The second episode in the third season of "Blood & Guts", the Nerdist YouTube channel web series hosted by ANTHRAX guitarist Scott Ian, can be seen below. Join Ian as he goes behind the scenes of Universal Studios Hollywood's Halloween Horror Nights with John Murdyand Chris Williams and has a flesh-ripping good time with Larry Bones of Boneyard Effects. The clip includes a cameo appearance by Danny Trejo.
Following two successful seasons, "Blood & Guts With Scott Ian" has returned to theNerdist Channel with Season 3. A new episode will debut every Thursday, leading up to the season finale on Halloween.
"Blood & Guts" is hosted by Scott Ian, guitarist and founding member of legendary metal band ANTHRAX. Ian, a longtime horror aficionado, gives viewers a behind-the-scenes look at how some of the all-time greatest practical effects artists create the gore and monsters that genre fans love. The series differs from typical behind-the-scenes shows due to Ian's infectious excitement and curiosity, coupled with the clever ways the effects are integrated into each episode. Ian is often the one in the makeup chair, experiencing squibs, gore appliances and complex character makeups with rare enthusiasm.
"I've been into horror longer than music, longer than comics. It was my first true nerd-love," says Ian. "And that love affair still burns hot all these years later. Horror has been a huge influence on my music career, my writing, and now I get to actually be a part of it by hosting'Blood & Guts'. It's my dream gig."
Previous guests on the show included the likes of seven-time Academy Award winner Rick Baker, "The Walking Dead"'s Greg Nicotero and frequent Guillermo Del Toro collaboratorsSpectral Motion. Season 3 of "Blood & Guts" ups the ante with an original creature created by Joel Harlow exclusively for the series, unprecedented behind-the-scenes access to the creation of Universal's Halloween Horror Nights and an episode with Tony Gardner that includes a surprise visit from a legendary horror character, reprised by the original actor.
"Blood & Guts With Scott Ian" is produced by Chris Hardwick's Nerdist Channel as part of their partnership with YouTube, with episodes premiering online alongside All-Star Celebrity Bowling and other Nerdist content. The show was originally launched with Fangoria's involvement, but Nerdist has taken on full production duties for Season 3. The dedicated crew remains the same, with Jack Bennett directing and producing each episode.
Jane Stevenson of the QMI Agency recently conducted an interview withDEEP PURPLE singer Ian Gillan. A couple of excerpts from the chat follow below.
On being considered a "classic rock" band:
Gillan: "Classic rock is never a label that we've given ourselves — it's one of the many labels that's been imposed on us. We always used to describe ourselves as an instrumental band. Basically, the music was always instrumentally based so the songs always came later... It's just the influences in the band are so diverse, coming from orchestral composition, jazz, blues, big band, swing and rock 'n' roll. So there's always been that element of adventure within the band. But I think, after all this time, [producer] Bob Ezrin pointed out all those things and so we all lifted up all our heads and said, 'Hmm, sounds interesting.' So there was a reason to go back in the studio. So we went back with enthusiasm."
On the new DEEP PURPLE song "Vincent Price":
The National Student recently conducted an interview with ANTHRAX guitarist Scott Ian. A couple of excerpts from the chat follow below.
The National Student: Taking a step back to the late '80s, you were, and still are, known for your wide taste in music, especially in hip hop. Do you think the backlash in the collaboration you did with PUBLIC ENEMY helped to form any of the nu-metal music today? Can it still be seen in the industry?
Scott: You know, people ask us, do we think we created certain genres of music that the press named after we did what we did with PUBLIC ENEMY. I never thought we invented it. It certainly opened a door, even just a window for people to jump out of. I truly believe that RAGE AGAINST THE MACHINE were the band that drove a train through that door; they took the influences in their individuals and came together to make a band out of it. Whereas with us and PUBLIC ENEMY, it's not likeANTHRAX became a rap group and it's not like PUBLIC ENEMY became a metal group, we just collaborated together and did something great. We didn't then become one unit and continue to make music like that. Whereas, RAGE AGAINST were that unit and this is the music that they were creating from their souls which blew up massively on a worldwide level. So I think if anything, whether or not they'd want the credit for it, it's definitely RAGE AGAINST THE MACHINE for me that created rap metal, nu-metal, whatever you want to call it. Everything that came after them showed that a direct line had to go back to RAGE. The only thing I can personally take credit for is, there have been guys in bands that have come up to me and personally told me the influence that we bring to them specifically some of the dudes from LINKIN PARK told me years and years ago that the first concert they ever saw was ANTHRAX and PUBLIC ENEMY in Los Angeles. And they left that show saying that's the kind of band we want me to make. I know the guys in RAGE AGAINST THE MACHINE and I know Tom [Morello, guitar] and he was a fan of ours andPUBLIC ENEMY's and what we did. I'm not saying "Bring The Noise" was a direct responsibility for RAGE, but I know that it's something they are certainly fans of.
ARTISTdirect.com editor-in-chief Rick Florino recently conducted an interview with ANTHRAX guitarist Scott Ian. A couple of excerpts from the chat follow below.
ARTISTdirect.com: Was the process behind [the covers EP] "Anthems"fun and quick?
Scott: We only play cover songs, basically, to get away from our day jobs. They're songs we play at soundcheck to stave off the boredom of having to do our own songs two hours prior to playing them. That's generally where most cover songs come from in the context of what we do with them. It was recorded over a period of three years, but the actual time spent wasn't very long. Solos were literally done in dressing rooms and on tour buses. Bass was done in hotel rooms. It was recorded all over the place throughout a long time period. If you quantize all of that time together though, I think we could've done the record in about a week. All of the songs were equally fun in my brain.