Tag Archive | "pantera"

Rex Brown Debuts New “Buried Alive” Music Video 

Rex Brown Debuts New “Buried Alive” Music Video 

Multi-platinum selling artist Rex Brown has debuted an all new single and music video for his track “Buried Alive,” exclusively via Revolver Magazine.  This is the third single behind “Train Song” and “Crossing Lines” from his upcoming LP that were previously released.

Rex once again partnered up with Justin Reich (Zakk Wylde, Ace Frehley), who also directed the video for “Train Song.” This is the second music video being released from Brown’s debut solo effort.

“Justin once again did a fantastic job,” says Brown. “The video captures every bit of emotion I had when I was writing the song as it’s a very personal song for me.”

The video was shot in Nashville, TN where the record itself was recorded and produced. Rex’s bandmates are also featured in the video. Lance Harvill, who also co-wrote most of the LP with Brown plays lead guitar. Joe Shadid plays rhythm guitar and longtime friend of Brown’s and Type O Negative member Johnny Kelly plays drums. Caleb Sherman can be seen on Keys and lap steel as well.

“Buried Alive,” “Train Song” and “Crossing Lines” are now available on all streaming platforms and as an iTunes instant gratification track, meaning fans who pre order the LP today will get the track as a download instantly.

Rex Brown will release Smoke On This… on July 28th, 2017 via Entertainment One Music (eOne Music).

Brown’s solo debut strips away any boundaries and preconceived notions, reveling in a newfound freedom to express all of the various shades of the man whose name is out front. The song “Fault Line” helped him find his voice. “That was the very first one I sang. After I got that one, I knew that I could do it, and Lance was my biggest motivator in finding that voice. Up until that point I just wasn’t sure.”

From there, there’s the brilliantly straightforward “Lone Rider,” the monstrous In Through the Out Door vibe of “Crossing Lines,” the Pink Floyd reverence of “Best of Me.” “Get Yourself Alive” is something of an ode to “Strawberry Fields Forever,” but with a swift-kick of rock n’ roll. It’s rich in nuance, with Indian tandoori and layers of vocals. The extremely catchy “Grace” is “something you would never expect to hear off a Rex Brown record and that’s exactly why I did it. It’s just a really great song, period. Bottom line.”

Rex’s solo album is full of mojo and the force of character, determination, and nerve. He tracked lead vocals, rhythm guitars, and bass, working with his primary collaborator and old friend, Lance Harvill, a Nashville-based guitarist and songwriter, on the album’s songs. “Lance was & is, my main man on this. Everything we did was finely tuned, both musically & brotherly.”

Drums were tracked by Christopher Williams, himself no stranger to diverse tastes, from funk music to punk. His talent has been utilized by country music star Lee Greenwood, the reconstituted Blackfoot and most recently, power metal legends Accept. The album was produced by New Yorker turned Nashville transplant Caleb Sherman, a multi-instrumentalist with work on records by Little Big Town and Porter Block, among others. “Caleb produced the project from a musician’s standpoint,” adds Brown. “Not just a typical producer’s standpoint, which was something I definitely needed. Between Caleb and Lance, we were a force to be reckoned with. They really pulled out the best in me.” Peter Keyes, known for his work with Lynyrd Skynyrd can also be heard on a few tracks. All bass tracking came from Rex himself as well.

Who is Rex Brown? To the industry, fellow musicians, and a legion of fans around the world, he’s the bassist for Pantera, one of the biggest hard rock and metal acts of the past few decades, alongside Nirvana and Metallica. They had Number One albums with minimal support from traditional commercial outlets and went platinum several times over. Pantera rode a groundswell of underground loyalty, earned through several years of blood, sweat, and road beers. Five major label albums, countless international tours, and a series of carnage-filled home videos cemented a legacy as large as their massive riffs and the band’s insatiable appetites for mayhem, authenticity, and brotherhood.

“My motto these days is ‘Shake some shit up,'” Brown declares about the new LP. “I’ve had my ups and downs, like anybody in this business. I wanted to feel like a true artist again, where I can write and record songs without worrying about any of the bullshit.” 

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SMOKE ON THIS: Rex Brown On Life, Artistic Evolution and His Debut Solo Record

SMOKE ON THIS: Rex Brown On Life, Artistic Evolution and His Debut Solo Record

Rex Brown is the living, breathing embodiment of rock ‘n’ roll. A seasoned troubadour from down South with a dense, rich, and colorful life experience, he is an artist who’s much more than the sum total of his body of work. Known worldwide as the bassist for Pantera, he helped move thousands of cassettes and LPs from the back of car trunks in the parking lots of smoky clubs, before the rest of the world discovered the ‘Cowboys from Hell.’ As an undisputed force in metal, Pantera were able to chart Number One albums with minimal support from traditional commercial outlets and went platinum several times over. Pantera rode a groundswell of underground loyalty, earned through several years of blood, sweat, and road beers. Five major label albums, countless international tours, and a series of carnage-filled home videos cemented a legacy as large as their massive riffs and the band?s insatiable appetites for mayhem, authenticity, and brotherhood. Brown and his Texas brethren forged a unique musical identity comprised of bottom-heavy rhythms, fearless guitar histrionics and blunt-force savagery, a blueprint that’s been followed by nearly every single metal act that formed in their wake. Brown documented his journey as an artist in the pages of his memoir, ‘101 Truth, 101 Proof: The Inside Story of Pantera,’ with stark honesty and emotional courage.

However, the story of Rex Brown is far from over. In fact, to hear him tell it, he’s just getting warmed up! In July of 2017, Brown will finally step into the spotlight as a frontman with his debut solo album, ‘Smoke On This.” On the fiery new album, he wields a six-string guitar as confidently as he wore the bass in Pantera and Down and has created the rock ’n’ roll record he has always wanted to make. His engaging voice crackles with easygoing spirit and truth-telling power. It’s a crunchy drawl that’s down-to-earth, grippingly relatable, charmingly welcoming, and gritty, somewhere between the achingly resonant spiritual shamanism of Tom Waits and the instantly recognizable everyman AM radio vibes of Tom Petty and the Heartbreakers. This is guitar-slinging old-school rock, with a nod to the seventies and a firm grasp on the future, the kind of songs evocative of a beat-up truck with the windows down and its eight-track player cranked up, or the soundtrack to a quiet night in with a can of PBR. ‘Smoke On This” has established an exciting new era for Brown as an artist.

