Tag Archives: iron maiden

Power Metallists Phear Return With New EP, The Curse Lives On

If you long for the sounds of vintage Power and Thrash Metal with a Prog twist, then there is a fast-rising band that perfectly fits this description – Phear.

Comprised of Patrick Mulock (Vocals), Graham Stirrett (Guitar), Tyson Emanuel (Guitar), Chris Boshis (Bass), Chris Lewis (Drums), the band is gearing up to issue a five-track EP, The Curse Lives On (release date Friday, June 30th, 2017), which follows their debut full-length, Insanitarium.

According to Patrick:

Phear was formed in Toronto in 2015.  I played in Metal Blade recording artists Eidolon with Glen and Shawn Drover – formerly of Megadeth – from 2001-2004.  Prior to that I was in a local outfit called Rampage that had some success in the Toronto area, and for some strange reason, Australia.  After a semi-retirement from music (2004- 2014), I had the Rampage boys over to discuss doing it again. Unfortunately, all couldn’t commit due to other bands, jobs etc. So, with 2 new members and 3 original rampage members, we formed Phear.”

The forthcoming EP does not disappoint with its ferocity, as it contains both studio and live cuts, including a killer Iron Maiden cover.

“Doing our first cover ever, Rime of the Ancient Mariner, I think I’ll never forget the first power chord I heard on the guitar. I knew that the 7 string guitars would beef it up a little but BOOM….I just remember smiling and saying, ‘That’s what I’m talking about.’ Dirty Work was a little departure for us….We had an Alice in Chains feel with the harmonies and I really like how it came out.  Live songs…. Don’t Scream/Heaven/Regan’s Dream, I remember being very nervous for that show.  I literally got home from 10 days in Europe and had to perform in 3 days.  But the show went well and after 5 minutes, we got into our flow.”

And prepare to be blown away by Phear’s live show – including Canadian dates in the fall/winter (with the possibility of dates in Europe, Japan, and the US, as well).

Phear treats our live show as an event. I go see a lot of live bands in Toronto. We try to support live music as much as possible. Good or bad, most bands go up on stage, play their songs than leave the stage. Well that’s not good enough for us. Phear owns its own production! We use lighting effects, strobes, lasers, blinders, smoke machines, geysers. We are all in costumes, not our street clothes. If we could use pyro… trust me, we would and hope to be in the near future. We have our own light guy, sound guy because we want it to be a great sounding and great looking show for everybody to enjoy. We are getting more and more theatrical every show we do. The Rime… video is a good representation of what you are going to see.”

Lastly, expect much from Phear in the future.

“The immediate future is exciting. We will begin rehearsal for the fall and winter 2017 Canadian Shows. Also, we have begun the writing of our next full length album, for release early 2018. We are very excited about bringing our music to the world. With that said, All the fans and Industry that have been so very, very kind to us, we thank you for your continued support and look forward to seeing you soon.”

Blaze Bayley – Endure And Survive (Infinite Entanglement Part II)

Blaze Bayley Records

Review: Carl Pickles (The Guv’nor)

This is something of a strange one to review, since I’ve got a lot of time for Blaze Bayley.  I’ve met and interviewed him a couple of times and he’s an excellent bloke.  He always, and I do mean ALWAYS puts on an excellent show.  The real strange thing for me is that I know Blaze’s guitarist, Chris Appleton.  Another excellent bloke.  You’ll have heard several of my chats with Chris if you listen to The Wyrd Ways Rock Show.

What’s stranger (for me, at least) is that I know his little brother, Luke (Iced Earth bass player) and I met all of those through Chris’s mum, Lynne!

So here’s my somewhat biased review:

Welcome to the second of a three album concept, following the adventures of one William Black.  This chap made his debut on last year’s Infinite Entanglement album, and will make his third appearance next year, going by the release schedule for the last album and this one.

To do the introductions, Blaze’s current band is made up of members of British Heavy Metal act, Absolva, in the forms of Chris Appleton (guitar & backing vocals), Martin McNee (drums), and bassist, Karl Schramm.  This album also features backing vocals from Mel and Jo of up-and-coming British Symphonic Metal band, Aonia, making it something of a showcase of Northern England’s underground talent pool.

