The members of Georgia sludge-metal crew discuss how they formed, what it's like being a heavy band from the South, and offer a glimpse of what people should expect at Scion Rock Fest 2010 in the video below.

Watch (in horror) as Jersey Shore star “Snooki” interviews Rob Halford and Scott Travis of Judas Priest on the Grammys’ red carpet. Revelations: Lady Gaga is a fan of Judas Priest—the burger anyhow!

Check out DevilDriver’s headbangingest video ever, for “Another Night in London” off their Pray for Villains (Roadrunner) album, after the jump!

DevilDriver, “Another Night in London”:

Iconic frontman Ozzy Osbourne recently made an appearance on Sirius XM’s Liquid Metal radio show, where he got a special metal-style serenading from host Jose Mangin. Don’t miss the look on Ozzy’s face as Mangin, rockin' a Revolver “Vulgar Display of Metal” T-shirt, begins his unique tribute. Priceless.

As a proud owner of a vagina, I feel more than qualified to offer up honest, raw, and unadulterated advice regarding all things related to sex, the human body, and relationships. So, all you metalhead freaks out there, please email me your most dire, dirty, sick, and twisted questions about women and the way we work, from our emotional hearts to our even more complicated parts. Email me at RevolvHer@gmail.com and follow me at @revolvher666.

Dear RevolvHer,

Thanks,
Todd

Dear Todd,
I thought long and hard about your plight, hence my delay in getting a new post up. Normally, I would get all deep and blame your desire to jerk it rather than bone your girl on an issue with intimacy. Like, maybe you have issues with being emotionally close to a woman you are fucking, and so you find it more satisfying to pleasure yourself rather than deal with true intimacy. Fucking is not always as easy as just sticking your cock into your girlfriend and getting off, it often times involves her feelings, as well as the old “one good turn deserves another.” It is OK to admit that this stuff is intense and masturbation is a quick release, comparatively. But, then there are other reasons people dig jerking off; cause it feels good, and you know your own body better than anyone else does.

So, as to whether or not you are normal, who knows. There is nothing wrong with you if you have any of the above feelings. It is good to get honest with yourself and address this stuff before it creeps up on you and begins to negatively affect your relationship or sex life. Are you forsaking your woman for hours in front of Internet porn? Chances are that kinda thing will bum her out big time and lead to resentment or even a breakup.

My expert sex advice is as follows. If your orgasms are truly better when you are jerking off, then you should consider introducing your own hand techniques to your girlfriend. I am sure she would welcome any kind of assistance in that department if it will make you have better orgasms. You have spent years getting to know your cock and how it works, she is just getting used to handling it, give her some instruction on the kind of grip and pace you dig.

Another suggestion is to masturbate in front of, or onto your girlfriend. Find out if she’ll let you cum on her tits and go for it. For all you know she could be way into it. Let her know that it turns you on to have her watch you, and to look at her while you go at it. It will help for you to communicate your sexual needs to your partner rather than just indulge behavior that is making you feel like you might not be normal, or behavior that might jeopardize the relationship. Girls dig being told that they turn a guy on. I wouldn’t suggest telling your girlfriend that you’d rather masturbate than fuck her, but it probably wouldn’t hurt to let her know how much it turns you on to have her watch you jerk off. Plus, mutual masturbation can be fun and you don’t need to worry about STDs and unwanted babies!!
xxx
RevolvHER

Chris Krovatin is the author of the young-adult novels Heavy Metal & You and Venomous, as well as Revolvermag.com's “Final Six” blog. The latter book was the inspiration for Deadlocke, a one-shot published by Dark Horse Comics.

Last week I went to a crazy night of death-metal, starring Nile, on the last day of a three-day weekend. Here’s what happened:

Day of this show: Monday.

Percentage of Sunday morning’s hangover still present: 36.7.

Resulting sentiment: Oh God, fucking death metal?

Price of a Budweiser tallboy at Grammercy Theatre: $12

Price of a can of Corona: $7

Total cash in my wallet: $6

Resulting sentiment: Oh God, fucking sobriety?

Price of a Nile Those Whom the Gods Detest patch: $1

Hot damn: That’s a pretty sweet deal, given how much most merch costs.

Those whom the gods most likely detest: The members of black metallers Abigail Williams, who had to leave this badass tour.

Sad fact: Abigail Williams are cool at best, and their brand of symphonic metal doesn’t go well with this brutal tech-death line-up.

First band: New York’s Judas Syndrome.

Thoughts: Whole lot of heart and decent riffs. I’ll keep an eye on ’em.

Next up: Dreaming Dead from LA.

Well, fuck me: This band totally shreds!

Awesome Dreaming Dead fact: The band features two attractive ladies, vocalist/guitarist Elizabeth Elliot and touring guitarist Laura Christine.

