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  • The Book Of Souls: Live Chapter The Book Of Souls: Live Chapter Quick View

    $35.99
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    The Book Of Souls: Live Chapter

    Brand New Live Album Recorded Around The Globe On The Hugely Successful SOLD OUT The Book Of Souls World Tour 2016 - 2017!


    The Book Of Souls World Tour began its two-year,
    round-the-world odyssey in February 2016 in Florida.
    The band played 117 shows to well over 2
    million fans in 36 countries, across six of the seven
    continents traveling well over 100,000 miles.


    The Book Of Souls was Maiden's first ever double
    studio album and their most successful chart-wise
    to date, debuting at the No.1 spot in over 40
    countries around the world and No.4 in the U.S.A.

    LP 1
    1. If Eternity Should Fail (Live at Qudos Bank Arena, Sydney, Australia - Friday 6th May 2016)
    2. Speed of Light (Live at Grandwest Arena, Cape Town, South Africa - Wednesday 18th May 2016)
    3. Wrathchild (Live at 3 Arena, Dublin, Ireland - Saturday 6th May 2017)
    4. Children of the Damned (Live at Bell Center, Montreal, Canada - Friday 1st April 2016)
    5. Death or Glory (Live at Wroclaw Stadium, Wroclaw, Poland - Sunday 3rd July 2016)
    6. The Red and the Black (Live at Ryogoku Kokugikan, Tokyo, Japan - Thursday 21st April 2016)


    LP 2
    1. The Trooper (Live at Estadio Jorge Magico Gonzalez, San Salvador, El Salvador - Sunday 6th March 201
    2. Powerslave (Live at Plaza Dell'Unita D'Italia, Trieste, Italy - Tuesday 26th July 2016)
    3. The Great Unknown (Live at MRA Arena, Newcastle, England - Sunday 14th May 2017)
    4. The Book of Souls (Live at Download Festival, Donington, England - Sunday 12th June 2016)


    LP 3
    1. Fear of the Dark (Live at Arena Castelao, Fortaleza, Brazil - Thursday 24th March 2016)
    2. Iron Maiden (Live at Estadio Velez Sarsfield, Buenos Aires, Argentina - Tuesday 15th March 2016)
    3. The Number of the Beast (Live at Open Air Festival, Wacken, Germany - Thursday 4th August 2016)
    4. Blood Brothers (Live at Download Festival, Donington, England - Sunday 12th June 2016)
    5. Wasted Years (Live at HSBC Arena, Rio De Janeiro, Brazil - Thursday 17th March 2016)

    Iron Maiden
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Live After Death Live After Death Quick View

    $39.99
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    Live After Death

    BMG and INgrooves Music Group will follow the 2012/13 IRON MAIDEN vinyl picture disc reissues of the first eight Iron Maiden albums, which spanned the 1980s, with brand new pressings of the albums in heavyweight 180g black vinyl in the United States.


    The albums will be cut from the original UK analogue master tapes and packaged in identical artwork to the initial 1980's releases.


    The release of these high quality, black vinyl records offers optimum choice to fans who would like to own a piece of Maiden's authentic 1980's vinyl sound, or for those simply wanting to rediscover this much loved, iconic format. Coupled with the end of the Maiden England World Tour which began in North America in 2012 and finished last month at Knebworth Park's Sonisphere Festival in the UK, this now completes Maiden's 1980's touring and catalogue reissues cycle, so the band are free to focus on their dynamic future plans.

    1. Churchill's Speech (Intro)
    2. Aces High
    3. 2 Minutes to Midnight
    4. The Trooper
    5. Revelations
    6. Flight of Icarus
    7. Rime of the Ancient Mariner
    8. Powerslave
    9. The Number of the Beast
    10. Hallowed Be Thy Name
    Iron Maiden
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Maiden England Maiden England Quick View

    $59.99
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    Maiden England

    First Time Unedited Release of This Perofmance on Vinyl


    Features Five Previously Unavailable Tracks


    Universal Music Enterprises is proud to announce the highly anticipated double picture disc release of Maiden England '88. This live show was filmed across two sold-out nights at Birmingham N.E.C Arena, UK in November 1988 during the band's Seventh Son Of A Seventh Son World Tour. The concert has been specially upgraded and extended from the existing 1989 release and now includes three previously unreleased encores: "Running Free," "Run To The Hills," and "Sanctuary," thereby completing the full concert with a total running time of 110 minutes. Maiden England '88 now offers a snapshot of a bygone era in which the band, as they continue to do today, devote their all in delivering the ultimate live experience for their fans.

    1. Moonchild
    2. The Evil That Men Do
    3. The Prisoner
    4. Still Life
    5. Die With Your Boots On
    6. Infinite Dreams
    7. Killers
    8. Can I Play With Madness
    9. Heaven Can Wait
    10. Wasted Years
    11. The Clairvoyant
    12. Seventh Son Of A Seventh Son
    13. The Number Of The Beast
    14. Hallowed Be Thy Name
    15. Iron Maiden
    16. Run To The Hills
    17. Running Free
    18. Sanctuary
    Iron Maiden
    $59.99
    Vinyl LP Picture Disc - 2 LPs Sealed Buy Now
  • Running Free - Live Running Free - Live Quick View

    $7.99
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    Running Free - Live

    BMG and INgrooves Music Group will follow the 2012/13 IRON MAIDEN vinyl picture disc reissues of the first eight Iron Maiden albums, which spanned the 1980s, with brand new pressings of the albums in heavyweight 180g black vinyl in the United States.