He tracked lead vocals, rhythm guitars, and bass, working with his primary collaborator and old friend, Lance Harvill, a Nashville-based guitarist and songwriter, on the album’s songs. Drums were tracked by Christopher Williams, himself no stranger to diverse tastes, from funk music to punk. His talent has been utilized by country music star Lee Greenwood, the reconstituted Blackfoot and most recently, power metal legends Accept. The album was produced by New Yorker turned Nashville transplant Caleb Sherman, a multi-instrumentalist with work on records by Little Big Town and Porter Block, among others. Peter Keyes, known for his work with Lynyrd Skynyrd can also be heard on a few tracks. Brown’s impressive solo debut strips away any boundaries and preconceived notions, reveling in a newfound freedom to express all of the various shades of the man whose name is out front. In short, it’s one hell of a debut record and one the world of  rock ‘n’ roll desperately needs. 

Jason Price of Icon Vs. Icon recently caught with Rex Brown to discuss the chain of events which led to the creation of ‘Smoke On This,’ the challenges he faced in bringing it to life and what the future might hold for him as a solo artist.

Rex, I have to thank you for letting me listen to your debut solo record, ‘Smoke On This,’ before it’s official release. This thing is absolute fire!

Dude, thank you very much! That made my morning! Ya know, I have been sitting on this record, were it was finally finished and done, since December. It’s been driving me mad. [laughs] In this business, it’s all about timing and, to me, this is a summertime kind of record. We plan on starting to hit really hard on radio the day after the 4th of July; let the people get over their hangovers and really start pounding them hard with all of these tracks.

Rex Brown

How did the ball get rolling on this record?

It started off with me in the bus one day and me thinking, “I’ve gotta quit doing this.” It was going nowhere quickly, the situation I was in. I’d just gotten to a complete burnout point. A lot of guys would take another 3 years and say, “Oh, let’s see if it works out.” Man, I knew something was up and that I needed to get off the road for a couple of years. I needed to go watch the grass grow and enjoy the simple things in life. I wanted to write some songs and I had a whole bunch that I wanted to investigate for lack of a better word. I was going into Nashville for Summer NAMM in 2015 and meeting up with friend of mine, Lance Harvill. He is also the co-writer of all these songs. He is a brilliant songwriter who never got his time in the spotlight, so to speak. He’s an excellent guitar player and an even better songwriter. We just started throwing some ideas around. First off, I was going into Nashville thinking it’s still a country hicksville and, low and behold, I start running into all of these rock ‘n’ roll guys. It was everyone from Brad Whitford from Aerosmith to the half of Motley Crue that lives there now! It’s just a really cool vibe in Nashville because it’s all about the jam. You go into LA and ask a guy to play on the record and the first thing he asks is how much he’s going to get paid and that’s even before he ever plays a note! That’s not rock ‘n’ roll to me, man! I put together a team and found a drummer, Chris Williams, through a photographer friend of mine. He’s been playing on records for all kinds of cats since he was about 16 years old in Nashville. He turned me onto this producer. When I went to his studio, it reminded me of Willie’s Place down in Austin. Lance and I had both had the opportunity to go and make a record down there that never ended up seeing the light of day. It was for a movie and placements for film and stuff like that but never came out. We actually made a record with Terry Date. Lance has gone back to the Dime days, ya know, way back to the days of early Pantera.

Anyway, we started writing songs and they started getting really good. We narrowed it down from 24 songs, down to 13 and then we tracked 11. I found my voice on this one track, “Fault Line,” and the rest, as they say, is history. We started stumbling onto stuff that we didn’t know we had in us and I wanted to make the best rock ‘n’ roll record I could possibly make. I didn’t want to make a metal record. I’ve done that so many times that I’m blue in the fucking face even talking about it! [laughs] I wanted to make something that was true to me. I mean, you can take the boy from the farm as far as you can throw him, but I’m still going to have the metal influence; so you’re gonna hear a little of swagger and, of course, some of that stuff is in there. It’s just one of those things where I had to go back and find out why I was playing music in the first place and why I loved it. That meant going back to my roots. I was listening to different playlists and stuff like that. The 70s had some really great music which came out of it. Then you had the 80s where there was great music but it had image attached to it. Everybody got tired of the image. Everyone was dressed up with poofy hair and all that shit! Hell, we had to do it just to play a club. For me, it’s all about the song. Without the song, you don’t have anything. It came down to writing really good songs and then bastardizing the fuck out of it and turning them inside out!

People ask me, “Why didn’t you do this 10 years ago?” Well, maybe the time wasn’t right 10 years ago and maybe the time is right now. In this business, timing is everything. There aren’t any good rock ‘n’ roll records out there, man. There’s not. If there are, then show me the way and I’ll listen to them. I’m not saying there aren’t any and that mine is going to be the best of all of them but I’m saying this is me and this is where I’m coming from musically. If you dig it, dig it. If you don’t like it, then don’t. I don’t care either way!

I’m sure finding your voice was a big part of bringing “Smoke On This” to life. What were some of the other challenges you faced along the way?

The first thing was my passion for playing the guitar. I’ve been playing the guitar since I was 9 years old but I’ve always been known as a bass player. At the same time, most bass players are guitar players. Typically, that’s your first passion and then you get stuck with the bass. I gave half my life to doing that. Before I even started this process, I took my old, trusty 60s Telecaster and just went and played without any pedals or anything. I learned how to play guitar again. I was sitting with my little girl and she plays guitar. She was really getting into playing the folky stuff. I started her out with “Tapestry” and stuff like that. I said, “This is what you need to learn how to play before you learn to play your favorite Pierce The Veil song or whatever you are listening to.” So, I made her listen to all the great songwriters that came out of Laurel Canyon. My rock ‘n’ roll lineage goes from… well, ask me a tune and I can probably tell you what record it’s off of. That’s what rock ‘n’ roll is all about — getting the people out of there seats and making them have a good time. It’s where I want to go musically. It’s not reinventing the wheel but it’s where I want to be musically these days. I just wanted to make a really diverse rock ‘n’ roll record that had really good songs on it. I think I’ve done it and I’m proud as fuck of it. I couldn’t be happier!

As you mentioned, you have had this album wrapped for awhile. Where do you see yourself heading in the future?

That’s a good question. I’m just now starting to tap into the well, ya know. I don’t know how many riffs I’ve got in my phone. Where this is all going to lead, I don’t know. This is one of those things where I already have the next one written. It’s already in my head and I know exactly what I want to do. It’s going to be different than this one. I want to keep pushing those musical boundaries. Who knows? It might be a polka/folk/metal record. Who knows what I will do! I’m just saying that to be kind of silly, but as an artist where do you take yourself? If you are a painter, you want to paint different things. You don’t want to sit down and do the same painting over and over. The minute you start doing that is the minute you start crumbling to the corporate crap. That’s one thing we never did back in the day with Pantera or even with DOWN, well, maybe a little bit, but not much. Let’s just say…How long have you been writing?