Laura Christine ist krieg: The look on her face as she throws the horns is brutal as fuck.

After them: Krisiun from Brazil.

Best comment from Krisiun vocalist Alex Camargo: “We know New York is a pretty metal fucking place!”

Best audience response: “Yeah! Yeah, fuck Jersey!”

Personal trivia fact: I saw Krisiun open for Cryptopsy and Dimmu Borgir at the Hard Rock Café in Midtown in 2002.

Krisiun’s musical progression since 2002: None whatsoever. Chugga chugga GROOOOOOAR.

Second to the last: Immolation from Yonkers.

Survey says: Immolation might be the best live death metal band I’ve ever seen.

Coolest guitar abuse: Axman Rob Vigna wailing on his ax like it owes him drug money.

Heartwarming moment of the night: Immolation vocalist Ross Dolan thanking his friends and family in the crowd. His eyes were shining with sheer gratitude.

And finally: Nile.

Fun personal fact: I met and interviewed Karl at Lit Lounge in New York. He told me he thought my messenger bag was cool.

It’s a purse, dude: Hey, fuck you, Sanders called it a bag!

Favorite song played: “Sarcophagus” from 2002’s In Their Darkened Shrines.

Awesome onstage Nile fact: Karl Sanders plays a double-neck guitar—and uses the whole motherfucking thing.

Awesome Egyptian reptile fact: The Nile crocodile is the only reptile that hunts for sport.

Thoughts at the night’s end: What a show. Glad I went.

Fatties smoked upon returning home: You have no idea.

In our never-ending quest to give you the best music available, we present the Revolver Bootleg series. Throughout each month, we’ll post cool, new, and often-exclusive tracks right here for you to hear before anyone else.

This installment is a special acoustic version of “Eyesore,” off hard rockers Janus' debut, Red Right Return (REALID). To boot, the band was kind enough to film a special video to go along with our usual MP3. Frontman David Scotney fills us in on the song below.

Janus, “Eyesore (Acoustic)”:

REVOLVER What’s this song about?
DAVID SCOTNEY “Eyesore” is about listening to your own voice, not letting others influence your thoughts and decisions, and being true to yourself. The title, “Eyesore,” is meant to define that moment of awareness where you realize the consequence of not following your own voice.

Which part of it did you come up with first?
Mike developed the intro/main riff and very quickly brought a vision of the string sections that became the core of the song. There was a quality to that riff that felt larger than life and almost anthemic. That vibe really became the inspiration behind building the rest of the song.

Was this an easy song to write? Why or why not?
The music actually came together rather quickly but the vocals for the chorus took the most time. It was really challenging to complement that guitar part with a vocal melody because we felt it was so strong and Dave wanted to support it and not compete with it.

Most people know the version of this song on the radio. What do you get out of playing it acoustic?
Playing it acoustic, we felt, highlights the melody of the song which gives it a different vibe than the heavy version. It also highlights the string arrangements that were written to accompany the song giving them much more space to breath instead of having them sit amongst all the layers of the album version.

What sort of feedback have you gotten on this song so far?
So far the feedback has been great. We've had a lot of fans tell us that it doesn't sound like anything else out there which is great to hear. We have had a lot of fans tell us that they identify with the lyrics and we've notice fans singing along to that song in particularly in our live shows.

Janus: "Eysore (Acoustic)"

The soon-to-be-released video for Fear Factory’s “Fear Campaign,” off this year’s Mechanize (Candlelight), lives up to the song title: Cops pushing dogs into a helpless man’s face, the band’s frontman being strangled, a creepy interrogation room. The men behind such atrocities, video directors Ian McFarland—who owns the Boston-based Killswitch Productions and has directed clips for God Forbid, Meshuggah, and Agnostic Front—and Mike Pecci fill us in on how they made the band more fearful than ever.

REVOLVER How did the concept for the video come about? How involved was the band in that?
IAN McFARLAND Mike and I met Burton back in 2007, when he was on tour with Ministry and Meshuggah. We talked for quite a bit and from that point on every once in a while… One day, out of the blue, I got an email from Burton telling me that Dino along with Byron Stroud and Gene Hoglan were in the lineup, and that they had just recorded a new album and that they wanted to work with Mike and me on a music video for it. I can’t tell you how excited we were to get that email.
MIKE PECCI Burton is an extremely creative person, and he had some very specific visuals in mind. He said that he wanted to bombard the audience with rapid images that supported his lyrics.
McFARLAND Our goal was to make a video that was inspired by all those really cool stock footage ’90s music videos, but rather than using stock footage of the atrocities of the world, we decided to shrink those things down to single images and objects that can be identified as the tools used to create those problems. Essentially we wanted to make an ad campaign for fear. One of the other things that Burton really wanted was to figure out a way for him to play a role in the video. He wanted to play a character that represented some sort of authoritative entity and would represent the word fear to the fullest. That’s where the cop/priest character came into play.
PECCI Both Ian and I agreed on one thing right from the start, no stock footage! It’s cliché. With my photography background, and our relationship with photographer Heather McGrath, I proposed that we take all original photos, and instead of shooting big, we should break down each issue addressed in the song down to one object that would be shot on a stark color. We spent a lot of time researching symbols and objects that would best represent each lyric or idea… The best part of working with Fear Factory is that they wanted to look original, fresh, and new. They said that they were willing to put themselves out there to make this thing that much better. We decided that we wanted to use vibrant primary colors—yellow, blue, and red—and that the video be lit with strong and revealing light.
The black-and-white footage would be shot with rich blacks and high contrast to give it the feeling of a graphic novel, and all of the photography of the objects was heavily influenced by Frank Miller’s illustrations. We would also film the band voyeuristically with a special focus on repetitive technical detail.