    In conjunction with these premium album releases, a strictly limited one-off run of the 7'' singles from each respective album will be made available. These highly collectable black vinyl singles will be cut from the original UK analogue master tapes. Released in replica artwork packaging, this will be the first time ever that these black vinyl singles have officially been made available in the U.S. and sure to become a must-have item for fans, collectors and anyone who missed out first time round.


    The release of these high quality, black vinyl records offers optimum choice to fans who would like to own a piece of Maiden's authentic 1980's vinyl sound, or for those simply wanting to rediscover this much loved, iconic format. Coupled with the end of the Maiden England World Tour which began in North America in 2012 and finished last month at Knebworth Park's Sonisphere Festival in the UK, this now completes Maiden's 1980's touring and catalogue reissues cycle, so the band are free to focus on their dynamic future plans.

    1. Running Free - (Live)
    2. Sanctuary - (Live)
    Iron Maiden
    $7.99
    7 Vinyl Single - Sealed Buy Now
  • The Clairvoyant - Live The Clairvoyant - Live Quick View

    $7.99
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    The Clairvoyant - Live

    BMG and INgrooves Music Group will follow the 2012/13 IRON MAIDEN vinyl picture disc reissues of the first eight Iron Maiden albums, which spanned the 1980s, with brand new pressings of the albums in heavyweight 180g black vinyl in the United States.


    In conjunction with these premium album releases, a strictly limited one-off run of the 7'' singles from each respective album will be made available. These highly collectable black vinyl singles will be cut from the original UK analogue master tapes. Released in replica artwork packaging, this will be the first time ever that these black vinyl singles have officially been made available in the U.S. and sure to become a must-have item for fans, collectors and anyone who missed out first time round.


    The release of these high quality, black vinyl records offers optimum choice to fans who would like to own a piece of Maiden's authentic 1980's vinyl sound, or for those simply wanting to rediscover this much loved, iconic format. Coupled with the end of the Maiden England World Tour which began in North America in 2012 and finished last month at Knebworth Park's Sonisphere Festival in the UK, this now completes Maiden's 1980's touring and catalogue reissues cycle, so the band are free to focus on their dynamic future plans.

    1. The Clairvoyant - (Live)
    2. The Prisoner - (Live)
    Iron Maiden
    $7.99
    7 Vinyl Single - Sealed Buy Now
  • Live At The Marquee 1986 Live At The Marquee 1986 Quick View

    $37.99
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    Live At The Marquee 1986

    Limited Edition 140 Gram White Vinyl


    Back in the mid '80s, Andy Scott, guitarist, songwriter and producer was living in London carving out a new career for himself after forming Sweet who had no less than 13 UK Top 20 hit singles from 1971-1978 when he bumped into his old agent and from that meeting he decided to put together the next generation of the band.


    Mick Tucker on drums, Paul Mario Day (ex Iron Maiden) on vocals, Phil Lanzon (Uriah Heep) on keyboards and Mal McNulty (Slade) on bass and Andy of course on lead guitar. It was one hell of a line up and a band with a much harder edge which is where Andy had always been keen to take Sweet.


    Live At the Marquee was originally released in 1989 even though the concert had been recorded in 1986 prior to the Clubs closure in 1988. Two additional live tracks from that performance have been added as bonus tracks which are available for the very first time on vinyl!

    LP 1
    1. Action
    2. Sweet FA

    3. Love Is Like Oxygen

    4. Restless

    5. No You Don't

    6. Guitar Segue

    7. Someone Else Will

    8. Drum Solo

    9. Set Me Free


    LP 2
    1. Ballroom Blitz

    2. Fox On The Run

    3. AC/DC (bonus track)

    4. Burn On The Flame (bonus track)

    Sweet
    $37.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Run To The Hills - Live (7) Run To The Hills - Live (7) Quick View

    $7.99
    Buy Now
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    Run To The Hills - Live (7)

    BMG and INgrooves Music Group will follow the 2012/13 IRON MAIDEN vinyl picture disc reissues of the first eight Iron Maiden albums, which spanned the 1980s, with brand new pressings of the albums in heavyweight 180g black vinyl in the United States.


    In conjunction with these premium album releases, a strictly limited one-off run of the 7'' singles from each respective album will be made available. These highly collectable black vinyl singles will be cut from the original UK analogue master tapes. Released in replica artwork packaging, this will be the first time ever that these black vinyl singles have officially been made available in the U.S. and sure to become a must-have item for fans, collectors and anyone who missed out first time round.


    The release of these high quality, black vinyl records offers optimum choice to fans who would like to own a piece of Maiden's authentic 1980's vinyl sound, or for those simply wanting to rediscover this much loved, iconic format. Coupled with the end of the Maiden England World Tour which began in North America in 2012 and finished last month at Knebworth Park's Sonisphere Festival in the UK, this now completes Maiden's 1980's touring and catalogue reissues cycle, so the band are free to focus on their dynamic future plans.