I’ve been doing this for almost two decades.

Well, if you go back and look at your first piece and look at the last piece you did. Would you say you have evolved?

Yeah. Without question.

Right. My point is that I’ve got to get a lot better now. The Kill Devil Hill thing was what it was. It was a great project and I was getting out of DOWN and trying to keep my relationship with Phil [Anselmo], which I have always done. In fact, I just saw him not too long ago and we had a blast! It felt like old times. We just had to get away from each other at some point. It was inevitable that something was going to blow up after 25 years together. This solo record is me getting back to what it’s all about. Anyway, I’m right in the middle of putting together tour plans for the fall. You could see us out as early as July. Right now, the whole focus is getting this record out and getting it to as many people as possible.

You are clearly a guy who isn’t afraid to look to his past but your focus is on the future. You wrote your autobiography, “Official Truth, 101 Proof: The Inside Story of Pantera.” That is something very few people get to do. How did that experience impact you and this record?

I think it the process of making both the book and this album were very cathartic. Look man, I’ve been through hell and back. For me, I don’t have problems, I have solutions. It’s getting through life like anyone else and I don’t live in the past. I live for today. Today is all I can take care of and I can’t worry about what happened all those years ago. I just don’t like some of the platforms you can get on these days and think you are the President of the United States and just post whatever stupid shit you want. I’m not a big fan of that. I think there are too many people with too many opinions that don’t really mean a fuck in the big scheme of things. It really doesn’t matter. It isn’t about all the whining, man. It’s about celebrating life. You are only here for a little bit of time, so you have to make the best of it. What I get out of that is writing music and performing. With that said, long gone are the days of me going out and trying to hit 300 days on the road. There’s no way I going to do it unless something incredible comes up. You never know. I never say never! [laughs]

You have inspired a lot of people with the work you have created and you have lived life to it’s fullest. What’s the best lesson we can take from your journey?

Keep going, baby! Perseverance! At the end of the day, you are only as good as your word, man. With that being said, I am a very high strung, creative guy. I always want to keep playing. I found that out by being in the studio. Look, it took me awhile. I’ve been working on this record of the past year or more and I’ve been knee deep in the politics of it too. The music industry these days is getting a lot tougher. So, if I can say anything to anybody, it’s take the good points in life and make them better. That’s all I can say. Hell, I’m not anybody. I’m just like the next guy, man. I put my pants on one leg at a time just like anybody else!

Rex Brown will release ‘Smoke On This…’ on July 28th, 2017 via Entertainment One Music (eOne Music). Keep up to date with Rex Brown via social media via Facebook and Twitter. Visit his official website at www.rexbrown.net.

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Rex Brown Debuts New “Train Song” Music Video From Upcoming Album

Rex Brown Debuts New “Train Song” Music Video From Upcoming Album

Multi-platinum selling artist Rex Brown has debuted an all new single and music video for the track “Train Song,” exclusively via Loudwire.com. This is the second single behind “Crossing Lines” that was released back in April. Directed by Justin Reich (Zakk Wylde, Ace Frehley), this is the first music video being released from Brown’s debut solo effort.

“It was a frickin’ blast working on this with Justin,” says Brown. “I always hated the sitting around and waiting mentality, but Justin and his crew made it incredibly easy and very productive! This first video shows a ton of power and Justin captured it all with no hesitation.”

The video was shot in Nashville, TN where the record itself was recorded and produced. Rex’s bandmates are also making their debut in the video. Lance Harvill, who also co-wrote most of the LP with Brown plays lead guitar. Joe Shadid plays rhythm guitar and longtime friend of Brown’s and Type O Negative member Johnny Kelly plays drums. Caleb Sherman can be seen on Keys and lap steel as well.

Both “Train Song” and “Crossing Lines” are available on all streaming platforms and as an iTunes instant gratification track, meaning fans who pre order the LP today will get the track as a download instantly.

Rex Brown will release Smoke On This… on July 28th, 2017 via Entertainment One Music (eOne Music).

Brown’s solo debut strips away any boundaries and preconceived notions, reveling in a newfound freedom to express all of the various shades of the man whose name is out front. The song “Fault Line” helped him find his voice. “That was the very first one I sang. After I got that one, I knew that I could do it, and Lance was my biggest motivator in finding that voice. Up until that point I just wasn’t sure.”

From there, there’s the brilliantly straightforward “Lone Rider,” the monstrous In Through the Out Door vibe of “Crossing Lines,” the Pink Floyd reverence of “Best of Me.” “Get Yourself Alive” is something of an ode to “Strawberry Fields Forever,” but with a swift-kick of rock n’ roll. It’s rich in nuance, with Indian tandoori and layers of vocals. The extremely catchy “Grace” is “something you would never expect to hear off a Rex Brown record and that’s exactly why I did it. It’s just a really great song, period. Bottom line.”

Rex’s solo album is full of mojo and the force of character, determination, and nerve. He tracked lead vocals, rhythm guitars, and bass, working with his primary collaborator and old friend, Lance Harvill, a Nashville-based guitarist and songwriter, on the album’s songs. “Lance was & is, my main man on this. Everything we did was finely tuned, both musically & brotherly.”

Drums were tracked by Christopher Williams, himself no stranger to diverse tastes, from funk music to punk. His talent has been utilized by country music star Lee Greenwood, the reconstituted Blackfoot and most recently, power metal legends Accept. The album was produced by New Yorker turned Nashville transplant Caleb Sherman, a multi-instrumentalist with work on records by Little Big Town and Porter Block, among others. “Caleb produced the project from a musician’s standpoint,” adds Brown. “Not just a typical producer’s standpoint, which was something I definitely needed. Between Caleb and Lance, we were a force to be reckoned with. They really pulled out the best in me.” Peter Keyes, known for his work with Lynyrd Skynyrd can also be heard on a few tracks. All bass tracking came from Rex himself as well.

Who is Rex Brown? To the industry, fellow musicians, and a legion of fans around the world, he’s the bassist for Pantera, one of the biggest hard rock and metal acts of the past few decades, alongside Nirvana and Metallica. They had Number One albums with minimal support from traditional commercial outlets and went platinum several times over. Pantera rode a groundswell of underground loyalty, earned through several years of blood, sweat, and road beers. Five major label albums, countless international tours, and a series of carnage-filled home videos cemented a legacy as large as their massive riffs and the band’s insatiable appetites for mayhem, authenticity, and brotherhood.

“My motto these days is ‘Shake some shit up,'” Brown declares about the new LP. “I’ve had my ups and downs, like anybody in this business. I wanted to feel like a true artist again, where I can write and record songs without worrying about any of the bullshit.” 

