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the very best of the world’s greatest metal magazine

e h t L ANNUA 9 1 0 2 featuring

Volume 2

Digital Edition

ghost, Iron Maiden, marilyn manson, nightwish, Black Sabbath, judas priest, Metallica, pantera, five finger death punch, machine head, him, asking alexandria, black label society, Halestorm, myrkur, lovebites, ARCHITECTS, ozzY, VENOM PRISON Slayer, MESHUGGAH & MORe!


Features 08 METALLICA

We hop across the pond to join metal’s biggest band on their North American mega-tour


The new face of the underground takes us inside the album that is redefining extremity


A mound of white powder. A gun. And the Double M. What could go wrong?

29 metal test: northlane 30 HIM

We bid farewell to one of the most beloved bands in metal history


Robb Flynn is an angry man. We find out how he found his Catharsis

51 metal test: powerwolf 52 ARCHITECTS

One of the UK’s finest prepare to move on from unimaginable tragedy

61 metal test: wcar 62 NIGHTWISH

Think you know Floor Jansen? Think again. We go no-holds-barred with the singer

Larissa Stupar has fought Nazis – but she’s not done fighting her cause yet


In a world exclusive, we delve inside their fascinating latest chapter

103 metal test: nothing more 104 OZZY

What happened when metal’s biggest names interviewed the Ozzman?

107 metal test: fozzy 108 FIVE FINGER DEATH PUNCH

How well do Ivan and Zoltan really know each other?


We spend an afternoon shooting pool and shooting the shit in the OC natives’ backyard


Zakk Wylde, Lzzy Hale, Zoltan Bathory and Ben Bruce call a state of the nation

127 metal test: monster magnet 128 JEFF HANNEMAN

71 metal test: bill bailey

We get Dave Lombardo to pay tribute to the Slayer legend


131 metal test: shinedown

Does metal have a sexism problem? We ask some of our scene’s most prominent women


Two legends. One interview. We witness heavy metal history in the making

85 metal test: tarja 86 LOVEBITES

Jake Owens



The biggest Maiden show of all time? Naturally, we had to find out for ourselves

141 metal test: godsmack 142 GOLDEN GODS 2018

Ozzy! Meshuggah! Baroness! Parkway Drive! Flaming drum kits! Arghhh!

How have five women helped to turn Japan’s metal scene upside down?


89 metal test: venom prison

162 metal test: madball

Our special tribute to the Texas icons 7


Absinthe everywhere. White powder down our chins. A naked... something in the bed behind us. And Marilyn Manson, gurning like a maniac, his arm wrapped around our neck and his finger wrapped around the trigger of a pistol, currently pressed directly into Hammer’s temple. The pistol’s fake, of course. At least, we think it’s fake. Did we ask if it was fake? Oh, tits, please let it be fake… Safe to say things have got a little out of hand pretty quickly, but then what else could you expect when you’re given the opportunity to spend a full hour in the company of one of rock’s few remaining, true enigmas? In a world of oh-look-here’s-Nergal-petting-allama-on-Instagram, access-all-areas rock stars, Marilyn Manson remains a riddle: a supervillain (or antihero?) come to life; a towering personality that transcends the man named Brian Warner who created it; a throwback to an era where metal was still terrorising the mainstream and you didn’t have to know what sized pumpkin spiced

imposing, barrel-chested, white face, dark eyeshadow, staring a hole through us with a mischievous smirk that makes you feel like you’re the butt of a joke of which you haven’t heard the punchline. Dressed in a red and black pinstripe suit and cupping a very large tumbler of absinthe, Manson looks like the consummate host of a party plucked from Roald Dahl’s nightmares as he casually slumps on the sofa beside us.


latte Rob Zombie plumped for this fucking morning. So, as Hammer sits down on a huge leather couch in a dark and cold (but pretty damn lush) top-floor suite in Berlin’s Soho House complex, awaiting the man himself, there are just a few questions whizzing around our heads. Which Marilyn Manson are we going to get today? Is Heaven Upside Down another breakdown album? Are we imagining that naked shape spread over the bed in our peripheral vision? And is that inhumane pile of white powder on the giant coffee table beside us for show, or is shit about to hit the fan? “That’s not cocaine, I swear.” A rasping voice from the gloom in front of us makes us jump out of our skin, and suddenly, there he is:


“We’ve met before, right?” he gracefully offers. Actually, no, we haven’t. “Oh, sorry, right,” he shoots back, laying a friendly hand on our shoulder. “You didn’t realise, I was just hiding outside your house that time.” And we’re off. Even with Manson in a playful mood, it’s hard to know where to start. This is a man who has not only said and done it all, but in recent times has had enough ups and downs to give an eagle vertigo. In the last 10 years alone, he’s experienced career-threatening levels of critical annihilation (see his shambolic string of gigs from 2007-2012),



September 1997

Bigger Than Satan. Unsafe. When we met Manson in a New York hotel following the release of Antichrist Superstar, we found him revelling in the larger-than-life life he had created for himself. “I’m a highly evolved state of what I used to be,” he told us. Christian America was panicked.