    1. Run to the Hills - (Live)
    2. Phantom of the Opera - (Live)
    Iron Maiden
    $7.99
    7 Vinyl Single - Sealed Buy Now
  • Rock In Rio Rock In Rio Quick View

    $35.99
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    Rock In Rio

    180-gram 3xLP reissue of Iron Maiden recorded live in Brazil on the last night of the Brave New World Tour.
    LP 1
    1. Intro (Arthur's Farewell)
    2. The Wicker Man
    3. Ghost of the Navigator
    4. Brave New World
    5. Wrathchild
    6. 2 Minutes to Midnight
    7. Blood Brothers
    8. Sign of the Cross
    9. The Mercenary
    10. The Trooper


    LP 2
    1. Dream of Mirrors
    2. The Clansman
    3. The Evil That Men Do
    4. Fear of the Dark
    5. Iron Maiden
    6. The Number of the Beast
    7. Hallowed Be Thy Name
    8. Sanctuary
    9. Run to the Hills

    Iron Maiden
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Flight 666 Flight 666 Quick View

    $29.99
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    Flight 666

    180-gram 2xLP reissue of 2009 live album from Iron Maiden. 1st time on Black Vinyl in the US.
    LP 1
    1. Churchill's Speech
    2. Aces High
    3. 2 Minutes To Midnight
    4. Revelations
    5. The Trooper
    6. Wasted Years
    7. The Number Of The Beast
    8. Can I Play With Madness
    9. Rime Of The Ancient Mariner


    LP 2
    1. Powerslave
    2. Heaven Can Wait
    3. Run To The Hills
    4. Fear Of The Dark
    5. Iron Maiden
    6. Moonchild
    7. The Clairvoyant
    8. Hallowed Be Thy Name

    Iron Maiden
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Death On The Road Death On The Road Quick View

    $29.99
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    Death On The Road

    180-gram 2xLP reissue of 2005 live album from Iron Maiden. Never before available on LP in the US.
    LP 2
    1. Wildest Dreams
    2. Wrathchild
    3. Can I Play With Madness
    4. The Trooper
    5. Dance Of Death
    6. Rainmaker
    7. Brave New World
    8. Paschendale
    9. Lord Of The Flies


    LP 1
    1. No More Lies
    2. Hallowed Be Thy Name
    3. Fear Of The Dark
    4. Iron Maiden
    5. Journeyman
    6. The Number Of The Beast
    7. Run To The Hills

    Iron Maiden
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • En Vivo! (Live At Estadio Nacional Santiago) En Vivo! (Live At Estadio Nacional Santiago) Quick View

    $45.99
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    En Vivo! (Live At Estadio Nacional Santiago)

    Universal Music Enterprises is proud to announce the release of En Vivo!, a new live Iron Maiden album here on picture disc double LP. The album was recorded on April 10, 2011 in front of over 50,000 ecstatic fans at the Estadio Nacional, Santiago during the Round The World In 66 Days leg of The Final Frontier World Tour and it captures a magnificent performance by the band, ardently embraced by the legendary passion and energy of their Chilean fans.


    The set list moves seamlessly between songs from Iron Maiden's most recent studio album, 2010's The Final Frontier through to classic fan favorites from the band's vast and varied catalog. Maiden's Final Frontier World Tour 2010-11 saw the band circumnavigating the globe for the third time in their customized Boeing 757 - Ed Force One, piloted by lead singer Bruce Dickinson, and playing 98 shows in 36 countries to over 2 million fans.


    Bass player and founding member Steve Harris comments, After much consideration, we chose the Santiago show as we felt it was one of our best performances of the entire tour and to play at the prestigious Estadio Nacional was a landmark moment for us. For reasons known to our fans, it took a long time before we got to play our first show in Chile, and once we did get to play a show, the response was so phenomenal we just had to keep coming back, and its gotten better and better each time!

    LP1
    1. Satellite 15
    2. The Final Frontier
    3. El Dorado
    4. 2 Minutes To Midnight
    5. The Talisman
    6. Coming Home
    7. Dance of Death
    8. The Trooper
    9. The Wicker Man


    LP2
    1. Blood Brothers
    2. When the Wild Wind Blows
    3. The Evil That Men Do
    4. Fear of the Dark
    5. Iron Maiden
    6. The Number of the Beast
    7. Hallowed Be Thy Name
    8. Running Free

    Iron Maiden
    $45.99
    Vinyl LP Picture Disc - 2 LPs Sealed Buy Now
  • En Vivo! En Vivo! Quick View

    $35.99
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    En Vivo!

    180-gram 2xLP reissue of 2011 live album recorded in Santiago, Chile in 2011. 1st time on Black Vinyl in the US.
    LP 1
    1. Satellite 15

    2. The Final Frontier

    3. El Dorado
    4. 2 Minutes To Midnight
    5. The Talisman
    6. Coming Home
    7. Dance Of Death
    8. The Trooper
    9. The Wicker Man


    LP 1
    1. Blood Brothers
    2. When The Wild Wind Blows
    3. The Evil That Men Do
    4. Fear Of The Dark
    5. Iron Maiden
    6. The Number Of The Beast
    7. Hallowed Be Thy Name

    8. Running Free

    Iron Maiden
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Breakin' Outta Hell Breakin' Outta Hell Quick View

    $18.99
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    Breakin' Outta Hell

    MIGHTY bearers of the stadium-rock torch, Airbourne is releasing their fourth studio album, Breakin' Outta Hell. Produced by Bob Marlette, who helmed the very first Airbourne outing, & engineered / mixed by Mike Fraser (Aerosmith, AC/DC, etc.).


    The band has spent the past 10 years establishing themselves as a true force of nature - living on the road, selling out major venues, charting albums & appearing on bills with some of rock's most legendary names, from Iron Maiden to the Rolling Stones.