As you’d expect if you know about both Blaze and Absolva, the album gets off to a strong start.  There are some unusual backing vocal effects going on, and this permeates the rest of the album.  Certainly no complaints from here.  It’s always good to be a little surprised.  Something that can definitely be said is that Endure and Survive has a sound that’s very much it’s own.  The vast majority of the songs wouldn’t feel out of place on one of the stronger Maiden albums (and praise doesn’t really get much better than that, really, does it?).

There are times when spinning this one that it strikes yet again how good Blaze’s voice really is.  Not sure the operatic inflection fully works, but if it allows him to harness the full power of his instrument, fair enough.  He’s developed an awesome set of pipes as he’s got older, and is a very different singer to the one who left the Tamworth Terrors, Wolfsbane, to join Iron Maiden all those years ago.  Another thing that slaps you in the ears is that Chris Appleton’s rhythm guitar playing, right the way through is both exemplary and imaginative.  Think Geezer Butler on the early Sabbath albums, and you’ll get the idea.  He doesn’t do “the usual”.  This guy should be a much bigger star than he is.

As I mentioned earlier on, you’re really not going to mistake this album for anyone else.  It’s Proper Heavy Metal.  Now, I will freely admit I’d probably enjoy the narration that appears at various junctures more if I’d listened to the previous album more recently (that’s one I’m going to have to put right in short order).  Still, it doesn’t get in the way of a very decent collection of songs.

It’s not all Traditional Metal, though.  There are moments of light and shade.  That’s something Blaze has learned from a certain Mr Harris.  Eating Lies, for example, sets off with a little bit of acoustic, leading into some emotive guitar playing from Chris.  Of course, Blaze puts his all into it, as you’d expect.  After a bit more Proper Heavy Metal, Remember is a real curveball.  Spanish guitar from Chris and an accordion and violins.  It’s the sort of thing you might hear accompanying a Latin thing on Strictly… if that sort of thing floats your boat.  Anyway, this song is almost a palate cleanser and is, oddly enough, one of the standouts.

Right the way through, the Absolva boys, Chris, Karl and Martin show their quality.  The drumming right through this album shows a quality and deftness some might find surprising (having seen Absolva a few times, I wasn’t).  On the strength of this album alone, Blaze and the boys should be well up the bill on the SOPHIE Stage at Bloodstock, at the very least.

So to sum it all up… yes, it’s a concept album.  It’s part two of three.  But don’t let that put you off.  Is it up there with the likes of Operation: Mindcrime?  It’s less histrionic, more measured and if anything a little more coherent, but only time will tell.  It’s certainly worth top marks.

Verdict: 10/10

Classic One-Shot: Iron Maiden, The Trooper

EMI, 1983

I love that feeling when you’re just pottering about, and an absolute belter comes on the radio and you have to stop what you’re doing, or at least incorporate some head bopping into your task. Even one of these happenstances a day can cheer me right up.

Today’s metal moment came courtesy of Iron Maiden, via Planet Rock (other rock stations are available) which I was sneakily listening to while doing some exceedingly tedious reports. It’s a few seconds before I realise my eyes have glazed over and my fingernails are tapping out the guitar riff on the curve of the mouse.

I’d love to say this track takes me back to 1983, but the truth is I was a wee bit too small to remember this song the first time around, and I probably came to Maiden about 1990, via an old cassette tape of Killers which I, ahem, borrowed from my parents’ collection. In awe at tracks like The Ides of March and Murders in the Rue Morgue, I soon sought out more, and The Trooper was one of those songs that has stuck with me from that point onwards.

There probably aren’t too many songs based on 19th century battles, certainly outside the folk genre, anyway. It’s a real skill that Maiden have, to take a pretty controversial topic and turn it into a killer (pun intended) tune with some of the catchiest hooks known to man. This particular offering comes from bassist Steve Harris, who took inspiration from the Tennyson poem The Charge of the Light Brigade. The video for the track had footage of the 1936 Errol Flynn film of the same name, which the BBC found ‘too violent’; how the world has changed in 34 years!