‘Smoke On This’ Tracklisitng:

1. Lone Rider
2. Crossing Lines
3. Buried Alive
4. Train Song
5. Get Yourself Alright
6. Fault Line
7. What Comes Around…
8. Grace
9. So Into You
10. Best Of Me
11. One Of these Days

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Rex Brown To Release ‘Smoke On This’ Solo Album On July 28th, Debuts New Single

Rex Brown To Release ‘Smoke On This’ Solo Album On July 28th, Debuts New Single

Multi-platinum selling artist Rex Brown has debuted an all new single titled “Crossing Lines,” exclusively via Loudwire.com. Rex Brown will release Smoke On This… on July 28th, 2017 via Entertainment One Music (eOne Music). Pre-Order the physical album here or pre-order digitally here.

“My motto these days is ‘Shake some shit up,'” Brown declares about the new LP. “I’ve had my ups and downs, like anybody in this business. I wanted to feel like a true artist again, where I can write and record songs without worrying about any of the bullshit.” 

“Crossing Lines” is also available on all streaming platforms and as an iTunes instant gratification track, meaning fans who pre order the LP today will the the track as a download instantly. The artwork and track listing are available below as well for the first time along with both digital and physical pre orders options.

Brown continues, “We’re not going to necessarily cater to metal fans, but the guys who grew up with Pantera, a lot of them love all the same stuff that I grew up on, too. This is just something else I’m doing for fun, man. And musical Freedom. Fun has to come into it or I’m not going to do it. I’ve had a tremendous career and now I feel like I’m thirty years old again. This has given me that freedom I needed.”

“I’ve got so much more in me,” Brown enthuses. “I’m just getting my feet wet.”

Brown’s solo debut strips away any boundaries and preconceived notions, reveling in a newfound freedom to express all of the various shades of the man whose name is out front. The song “Fault Line” helped him find his voice. “That was the very first one I sang. After I got that one, I knew that I could do it, and Lance was my biggest motivator in finding that voice. Up until that point I just wasn’t sure.”

From there, there’s the brilliantly straightforward “Lone Rider,” the monstrous In Through the Out Door vibe of “Crossing Lines,” the Pink Floyd reverence of “Best of Me.” “Get Yourself Alive” is something of an ode to “Strawberry Fields Forever,” but with a swift-kick of rock n’ roll. It’s rich in nuance, with Indian tandoori and layers of vocals. The extremely catchy “Grace” is “something you would never expect to hear off a Rex Brown record and that’s exactly why I did it. It’s just a really great song, period. Bottom line.”

Lyrically, the songs are both personal and universally relatable. “Buried Alive” is a deeply moving and confessional song about the loss of Dimebag Darrell. “I drowned myself in cases of whiskey after he died. I was drowning in that black water and I had to find me, ya’ know? It’s one of those songs that really kind of just came out. ‘You’re on your own now, Jack. What’re you gonna do?’ The whole record is really cathartic.” Conversely, “What Comes Around Goes Around” could be about “your mailman, your neighbor, or your wife. It’s saying, ‘you made your bed, lay in it. I’m clean on my side of the street, how’s your’s going.”

Rex’s solo album is full of mojo and the force of character, determination, and nerve. He tracked lead vocals, rhythm guitars, and bass, working with his primary collaborator and old friend, Lance Harvill, a Nashville-based guitarist and songwriter, on the album’s songs. “Lance was & is, my main man on this. Everything we did was finely tuned, both musically & brotherly.”

Drums were tracked by Christopher Williams, himself no stranger to diverse tastes, from funk music to punk. His talent has been utilized by country music star Lee Greenwood, the reconstituted Blackfoot and most recently, power metal legends Accept. The album was produced by New Yorker turned Nashville transplant Caleb Sherman, a multi-instrumentalist with work on records by Little Big Town and Porter Block, among others. “Caleb produced the project from a musician’s standpoint,” adds Brown. “Not just a typical producer’s standpoint, which was something I definitely needed. Between Caleb and Lance, we were a force to be reckoned with. They really pulled out the best in me.” Peter Keyes, known for his work with Lynyrd Skynyrd can also be heard on a few tracks. All bass tracking came from Rex himself as well.

Who is Rex Brown? To the industry, fellow musicians, and a legion of fans around the world, he’s the bassist for Pantera, one of the biggest hard rock and metal acts of the past few decades, alongside Nirvana and Metallica. They had Number One albums with minimal support from traditional commercial outlets and went platinum several times over. Pantera rode a groundswell of underground loyalty, earned through several years of blood, sweat, and road beers. Five major label albums, countless international tours, and a series of carnage-filled home videos cemented a legacy as large as their massive riffs and the band’s insatiable appetites for mayhem, authenticity, and brotherhood.

“The attitude and swagger that served him so well in Pantera carries over quite nicely.” LOUDWIRE

Smoke On This’ Tracklisting:

1. Lone Rider
2. Crossing Lines
3. Buried Alive
4. Train Song
5. Get Yourself Alright
6. Fault Line
7. What Comes Around…
8. Grace
9. So Into You
10. Best Of Me
11. One Of these Days

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Legendary Rocker Rex Brown Signs With Entertainment One, Debut Solo Album To Drop In 2017

Legendary Rocker Rex Brown Signs With Entertainment One, Debut Solo Album To Drop In 2017

Multi-platinum selling artist Rex Brown has signed a worldwide deal with Entertainment One (eOne) with plans to release a debut solo LP later this year. “I’ve been working on these songs for a long time,” says Brown. The yet to be titled full length will be the first time in Brown’s career in which he will serve as both lead vocalist and guitarist in a band.

“I am thrilled to have such an influential artist like Rex join the growing Entertainment One rock family,” says Scott Givens, SVP Entertainment One. “He’s influenced not just our other artists, but myself as well. It’s an honor for all of us to work with him.” 

Brown wields a six-string guitar as confidently as he wore the bass in Pantera and Down. His engaging voice crackles with easygoing spirit and truth-telling power. It’s a crunchy drawl that’s down-to-earth, grippingly relatable, charmingly welcoming, and gritty, somewhere between the achingly resonant spiritual shamanism of Tom Waits and the instantly recognizable everyman AM radio vibes of Tom Petty and the Heartbreakers.

After a season away to gather his wits about him, rediscover his own roots, and assemble a group of players ready to help him execute his vision for the days ahead, Rex Brown reemerges with a semi truck’s worth of rock n’ roll tunes as honest and sincere as they come. The new album is the sound of the man’s own truth, forthright and ego-free. As he likes to say, “You’re only as good as your word and your word better be good.”

Rex’s solo album is full of mojo and the force of character, determination, and nerve. He tracked lead vocals, rhythm guitars, and bass, working with his primary collaborator and old friend, Lance Harvill, a Nashville-based guitarist and songwriter, on the album’s songs. “Lance was & is, my main man on this. Everything we did was finely tuned, both musically & brotherly.”