    1. Breakin' Outta Hell
    2. Rivalry
    3. Get Back Up
    4. It's Never Too Loud For Me
    5. Thin The Blood
    6. I'm Going To Hell For This
    7. Down On You
    8. Never Been Rocked Like This
    9. When I Drink I Go Crazy
    10. Do Me Like You Do Yourself
    11. It's All For Rock N' Roll
    Airbourne
    $18.99
    Vinyl LP - Sealed Buy Now
  • Kill 'Em All (Deluxe Box Set) Kill 'Em All (Deluxe Box Set) Quick View

    $149.99
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    Kill 'Em All (Deluxe Box Set)

    Limited To 30,000


    Kill 'Em All Remastered On 180 Gram Vinyl


    Double LP Featuring A Previously Unreleased Live Set At Espace Balard - Paris, France, 1984


    Jump In The Fire Picture Disc


    5 CDs Including Kill 'Em All Remastered, An Unreleased Interview, Rough Mixes, And Previously Unreleased Live Sets


    Live DVD Featuring A Previously Unreleased Live Set From Chicago In 1983


    64 Page Book Including Essays, Never-Before-Seen Photos, Various Ephemera


    Metallica Patch


    Deluxe numbered box set of Kill 'Em All including four vinyl records, five CDs, one DVD, a hardcover book including never before seen photos and a patch.


    The LPs include a newly remastered 180 Gram pressing of Kill 'Em All, a previously unreleased double LP - Live at Espace Balard, Paris, France - February 9th, 1984, and a Jump In The Fire picture disc.


    The CDs include a remastered Kill 'Em All, an unreleased 1984 Metal Forces interview with Bernard Doe (complete with radio IDs from Lars, James, and Cliff), a CD of previously unreleased rough mixes from Lars' vaults, and two full live shows from Middletown, NY in 1984 and Palo Alto, CA in 1983.


    Additionally, the box set contains a DVD of a previously unreleased live set from Chicago in 1983, a 62 page hardcover book featuring new essays and never-before-seen photos, as well as a Metallica patch.


    Metallica's debut album--originally released in 1983--is a masterpiece of thrash metal, and as good a marker as any for the debut of the genre. Fusing the rapid-fire attack of bands like Motorhead with a guitar style reminiscent of such British heavy metal bands as Iron Maiden and Judas Priest, Metallica essentially created a new kind of metal. Several of the songs from this 1983 album have since become classics, including Seek & Destroy, The Four Horsemen, and Jump in the Fire. Essential for any heavy metal fan.

    LP 1: Kill 'Em All (Remastered) 180 Gram
    1. Hit The Lights
    2. The Four Horsemen
    3. Motorbreath
    4. Jump In The Fire
    5. (Anesthesia) - Pulling Teeth
    6. Whiplash
    7. Phantom Lord
    8. No Remorse
    9. Seek & Destroy
    10. Metal Militia


    LP 2: Live At Espace Balard, Paris, France - February 9th, 1984 *Previously unreleased
    1. The Ecstasy of Gold
    2. Hit The Lights (Live)
    3. The Four Horsemen (Live)
    4. Jump In The Fire (Live)
    5. Phantom Lord (Live)
    6. No Remorse (Live)
    7. Ride The Lightning (Live)
    8. Motorbreath (Live)
    9. (Anesthesia) - Pulling Teeth (Live)
    10. Whiplash (Live)
    11. Seek & Destroy (Live)
    12. Metal Militia (Live)


    LP 3: Jump In The Fire Picture Disc
    1. Jump In The Fire
    2. Seek & Destroy ("Live" at The Automatt)
    3. Phantom Lord ("Live" at The Automatt)


    CD 1: Kill 'Em All (Remastered)
    1. Hit The Lights
    2. The Four Horsemen
    3. Motorbreath
    4. Jump In The Fire
    5. (Anesthesia) - Pulling Teeth
    6. Whiplash
    7. Phantom Lord
    8. No Remorse
    9. Seek & Destroy
    10. Metal Militia


    CD 2: Bernard Doe Interview + Radio IDs *Previously unreleased
    1. Metal Forces Interview with Lars, January 1984
    2. Radio IDs with Lars, James and Cliff from 1984


    CD 3: Rough Mixes From Lars' Vault, Bootleg Tracks & Whiplash Remix EP
    1. Motorbreath (Rough Mix) *Previously unreleased
    2. Hit The Lights (Rough Mix) *Previously unreleased
    3. (Anesthesia) - Pulling Teeth (Rough Mix) *Previously unreleased
    4. Seek & Destroy (Rough Mix) *Previously unreleased
    5. Phantom Lord (Rough Mix) *Previously unreleased
    6. Whiplash (Rough Mix) *Previously unreleased
    7. The Four Horsemen (Rough Mix) *Previously unreleased
    8. Seek & Destroy (NOT Live from The Automatt) *Previously unreleased
    9. Phantom Lord (NOT Live from The Automatt) *Previously unreleased
    10. Jump In The Fire
    11. Whiplash (Special Neckbrace Remix)
    12. Seek & Destroy ("Live" at The Automatt)
    13. Phantom Lord ("Live" at The Automatt)


    CD 4: Live At J Bees Rock III, Middletown, NY - January 20th, 1984 *Previously unreleased
    1. The Four Horsemen (Live)
    2. Jump In The Fire (Live)
    3. Fight Fire With Fire (Live)
    4. Ride The Lightning (Live)
    5. Phantom Lord (Live)
    6. Seek & Destroy (Live)
    7. Whiplash (Live)


    CD 5: Live At The Keystone, Palo Alto, CA - OCTOBER 31ST, 1983 *Previously unreleased
    1. Hit The Lights (Live)
    2. The Four Horsemen (Live)
    3. Jump In The Fire (Live)
    4. Fight Fire With Fire (Live)
    5. Ride The Lightning (Live)
    6. Phantom Lord (Live)
    7. When Hell Freezes Over (Live)
    8. Seek & Destroy (Live)
    9. (Anesthesia) - Pulling Teeth (Live)
    10. Whiplash (Live)
    11. Creeping Death (Live)
    12. Guitar Solo (Live)
    13. Metal Militia (Live)


