Author: wamdines

Mikael Åkerfeldt looks back on the time he was the most starstruck he had ever been.

In a new interview with Revolver, the Opeth mainman recalls meeting Agnetha Fältskog and sharing dinner with her.

Speaking of the moment, he remembers, “I met Agnetha Fältskog from ABBA — the blonde.

“We did the Heritage record in the studio where ABBA used to record, and the owners had their flat on top of the studio. They invited us for dinner when the record was done, and Agnetha was there.”

Åkerfeldt continues, “We all got to sit down with her and have dinner, and she brought this expensive champagne.”

Reminiscing on what he spoke about with the legendary Swedish star, as well as his reaction to being in her presence, he muses: “I’m a huge fan, so I got to ask her all these questions about their songs. She was super cool.

“But when she first came up as I was entering the flat, I froze. It’s like seeing Greta Garbo — she just doesn’t appear… After shaking her hand, I went out and had like five cigarettes in a row just to calm myself down. I get starstruck easily, I think.”

Last year, Åkerfeldt briefly recalled the memorable moment during an interview with Metal Hammer, noting how during the evening, he even found himself enjoying music with the ABBA singer from the studio owner’s jukebox, which was filled with old 1950s singles.

“I danced with the Dancing Queen,” he declared. “Not to Dancing Queen, sadly. The studio owner used to hang out with her, and he said the Heritage record was always out by the stereo in her house – and it wasn’t in the shrink-wrap. She definitely listened to it.”

Elsewhere in the Revolver interview, the Swedish frontman reveals he was once starstruck over being in the same room as Ritchie Blackmore. “And] when we played with Rainbow,” he says, “I knew of course that Ritchie Blackmore was in the vicinity.

“I was so nervous that I drank myself to the point where I missed my flight the next day. Because I figured I needed liquid courage if I’m going to say something cool to Ritchie Blackmore. But I never got to meet him.”

Last year, Opeth released their fourteenth album, The Last Will And Testament, to glowing reviews. Metal Hammer writer Rich Hobson awarded the album with 4.5 stars, hailing the album as “their best since the career-making heights of Blackwater Park and Ghost Reveries.”

Keith Moon was famous for his puckish behavior. Destroyed hotel rooms, nights of heavy drinking and general zaniness were all in a day’s work for the Who drummer, who earned himself the nickname “Moon the Loon.”

Being in a world famous rock band, after all, places one in a position of excess, where Moon was all too content to make the most of it, even if that included destruction of his own property.

“I get accused of being a capitalist bastard, because, you know: ‘How many cars you got?’ ‘Eight.’ ‘Big ‘ouse?’ ‘Yes.’ Well, I love all that; I enjoy it,” he told Rolling Stone in 1972. “I have lots of friends over and we sit up, drinking and partying. I need the room to entertain. I enjoy seeing other people enjoy themselves. That’s where I get my kicks. I’m kinky that way. I have the amount of cars I do because I smash them up a lot. Six are always in the garage; it’s a fact. They’re always saying I’m a capitalist pig. I suppose I am.”

Entertaining others was one thing, causing grief was another. By the time the ’60s came to a close, Moon had a wife, Kim Kerrigan, and a baby daughter, Mandy, who could do little to tamp down the musician’s penchant for chaos. Eventually, it led to Kerrigan and Mandy moving out of the Moon family home for good in 1973 and getting a divorce two years later.

Read More: When Keith Moon Made His Final Appearance With the Who

Moon’s way of living did not go unnoticed by his bandmates either. Pete Townshend knew he was watching his friend more or less dig his own grave.

“I was obsessed with trying to keep Keith alive,” the guitarist, who himself has been sober since the early ’90s, said to People in 2022. “It was quite clear that he was on a downward slide, and there was very little I could do. He was a very complicated character.”

“Character” is perhaps the best word for it, as if there were multiple versions of the same man. There was Keith Moon from the Who, the wildly talented drummer with a semi-theatrical style of playing that would end up influencing many future musicians. And then there was Moon the Loon, whose unpredictability could be as funny as it was dangerous. It was this latter character at the center of a deeply tragic incident that took place in 1970.