How much do the lyrics of the song tie into the imagery? It seems like there’s a pretty close correspondence in many cases.
PECCI The trick with the images was to find a few specific objects that represented an idea or action. For instance when Burton says “war,” instead of showing epic images of people running from tanks and bombs being dropped from planes, we show a single bullet, gun, or a gas mask. These images force the audience to fill in the blanks, to put their perception of war in mind during the video. This will hopefully keep the video from being too heavy handed.

Tell me about the dogs and working with them. They look fucking scary.
PECCI Let me just start out by saying that I am deathly allergic to dogs. Being on set that day was an interesting exercise in directing from afar. The trainer was amazing! He had these two attack dogs better trained than most actors that I have worked with. The dogs could be set on a single spot and they would remain there until the trainer allowed them to move, and with a simple hand gesture these two lovable creatures would turn into spawns of hell
McFARLAND As mean as those dogs look, they were acting like puppies when we were not rolling. I still can’t believe how well trained they were. The trainers and their relationship with the dogs was really remarkable. We would say “action,” and on a dime the dogs would go from being happy and licking each other to little four-legged demons. I have to say that Burton really got one hell of a workout handling those dogs. Each one of them weighed about 90 pounds and Burton had to stand there and hold them back from eating our actor ’til we got the shot I wanted… not an easy thing to do for multiple takes. He handled it like a champ and I don’t think that I heard one complaint from him throughout that whole shoot.
PECCI One of my favorite moments was when Heather was taking some promotional shots for the video. She was crouched down in front of these two beasts on her knees, the trainer gives the command and the dogs start barking, snarling, and biting. Let me just say this again, this breed is trained to kill! I watched in horror as they inched their way closer and closer to Heather. Eyes red, mouths foaming, and teeth sharp enough to rip your face off, they were snapping inches away from her face! At the last second the trainer yells a sharp command and the dogs back up to their original position and sit there panting with cute puppy dogs eyes. Heather turns to me with the grin of a 5 year old and says “They got spit on my lens. How cool is that?”

In the final part of Revolver's interview with Darkthrone multi-instrumentalist Fenriz, we discuss Panzerfaust and the black metal that matters to him now.

REVOLVER This year marks the 15th anniversary of one of my favorite Darkthrone albums, Panzerfaust. You wrote and performed all of the music on the record, and Nocturno Culto did the vocals. What was your mindset at the time?
FENRIZ Ach, Panzerfaust. Celtic Frost was so forgotten I had to print my own Celtic Frost shirts. I seemingly also needed to make some homage-like songs to Celtic Frost on that album. It must've been recorded in '94 and '95. I was getting the last pieces of the early '90s sound out of my system and going for even more '80s stuff. The Celtic Frost style is pretty much never wrong. Our mindsets were rather insane. We were at the end of our tethers. After that it was a long way back to ourselves again.

What do you remember about writing the album's first song, “En Vind Av Sorg”? The guitar line is almost symphonic while the drumming is very Von-like.
Correct, it is exactly the style of Transilvanian Hunger. I was getting it out of my system. Wasn't there a couple of songs like that on Panzerfaust? I haven't listened to these albums in their entirety in the last 10 years or so. Von was a big hit among us up here when it hit us in 1992. Monotone stuff was very fresh after 10 years of hectic metal styles. Remember all the metal styles, basically from early '80s and upwards, were damn hectic. There was no time to play a riff eight times for instance…not until Burzum and Von came and changed things. Although Bathory did it in the '80s, but people weren't ready for it then to the same degree as in '93 and onwards.

How did Varg get you the lyrics to “Quintessence”?
I think he wrote five for me, so there was one left over from the Transilvanian Hunger session. As usual we are pragmatic and reasonable people! [Laughs]

Speaking of Varg, a documentary has recently come out that addresses your relationship with him. Has he contacted you since he was released from prison?
I get asked about this a lot. But this isn't Bravo magazine. Things between Varg and me are private. I think a lot of our hatred and dismay is because of people's lack of dignity in this world, respect for personal space and so.