    DVD: Metallica Live At The Metro, Chicago, IL - August 12th, 1983 *Previously unreleased
    1. Hit The Lights
    2. The Four Horsemen
    3. Jump In The Fire
    4. Phantom Lord
    5. No Remorse
    6. (Anesthesia) - Pulling Teeth
    7. Whiplash
    8. Seek & Destroy
    9. Guitar Solo
    10. Metal Militia

    Metallica
    $149.99
    180 Gram Audiophile Virgin Vinyl LP Box Set + 5 CDs + DVD - 4 LPs Sealed Buy Now
  • Low (Pre-Order) Low (Pre-Order) Quick View

    $37.99
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    Low (Pre-Order)

    Testament is often credited as one of the most popular and influential bands of the thrash metal scene, having sold over 14 million albums worldwide.


    Testament in their early years supported legendary acts such as Iron Maiden, Black Sabbath, Anthrax, Megadeth, Overkill, Judas Priest, and Slayer. They also gained critical recognition for embarking on the European Clash of the Titans tour with Slayer, Megadeth, and Suicidal Tendencies. To this day, the band continues to record and perform live.


    Music On Vinyl is proud to present the re-issue of their sixth studio album, Low. This album is regarded by their fans as one of their best ever.

    1. Low
    2. Legions (In Hiding)
    3. Hail Mary

    4. Trail Of Tears
    5. Shades Of War

    6. P.C.

    7. Dog Faced Gods
    8. All I Could Bleed
    9. Urotsukidji
    10. Chasing Fear
    11. Ride
    12. Last Call (Instrumental)
    Testament
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Heroes Heroes Quick View

    $34.99
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    Heroes

    What can we do when our band's previous album is career-defining classic and one of our home country's most successful heavy metal albums ever? This was the million dollar question that members of Sabaton - Swedish heavy metal heroes, who have dominated European the heavy metal circuit already for years and received prestigious awards including Metal Hammer UK's Golden Gods Award for Best Breakthrough Artist - had to ask themselves after successful world tour promoting their sixth and platinum selling album Carolus Rex (2012).


    During this gigantic tour, heavy metal's most enthusiastic fan legions saw Sabaton playing huge stadiums with Iron Maiden - but also on their own as Sabaton performed their biggest show ever in Polish Przystanek Woodstock Festival in front of more than half a million fans and the show was - of course - filmed and later immortalized on massive Swedish Empire Live DVD/Blu-ray. After saying this, do we need to point out that Sabaton are nothing but superstars in Poland and the members of the band have been adopted as Polish honorary citizens?


    Well, anyway, let's get back to that million dollar question.


    After months of intense working (recording, producing and mixing) in famous Abyss-studios, the apparent answer is finally here and it is called Heroes. Well, first of all: what could be more suitable title for Sabaton's seventh full-length studio recording? There probably isn't one.


    Where Carolus Rex album took a sidestep and told famous story of Swedish Empire during 1561-1721, Heroes is once again a concept record based on different historical, 20th century wars and battles, telling fascinating stories about heroic men and women on their dangerous missions on battlefields and other belligerent locations, such as Auschwitz. Well, talking about real heroes - how could anyone be braver than Polish soldier Witold Pilecki aka Inmate 4859, who voluntarily entered concentration camp Auschwitz as he wanted to get evidence of the horrors and mass murders that were taking place inside the district of doom?


    Music-wise, Heroes, which will be released in May by world's most powerful heavy metal label Nuclear Blast Records, will strike metal scene like a fighter aircraft from the clear sky. After serving some ultra-catchy, more traditional Sabaton epics (f.e. No Bullets Fly and Soldier Of 3 Armies), this Falun-quintet dives into more unprecedented territory with songs such as powerful The Ballad Of Bull, Western-movie themed To Hell And Back and guitar-driven Resist And Bite - the latter one being some of the most up-to-date performances on the endlessly vibrant album.


    As a whole, Heroes serves compelling mixture of epic metal anthems, carried out by ultra-powerful guitar riffs, pounding drums, catchy choruses, rough-meets-melody kind of vocals and incomparable solos - not forgetting totally new level of intensity and bombastic sound quality, thanks to a world-famous producer and Sabaton's long-time guardian angel Peter TÄgtgren. Heroes definitely introduces Sabaton more varied and dynamically wider than ever before, but at the same time, fresh-sounding new record still possess every imaginable element that you may expect from these heroic northmen.


    After hearing Heroes, it's definitely not exaggerating to inform that Sabaton has taken some mighty steps after the band's core musicians - vocalist/composer Joakim BrodÉn and bassist/manager PÄr Sundström - were joined by totally new blood (guitarists Chris Rörland and Thobbe Englund and drummer Hannes van Dahl) after career-defining Carolus Rex was recorded during 2011/2012. If you ever had any doubts regarding new line-up's abilities, Heroes will blast your suspicions to outer space if not further.


    Now, what are you waiting for? Let's jump on board

    1. Night Witches
    2. No Bullets Fly
    3. Smoking Snakes
    4. Inmate 4859
    5. To Hell And Back
    6. The Ballad Of Bull
    7. Resist And Bite
    8. Soldier Of 3 Armies
    9. For From The Fame
    10. Hearts Of Iron
    11. 7734
    12. Man Of War
    Sabaton
    $34.99
    Vinyl LP - Sealed Buy Now
  • The Last Stand The Last Stand Quick View

    $28.99
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    The Last Stand

    If you have any doubts, please update your books now: our favourite Swedish war machine SABATON are on their way to the absolute top of the heavy metal world.