The Car Accident With Neil Boland

On Jan. 4, 1970, Moon, his wife and a group of friends attended the opening of the Red Lion pub in Hatfield, Hertfordshire, a relatively small town compared to the large cities the Who were playing then, like London, Paris, Berlin and New York City. In other words: the local working class folk didn’t take very kindly to the sort of extravagant wealth that Moon not only possessed but flaunted.

Which is how it ended up that a group of pub patrons began attacking Moon’s Bentley, an undoubtedly high-end car then and still today. In an effort to escape the madness, Moon, unlicensed, got behind the wheel of the car and drove off. What he did not know was that his driver and bodyguard Neil Boland was caught underneath the car and being dragged down the road. Boland was killed and Moon was charged with his death, plus drunk driving and driving without a license or insurance. Six weeks later, however, Boland’s death was ruled an accident by the coroner and Moon ultimately only plead guilty to the drunk driving charge.

Over the years, rumors have arisen over whether it was Moon or his wife driving the car, but one thing was painfully apparent: Moon’s raucous behavior hit a new low in that moment, propelled by an increasingly unhealthy relationship with drugs and alcohol. In the ’70s, an era in which mental health was a relatively taboo and misunderstood subject and substance abuse treatment very much still developing, Moon’s condition was not one that was easily fixed.

“Had I known then what we know now about the issues of the mental illnesses, the diagnoses and things, I probably would have had a different approach to the whole thing,” Annette Walter-Lax, Moon’s girlfriend for the last four years of his life, told Goldmine in 2020. “But I thought it was all down to drugs and alcohol and the fact that he was a rock star and that he was going to get better and all.”

Moon’s daughter, who later overcame her own struggles with alcohol abuse, doesn’t have an extremely clear memory of her father — she was small when her parents split and only 12 when Moon died — but does have an understanding of why her father could be so extreme.

“The hardest part, sometimes, is that we left so young, and maybe the more negative memories stick out for you,” she told uDicsoverMusic in 2016. “When I was a bit older, I realized that people do change when they drink.”

Moon died of a drug overdose in 1978 at the age of 32. In his final interview, he was asked “Are you in control of your life at all?” “On certain days,” he replied.

READ MORE: How Keith Moon Helped the Who Break in America

Pamela Des Barres, the famous rock ‘n’ roll groupie, writer, musician and actress, could recall Boland’s death haunting Moon, which certainly didn’t help with his substance abuse.

“That was in the back of his mind all the time,” she said to Classic Rock in 2022. “It probably was a way for him to abuse himself because he didn’t have a whole lot of self worth. On the one hand he had tons of it. He was the best drummer alive. But on the other hand he had very low self-esteem and berated himself all the time. And that unfortunate death was behind a lot of that.”

As Moon himself saw it, he was often the architect of his own chaos, but something compelled him to it.

“I suppose to most people I’m probably seen as an amiable idiot…a genial twit,” he said to Rolling Stone in 1972. “I think I must be a victim of circumstance, really. Most of it’s me own doing. I’m a victim of me own practical jokes. I suppose that reflects a rather selfish attitude: I like to be the recipient of me own doings. Nine times out of ten I am. I set traps and fall into them.”

Blue Öyster Cult’s journey from a small college town in New York to rock stardom is the story of a band that refused to follow trends and instead carved its own identity. Formed in 1967, the group initially came together as a psychedelic rock outfit before evolving into one of the most innovative acts of the hard rock and heavy metal era. Their unique sound, laced with cryptic lyrics and dark themes, became a defining trait as they explored everything from mysticism to science fiction.

With over fourteen studio albums, including the celebrated Agents of Fortune (1976) and Fire of Unknown Origin (1981), Blue Öyster Cult achieved massive success. Tracks like “(Don’t Fear) The Reaper,” “Godzilla,” and “Burnin’ for You” became timeless anthems, cementing their place in rock history. Their ability to fuse melodic complexity with driving riffs set them apart, and their live performances, filled with energy and technical precision, have earned them a dedicated fan base.