Drums were tracked by Christopher Williams, himself no stranger to diverse tastes, from funk music to punk. His talent has been utilized by country music star Lee Greenwood, the reconstituted Blackfoot and most recently, power metal legends Accept. The album was produced by New Yorker turned Nashville transplant Caleb Sherman, a multi-instrumentalist with work on records by Little Big Town and Porter Block, among others. “Caleb produced the project from a musician’s standpoint,” adds Brown. “Not just a typical producer’s standpoint, which was something I definitely needed. Between Caleb and Lance, we were a force to be reckoned with. They really pulled out the best in me.” Peter Keyes, known for his work with Lynyrd Skynyrd can also be heard on a few tracks. All bass tracking came from Rex himself as well.

Who is Rex Brown? To the industry, fellow musicians, and a legion of fans around the world, he’s the bassist for Pantera, one of the biggest hard rock and metal acts of the past few decades, alongside Nirvana and Metallica. They had Number One albums with minimal support from traditional commercial outlets and went platinum several times over. Pantera rode a groundswell of underground loyalty, earned through several years of blood, sweat, and road beers. Five major label albums, countless international tours, and a series of carnage-filled home videos cemented a legacy as large as their massive riffs and the band’s insatiable appetites for mayhem, authenticity, and brotherhood.

“My motto these days is ‘Shake some shit up,’” Brown declares. “I’ve had my ups and downs, like anybody in this business. I wanted to feel like a true artist again, where I can write and record songs without worrying about any of the bullshit. This is just something else I’m doing for fun, man. And musical Freedom. Fun has to come into it or I’m not going to do it. I’ve had a tremendous career and now I feel like I’m twenty five years old again. This has given me that freedom I needed.”

“I’ve got so much more in me,” he enthuses. “I’m just getting my feet wet.”

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Greg Prato Releases ‘Survival of the Fittest: Heavy Metal in the 1990’s’

Greg Prato Releases ‘Survival of the Fittest: Heavy Metal in the 1990’s’

Another epic read from Greg Prato

Another epic read from Greg Prato

Since its inception in the late 1960’s, heavy metal has experienced quite a few ups and downs in popularity. But there was one specific decade that sticks out as the most troubling – the 1990’s. In what seemed like one fell swoop, a style of metal that had been popular for much of the 1980’s was rendered obsolete, and in its place, was a much more real, raw, and unique approach – detected in several new metal-based “sub-genres.” Add to it several changes in the music industry and media, and it appeared as if traditional metal may have met its expiration date…before several bands (and a certain traveling festival tour) helped put headbanging rock back on track.

Written by journalist/author Greg Prato, ‘Survival of the Fittest: Heavy Metal in the 1990’s’ is the first book to focus entirely on this decade. Set in an oral history format, ‘Survival’ features over 80 interviews conducted exclusively for this book, including current or past members of Pantera, Sepultura, Fear Factory, Judas Priest, Iron Maiden, Kiss, Def Leppard, Guns N’ Roses, Slayer, Megadeth, Anthrax, Exodus, Testament, Dream Theater, King’s X, Extreme, Winger, Cinderella, Living Colour, Faith No More, Primus, Nirvana, Nine Inch Nails, White Zombie, Stone Temple Pilots, Kyuss, Danzig, Clutch, Life of Agony, Biohazard, Type O Negative, Within Temptation, Cradle of Filth, Death, Coal Chamber, and System of a Down (among many others), as well as Eddie Trunk, Riki Rachtman, and Lonn Friend. Also featured is a foreword penned by Pantera bassist Rex Brown.

Greg Prato is a Long Island, New York-based journalist, who has written for Rolling Stone and Guitar Player, and has authored such books as ‘Iron Maiden: ’80 ’81,’ ‘The Faith No More & Mr. Bungle Companion,’ ‘The Eric Carr Story,’ and ‘Grunge is Dead: The Oral History of Seattle Rock Music.’ ‘Survival of the Fittest’ is his 16th book overall.

Available as a paperback version [616 pages, $24.99], a Kindle download [$9.99], and a Nook download [$9.99], ‘Survival of the Fittest’ helps put the ’90s and heavy metal all into perspective.

Read an exclusive excerpt here:
http://www.songfacts.com/blog/writing/survival_of_the_fittest_heavy_metal_in_the_1990_s/

Ordering info here:
Paperback and Kindle: http://amzn.com/1512073067

Nook: http://www.barnesandnoble.com/w/survival-of-the-fittest-greg-prato/1122273381

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DOWN Announce “Eastbound ‘N’ Down” Summer Tour Dates

DOWN Announce “Eastbound ‘N’ Down” Summer Tour Dates

down-2014

Metal legends Down have announced their “Eastbound ‘N’ DOWN” summer run. Following a performance at Amnesia Rockfest in Montebello, Quebec on June 19th, the band’s ten-day North American trek begins on August 6th in Louisville, KY and comes to an end on August 16th in Wilmington, NC. Pre-sales for VIP Packages, which include meet & greets, access to sound checks, and more, are available beginning today (Monday, April 27) for select shows. VIP pre-sales for the remaining shows will begin Wednesday, April 29th. General ticket on-sales go live Friday, May 1st. Visit www.DOWN-NOLA.com for details and please see below for a full list of announced dates.

‘Down IV – Part Two’ was released in May 2014 via Down Records/ADA and was the band’s highest charting release to-date (#1 on iTunes’ Rock Albums chart; #23 on Billboard’s Top 200). The EP was met with a slew of critical acclaim, such as Decibel who proclaimed, “From Phil Anselmo’s feral opening scream to his last spectral croon, Down doesn’t waste a hook or a minute of your time. Jimmy Bower’s beats are the perfect bar-brawling accomplices for the rowdy riffs conjured by Pepper Keenan and newcomer Bobby Landgraf, kicking the songs in the guts for extra giddy.” “We Knew Him Well” – the EP’s lead single – has also garnered praise, with Stereogum calling it “a titanic, bludgeoning deep-head-nod groove…it’s gloriously messy but locked-in in the way that only New Orleans metal bands can pull off.”

“Eastbound ‘N’ DOWN” Tour Dates:

8/6 – Louisville, KY; Mercury Ballroom

8/7 – Fort Wayne, IN; Piere’s

8/8 – Birch Run, MI; Birch Run Expo Center

8/10 – Buffalo, NY; Town Ballroom

8/11 – Pittsburgh, PA; Altar Bar

8/12 – Hartford, CT; Webster Theater

8/14 – Sayreville, NJ; Starland Ballroom

8/15 – Richmond, VA; Hadad’s Lake

8/16 – Wilmington, NC; Ziggy’s

Additional Tour Date:

6/19 – Montebello, Quebec; Amnesia Rockfest

Website   |   Facebook   |   Twitter   |   YouTube   |   Instagram

‘Down IV – Part Two’ EP is available for purchase at iTunes.