    Need some evidence? As we speak, these platinum selling, Falun-based heavy metal heroes are headlining some of the biggest European festivals through fires and flames and playing massive stadium concerts in front of tens of thousands of enthusiastic fans with legendary comrades, such as IRON MAIDEN and SCORPIONS. In August SABATON will once again command the troops on the holy grounds of Rockstad Falun Festival - aka Sabaton Open Air - when the band hosts their own three day festival - closing the last day with an explosive performance. Then, later this year, SABATON's sight will be directed at the USA, where the band is a doing huge tour and also performing at Ozzfest Meets Knotfest Festival in California, alongside BLACK SABBATH, SLIPKNOT and others.


    However, this is just the beginning: when the winter arrives, SABATON will unleash their prestigious live power upon the whole of Europe. No mercy will be given and all guns will be blazing, when this tireless killing machine will blow out sold-out arenas to another dimension. During this tour, named "The Last Tour", SABATON's support comes from German metal legend ACCEPT.


    What? The last tour of SABATON? No, not really, as the band's worldwide war plans are already marching years ahead.


    The title of this massive, to say the least, world tour comes from SABATON's latest masterpiece "The Last Stand". The new record, which will be unleashed to the masses in August by the world's most powerful heavy metal label Nuclear Blast Records, is simply a perfect addition to SABATON's discography, which already contains some of the most heroic heavy metal known to man.


    "We have done a majestic record and we couldn't be happier with it. Is 'The Last Stand' SABATON's strongest album to date? Well, time will tell us that, but one thing is 100 % guaranteed: on the record, there are lots of songs that will go down in SABATON's own hall of fame, says the band founder and bassist PÄr Sundström.


    "'The Last Stand' contains all the elements that our fans could ask for, adds the band's main composer and singer Joakim BrodÉn. "The new record tells a victorious tale of SABATON in 2016, and even further. Lots of fresh ideas and unprecedented magic can be heard on these new tunes - for example, check out bagpipe and Hammond driven major key song 'Blood Of Bannockburn'. We have never done anything like that before.


    "At the same time, our legions of diehard fans will be pleased to observe some echoes from our older works: such as relentless heavy metal of 'Primo Victoria' (2005), catchy flavours of 'The Art Of War' (2008) and deep epicness of 'Carolux Rex' (2012). 'The Last Stand' contains all of these elements - and lots more!


    If the previous record, straightforward heavy metal assault "Heroes", showed the unstoppable power of SABATON's eloquent line-up, huge-sounding "The Last Stand" conquers whole new kingdoms. The band's apparent sixth member, HYPOCRISY / PAIN mastermind and renowned producer Peter TÄgtgren (LINDEMANN, DIMMU BORGIR, CHILDREN OF BODOM among others), grasped everything out of BrodÉn, Sundström, drummer Hannes Van Dahl and guitarists Thobbe Englund and Chris Rörland. The result? Innovative guitar solos and razorsharp riffs, pounding drum patters, catchier than catchy choruses and haunting melodies - and the list goes on Well, let's put it this way: if SABATON used to sound intense, bombastic and invincible, this time they sound absurdly intense, bombastic and invincible.


    The lyrics have always been a very important part of SABATON's art. Thanks to their classic metal anthems, such as 'Ghost Division', 'Uprising', 'Soldier Of 3 Armies', 'No Bullets Fly' and '40:1, SABATON has achieved superstar status in countries like Sweden, Finland, Czech Republic and Germany. Poland, however, signifies "something else for these guys: SABATON's members have been adopted as Poland's honorary citizens and the band's biggest show ever happened in Przystanek Woodstock Festival in front of half a million fans.


    "Regarding new lyrical themes, there were several possibilities this time, but when we came up with the idea about the famous last stands on battlefields and other historical places, that was it - we didn't have to look any further, tells BrodÉn.


    "The previous album's heroic stories about fighting and surviving were a perfect match for SABATON, but these new tales may be even more interesting to our devoted fans. The lyrics are based on very interesting historical episodes and they will open a whole new world for the friends of our band, insists Sundström.


    SABATON have reached their unshaken position as heavy metal's AAA-torchbearer after releasing ingenious studio recordings and playing endless amount of unforgettable live shows. "The Last Stand" is another unquestionable and bulletproof evidence of SABATON's top class abilities and it will be followed by the band's most gigantic world tour to date.

    1. Sparta
    2. Last Dying Breath
    3. Blood Of Bannockburn
    4. Diary Of An Unknown Soldier
    5. The Lost Battalion
    6. Rorke's Drift
    7. The Last Stand
    8. Hill 3234
    9. Shiroyama
    10. Winged Hussars
    11. The Last Battle
    12. Camouflage
    13. All Guns Blazing
    Sabaton
    $28.99
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  • Sorceress (Black Vinyl) Sorceress (Black Vinyl) Quick View

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    Sorceress (Black Vinyl)

    Pressed On Black Vinyl


    There are few bands that can or will match Sweden's Opeth. Since forming in the tiny Stockholm suburb of Bandhagen in 1990, the Swedes have eclipsed convention, defiantly crushed the odds, and, most importantly, crafted 12 stunningly beautiful, become one of the best bands on the planet; on album or on stage. Ask any Opeth fan. Enquire with any band that's shared the proverbial pine with the Swedes. Or, get a label representative to talk Opeth. They'll all tell you the same thing: Opeth are peerless. And they're only getting better.