Over the decades, the band underwent lineup changes but retained its core of creativity and innovation. Today, with founding members like Buck Dharma and Eric Bloom still leading the charge, Blue Öyster Cult continues to record and perform, proving that their appeal transcends generations. Their influence on rock and metal remains undeniable, and their legacy endures through both classic hits and new material.

CURRENT MEMBERS

Donald “Buck Dharma” Roeser

Donald “Buck Dharma” Roeser, one of the founding members of Blue Öyster Cult, has been the band’s lead guitarist and one of its creative pillars since its formation in 1967. Known for his melodic precision and innovative solos, Roeser’s guitar work became a hallmark of the band’s sound. His songwriting contributions have been equally impactful, with the iconic “(Don’t Fear) The Reaper” becoming not only a massive commercial success but also a cultural touchstone.

Roeser’s versatility extended beyond the guitar as he occasionally provided lead vocals on tracks such as “Burnin’ for You” and “Shooting Shark.” His work on albums like Agents of Fortune and Fire of Unknown Origin was pivotal in driving the band’s success during their peak years. Outside of Blue Öyster Cult, Roeser explored his musical range with his 1982 solo album Flat Out, which showcased a more personal side of his artistry. Today, he remains a vital force within the band, ensuring their legacy as one of rock’s most enduring acts.

Eric Bloom

Eric Bloom joined Blue Öyster Cult in 1969, bringing his commanding stage presence and unique voice to the group. As the lead vocalist and rhythm guitarist, Bloom became the face of the band’s live performances, captivating audiences with his dynamic delivery. His vocal work on tracks like “Godzilla” and “Veteran of the Psychic Wars” helped solidify the band’s reputation for blending heavy rock with thought-provoking, often otherworldly themes.

In addition to his vocal and instrumental contributions, Bloom had a significant influence on the band’s lyrical direction, incorporating elements of science fiction and fantasy. His collaborations with science fiction authors such as Michael Moorcock enriched the band’s storytelling and thematic complexity.

Danny Miranda

Danny Miranda first joined Blue Öyster Cult as bassist in 1995, contributing to the band’s resurgence in the late 1990s and early 2000s. His work on albums like Heaven Forbid (1998) and Curse of the Hidden Mirror (2001) showcased his technical skill and ability to integrate seamlessly into the group’s complex arrangements. Miranda also played a key role in live performances, energizing the band’s rhythm section and complementing their signature sound.

After departing the band in 2004, Miranda returned in 2017, once again bringing his expertise to Blue Öyster Cult’s tours and recordings, including the 2020 album The Symbol Remains. Outside the band, he gained recognition for his work with Queen + Paul Rodgers, demonstrating his versatility and appeal as a sought-after musician.

Richie Castellano

Richie Castellano joined Blue Öyster Cult in 2004, initially as a bassist, but soon transitioned to guitar and keyboards, showcasing his versatility as a multi-instrumentalist. His ability to switch effortlessly between instruments and provide both lead and backing vocals has made him an invaluable member of the band. Castellano contributed to several of the band’s live and studio releases, including The Symbol Remains (2020), where his musicianship is prominently featured.

Beyond his work with Blue Öyster Cult, Castellano is also a producer and has pursued independent projects that highlight his diverse musical abilities. His dedication to both the band and his craft ensures that he remains a key figure in keeping Blue Öyster Cult’s legacy alive for future generations.

Jules Radino

Jules Radino became the drummer for Blue Öyster Cult in 2004, injecting fresh energy into the band’s rhythm section. His precise drumming style complements the group’s intricate arrangements, providing a solid foundation for their complex soundscapes. Radino’s contributions are particularly evident in live performances, where his skill and endurance play a vital role in the band’s dynamic shows.

As a member of Blue Öyster Cult, Radino has toured extensively and participated in recordings like The Symbol Remains (2020), helping the band maintain its reputation as one of rock’s most enduring acts. His professionalism and consistency have solidified his place as an integral part of the group’s current lineup.