The Battle of Balaclava was a bloody and desperate affair, and as the lyrics state ‘on this battlefield, no one wins’. There were almost equal casualties on both sides. Without getting political, there is some clear resonation with current events if you dig deep, another sign of a great, well-crafted song.

And those guitar harmonies… so beautiful! This track is a four-minute oasis in a rather busy day that leaves me smiling for a good while after. Let me share that joy right now…


Wyrd Ways Rock Show Presents: Powerzone 28/11/2016

The Gentleman of Metal and the roadie return to the airways once again with a feast of metal! Including new tunes from Metallica, Cronica, Theocracy, Hammerfall, Disturbed and a world first ‘Dolby Atmos’ track from Luca Turilli’s Rhapsody. Plus another challenging instalment of WATT Year, power, folk and classic metal galore. Enjoy and drop us a line to let us know what you thought! This weeks playlist is listed below! \m/

Cronica – Na Tej Ziemi
Hammerfall – Built To Last
Powerwolf – Mr. Sinister
Luca Turilli’s Rhapsody – Rosenkreuz [The Rose And The Cross]
Xandria – Nightfall
Die Apokalyptischen Reiter – Friede Sei Mit Dir (WATT Year?)
Dream Evil – Blind Evil (WATT Year?)
Sabaton – In The Name Of God (WATT Year?)
Metallica – Spit Out The Bone (Epic Track)
Megadeth – Dread And The Fugitive Mind
Bloodbound – The Ones We Left Behind (Volt Track)
Theocracy – Wishing Well
Abinchova – Vom Grünen Grund
Eluveitie – From Darkness
Crimfall – Wildfire Season
Northern Oak – Arbor Low
Kreator – Lucrectia [My Reflection] {Sisters Of Mercy Cover}
Crematory – Eiskalt
Disturbed – Stricken (Live)
Pantera – 5 Minutes Alone
Judas Priest – Freewheel Burning (Overload!)
Toledo Steel – City lights (Overload!)
Iron Maiden – Can I Play With Madness (Overload!)
Evil Scarecrow – Robototron

Wyrd Ways Rock Show Presents: Powerzone! 19th September 2016

Over a couple of hours, tonight you see,
A Powerzone show is a real treat for thee!
New tunes from Sonata Arctica, Testament & Tengger Cavalry,
We’ve also got new stuff from Running Wild, Hammerfall & Lost Society.
From 9pm we’ll be here with all this and more,
Other radio shows right now will be such a bloody bore.
To try and resist such great metal would be completely futile,
So turn to 105 FM and make your Monday BRUTAL.
Ah, close enough, m/

Evil Scarecrow – Hurricanado
Sonata Arctica – Life
Hammerfall – The Sacred Vow
Running Wild – Warmongers
Judas Priest – Eat Me Alive
Krampus – Beast Within
Eluveitie – Omnos
Tankard – Fooled By Your Guts
Lost Society – Hangover Activator
Metallica – One (Epic Track)
Testament – Brotherhood Of The Snake
Stratovarius – Dragons (Volt Track)
Edguy – Down To The Devil
In Flames – Pinball Map
Soilwork – Rejection Role
Sinergy – Gallowmere
Children Of Bodom – Silent Night, Bodom Night
Iron Maiden – Dance Of Death (Epic Track)
Tengger Cavalry – Mountain Side
Nine Tresures – Sonsii
Rammstein – Das Modell [Kraftwerk Cover] (Coverzone) {Overload}
Bear Bear – Мать троллей/Trollhammaren [Finntroll cover] (Coverzone) {Overload}
Tragedy – Jive Talkin’ (Bee Gees Cover) [Coverzone] {Overload}
O.Children – Ruins

Wyrd Ways Rock Show Presents Powerzone: 8th August 2016

Here’s a little taste of what you can expect from tonight’s show: New tunes from Stormtide, Primal Fear, Twilight Force, Whispered, Epica, Powerwolf, Blaze Bayley and Vivaldi Metal Project.