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Punk Rock But Kinda Not Tour 2014: DOWN Announces U.S. Tour Dates

Punk Rock But Kinda Not Tour 2014: DOWN Announces U.S. Tour Dates

Down Hits The Road This Fall!

Down Hits The Road This Fall!

Metal legends Down have announced the Punk Rock But Kinda Not Tour 2014. The 15-date trek, which marks the band’s first proper headlining run in support of their new EP, begins on December 1st and makes stops throughout the West Coast, Midwest, and Canada (full list of dates below). Down will be joined by Orange Goblin, BL’AST!, and King Parrot. VIP package pre-sales are available here with the general on-sale beginning Friday, September 19th.

Down frontman Phil Anselmo says, “Down are coming your way with some killer fucking bands – so come out to the fucking shows!”

The tour is in support of the Down’s latest EP, ‘Down IV – Part Two,’ which was released in May via Down Records/ADA and was the band’s highest charting release to-date (#1 on iTunes’ Rock Albums chart; #23 on Billboard’s Top 200). The EP has been met with a slew of critical acclaim, such as Decibel who proclaimed, “From Phil Anselmo’s feral opening scream to his last spectral croon, Down doesn’t waste a hook or a minute of your time. Jimmy Bower’s beats are the perfect bar-brawling accomplices for the rowdy riffs conjured by Pepper Keenan and newcomer Bobby Landgraf, kicking the songs in the guts for extra giddy.” “We Knew Him Well” – the EP’s lead single – has also garnered praise, with Stereogum calling it “a titanic, bludgeoning deep-head-nod groove…it’s gloriously messy but locked-in in the way that only New Orleans metal bands can pull off.” The official video for “We Knew Him Well” was premiered on Billboard.com and can be viewed here.

With a collective resume encompassing Pantera, Corrosion of Conformity, Eyehategod, and Crowbar, Down puffed out its first haze of sonic smoke from the underbelly of gritty old New Orleans on the 1995 platinum-selling classic, ‘Nola.’ Since then, the band has released ‘Down II: A Bustle In Your Hedgerow’ (2002), ‘Down III: Over the Under’ (2007), ‘Diary of a Mad Band’ live CD/DVD (2010), and ‘Down IV – Part One’ EP (2012). Their live shows have built a legendary reputation due to their fierce and loyal following with unforgettable runs alongside MetallicaHeaven & Hell, The Melvins, and Black Label Society, as well as coveted spots on Download, Soundwave, Hellfest, Bloodstock and OZZfest.

 

Down Tour Dates:

12/1 – San Antonio, TX / The Aztec Theater

12/3 – Las Vegas, NV / House of Blues

12/5 – Riverside, CA Riverside / Municipal Auditorium

12/6 – Los Angeles, CA / The Wiltern

12/7 – Sacramento, CA / Ace of Spades

12/8 – San Francisco, CA / The Fillmore

12/10 – Seattle, WA / The Showbox

12/11 – Vancouver, BC / Commodore Ballroom

12/13 – Edmonton, AB / Union Hall

12/14 – Calgary, AB / Flames Central

12/15 – Spokane, WA / Knitting Factory Concert House

12/17 – Denver, CO / The Summit Music Hall

12/19 – Oklahoma City, OK / Diamond Ballroom

12/20 – Dallas, TX / Gas Monkey Music Hall

12/21 – Houston, TX / Warehouse Live – Ballroom

**Down will also be performing on the Motörhead’s Motörboat cruise, which is set for sail September 22-26.

‘Down IV – Part Two’ EP is available for purchase here at iTunes.

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Philip Anselmo Announces Second Leg of North American Tour

Philip Anselmo Announces Second Leg of North American Tour

Philip H. Anselmo

Philip H. Anselmo

Philip Anselmo and his band The Illegals – guitarist Marzi Montazeri (Superjoint Ritual), bassist Steve Taylor (16 Horsepower, Woven Hand), and Jose Manual “Blue” Gonzalez (Warbeast) on drums – will hit the road bright and early in 2014 for Leg Two of its “Technicians of Distortion” tour.  The trek kicks off January 10 in Houston, will play intimate rock clubs exclusively, and is in support of Anselmo’s first solo album, the critically-acclaimed Walk Through Exits Only that was released last July, as well as the recently-released, limited-edition two-song Housecore Horror Fest 10-inch vinyl EP that will be available for purchase on all tour dates.

Tickets go on sale this Friday, November 22 – log onto TheHousecoreRecords.com for all ticketing information.
Reprising his support slot from Leg One will be Author & Punisher, while the avant-garde metal band Hymns (signed to Anselmo’s label Housecore Records) will open all shows.  Hymn’s self-titled album will be available on all tour dates.
The first leg of “Technicians of Distortion” received rave reviews, with the
New York Times calling the set “remarkable.”  In addition, some of the new songs from Walk Through Exits Only were singled out for praise.  One reviewer wrote, “‘Bedroom Destroyer’ and ‘Usurper’s Bastard Rant’ were worth the price of admission alone,” while another commented, “Hardcore fans got a belly full on this evening as Anselmo touched on everything…”
Confirmed dates for Leg Two of the “Technicians of Distortion” tour are as follows:
JANUARY
10   Warehouse Live/Studio Room, Houston, TX
11   Riverside Warehouse, Shreveport, LA
13   Pop’s Nightclub, St. Louis, MO
14   Waiting Room, Omaha, NE
15   Summit Music Hall, Denver, CO
17   El Corazon, Seattle, WA
18   Hawthorne Theatre, Portland, OR
20   Ace of Spades, Sacramento, CA
22   Metal Masters, Los Angeles, CA
24   Pub Rock, Scottsdale, AZ
25   Launchpad, Albuquerque, NM
27   Backstage Live, San Antonio, TX
28   Trees, Dallas, TX

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Walk Through Exits Only: Philip H. Anselmo On Solo Album, Horror Fest & More!

