On sale September 15th, Classic Rock's Slash Fan Pack includes the guitar hero's fantastic new album World On Fire with Myles Kennedy & The Conspirators, plus an in-depth, glossy, full-colour magazine dedicated to every aspect of how the album was written and recorded. Read: exclusive new interviews with Slash, Myles Kennedy, the band members, the album's producer and cover artist, and Slash and Myles' full track by-track breakdown of the new release. See: Slash's Firepower! An exclusive photo shoot for Classic Rock Presents... featuring Slash's favourite new guitars; exclusive fly-on-the-wall pics from inside the studio Plus: competitions and much more. This album is the former Guns N'Roses and Velvet Revolver guitar hero's third as a solo artist, and the follow-up to 2010's Slash and 2012's Apocalyptic Love (Featuring Myles Kennedy & The Conspirators) both of which were released with Classic Rock in Fan Pack form.
Fanpack edition includes:
• Full album ‘World On Fire'
• 116-page magazine
• Giant double sided A1 poster
• Exclusive Design Metal Pin Badge
**THE FIRST 5000 CUSTOMERS TO ORDER BEFORE 10TH AUGUST WILL RECEIVE A PERSONALISED POSTER**
WORLD ON FIRE is also available now for pre-order on iTunes!
The group revealed the cover artwork for WORLD ON FIRE designed by American contemporary artist Ron English today which you can see in full on our Facebook page. Featuring the blazing title track as the first single the disc marks SLASH's third solo album and second one with his band featuring MYLES KENNEDY (vocals), BRENT FITZ (drums) and TODD KERNS (bass).
For WORLD ON FIRE, SLASH and his band tapped Michael "Elvis" Baskette (Alter Bridge, Falling In Reverse, Incubus) to produce. Among the 17 songs is an instrumental--a powerful new turn for the band. WORLD ON FIRE is the follow-up to 2012's critically acclaimed Apocalyptic Love which debuted at #4 on the Billboard Top 200 chart and earned SLASH two No. 1 U.S. rock radio hits--his first-ever solo--with "You're A Lie" and "Standing In The Sun." SLASH officially began recording as a solo artist with his self-titled 2010 debut album which employed a different vocalist on each track of his first album including Ozzy Osbourne, Fergie and Myles Kennedy among others.
WORLD ON FIRE Track Listing:
"World on Fire"
"30 Years to Life"
"Bent to Fly"
"Too Far Gone"
"Beneath the Savage Sun"
"Iris of the Storm"
"Many of you have heard the rumours already and we can now confirm that the album release has indeed been pushed back to late August," commented Opeth frontman, Mikael Åkerfeldt. "Several circumstances prevented the band from delivering essential basic tools to Roadrunner in time which are needed to set up the album release properly and release schedule conflicts made us mutually decide on August instead of June."
"PALE COMMUNION," which was produced by the band's very own Mikael Åkerfeldt and mixed by longtime collaborator and Porcupine Tree frontman/guitarist Steven Wilson.
Flint, MI, the forgotten city, is where KING 810 call home and it's the dystopian dwelling that sets the back drop for the band's debut LP, Memoirs of a Murderer. With no mayor to preside over the bereft community and a miniscule police force, Flint, MI teaches its young to fend for themselves. Memoirs of a Murderer is an embodiment of KING 810's life within this pressure cooker, a glimpse into the personal account of this disappearing metropolis where tree branches live longer than the children do.
Memoirs of a Murderer is a memoir of the life of frontman David Gunn set to the backdrop of Flint, MI. Cut to a crackling old tape recorder, Gunn's narrative eclipses three distinct movements, traveling from a very real place down a rabbit hole into the abstract. The three movements align with Freud's psychoanalytic theory of personality, in which the three elements of personality - known as the id, the ego and the superego - work together to create complex human behaviors.
Whether shootings at nine-years-old or knife fights as a pre-teen, the first act of Memoirs of a Murderer captures the violence that plagues the streets of Flint. Songs like the introductory tracks "Killem All" and "Fat Around The Heart" are blood-spattered evidence of that. This is a lament born out of the necessity for survival as Gunn and his bandmates - Andrew Beal (guitar), Eugene Gill (bass) and Andrew Workman (drums) - have formed a bond forged by the pressures of the streets. They are a family who look after each other, there is love in the belly of this beast.
The first of two spoken words found on Memoirs of a Murder transitions the record into its second movement where Gunn explores themes of love. Unlike the brotherhood discoursed in part one of the record, tracks like "Eyes" and "Devil Don't Cry" immerse the album in echoes of lost love.
Transcending the tangible, a second spoken word acts as the vehicle to the final segment of Memoirs of a Murderer which includes a message from Gunn's mother urging him to let go of the violence back in the battlefields of Flint. During an extremely candid song, "Write About Us", Gunn rattles off loved ones in his life by name-and their own trials. During the final musical memoir, "State of Nature", Gunn pleads not for redemption but remembrance as what may or may not be left of him floats off into the ether, further than ever from where he first began this journey of self-examination.