FORMER MEMBERS

Allen Lanier

Allen Lanier, a founding member of Blue Öyster Cult, served as the band’s keyboardist and rhythm guitarist from its inception in 1967 until his retirement in 2006. Lanier’s ability to seamlessly blend his keyboard arrangements with the band’s hard rock style became a signature aspect of their sound. His contributions are particularly evident on tracks like “Joan Crawford” and “Veteran of the Psychic Wars,” where his atmospheric and melodic playing added depth to the band’s compositions.

Lanier played on every Blue Öyster Cult album from their debut Blue Öyster Cult (1972) to The Revölution by Night (1983), returning for Imaginos (1988) and live releases such as A Long Day’s Night (2002). He also provided occasional lead vocals, demonstrating his versatility. Lanier’s work extended beyond the band; he collaborated with Patti Smith and contributed to several projects in the 1970s, reflecting his wide-ranging musical talents.

Lanier retired in 2006 and passed away in 2013, leaving behind a legacy as one of the band’s core creative forces. His innovative contributions to Blue Öyster Cult’s music have cemented his place as a key figure in their history.

Albert Bouchard

Albert Bouchard, Blue Öyster Cult’s original drummer, was an essential part of the band from 1967 to 1981. Known for his dynamic drumming style and ability to adapt to the band’s evolving sound, Bouchard also contributed as a vocalist and songwriter. His work on tracks like “Cities on Flame with Rock and Roll” and “Astronomy” showcased his ability to blend rhythmic complexity with melodic storytelling.

Bouchard appeared on all studio releases from Blue Öyster Cult (1972) to Fire of Unknown Origin (1981) and contributed two tracks to Extraterrestrial Live (1982). After leaving the band, he pursued a solo career and released Imaginos (1988), which was initially conceived as a Blue Öyster Cult project. He also participated in live albums like Harvester of Lives (2012) and Rarities (2016), further highlighting his connection to the band’s legacy.

Outside of Blue Öyster Cult, Bouchard continued to explore new musical avenues, forming bands and collaborating with other artists. His impact on the band’s sound and legacy remains profound, influencing countless drummers and musicians in the rock genre.

Andrew Winters

Andrew Winters, the band’s original bassist, played with Blue Öyster Cult from 1967 to 1970, during their formative years. Winters provided the foundational basslines that supported the band’s transition from a psychedelic rock act to a more focused hard rock sound. His work can be heard on early recordings, including those compiled in St. Cecilia: The Elektra Recordings (2001).

Though Winters left the band before they achieved mainstream success, his contributions were critical in helping shape their early sound. His influence persisted in the reissued versions of the band’s early material, including the remastered edition of their self-titled debut album. While his career outside Blue Öyster Cult is less documented, his role as a founding member remains an integral part of their history.

John Wiesenthal

John Wiesenthal was a member of Blue Öyster Cult during their earliest iteration in 1967. He primarily contributed rhythm guitar and keyboards but did not appear on any official recordings before departing the group. Wiesenthal’s role was significant in the band’s embryonic stage as they experimented with their sound and lineup.

Though Wiesenthal’s tenure with Blue Öyster Cult was short-lived, his contributions helped lay the groundwork for what would later become their signature style. After leaving the band, Wiesenthal pursued other projects, but his involvement in the group’s formative period remains a part of its story.

Les Braunstein

Les Braunstein joined Blue Öyster Cult in 1968 as the lead vocalist and rhythm guitarist, bringing a distinctive presence to the band during a transitional phase. Braunstein’s time with the group coincided with their experimentation with psychedelic rock and theatrical elements, which would later inform their mature style. While he did not appear on any official albums, his influence was felt in the group’s live performances during his brief tenure.

Braunstein left the band in 1969, and his departure paved the way for Eric Bloom to join as the lead vocalist. Although his contributions were limited to the band’s early development, Braunstein’s role during this critical period helped shape the future direction of Blue Öyster Cult.

