel that whatever I’ll witness the rest of the night ain’t gonna make me feel anything. Starting with the first three songs of the glorious album ”Dirt” was the best they could do and we were waiting for the rest to come.

”Check My Brain” from the last amazing album ”Black Gives Way To Blue” was played much heavier than in the album, William Duvall is probably the best singer change in the history of music. This guy sings with everything he’s got, he’s so full of ambition and self esteem that makes the band seem unreachable by everything. He’s a gift for the band and all the fans of rock and metal music. Sean Kinney starts the drum intro for ”Again”, which also sounds much better live. Alice In Chains are invincible in all ways, nobody can believe their eyes or ears and the also new one ”A Looking In View” eases things a bit. It’s moments like these that make people whose life flows a lot around music happy. Mike Inez is a bass beast, excellent rhythm section, clear sound and the show goes on.

The gigantic riff of ”We Die Young” brings apart the deconstruction of ourselves, some childhood memories where in the beginning of the ’90s, we started discovering the band with its first album ”Facelift”. Of course, this one goes together with ”Man In The Box” and the whole stadium is levitating in the rhythms of the quarter. Jerry Cantrell is and will forever be one of the most loveable musicians, humble and concentrated in his guitar, riffing and soloing with absolute professionalism. Few people know that he’s been alongside Ozzy Osbourne for some time in the beginning of the ’00s (as Mike Inez did in the beginning of the ’90s). He’s a true leader of a band that reformed because they simply wanted to pay tribute to their fellow mate Layne Staley and they show what anyone can do when he’s dedicated to his duty.

A rather emotional moment was when ”Would?” was heard, probably the one and only song that will make people have chills in their hearts. The bass intro by Mike Inez is so recognizable, all people around me smile and sing as if it was the last song. Actually, in the older years they used to end their shows with this, but not in Sofia. For it was ”Rooster” that ended the show. A superb composition with the crowd going ”oooohh oooooooooh” in the beginning and Duvall proving why the band chose him to replace the huge Layne Staley. Well folks, not only he’s into Layne’s shoes, but he also noone complained about his loss. This guy makes you feel blessed to be a fan of music. Alice In Chains unfortunately ended and if we knew what was coming up next, we’d rather them playing one more hour.

Manowar has always been something special for millions of people. They have been acknowledged of bringing certain and special emotions to their fans, especially in the ’80s. They have been know for playing the loudest gigs on earth. They have been known for their diehard fans who follow them for about three decades, no matter the negative comments. This time Manowar managed to lose even their most faithful followers. What we saw was an atrocity without any moral codes or respect to the fans. Rumours that they were angry with the promoters is a pathetic excuse, because their name was not on the festival t-shirts. You are Manowar, go out and play for your fans and make everybody shut their mouth with your music. Instead of this, we could barely be tolerant to this roaming circus with Joey DeMaio in the leading role.

For the history, Manowar started the setlist with the self titled song, then they played ”A Call To Arms” and then ”Kings Of Metal”. Obviously they considered better between the songs to test the crowd’s vocal abilities like ”aaaaaaah” or ”oooooooooh” or even ”eeeeeeeeeh” than playing some more songs. Eric Adams’ voice was barely heard, Karl Logan was struggling to be concentrated to what he did and only the HERO drummer Donnie Hammzik seemed to realize his duty. Hats off to him for his pounding drumming. ”Warriors Of The World United” was the next one and straight after that ”Thunder In The Sky” was played, but all in vein, as the game was lost from the first moments. ”Hail And Kill” was played awfully and for the end came the worst part of the night.

Joey DeMaio decided it was time to show how great Bulgarian he speaks. With the help of a headphone he declared a long speech, in which the only thing understood was the name of Ronnie James Dio. What made matters worse was that they played ”Heaven And Hell” by Black Sabbath to honour him. I bet my ass that if Dio could, he would raise from his grave just to beat them up. Why would I have to see this happening? Total disrespect and humiliation of the name Manowar. At least you could respect the fans and your 30 year legacy and just play without talking. But no, you had to prove you’re more metal than all, that only you love our music and that your ego is above all. You are simply pathetic.

Rammstein was more than redemption after all these. We had to see something like this in order to wake up a bit and come to a straight line, as the crooked feelings after Manowar still had an effect on all crowd. Rammstein started in a very majestic way with ”Rammlied”, with first the German flag appearing and as soon as it disappeared, the picture of Till Lindemann dressed like a lady and singing like a cyborg was something that brought awe to the crowd. They continue with ”B” and ”Weidmanns Heil” from the new album ”Liebe Ist Fur Alle Da” and sure the new songs are much better live, though I can’t say that I liked the new material very much. ”Keine Lust” was the first song not included on the new album and its heavy riff made the people bang their heads constantly, accompanied by ”Feuer Frei” that turned the night into day with the special pyro show. Trully unique!

It was time after the first shock for three more new songs to be represented, starting with ”Wiener Blut” being the first one, ”Fruhling In Paris” being the second and ”Ich Tu Dir Weh” being the third (and best of the new album in my humble opinion). The show is amazing, the band plays hard, fast and they show that they are into the most metal phase of their career, the guitarists throw molten riffs in our heads like anvils, the bassist and drummer create a pounding rhythm section, the keyboard player is the main attraction of the band, sometimes stealing the glory from Lindemann, whose energetic and theatrical presence gathers all our energy and unleashes it back to make us stun and obey to his will. Rammstein respect their crowd and they give even their last drop of sweat for about 35.000 people.

The first hit of Rammstein was ”Du Riechst So Gut”, so it was great to listen to it and travel many years back when everyone was wondering why these people sing in German and they will not have any success.

Congratulations, you hit the spot know-it-alls. ”Benzin” was the only track from ”Rosenrot” to be played and again there was much fire since Lindemann brought a large gasoline reactor and created a large source of light. Despite the fact that I try to focus on music, somebody has to see this in order to believe it. Rammstein march into the rhythms of ”Links 2 3 4” which they play so heavy, that only the keyboard intro of ”Du Hast” could make us stay still. If there is one way to really enjoy this song is live, though we all complain if we listen to it in clubs. There is a reason why some things happen and this is a HUGE song in all ways.

One of the best moments was in ”Pussy” where we all wondered what they would do, so in the end of the song Lindemann climbs in a huge penis-like shaped object which threw white feathers to the crowd. An orgasmic moment for sure, which was the last song of the normal set. Rammstein returned five minutes later to play ”Sonne” and remind us why ”Mutter” is the best album they ever did and will ever do. ”Haifisch” was one more of the new album, one of the good songs of the last release, and it was ”Ich Will” that closed the two-day Bulgarian adventure. Everybody is singing, clenching fists in the air and waving goodbye to the group, which falls to its knees and salutes the warm Bulgarian people. We surely will never forget this experience, which had great and awful moments, many hundreds of kilometres, a driver that didn’t know where he was stepping and a safe return to Greece. If we would do it again? Count us in for sure!

Report by: Aggelos “Redneck” Katsouras
Photos by: Sonisphere Festivals Official Website