    Opeth's new album, Sorceress, their first for Nuclear Blast via the band's imprint label Moderbolaget Records, is proof chief architect Mikael Åkerfeldt has a near-endless well of greatness inside. From the album's opener "Persephone" to "The Wilde Flowers" and "Strange Brew" to the album's counterpart title tracks "Sorceress" and "Sorceress II", Opeth's twelfth full-length is an unparalleled adventure, where visions cleverly and secretly change, colours mute as if weathered by time, and sounds challenge profoundly. Sorceress is, by definition, moored in Åkerfeldt's impressive record collection-his one true vice-but, as always, there's more invention than appropriation at play.


    "This time around I didn't think about what I wanted to do," Åkerfeldt reveals. "I was forced to write. But once I started, it was easy. This record, like the last record, didn't take long to write. Like five or six months. The thoughts behind this record developed as I was writing. The only thing I was thinking about with this record was to write that songs didn't musically connect. I made sure if I had a song that was new sounding for this record, I'd make the next song completely different. I think the songs are very different from one another. It's very diverse."


    Certainly, every Opeth record has had diversity. In 1995, Orchid reset the rules of death metal. Six years later, Blackwater Park hit the high note for musicality in a genre generally devoid of it. Damnation, in 2003, was the work of a band determined to upend the norm. Five years after that, Watershed closed Opeth's chapter on death metal by visiting its darkest corners and holding its native brutality aloft. And in 2014, Pale Communion officially bridged the progressive music gap by twisting the intrepid sounds of '60s, '70s, and '80s into contemporary brilliance. So, really, what's so different about Sorceress?


    "My music taste got a little wider," grins Åkerfeldt. "I started listening to jazz. I bought a lot of Coltrane records. I never really thought Coltrane would be for me because I like 'dinner jazz.' I like comfortable, soft, nice, and lovely jazz. Like Miles Davis' '50s stuff. Porgy and Bess, for example. I guess Dave Brubeck fits in there, too. So, that's the only new influx of musical inspiration for me. Other than that, I've been buying the same type of records I always have. Prog, symphonic rock, singer/songwriter, metal, hard rock But there wasn't anything that set me off like The Zombies or Scott Walker. Nothing got me going this time."


    Actually, that's not entirely true. Åkerfeldt's always mining for progressive gold. Good, rare music is particularly good at getting his motor running. He found double-gold in one-off Italian outfit Il Paese dei Balocchi and Bobak, Jons, Malone's ultra-obscure Motherlight album. To wit, get Åkerfeldt talking about either and he's all too pleased to discuss the finer points of Il Paese dei Balocchi's string-based darkness or how he fan-boyed Malone via email to get the famed British orchestrator and one-time Iron Maiden producer to contribute to Sorceress.


    "I absolutely love Il Paese dei Balocchi," Åkerfeldt professes. "They did one album. It's insanely good. It has everything I love about progressive rock in it. This album is so orchestrated and epic. It's got lots of string sections. It's very moody, dark, and sad. It's a mystery they didn't do any more. As for Will Malone, he did the strings and stuff for the Sabbath records-Sabotage and Never Say Die! But now he does strings for pop artists like Joss Stone, The Verve, Depeche Mode. I looked him up, mostly because he was the house engineer for Morgan Studios in the '60s. He was also in a few bands. Like Orange Bicycle and played on the Motherlight album. He also had a solo record, which is also amazing and superbly rare. It's orchestral. The bulk of it is strings. It's kind of like Nick Drake."


    Åkerfeldt's quick to point out, however, his newfound progressive music loves didn't directly inspire him to write Sorceress. The majority of the album was penned in Opeth's rehearsal space, where, nestled comfortably in a corner, a computer, a keyboard, and a microphone sit ready for the next Opeth epic. It isn't plush, but it's exactly the type of environment the frontman needs to focus his creative self into song.


    "When I'm in a writing mode, I have tunnel vision," says Åkerfeldt. "I have a really good work ethic. I go down to the studio everyday early in the morning and I work. I absolutely love it. It's so much fun. It's much easier now, too. I write complete demos. I sequence the songs in the order I want them to be on the record. I do mixing. I do overdubs. Once I'm done, I give copies to the guys so they can listen to the album. They practice to it on their own. When it's time to go into the studio, everybody does their own thing. It obviously works."


    For Sorceress, Opeth returned to Rockfield Studios in Wales, where the Swedes had tracked Pale Communion in 2014 with Tom Dalgety. The experience was so positive and historical-the countryside studio was also home to pivotal Budgie, Queen, Rush, Judas Priest, and Mike Oldfield recordings-there really was no other option for Opeth and crew. Rockfield Studios or bust! The studio, with Dalgety yet again in tow, provided the necessary isolation, the right bucolic atmosphere, the best gear, and three square meals a day for Sorceress to come out the other end spitting fire. All in 12 bittersweet days, too.


    "There was a time when I came out of our recordings a wreck," Åkerfeldt bemoans. "But now I come out with a wish. I wish it wouldn't have gone so quickly. There's emptiness after I leave the studio. I love writing and recording in the studio. It's lovely at Rockfield. It's in the sticks. It's got horses and cows. There's lots of sheep in Wales. But the studio is just a studio. It's so beautiful there. So quiet. It's a residential studio as well, so we live there while we're recording. We have chefs for us, too. So, we can just be there, playing, recording, and hanging out."