February 1998

In the year he released Mechanical Animals, Manson was excited about bringing showmanship back to music. “Grunge killed stardom, all the musicians wanted to be ordinary people, just like their fans,” he said. “We are the complete opposite; we want to bring the glamour and personality back.”

May 2003

Pressured by his record company to deliver a success, he reinvented himself with the help of KMFDM’s Tim Skold, making the Weimar-influenced, dancefloor-filling The Golden Age Of Grotesque. “[The album] ends up saying, ‘I’m not ashamed that you’re entertained, but this is not just a show, it’s my life.’”

June 2012

In 2012, ahead of the release of the very decent Born Villain, we sat in a freezing-cold, pitch -black room with a Manson determined to get his career – and his life – back on track. “I was a dog shitting on the floor” he hissed through the darkness. “Now I have fangs again.”

Marilyn Manson has always been a fan of ripping up the rule book 23


Tracking Loneliness A rundown of HIM’s greatest recording hits and misses

Greatest Lovesongs Vol. 666 (1997)

We say: A delectable debut perhaps most adored for its cover of Chris Isaak’s Wicked Game, this was a powerful statement of intent, but relative to HIM’s later triumphs it was merely a dark portent of even greater things to come. Ville says: “Well, this is fun! OK, wow. For me this album is just a shit-ton of little stories. It’s a diary of how we lost our virginity when it comes to making an album and what it means to record one – getting our feet wet in menstrual blood. Maybe that’s too dramatic…”

Razorblade Romance (2000)

We say: More polished and cohesive than their debut, this major-label release featured a game-changing single, Join Me In Death, which was the artistic summation of HIM’s blackened enchantments. Ville says: “…and this was us learning how to wipe the blood off! Ha ha ha! This was the beginning of our going international; it was dancing on a razor’s edge because we put everything we had into the album and we didn’t know what to expect. It was like playing roulette and hoping for three sixes – and that’s exactly what happened, which is a very rare occurrence. It’s also when the decade of dementia started. Things started happening – fast.”

Deep Shadows And Brilliant Highlights (2001)

We say: Not quite a misstep, but this poppier vision left critics cold and fans hungry for tunes that lived up to the promise of HIM’s earliest outings, and served as an important lesson for the burgeoning bandmates. Ville says: “A lot of times it happens to bands that after the first success, they think they’re great, and that’s what happened for me


– I started taking songwriting and HIM for granted. We could have spent more time on it but it’s an important step to take. It’s a hangover after the excitement.”

Love Metal (2003)

We say: Charting in 11 countries and in the UK for the very first time, this was the dark essence of Ville’s songwriting heart. Three big singles – Funeral Of Hearts, Buried Alive By Love and The Sacrament – heralded the news: HIM had finally arrived. Ville says: “Love Metal was when we turned our fingers into Vs and started to get recognition. It was the turning point – it was important because after Deep Shadows… we were trying to figure out what we were and Love Metal was our statement of intent. The Heartagram was our mandala, the representation of everything that we were about. It’s probably my favourite.”

Dark Light (2005)

We say: With the UK and Europe won over, the charm-offensive on America began, as did the first public signs of Ville’s surrender to the trappings of fame. A solid follow-up to their magnum opus, this was HIM’s creative peak. Ville says: “That’s a confusing one. We went to the States for the first time. I’m not sure how much of a success it was here in the UK but it got us into magazines over there for the first time. It was doing the same thing again with a different set of ingredients. I don’t remember much – I was drinking a lot. You think you’re superhuman and it’s like there’s nothing to reflect upon, you just don’t see the forest for the trees. Great album, though.”

Venus Doom (2007)

We say: A bitter pill that offset the sweetness of previous outings, this was HIM at their heaviest, and Ville at his darkest. Gone was

the sardonic regard for the world, and present was a joyless outlook that reflected the grimness of his life and times. Ville says: “It was our hats off to British doom metal: My Dying Bride, Paradise Lost, Cathedral. It was prophetic as it was getting doomy for me, too, which translated well, but it’s tough to say which came first. I dunno, my brain came first. I really like the album, but I wasn’t well. There was the hedonism of Dark Light, the American rock moment – this was the European answer.”