These are David Gunn's Memoirs, chilling and starkly poetic, introspective and brutally honest. Keep this in mind as you listen to these tapes.
When Down retreated to "Nodferatu's Lair" at Anselmo's Lousiana home in the fall of 2013, things had changed a bit. For the first time in the band's storied career, Kirk Windstein wouldn't be handling guitar duties alongside Keenan. Instead, longtime "family" member, stage manager, and Honky guitarist Landgraf took the reins.
"He was immediately at home," affirms Anselmo. "Bobby had always been that guy in case of anything. Knowing his personality, he really locked in with what we do and took it to heart. He made himself belong. Honestly, the first day he came down he contributed a very strong riff to a key song. There's that Southern element, which is imperative. I also catch a real old heavy metal vibe from this record. I can't stress this enough. He took it all on, and he did a fucking awesome job."
Keenan adds, "Even with the lineup differences, it's interesting how the songs still sound very Down. Bobby and I have always locked in. It's not just physically either, but mentally as well. We see eye-to-eye, and he's been watching for a long time."
"It was a big deal for me," beams Landgraf. "I drove ten hours up from Texas that first day, cracked a beer, and plugged in. We jumped right into the room, and I played this part. They all smiled. That was the moment for me. I'm a longtime fan, and I knew we were friends, but being a part of the writing and working towards something together was just incredible. As a guitar player, one of my goals was to be in a group like this. I want to make everyone proud."
The fans will undoubtedly take pride in this collection as well. Making good on Down's promise of a series of EPs, the second installment sees a pronounced progression amongst the individuals themselves as well. "We wanted to back up our word as far as releasing these EPs," Anselmo goes on. "Everybody was fixated on that. This is the shortest period of time between our releases, and every one stepped it up and upped his game. Keenan, Bower, Bruders and Landgraf all contributed some excellent riffs. Having all of this fresh input makes for a different listen and a new perspective on what Down should and does sound like. All of that yields a unique record off the bat."
Bursting out of the gate, "We Knew Him Well" rolls from a calculated buildup into a pummeling hook. Originally a riff by Bower, it preserves the hallmarks of the band's style, while giving a fitting glimpse of what's to come from the five-song set.
"I think it represents Down very well," says Anselmo. "There's a very New Orleans backbone and swing to the song. It's slow and heavy, but it feels upbeat. There's no hesitation. It's a badass motherfucker."
Elsewhere on the record, the slow simmer of "Conjure" worships at the altars of Sabbath and Witchfinder General, painting an ethereal picture that's instantly hypnotic. "The dynamic shifts throughout the album," he continues. "This one is very Black Sabbath, and I make no bones about that. Without them, we wouldn't be here, but that's an obvious statement. It's got a Sabb'ed out vibe. Dynamically, it feels very different from song to song. They're separate angles on our strong points."
In between all of the six-string thundering, there are moments of reprieve as well. At one point in the middle of the record, Keenan even plays a gently melancholic acoustic melody as the darkness subsides.
"That was very spur of the moment," the singer adds. "It was something Pepper and I agreed upon. During the last day of tracking, he grabbed this miniature tiny acoustic instrument. I don't even think it had fucking six strings. He came up with this really haunting and nice piece that's one-hundred percent acoustic. Somehow, it coincided with this hook I had in mind. We did it the last day of recording."
"I whipped out my secret weapon," laughs Keenan. "It's a ukulele with nylon strings tuned open that I use to play songs for my daughter. I had a bunch of metal heads breathing down my neck, but I came up with it on the spot. It's what I would call, 'your classic campfire recording'. It's as organic as can be."
However, everything culminates on the cataclysmic catharsis of the conclusion, "Bacchanalia." Stretching past the 8-minute mark, the track eclipses the band's ethos, while hinting at the future. Anselmo reveals, "It's related to the god Bacchus. He's the lord of all wine, drink, and festivity. It's a song in praise of the enjoyment of life. It also opens the door for what's up ahead."
For the future, Down's sights are set on endless touring. Landgraf made his formal stage debut when the band headlined Anselmo's first annual Housecore Horror Film Festival in front of a packed audience of the faithful in October 2013. Now, it's just about bringing that inimitable sound everywhere possible.
"In the big scheme of all things metal, Down is a band that puts it out there without compromise," concludes Keenan. "I hope people see we do not follow and we speak the truth-not to mention rip your head off."
Anselmo leaves off, "We have a hardcore following, and that's good enough for me right there. On a personal level we had a goddamn good time making this record. I love that. At the end of the day, I don't think there's any denying this could be another band after a good listen. You'll know it's obviously fucking Down."