Walk Through Exits Only: Philip H. Anselmo On Solo Album, Horror Fest & More!

phil-anselmo-feature-2013

Love him or hate him, there is no denying Philip H. Anselmo remains one of metal’s most innovative and polarizing figures. Hailing from New Orleans, La., he has spent the better part of two decades establishing himself as one of rock’s most notorious and charismatic frontman. His work with Pantera, Down and Superjoint Ritual has gone onto not only shape, but continue to fuel the genre of heavy music. His contributions to metal are undeniable and his creative fire burns as hot as it ever did. In 2013, the legendary frontman finds himself on a solo mission with the release of Walk Through Exits Only, on July 16 via his own Housecore Records (MRI/Megaforce). Produced by Philip Anselmo and Michael Thompson, and recorded over the past couple of years at his New Orleans studio, Nodferatu’s Lair, with his band The Illegals – Marzi Montazeri/guitar, and drummer Jose Manuel “Blue” Gonzales, ‘Walk Through Exits Only’ is abrasive, aggressive, anthemic and 100% Anselmo.  The album’s eight songs are as unstrained as it gets, from “Battalion of Zero” to “Usurper’s Bastard Rant,” to the album’s title track that goes against the grain and right through the exits.  Brash, brutal guitars cut through punishing percussion as Anselmo screams with uncompromising ferocity and uncontainable fire. On ‘Walk Through Exits Only’ and over his entire career, Anselmo hasn’t just paved his own path, he’s bulldozed it with his bare hands.Jason Price of Icon Vs. Icon recently sat down with Philip H. Anselmo to discuss the creation of ‘Walk Through Exits Only,” the challenges involved in bringing it to life, the highly anticipated arrival of his Housecore Horror Film Festival and more!

We spoke a few years back around the time of the ‘Cowboys From Hell’ re-release. Back then you promised your solo album would be vicious and you certainly delivered on that promise! Thanks for that!

Oh, cool man! No problem!

When you decided to set a course for a solo release, did you ever have any reservations about doing so?

Philip H. Anselmo

Philip H. Anselmo

Reservations? No, not at all. No, no, no, no. I’ll tell you, it started with me, an electric guitar, an amplifier and a recording apparatus. I sat down and honestly, man, the shit just came pouring out of me because I was very focused on the task at hand. I guess, if I feel inspired to do something and I have the focus to do it and the idea in my head to actually do it, it happens. Really, I built these songs from the ground up. Eventually, I taught the stuff from the ground up and found the right musicians. Really, the rest is somewhat recent history but it is history nonetheless. It was a very interesting experience, man. It was certainly rewarding because I did get the record I wanted. I wanted this record to be an ugly record and a tough record to categorize in today’s climate of extreme music and whatnot. There were definitely mission accomplished type points for me. As far as people liking it or digging on it, that is completely up to them and I can’t control how people feel. With DOWN, for instance, we have an established audience, so when I write music, I am absolutely, 100% writing for DOWN. I am not worried at all about gaining or winning over new fans or anything like that, so it has been awhile since I have had to, I guess, reinvent myself and reinvent something very dear to my heart, which is extreme underground music. It is brand new, it is just getting around and it will take some time and eventually we will see where it all sits. As of right now, I have no complaints or regrets.

Was there something that made you feel now was the right time for a solo release?

For me, everything happens so organically. Put it this way, if someone leans on me and says “Phil, you have got to put out this record tomorrow.,” I would probably shy away from it. I just got the notion and not to be ridiculous here, I got the notion and I set myself in motion! [laughs] How do you like that! [laughs] Oh God, that is pretty cheesy.

phil-anselmo-solo-2013

Brace Yourself!

The title of the album is “Walk Through Exits Only.” What can you tell us about the title and what it means to you personally?

That is a good question there. For me, the “Walk Through Exits Only” moniker really came from the song itself and it was just a powerful line in a song. Even when I write the song, I wasn’t positive what to call it but it was something that kept sticking in my heart. It is a pretty powerful line which could mean a thousand different things to a thousand different people. Eventually, that is why I used it as the title of the record. There is no specific meaning, so to speak, because it does mean so many fuckin’ different things to me. I am not going to spoon feed the freakin’ listener like “This is exactly what you are supposed to think.” I want people to do a little thinking on their own and take these lyrics, take these song titles and the album titles and somehow fit it in to their own curriculum, logic and sense to where they can fit it in their own lives.

I wanted to talk a bit about the songwriting process for this record. Did you approach the writing process in a different way for your solo material than you write for other projects?

You know what? I actually did. I would say normally, 98% of the time, it would be music first lyrics second. On this record, especially rhythmically, I find in any language and any sentence structure, there is a certain rhythm that goes along with it. If I had a line in mind, whether it made it on the record or not, if I had a sentence in mind, I would build certain riffs around the rhythm of the flow of the language. That is, to me, a bit of a different thing than I am used to doing and something I really hadn’t done much of in the past. There is a good 30% to 40% of “Walk Through Exits Only,” as far as song structure goes, that I really built from the cadence of the English language. It is a very different approach for me.

phil-anselmo-2013-2

Tell us a little bit about the collaborative process for this record with your production team.

Like I said, everything started from the ground up here at Nosferatu’s Lair, the studio where DOWN records and where I have done several albums. My engineer is Stephen “The Big Fella” Berrigan. He and I have worked together on the last several Housecore Records releases. Steve has been with me since I started demoing the solo record. Anyway, once we felt like we were cohesive enough as a band, we tracked here at The Lair. Mike Thompson, who also co-produced the last DOWN EP, he and I got along really well during the process of creating EP. We really got along really well and developed a great relationship in the studio. Mike is a tremendous suggestion maker. He is very easy to translate your vision to. I can translate my vision to him very, very well. I wanted an ugly, rhythmically heavy sounding record and we got that! Mike is dynamite to work with and is a very smart guy in an old school way when it comes to the studio. Once again, there is a great relationship there.

What was the biggest challenging in building these songs from the ground up and bringing the album to life?

Philip H. Anselmo

Philip H. Anselmo

You know, when you are fucking with time signatures and fucking with song structure in general, to come out with something that is relatively original or at least in my opinion original, is a challenge. I guess teaching a drummer would be the most challenging thing because I did not want speed for the sake of speed. I didn’t want double bass for the sake of double kicks. I wanted things to be rhythmic bursts that created their own style of high intensity feel instead of just playing a million miles an hour because we could do that. My drummer is very capable of doing that but my drummer is really young. When he started working with us after being in WARBEAST for a very long time. WARBEAST is really where the type of 4/4 thrash that he came from and learned from. He is a kid who grew up on 4/4 thrash and 4/4 death metal, so when you start throwing in 3/7 and 3/5 time signatures at him, it takes a little while. I am lucky enough to where he is what I would call an ambidextrous drummer. It is almost like he can do exactly what he can do with his feet with his hands. Not a lot of drummers can do that! That was a luxury right there but to break him out of the mold and get him to really bite down and play these songs with the utmost confidence is a learning process for anybody. I think the toughest part was drums and getting them as solid as possible from the ground up.

Obviously, this is a very personal record for you. Where are you looking to for inspiration for this album?