Screamworks: Love In Theory And Practice (2010)

We say: Screamworks was Ville’s recovery album. This was a fast-tempo rocker that was heavy on ditties but light on the lightless vision that first won HIM so many fans in the first place. Ville says: “That was the antithesis of Venus Doom, which makes it logical. With HIM, the fun thing is if you like the hard-rocking HIM albums, skip every other one – it’s pop then gloom then pop… this was a lot of fast tempos and energy and I wanted it to be different from Venus Doom. Maybe I wanted to be a third-rate David Coverdale.”

Tears On Tape

(2013) We say: An upbeat return to form that affirmed Valo’s songwriting prowess, HIM’s studio swansong was a nod to the past,

and a sturdy final bow. Ville says: “For me, Tears On Tape was like Love Metal part two – it sounds a bit more organic, a bit more Sabbathy in its sound and vibe. But for some reason it just didn’t resonate, it didn’t come out at the right time – some countries liked it, some hated it, and maybe it was just a sign of what was to come. The title track I really love, though; it’s very HIM in that it’s fun and serious at the same time, which was always our speciality.”


With his third eye, Ville sees the future‌ and HIM aren’t in it 41


Nightwish (left to right): Emppu Vuorinen, Marco Hietala, Tuomas Holopainen, Floor Jansen, Kai Hahto, Troy Donockley

loor Jansen can remember the first time she took on the knuckleheads and won. It was the early 00s, and her band, After Forever, were part of a tour whose bill featured a mix-and-match assortment of other, exclusively male, European metal outfits. The presence of a female singer on stage was apparently too much for some, frequently sending the lessenlightened members of the crowd into a testosterone-fuelled meltdown. “I’d get shit from the audience all the time,” she says. “‘Oh look, there’s a woman up there.’ In the beginning, I thought it was just part of it. But it soon became, ‘Really?’ They’d either be screaming ‘Slayer!’ or ‘Boobs!’ ‘OK, we’re not Slayer and I have boobs – very perceptive of you, can we move on now?’” Given that the woman their unwanted attentions were focused on was, in her own words, “headstrong and forceful and not afraid to call people out”, it was inevitable that things were going to come to a head at some point. Floor can’t remember the date, or even the venue when it happened, but she vividly recalls how the confrontation played out. “This guy was just constantly shouting stupid stuff at me: ‘[Moronic Beavis And Butt-Head voice] UH, BOOBS!’ This guy would not shut up. Eventually, I just said: ‘Seeing as you have such a big mouth on you, why don’t you come and tell me all these things to my face after the show?’” There was, she says, a mass intake of breath from the audience. A sixfoot Dutch woman armed with a fearsome death stare and a reservoir of patience about to run dry had just publicly offered out a drunken troglodyte. There was only ever going to be one winner in this smackdown. “Yeah, I picked a fight with that guy from the stage,” she says. “It worked like a charm. He didn’t say another word.” She arches a dismissive eyebrow. “If you want to be that stupid, by all means do it. But you don’t deserve my attention.”


iven the snootiness sometimes directed towards it, it’s ironic that symphonic metal has been at the forefront of the battle for gender equality for the last 20 years. There are few other genres where women are afforded such a prominent role, from Within Temptation’s Sharon den Adel and Epica’s Simone Simons to Floor herself. And while it’s still chiefly dominated by men – the driving force behind Floor’s current band, Nightwish, is undeniably keyboard player and composer Tuomas Holopainen – it’s far less exclusive than many other supposedly more progressive strands of music. Floor herself blanches at the idea of being anyone’s figurehead, though that’s


as much down to modesty as a reluctance to be a gender warrior. “There are people who consider me a role model, I suppose,” she says. “At first I thought… [makes a dismissive noise], but then I thought, ‘Maybe this is flattering.’ I don’t want people to copy me. I want you to like you. You’re already good enough. Anyway, I don’t want people to think that being me is all great.” We’re sitting in an ice-cold photo studio on an industrial estate on the outskirts of Gothenburg. Floor lives half an hour’s drive away, with her partner, Sabaton drummer Hannes van Dahl, and their 10-month-old baby daughter, Freja. It’s the first week of January. In a few days’ time, Floor will meet up with her bandmates in Nightwish to discuss the forthcoming US and European tours in support of their new greatest hits album, Decades. It will be the first time they’ve been together since the end of 2016, when they embarked on a year-long break. For the singer, the prearranged hiatus and her pregnancy dovetailed perfectly – though not in the most obvious way. “I think a lot of people think I had the year off because of my pregnancy,” she says. “But the pregnancy was because we had a year off. That’s a very important order.” When the break was first mooted, she wasn’t keen on the idea. She had only been in the band a few years, and her batteries were still fully charged.