Plus loads of Power, Folk and Heavy Metal! Cor. Join us for a face melting, ear blasting, hair swinging good time!

Battle Beast – Touch In The Night
Stormtide – Wrath Of An Empire
Whispered – Victory Grounds Nothing
Twilight Force – To The Stars
Dark Moor – Nevermore
Powerwolf – Werewolves Of Armenia (Livewire)
Dream Evil – Bang Your Head
Primal Fear – We Walk Without Fear (Epic Track)
Gamma Ray – Space Eater
Blaze Bayley – Dark Energy 256 (Volt Track)
Iron Maiden – Rainmaker
Epica – Universal Death Sqaud
Vivaldi Metal Project – The Age Of Dreams
Finntroll – Häxbrygd
Korpiklaani – Midsummer Night
Winterhymn – Blood Burner
Vesperia – The Swordsman
Revolution Renaissance – Falling To Rise
Silent Force – Goodbye My Ghost
Fozzy – To Kill A Stranger (Overload)
Skindred – Ratrace (Overload)
Disturbed – Inside The Fire (Overload)
Pellek – Sea Of Okhotsk

Be’lakor – Vessels

Napalm Records

Review by Tom Mead

amazon_badgeThe relentless globalisation of metal in recent years has thrown up plenty of surprises.  Fertile scenes have sprung up in the remotest corners of the world, far removed from where you’d traditionally expect.  So it is that Be’lakor, one of the most talked-about melodic death metal bands of recent years (largely thanks to their significant Facebook following), comes not from a typical location like Finland or Sweden, but from Australia.  The Melbourne 5-piece, named after a Warhammer character, have built up a reputation over the past decade as a band who sound like Metalcore never happened; they’re a breath of fresh air for fans who fondly reminisce about the Gothenburg scene’s glory days.

Vessels is Be’lakor’s fourth full-length album and first to be released on the acclaimed Austrian label, Napalm Records; such a move is bound to increase the band’s profile in Europe and beyond.  The 8 tracks span 55 minutes, and are all fairly epic and progressive in terms of both sound and delivery.  2-minute opener Luma is a short, sharp introduction; chugging, discordant riffs build to a lush In Flames-esque melody to set the tone for the whole album.  There’s a brief, crisp and engaging guitar solo before the song fades, somewhat abruptly.  It could be a minute or 2 longer but it fulfils its essential purpose; it whets the listener’s appetite for what’s to come next.

An Ember’s Arc, the first full song, starts with a gentle acoustic section that is as melancholic as it is uplifting before chugging staccato riffs and clean, crisp lead guitar parts takeover.  Frontman George Kosmas has a mighty set of pipes, with his death howl rising effectively above the band’s sonic onslaught.  Moreover, there are several parts where traditional Death Metal elements intertwine with atmospheric keyboards and acoustic guitars to create an impressive progressive landscape not a million miles away from the work of Opeth.  The album’s off to a solid start.

Vessels, overall, is an intense battle between light and dark, heavy and soft, and the next 2 tracks accomplish this most effectively.  Just shy of 11 minutes, Withering Strands is the longest track and, in many ways, the album’s centrepiece.  It’s a thoroughly energetic song with a brooding, repeating riff played as a duel between guitar and piano, with a thick, layered lead guitar melody that rivals Iron Maiden at their most epic.  It cuts to an isolated piano melody 7 minutes in before chugging guitars build back up, leading to a frantic twin-guitar section that’s right out of the At The Gates playbook.  The ending though is truly sublime; the bands gallops along in true Rime of the Ancient Mariner fashion, with dive-bomb runs along the fretboards of both guitar and bass, before the introductory riff repeats again and fades; it’s the sort of song that leaves you breathless.

Roots to Sever has a similar mood, though is comparatively brief at 7 minutes.  A gentle chamber piano riff starts things off before the rest of the band crash in, powering along at breakneck speed à la Amon Amarth at their most ferocious.  Keyboardist Steven Merry puts in a superb performance here, and throughout the album, as he expertly juxtaposes his piano with the savagery of his bandmates.