I wanted to make a record that was as extreme as the most highly respected forms of extreme heavy metal, like black metal or death metal but I didn’t want to even come close to those topics really because it has been done so many fuckin’ times before. Don’t get me wrong, black metal’s cornerstone bands that lead the way and they have bands that are very innovative and trying to do something different within the genres and sub-genres of black metal. Death metal, you definitely have a preconceived notion of what those lyrics might be like. The more real I could be lyrically, even if it was a lyric that didn’t necessarily mean one thing, the more down-to-Earth it came across the better it was for me in general. I wanted to make a record that was lyrically realistic, if that makes sense — more realistic to anybody’s real-life experience instead of ideology, nationalism, gore or even H.P. Lovecraft worship. Don’t get me wrong, I am an H.P. Lovecraft worshipping fool! It’s just been done before.I wanted to make something that was very organic, down-to-earth and mix that stuff with sarcasm and tongue-in-cheek type of shit, which is a big part of my life. My sense of humor is whacky! There are a lot of parts on the record where I am laughing at myself, which at my age, you fuckin’ better learn to laugh at yourself or you’re in big fuckin’ trouble! [laughs] So, ya know, man… I just wanted to be as real as possible. Fuck!

phil-anselmo-2013-6

Speaking of being real, the last time we spoke you had just started working on putting together your autobiography. You have been working with Corey Mitchell on that project. What has the experience been like for you and where are you in the process?

Philip H. Anselmo

Philip H. Anselmo

Baby steps still. I still don’t think with everything that has cropped up and popped up in the last nine months to a year, when am I really going to have time to sit down and grind this motherfucker out? Honestly, I will probably be working on this book all the way through December into the next year. It is going to be a grind. I still think we are not even near being close to being close. For me, it is a little nerve-racking and I hate to use the word hesitant but that word is a true reality for me, so I am no going to hide it. No worries! It will get done but right now, it has almost been put on the back burner because of the DOWN touring cycle just coming to an end and the solo record is just taking off. I have some touring to do with that and then we have the horror convention in October. Obviously, or maybe not so obviously, in November, I have some heads down DOWN writing to do for the next EP. It is going to be a lot of cram work and sleepless nights but you know what? That is why I am here for God’s sakes. I am the type of guy who if he sits around and does nothing for long enough, I will start feeling guilty. I guess I won;t be feeling so guilty in the next few months! I will be working my lil’ ol’ balls off!

What is a typical day like for you when you aren’t in writing or touring mode these days?

These days it is a whole lot of this — talking and doing interviews with awesome fuckers like yourself and making sure this machine over here at Housecore Records works. That is always a fuckin’ challenge. Then there is always the physical aspect of everything, ya know? It is keeping in shape, hitting the fuckin’ bag and sweatin’ it out in this crazy hot weather down here. It is always something man. If it is relaxation time, I am an absolute sucker for horror films whether they are modern, old or very old! I am always watching horror films or listening to music. I’m a nerd, man! [laughs] I love music, horror films and boxing! I still have to watch my boxing matches, so nothing has changed!

Speaking of your love of horror, you have been very busy planning the Housecore Horror Film Festival. The lineup is terrific and it could certainly grow to be an annual event! What do you expect from it?

Taking Horror Conventions To The Next Level!

Taking Horror Cons To A Whole New Level!

Bite your tongue, young man! Don’t say annual yet! [laughs] I need to make it through this first one first! It started out as a small idea. It was Corey Mitchell who came to the house for the first time and was looking at all of the horror memorabilia, framed posters and all the other shit. Of course, I had to show off my collection and he was like “Jesus Fuckin’ Christ!” Off-handedly, he mentioned throwing a horror festival. I am sure I was occupied with something else at the time and said “Oh, yeah. Sure.” The next thing you know, it is a reality. He said “What do you think about bands playing?” I said “I guess that would be cool and we could have Housecore bands, New Orleans bands and Dallas/Fort Worth bands play. We’ve got that covered!” The next thing you know, word got out about the festival and so many motherfuckers came out of the woodwork it was insane! A lot of these things, people, directors, bands and whatnot where just too good to believe and pass up! All of a sudden, it was this cavalcade, an avalanche! It was like “Wait a minute! Let’s tone this down a little bit! This is year one and let’s feel it out!” Once again, I am very, very skeptical about using the word annual just yet. I would like to get through year one first. Really, my goal is to make sure, first and foremost, that people who buy their way ticket-wise into the horror fest have fun. I want people to have a blast! I want people to come away from it and say “Man, that was a great event! I want to come again next year!” and I want them to spread the word. That is the most important thing. I guess a very close second is that the people who are helping to facilitate this thing, the bands, the directors and the younger directors who have submitted films and short films, to have a blast as well. I want them to feel rewarded and at home. I want everybody to have a damn great experience! Right now, it is the type of project where you are always working on something logistically. We are working on things logistically right now just to make sure people do have a fantastic time! Only time will tell. It is one of those things where we will have to wait and see but it is only a few months away, so I am looking forward to it. Fuck, man! I hope everyone who comes out to the thing as an absolute blast!

You seem to be in a great place creatively. What would you consider the best part of being Philip H. Anselmo these days?

A True Metal Legend

A True Metal Legend

You know what? I just got back from Europe, where I was invited onstage to sing by Accept, Voivod, Agnostic Front and Slayer on my birthday, along with several other bands. The camaraderie I have with all of these bands I have looked up to all throughout my life and who have been such gigantic influences in my life is amazing. I have said it once and I will say it again, I am just a music nerd. I love music. I love bands. I love the underground in music. Gaining the respect of these bands and having the having the honor of being invited out by so many bands from so many different realms and sub-genres of extreme music and having their respect is a fantastic thing. I also have to add to that, I think somewhere along the line, I have got to say, I have the greatest fans in the world! Whether they are Pantera fans, Superjoint Ritual fans, DOWN fans or whatever, I feel blessed to have these people who love the music I do, love my attitude and actually have the wherewithal to come up and talk to me. I love meeting people. I love talking to people about music, film or just real-life, it doesn’t matter. I love meeting new people and fans especially! I think the best part about being me is just being a part of this fantastic world of fuckin’ music. There are so many different characters out there, whether you are a fan or in a band. To have that respect and to be that close to the people means the fuckin’ world to me, man. I can’t stress that enough! I really can’t!

Thanks again for your time today, Philip. We look forward to spreading the good word on the record and everything else you have in the works!

Thank you, my brother! Talk to you soon, man.

Get all the latest news on The Housecore Horror Film Festival at www.housecorehorrorfilmfestival.com. Catch Philip H. Anselmo and The Illegals on tour – View the tour dates here!

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