    If life is like a Peter Max poster, the lyrics to Sorceress aren't. There's color, but they've been treated, corrupted, and befouled. That is to say, they're much darker. Some of bleak lyrical tones stem from Åkerfeldt's personal life-and are thusly contorted beyond recognition-while others touch grimly on topics like love and what happens to people on the other side of it. In fact, some of the lyrical ideas are similar to what was happening on Blackwater Park.


    "I made sure to write good lyrics," Åkerfeldt laughs. "This sounds very old-fashioned black metal to say, but the lyrics are misanthropic. It's not a concept record, so there's no theme running through the record. Most of the record deals with love. The negative aspects of love. The jealously, the bitterness, the paranoia, and the mind games of love. So, it's a love record. Love songs. Love can be like a disease or a spell."


    Luckily, for Åkerfeldt and crew-bassist Martín MÉndez, drummer Martin Axenrot, guitarist Fredrik Åkesson, and keyboardist Joakim Svalberg-the lineup doesn't have to deal with Sorceress' main theme. They've been together since Heritage was completed, and according to Åkerfeldt he's not been in a better band situation before. Not since Orchid. Not since Still Life. Not since Ghost Reveries.


    "It's the best band situation I've ever had. Fans will look at our eras and have their favorite lineup, but this is the best. Even the happiest days of the first and second lineups aren't comparable to what I have now. We never fight. It's like a good work team. We know each other professionally and personally. As much as we're a band, we're also friends. We hang out when we're not doing Opeth."


    A core team is a good thing, when Opeth's credibility is in full view of fans and critics. Åkerfeldt's very aware of what the masses have had to say about Opeth since Watershed. While some disliked the musical shift on Heritage, most have applauded it. They've come to expect something new from Opeth. True to form, Sorceress will give long-time fans and weary critics reason to re-think Opeth and what it takes to be musically fearless.


    "I hope they'll like the record," posits Åkerfeldt. "I can only talk from my perspective and taste here, but we offer diversity that's not really present in the scene today. Whatever genre. We've always been a special band. We've gotten a lot of shit for being different. We still do. Our time will come, I think. It comes down to perseverance. It comes down to not giving up or giving in to public opinion. Music is about doing your own thing or going your own way."

    1. Persephone
    2. Sorceress
    3. The Wilde Flowers
    4. Will O The Wisp
    5. Chrysalis
    6. Sorceress 2
    7. The Seventh Sojourn
    8. Strange Brew
    9. A Fleeting Glance
    10. Era
    11. Persephone (Slight Return)
    12. The Ward
    13. Spring MCMLXXIV
    Opeth
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Grinding Wheel The Grinding Wheel Quick View

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    The Grinding Wheel

    Armed with pioneering pure metal proposals like "Death Rider," "The Beast Within," and "Raise The Dead" already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby "Blitz" Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.


    Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.


    But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. "It just makes sense for us," reflects D.D. "If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing "Grinder," the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work."


    "One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time," seconds Blitz. "Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics."


    Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in "Come Heavy" and Iron Maiden in "The Long Road" and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.


    "Punk is huge for Overkill," confirms Verni. "And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world."


    Central to that premise is the incendiary "Let's All Go to Hades" which is sure to become a pit favourite. "This one was a hell of a lot of fun," says Blitz. "You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more."


    Adds D.D., "It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes."


    Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is "Our Finest Hour." "It's about the recognition of sameness," explains Ellsworth. "I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune."


    At the other end of the spectrum from punk is a song like "The Long Road." D.D. readily agrees that there was a Maiden influence as part of this one's crafting. "Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.


    More evident in the band's panoramic classic metal passages, but even articulated here on "Our Finest Hour," is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.


    "I've had that kind of sound now for a long time," says Verni. "There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars."


    This affects the writing as well, says Blitz. "Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds."


    Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.


    "That's the strength of the band," explains Blitz. "Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization."


    And Ron? "He's one-of-a-kind," says Verni. "He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it."


    After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.


    "I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.


    But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.


    "For sure," says Blitz. "One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear."

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Vinyl LP - Sealed Buy Now
  • The Grinding Wheel (Yellow And Black Vinyl) The Grinding Wheel (Yellow And Black Vinyl) Quick View

    $31.99
    Buy Now
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    The Grinding Wheel (Yellow And Black Vinyl)

    Pressed On Yellow And Black Vinyl

    Armed with pioneering pure metal proposals like Death Rider, The Beast Within, and Raise The Dead already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby Blitz Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.

    Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.

    But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. It just makes sense for us, reflects D.D. If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing Grinder, the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work.

    One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time, seconds Blitz. Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics.

    Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in Come Heavy and Iron Maiden in The Long Road and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.

    Punk is huge for Overkill, confirms Verni. And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world.

    Central to that premise is the incendiary Let's All Go to Hades which is sure to become a pit favourite. This one was a hell of a lot of fun, says Blitz. You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more.

    Adds D.D., It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes.

    Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is Our Finest Hour. It's about the recognition of sameness, explains Ellsworth. I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune.

    At the other end of the spectrum from punk is a song like The Long Road. D.D. readily agrees that there was a Maiden influence as part of this one's crafting. Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.

    More evident in the band's panoramic classic metal passages, but even articulated here on Our Finest Hour, is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.

    I've had that kind of sound now for a long time, says Verni. There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars.

    This affects the writing as well, says Blitz. Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds.

    Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.

    That's the strength of the band, explains Blitz. Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization.

    And Ron? He's one-of-a-kind, says Verni. He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it.

    After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.

    I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.

    But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.

    For sure, says Blitz. One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear.

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Colored Vinyl LP - Sealed Buy Now
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