The next trio of tracks, whilst not bad, are unfortunately not quite in the same league as their predecessors.  Whelm contains great Doom elements, with the juxtaposition of piano and death howls illustrating an intense feeling of anguish but it is a key example of what happens when you try and fit too much into a song; there’s so much alternating between mid and fast paces, quiet and loud parts, that the whole thing’s quite unfocussed and haphazard.  A Thread Dissolves is a 3-minute, largely instrumental, interlude that is well executed but unnecessary.  Grasping Light is a decent mid-paced number, with some good folk metal-inspired guitar melodies, but is otherwise fairly forgettable.

Thankfully, the closing track, The Smoke of Many Fires, ends the album on a high.  At nine and a half minutes long, it’s a triumphant, fast epic. It’s probably the heaviest song on the album too, with several riffs and atmospheric elements recalling the title-track from Opeth’s Blackwater Park.  A beautiful mellow section then starts about 7 minutes in, which leads the song, and the album as a whole, to a truly satisfying finish.

Overall, Vessels is an album of two halves: there are four great tracks, one good one, and another three that are just ok. The album’s highlights, Withering Strands, Roots to Sever and The Smoke of Many Fires, are amongst the best songs I’ve heard all year and many Melodic Death Metal fans will truly treasure them.  However, it is undeniably the case that Be’lakor’s sound is HIGHLY derivative (essentially a mix of Amon Amarth, early In Flames, and Opeth), which might go some way towards explaining Vessels’ inconsistency.  There’s not much here that’s not been done countless times before and, particularly if you’re a seasoned fan of this kind of music, you will inevitably find parts of it quite boring and uninspired.  However, as is evidenced by the three tracks mentioned above, the members of Be’lakor clearly have the musical and compositional skills to be successful.  Hopefully in future, with the new backing of a larger label, they will consolidate their creativity, forge a unique identity, and deliver works of greatness.

Verdict: 8/10

Aktaion – The Parade of Nature


Review by Rick Ossian

amazon_badgeThose of you who regularly read my missives will recognize the Scandinavian outfit Aktaion from Halmstad.  You may remember my review of their previous recording, Throne.  If nothing else they’ve at least scaled those lofty heights again.  Aktaion are Jonas Snackmark (vocals), Francis Larsson (guitars), Axel Crone (bass), Jonatan Ney (guitars, vocals) and Oskar Johnsen Rydh (drums).  They can jam or gel or even pull off the occasional Metal/mental cacophony whilst they are jamming.  This is no mean feat, reader.  Read on if you dare!


As the Hope Collapses starts things off in fine form, although the tune is only just shy of three minutes in length, there are some serious busy goings-on involved.  There is first off, a sweet riffy intro with creepiness and a mixture of clean and growl where the vocals are concerned.  It is kind of Blues but super fucking bad-ass heavy at the same time.  I was blown away, and for an opener to do that is considerable.

Candid Flow of the Shrapnel Dust is winner of the work for cool song title award.  I believe at least 10 cool points are in order for title alone.  So, what is the tune itself made of?  There is a heavy opening with some serious riffage to begin with, amidst a  barrage of growls from Mr Snackmark.  The drums sound as if they are off to a Heavy Metal march.  There is a lead guitar break at the six-minute mark, and some blues at around four minutes in, but safe to say this was a full-on seven-minute mindblower!

Seven boasts another heavy-as-hell intro, and there are more growly vocals.  There are also moments of metal madness, if you will.  There are times when the vocalist(s), as well as the rest of the band, sounds as if they may be possessed by some sort of demon! There is a super heavy shift at the four-minute mark, and more Metal/mental anguish at the close.  If you are clinically depressed you may want to take your happy pills before listening…just saying!