Do you and Nocturno Culto still identify Darkthrone as black metal?
Not if what King ov Hell is doing is something anyone would call black metal. Let's just say that we ditched the boat before all the dead meat sank it. Again. We play our own brand of heavy-metal speed punk now. eternal oppression! Ugh!

What black-metal bands matter most to you now?
All the old stuff from the '80s and, as always, stuff that sounds like the '80s: Old, Hellrealm, Faustcoven, Teitanblood, Power From Hell, Aura Noir, Orcustus, Portrait… basically this is the law. What gives me a black metal vibe, I like; it's important to me. What others say is black metal is completely besides the point, our truth has been twisted so many times since 1991. It's not even funny. Waste of energy, but I still mock and fight it as opression is me.

You've always been an outspoken fan of Autopsy. Will you be attending any of their reunion shows this year?
I hate crowds so much that I stopped DJing. Does that answer your question? I am so lucky to listen and like their music, so I don't need to try and see a show where there's a line of people wanting to shout something in my ear instead. Again, the lack of dignity makes me turn my fuckin' back. Rrriiitttee!! In another life I can attend shows, perhaps.

Lastly, I couldn’t help but notice you have a Dilbert "Dogbert" tattoo. What prompted you to get that?
With Dogbert I can relate, Sir.

Anything else you would like to add?
Thank you for reading. Every sixth day I put another band out on the band of the week blog on the Darkthrone official MySpace.

To read what Fenriz has to say about his Red Planet project, doom metal and his relationship with Satyricon's Satyr in Part 1 of our interview with Fenriz, click here. To read about the creation of Transilvanian Hunger, his hatred of hipsters, and the evolution of black-metal guitar in Part 2, click here.

Interview by Kory Grow

Revolver's interview with Darkthrone drummer Fenriz, we look back on the album that established the band as Norwegian black-metal icons.

REVOLVER Last year was the 15th anniversary of Transilvanian Hunger. What do you remember most about making it?
FENRIZ The whole album began in my head late 1993 one day, and I got home from work and got the riffs down on guitar. Then I rehearsed it for myself, then learn it in my head and made decisions for the drumming. Then I started recording the drums while humming the song in my head. I already started this procedure on the first Isengard demo in summer 1989, so I had a lot of practice doing just that. I liked the result, I liked the way the guitars sounded together with those particular riffs. so I just contiunued. after or before work every day. I would record and make more. Two weeks later I had made the whole thing. Ted [Skjellum, a.k.a. Darkthrone's Nocturno Culto] got lyrics through the mail from me, and later Varg [Vikernes, a.k.a. Count Grishnackh of Burzum]—Varg was in jail with no communication to the outside world, so I offered him to speak through lyrics. Then Ted came down and we took Necrohell portable studio, which had all four tracks full of Transilvanian Hunger, to another studio to lay vocals.

You’ve said that that album has fueled all the hipsters and trendy people in black metal. In hindsight would you have done anything different, knowing that?
No, posers are bad. I'm a hipster myself, the whole "trendy" thing in metal has been misunderstood. We despised the ones who always went for the winning team, flavor of the month, but being trendy my way is going against the grain constantly, and then the other ones decide my taste is flavor of the month way later. I saw thrash die, death metal die, and then black metal. I always got out of the party when the idiots started crashing it. Trendy the underground way is the opposite of passive consumerism. Doing anything different? That is very close to contra-factual history writing, and I oppose that! [Laughs]

In the past you’ve talked a little about watching Mayhem's Euronymous and Thorns' Snorre Ruch develop the black-metal style of playing without palm muting. Could you retell that story, just about how they went about inventing this new sound and Darkthrone’s involvement.
We had little part in that. I didnt watch 'em do it, I just heard Euro tell me about it, and we could hear the results ourselves on Mayhem's Live in Leipzig tape and the Thorns rehearsal from June 1991. I think you told it just fine, better than me anyway. I can't reproduce others' stuff. I make it myself or shut up. Anyway, those kinds of riffs became the new order for a lot of bands in the '90s and onwards, and I, of course, got sick of it rather quickly. In 1994 it was over for me; '95 was definately boring the hell out of me. Also then, the hi-fi idiots started doing it; it had way better feeling when it was lo fi, and up to 1993 black metal was only lo-fi. There was not one black metal release with plastic modern sound up until then. So I liked it better in the '80s, when the people copying the early '90s style, which was of course a product of the '80s, that was when the '90s began. Daft.

Come back tomorrow for the final part of Revolver's interview with Fenriz, wherein he talks about recording Panzerfaust, Varg Vikernes, and the future of Darkthrone. To read Part 1, click here.

Interview by Kory Grow