Joe Bouchard

Joe Bouchard replaced Andrew Winters as Blue Öyster Cult’s bassist in 1970 and remained with the band until 1986. As a multi-instrumentalist, Bouchard brought versatility to the group, contributing basslines, backing vocals, keyboards, and occasional lead vocals. His performances on tracks like “Hot Rails to Hell” and “Nosferatu” demonstrated his technical skill and creative input.

Bouchard was featured on every studio album from Blue Öyster Cult (1972) to Club Ninja (1985). After leaving the band, he embarked on a solo career and co-founded Blue Coupe with his brother Albert and Dennis Dunaway of Alice Cooper. Bouchard continues to release solo material, highlighting his enduring passion for music and his status as a prominent figure in rock.

Rick Downey

Rick Downey joined Blue Öyster Cult as a drummer in 1981, replacing Albert Bouchard. His tenure with the band included contributions to Extraterrestrial Live (1982) and The Revölution by Night (1983), where his precise drumming added a fresh dynamic to the group’s sound. Downey’s ability to adapt to the band’s established style while bringing his own energy helped sustain their momentum during a period of transition.

Downey left the band in 1985 and shifted his focus to the production and management side of the music industry. His time with Blue Öyster Cult remains an important chapter in the band’s history, showcasing his skill and professionalism during a pivotal era.

Tommy Zvoncheck

Tommy Zvoncheck joined Blue Öyster Cult in 1985 as a keyboardist and backing vocalist, contributing to the album Club Ninja (1985). His keyboard arrangements added a modern edge to the band’s sound, particularly on tracks like “Dancing in the Ruins.” Zvoncheck also appeared on Imaginos (1988), further cementing his contributions to the band’s late-period work.

After leaving Blue Öyster Cult, Zvoncheck worked as a session musician and pursued various solo projects. His technical expertise and musical versatility made him a valuable contributor during his time with the band.

Having carved their place in the melodic death metal scene for over a decade, Serenity In Murder continues to push boundaries with their latest masterpiece, Timeless Reverie. It will be released on February 28, 2025 via Apostasy Records. 

The band has announced two release shows for the mnative Japan. Details below.

Following the acclaim of 2021’s Reborn, the Japanese band further refines their signature blend of raw aggression and symphonic beauty. The album navigates a dark and emotional landscape, taking listeners on a journey through themes of time, destiny, inner turmoil and personal revolution.

The narrative within Timeless Reverie is tied to existential questions and the search for meaning in an unforgiving world. The title itself, Timeless Reverie, suggests a meditation on moments that feel suspended in time, where the past, present, and future collide. The album explores the fragility of life, the complexities of human emotions and the eternal struggle between light and darkness.

Musically, the album seamlessly weaves complex melodies, atmospheric symphonic elements, and crushing heaviness. Opening with the ferocious God Forsaken, Timeless Reverie sets a strong tone that is sustained throughout the album, offering listeners both intense moments and melancholic, atmospheric passages that allow them to immerse themselves fully in the experience, absorbing every layer and feeling the music resonate deeply with every note.

Tracklist:

“God Forsaken”
“Matrix”
“Blue Roses Gracefully Fall”
“And the World Awake”
“Never Difiled”
“A Dance of Sorrow”
“The Flames Ablaze”
“Revolt”
“Past: Timeless Reverie”
“Noticed This Is the Betrayal” (2025)
“Hope: Timeless Reverie”

“God Forsaken”

Pre-order / pre-save the album here.

Metal powerhouse Lords Of The Trident have shared a new clip via their YouTube channel, this time revealing how Disturbed orders a coffee. Enjoy…

Disturbed has announces their 34-date The Sickness 25th Anniversary Tour, which will kick off in Nampa, ID on February 25 (full dates below) and is produced by Live Nation.

The tour celebrates 25 years of Disturbed’s seminal debut album which launched the band into public consciousness and is one of the most important and influential heavy metal albums of all time. Each night will feature two sets of music, opening with Disturbed playing the five times platinum The Sickness in full, followed by a full set of greatest hits.

The first half of the tour will feature support from special guests Three Days Grace, featuring the return of original singer Adam Gontier, and opener Sevendust, and the second half will feature special guests Daughtry with opener Nothing More.