The Walrus March is another seven-minute plus behemoth, featuring growls mixed with clean vocals.  The opening sequence is a sort of metal ambience, if that’s even possible.  Listen and hear.  The lyrics are nothing if not pointedly prophetic: “If you should burn/ I should do the same”.  There is a lead guitar bit at about three minutes in, which gives way to a super fucking heavy shift in the proceedings.  This is followed by what I could safely say is the tearing of vocal chords (3:30-4:00), kind of makes me wonder what they look like on the inside!  Another big shift at the five-minute mark gives way to more breakdowns, both instrumental and vocal.  This is some serious Metal/mental anguish here, folks.  Dig in.  This is another seven-minute arse-kicker, and for whatever reason at the close we get a taste of some late night jazzy horns… what the hell?  Not sure, but it’s still kind of cool.

The title track is up next, and features Christopher Amott (Arch Enemy, Armageddon) as a special guest.  This begins life as what sounds like a vinyl haunted house, very creepy, fuzzy, scratchy and cool all at once!  Simultaneous psych, if you will.  There are also elements of Prog and Blues here, people, but don’t be musically shy!  You’ll never get anywhere with that attitude!  At 4:45 we get a nice long shredding solo that takes us to the close.

Stones Into Sand also features a member of Armageddon, Mr. Joey Concepcion.  No doubt he is responsible for some of the heavy riffing going on here.  It is at the intro and at the end, and throughout the main part of the tune.  There are growls aplenty and lots of speedy shredding as well.  The main spots to keep an ear out for here at at the 3 and 4-minute points.

Death Coloured Gold (again featuring Chris Amott) includes a super heavy duty opening with lots of instruments banging around, and even a burst of blasting lead guitar at about 30 seconds in.  More growling and lead guitar parts (2:20 and 3:40), and some neat playing around/jamming at the close.

Gold Coloured Dreams begins life with an introspective guitar piece and some particularly anguished vocals.  These are, again, mainly of the growl variety, but there are some clean parts mixed in.  At the two-minute mark there is a breakdown and a shift at the same time. This is eerie as all fucking hell, and there is a Blues Metal attack of sorts as well.  At 3:20 we return to Riff City (twice, even!), and one can’t help but wonder if this is riffing for the sake of riffing?  Who cares?  We love the wicked riffs, right?  Of course we do!  Another creepy close, like a Metal haunted house, takes us into the next number, but I must ad that though this track was a powerful, solid mover, it did bog down in the doom and gloom side of the street for a bit.  No matter…moving right along, then!

For All Things basically is another super heavy riffer, with a lead guitar bit at about one minute in, and a Metal cacophony from four minutes in to the close (about a minute later).  Good stuff, again a bit growly for my tastes, but it fits.

The Silent Song is another that features fellow Halmstad special guests, this time Chris Amott again and John Anderberg.  It has one of those creepy cool vocal/guitar intros, mainly clean vocals operating here.  At 1:30 things kick in, which I immediately revelled in as I thought they were going to mellow out or slow down or something… whew!  The instrumental breakdown at three minutes in again almost slows things to a crawl.  It’s still Heavy, and still very good, but is a bit mellow and Bluesy at times.  Again, there are elements of Prog at work as well.  At 3:20 there is a Heavy Psych/Blues/Metal cacophony of horror.  The vocals finally cut through the mix at 3:50, and we get a “wow!” moment at the close.  Some excellent work here.

The closer, Silence, has a cool guitar intro, but is mainly just a leftover blurb from the sounds of it.  I would say this – it could be more, if it were fleshed out a bit.  In this state it is more of a structural skeleton of a tune.

One thing keeps coming to mind here, readers.  This is not just a good Metal album.  This is a great Metal album from a great band.  I am looking forward to their next outing!

Verdict: 8/10

Wyrd Ways Rock Show CCCXXXIII

Remember last time I said I was trying to get the show back onto a weekly schedule…?  Yeah… not worked out so well, unfortunately. Sorry about that.

Anyway… this week’s show features new stuff from Death Angel, Sixx AM, Lacuna Coil and DevilDriver, as well as an interview Carl did with the lads from up-and-coming PROPER Heavy Metal band, The Mighty Wraith at Bloodstock last summer.

What are you waiting for? Download it and crank it up!