Tickets and VIP will be available starting with an Artist pre-sale beginning Tuesday, October 15 at 10 AM, local time. Fans have the ability to pre-register for pre-sale tickets here. Additional pre-sales will run throughout the week ahead of the general on-sale starting Friday, October 18 at 10 AM, local time here. Dates in the UK and Europe will be announced soon.

Since The Sickness was released in 2000, the album was certified five times platinum by the RIAA, spent a total of 106 weeks on the US Billboard 200 chart. Billboard said of the title track upon release: “‘Down With The Sickness’ is, of course, the quintessential Disturbed song, harnessing all the band’s seethe and its now-famous tribal beat and guitar chug into three and a half minutes of alt-metal mayhem. It’s menacing, it’s rhythmic, it’s rebellious.”

Tour dates:

February
25 – Nampa, ID – Ford Idaho Center Arena*
27 – Denver, CO – Ball Arena*

March
2 – Saint Louis, MO – Enterprise Center*
4 – Milwaukee, WI – Fiserv Forum*
6 – Minneapolis, MN – Target Center*
8 – Chicago, IL – United Center*
10 – Detroit, MI – Little Caesars Arena*
12 – Louisville, KY – KFC Yum! Center*
14 – Boston, MA – TD Garden*
17 – Washington, DC – Capital One Arena*
19 – Montreal, QC – Centre Bell*
21 – New York, NY – Madison Square Garden*
29 – Cincinnati, OH – Heritage Bank Center^
31 – Cleveland, OH – Rocket Mortgage FieldHouse^

April
2 – Philadelphia, PA – Wells Fargo Center^
4 – Buffalo, NY – KeyBank Center^
5 – Pittsburgh, PA – PPG Paints Arena^
7 – Toronto, ON – Scotiabank Arena^
9 – Indianapolis, IN – Gainbridge Fieldhouse^
12 – Charlotte, NC – Spectrum Center^
14 – Raleigh, NC – Lenovo Center^
16 – Birmingham, AL – Legacy Arena at The BJCC^
18 – Sunrise, FL – Amerant Bank Arena^
23 – Duluth, GA – Gas South Arena^
25 – San Antonio, TX – Front Bank Center^
26 – Fort Worth, TX – Dickies Arena^
28 – Oklahoma City, OK – Paycom Center^

May
5 – Seattle, WA – Climate Pledge Arena^
7 – Portland, OR – Moda Center^
9 – Sacramento, CA – Golden 1 Center^
10 – San Francisco, CA – Chase Center^
13 – Inglewood, CA – Kia Forum^
15 – Phoenix, AZ – Footprint Center^
17 – Las Vegas, NV – MGM Grand Garden Arena^

* with special guests Three Days Grace and opener Sevendust
^ with special guests Daughtry and opener Nothing More

Rising metalcore champions Heriot are embarking on their first headline tour of the UK in April. With that in mind, Metal Hammer recently sat down for a conversation with singer/guitarist Debbie Gough to discuss their new debut album Devoured By The Mouth Of Hell and a host of other topics. The most baffling of those topics was the great phantom window shitter of Birmingham.

Long story short: Debbie used to work in a guitar shop in the Midlands. One day, she walked up for her shift and saw the front window covered in poo. The list of questions that arose as she investigated the crime were almost countless: who did this? How did they elude CCTV detection? And why were there bracelets among the… evidence?

This portion of the chat was too fascinating and unhinged to go unpublished, so you may find it in its glorious entirety below. As for the rest of our conversation, you’ll be able to find it in an upcoming issue of Hammer, so keep your eyes peeled!

You used to work in a guitar shop in Birmingham. Any fun stories from your time there?

“Somebody did a very, very violent shit up our window one day. It was the most explosive diarrhoea you’ve ever seen in your entire life! Ha ha ha! And there were bracelets in the pile of poo.”

We have so many follow-up questions. How do you shit up something?!

“I think, maybe somebody was stumbling around and needed to make a quick pit stop and leant up against the window. Then they thought, ‘Oh no… there’s something coming here,’ and they just had to do it there and then.”