Hellyeah – Human
Flotsam And Jetsam – Iron Maiden
Lacuna Coil – The House Of Shame
Covered: White Zombie – Children Of The Grave
Moonsorrow – Jumalten Aika
Korpiklaani – A Man With A Plan
Spotlight: White Zombie – Super-Charger Heaven
SixxAM – You Have Come To The Right Place
Diamond Head – Wizard Sleeve
Surgical Meth Machine – I Don’t Wanna
Shock Of The New: The Mighty Wraith – Dragonheart
Shock Of The New: The Mighty Wraith Bloodstock Interview
Shock Of The New: The Mighty Wraith Thunder Of The Gods
Spotlight: Rob Zombie – Dragula
Butcher Babies – The Cleansing
Angelina Savanna – On Your Knees
Record Of The Week: Beholder – Frozen Steps Of Utoya
Record Of The Week: Beholder – Heal The Wounds
Record Of The Week: Beholder – Army Of One
Spotlight: Rob Zombie – Dead City Radio And The New Gods Of Supertown
DevilDriver – Retribution
Akercocke – Inner Sanctum


Six Feet Under Announce New Graveyard Classics Set and Tour

Six Feet Under Graveyard

On May 27th, Six Feet Under release the fourth installment of their Graveyard Classics series, this time paying tribute to two of Metal’s greatest legends: Iron Maiden and Judas Priest!  Entitled Graveyard Classics IV: The Number of the Priest and mixed by Jesse Kirkbride at his own studio in Florida, the album comprises five Judas Priest covers (side A), and six Iron Maiden covers (side B), handpicked by Metal Blade Records CEO Brian Slagel.

Chris Barnes comments:

“Achtung Motherfuckers!!! Today we release Murders in the Rue Morgue, a Killer track (pun intended) from our upcoming album, Graveyard Classics IV: The Number of the Priest, for your listening pleasure!!  Hope you enjoy it!!  Hope the haters choke on it, choke on it, choke on it…

Also in other Six Feet Under news – Graveyard Classics The Tour will be invading your European community this summer, be sure to check these dates off on your calendar…

This will be the first and only time we will be playing an entire set list of cover songs – something we haven’t done before – so come experience something groovy and brutal motherfuckers! See you soon, Europe!

Love, Dad.”

As a preview, you can listen to the first track, a cover of Priest’s Invader:

The second single, Never Satisfied, can be heard here:

In regards to this new serving of Death Metal tributes, Chris Barnes asserts:

“Get ready to have your ears violated and your mind blown! Graveyard Classics IV: The Number of the Priest just crawled out of the Heavy Metal Cemetery! Having a good time playing music is what it’s always been about since day one, and that’s what the Graveyard Classics albums are to me… a good fucking time! On this trip down memory lane, we cover songs from Judas Priest and Iron Maiden; the two greatest Metal bands of all time. Ray Alder from Fates Warning did a guest background vocal appearance on Invader, our first single. Ray is a great friend, and an awesome vocalist, and I felt our differences in styles blended well together for the middle section and added some harmony to the rawness. I hope you all enjoy the band’s twist on these legendary songs!”

Graveyard Classics IV: The Number of the Priest track-listing:
Side A: Judas Priest
1. Night Crawler
2. Starbreaker
3. Genocide
4. Invader
5. Never Satisfied
Side B: Iron Maiden
6. Murders in the Rue Morgue
7. Prowler
8. Flash of the Blade
9. The Evil That Men Do
10. Stranger in a Strange Land
11. Total Eclipse

Six Feet Under tour dates:
June 30 – Rotterdam, Netherlands – Baroeg
July 1 – Roitzschjora, Germany – With Full Force Festival
July 2 – Flensburg, Germany – Roxy
July 3 – Rostock, Germany – Alte Zuckerfabrik
July 4 – Hamburg, Germany – Bambi Galore
July 5 – München, Germany – Backstage
July 6 – Innsbruck, Austria – PMK
July 7 – Ludwigsburg, Germany – Rockfabrik
July 8 – Pratteln , Switzerland – Z7
July 9 – Essen, Germany – Turock