So you didn’t actually see this happen?

“This is the next bit of the story! I logged into the CCTV and I went through the entire day and the entire night before, and I couldn’t see anything! I spent so long trying to find the culprit and I could not find him!”

The shit was outside the shop then?

“Thankfully, it was. But the really good thing about going through the CCTV, you could see everyone’s live reaction to the poo. One colleague’s horrified, another one’s horrified, then my friend goes out and I run out, and I start swinging off his arm laughing at how ridiculous it was. It was like cow shit, it was like the mud at Download festival last year! Except with bracelets in…”

What do you think the deal with the bracelets was?

“I presume somebody must have had them on their wrist and then, in their distress of having to shit at the window, probably threw their arms down.”

Or it could have been like how serial killers leave a symbol behind when they claim a victim.

“Ha ha ha! We had weekly window cleaners. Every Monday they’d come to the shop. The owner was like, ‘I’m calling the cleaners!’, and I went, ‘No, dude, I’m not calling them to get shit off the window.’ You can’t really call the window cleaner on Thursday, when they’ve already come on Monday, and let them find a big pile of poo.”

But you can’t leave it there till next Monday either…

“My other workmate did it. He got the bleach bucket out and did it himself. What’s funny is my boyfriend works for a drum company, so he knew our shop really well. Before he started working there, he wouldn’t believe me when I’d come home and tell stories like this. Then, when he started dealing with our shop, he was like, ‘Oh my god…’ Ha ha ha!”

We were so hoping you were going to say this is how you met. That would have tied this all together in such a lovely bow.

“I’m afraid not. Ha ha ha!”

Devoured By The Mouth Of Hell is out now. Heriot tour the UK in April.

The first band Metallica toured with have admitted that they didn’t think the metal juggernauts had a bright future ahead of them.

John Gallagher of British metal veterans Raven, who headlined during Metallica’s first-ever North American tour in 1983, tells the Talkin’ Rock With Meltdown podcast that the California stars were still unseasoned when they played together, likening them to a “gang”.

“They were like a gang, which is always appealing ’cause we were, obviously, like a gang,” Gallagher says (via Blabbermouth). “It wasn’t the mentality of one guy starting a band and putting adverts out and having a bunch of mercenaries come in. There was none of that. They were a gang.”

He adds: “But as far as, ‘Do you see them in – whatever – 10 years being the greatest thing since sliced bread?’ It’s like, no, not a chance!”

The singer/bassist adds that Metallica were still a year away from releasing their groundbreaking second album, Ride The Lightning, which introduced acoustic guitars and more groove-oriented songs to their canon.

“It showed some maturity and breadth and the ability to do different things other than just [playing fast] all the way through,” Gallagher says of that seminal 1984 release. “So, they sat, they learned and they soaked it all in and they did a whole bunch of stuff.”

Though Metallica may have vastly changed as musicians in the years following their shows with Raven, Gallagher claims that the band are still “the same guys” that they were in 1983.

“We had a long conversation with James [Hetfield, Metallica singer/guitarist] a couple of years ago up at Metallica HQ [in Northern California]; we visited there. And [he was] very humble and very ‘I don’t know how this all happened, but we’re very grateful and humbled that it did. And we’re gonna continue to do the best we can.’ You can’t ask for more than that.”

Metallica had just released 1983 debut album Kill ’Em All when they hit the road with Raven, and the package was opened by fellow fledgling thrashers Anthrax and Exodus. The album didn’t chart, but reached number 120 on the US Billboard 200 in 1988, as the band were rocketing up the ranks of the heavy metal scene.

Ride The Lightning marked Metallica’s chart debut and reached number 48 on the Billboard 200. However, amid the album’s 40th anniversary celebrations last summer, it outdid itself and reached number 24.

As of 2023, Metallica have sold more than 125 millions albums around the world.

As for Raven, the UK trio celebrated their 50th anniversary in 2024 and continue to tour and record. They released their latest album, All Hell’s Breaking Loose, in 2023.