“People don’t get to dictate whatever theY WANT FROM ME” The singer wrote a letter asking PUSHY fans to respect her space

“It wasn’t a point where I thought, ‘Yeah, let’s have a break.’ It was more like, ‘Oh shit…’” But an idea began to germinate in the back of her mind. She and Hannes had talked about having children, and this could be the perfect window of opportunity. “You’re in a band of six people,” she says. “If one person decides to just do something, it affects everybody else. Then I started to think, ‘Hmmm, a year off could be the time.’ But even that presents its own challenges, ha ha ha! There’s only so much planning you can do when it comes to pregnancies, y’know…” Onstage and on record, Floor is a commanding figure. Her voice – powerful but emotional, strident yet pliable – is a controlled force of nature. Today, perched cross-legged on a low chair, she’s friendly and open, even if the whiff of steeliness still surrounds her. She admits that she’s impatient and has a low tolerance for idiots. “Everybody meets a lot of idiots in their line of work, not just in music,” she says. “But I’m an impatient person. That can make everybody an idiot pretty soon. So that’s not fair.” What Floor Jansen definitely is not is a diva, at least not today. The ‘d’-word has plagued her for several years. It’s an accusation that has been brandished as a weapon by people who seem unable to comprehend that a woman in her position is entitled to refuse to stand for bullshit. In 2014, she felt obliged to post an open letter online in response to criticism of how she dealt with fans. The letter’s contents were summed up in the typically blunt line: “I am not an arrogant bitch.” (A sentiment a male contemporary would never have to express.)



Floor in sparkling form at the City National Grove of Anaheim, California in October, 2012

“That upset me terribly, just having to write it,” she says, looking genuinely pained. “Because I felt so misunderstood. But I stand by it. People think that when they come up to me, screaming things into my ear, that I will respond according to what they want. I’ll turn around and smile and take the photo. But I’m not somebody’s marionette. Just because I sing in a band, people don’t get to dictate whatever the fuck they want from me.” She rarely uses social media these days. She hasn’t been on Twitter for months, if not years, and she can barely hide her contempt for those singers of either gender who “post 12 photos of themselves posing on Instagram every day”. She’s been the target of the kind of apoplectic online fury that certain metal fans serve up so well, not least after a Hammer interview in which she called Slayer “a dreadful band”. “The whole social media thing is ridiculous,” she says, rolling her eyes in exasperation. “Everybody gets to say what they want all the time. That’s fine in theory, but it’s not civilised. Imagine going into a bar and everybody in that bar is talking like people do online. They’d just get their teeth punched in. Social media, it’s…” She looks so exasperated she can barely be bothered to describe it. Brilliantly, she makes one long raspberry noise instead.


he hasn’t always been this bulletproof. As a teenager finding her voice, she had the usual mix of confidence and insecurity. Physically, her height was a benefit when it came to singing – she had power and presence

Floor: definitely not “an arrogant bitch” 65


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zzy Osbourne is beginning his long bow out from touring, including a headline spot at Download festival this June. But what do you ask the man who has seen and done it all? We collected questions from some of the biggest musicians in our world. And as you’d expect with the Double O, he’s not one to shy away from giving an answer… even if it’s not necessarily to the question you asked. Do you still have the same passion for music in your 60s as you did when you were 20? Jonathan Davis, Korn Ozzy: “To be honest with you, I don’t know anything else, I’m no good at anything else. People think I’m retiring, I’m not retiring, I’m just not going to go on the road for fucking five years at a time. I’ll still do gigs, just not world tours. It’s in my blood. I’ve never done anything else for 50 years. It’s a bit late in the day to go, ‘I don’t like music any more’! Ha ha ha!” Was there a point in your career where you thought, ‘This is really big, I’m revolutionising heavy music’? Dani Winter-Bates, Bury Tomorrow Ozzy: “No. With Sabbath we just did it. I don’t know how to describe it. There were bands like Cream and Led Zeppelin, and they had this edge, and The Kinks’ You Really Got Me. I was just playing it on my iPad, it’s simple riffs, but I remember when I first heard it – it sent a chill down my spine. That’s what we went for – making your hair stand on end.”


Ozzy swears to tell the truth and nothing but the truth…



Have you ever blown out your voice on tour or in the middle of a show and how did you handle it? theOGM and Eaddy, Ho99o9 Ozzy: “Every fucking night! Ha ha ha! But with brutal honesty, I had to slow the gigs down because I kept blowing my voice and I still do. You’ve only got one voice and it’s the luck of the draw – sometimes I get away with it, sometimes I stop the show and go, ‘I’m singing like a fucking asshole tonight.’ You know when you’re on and you know when you ain’t on, but you do the best you can.”

Ozzy and Randy in 1982, shortly before the guitarist’s tragic death

What kept you going through the tough times in your career? And was there a certain path that you were trying to follow? Simone Simons, Epica Ozzy: “I was trying to find the path home, fucking loaded and drunk. I’m the luckiest man on the fucking face of the Earth. So many people in the last couple of years have died in the business, not only in metal, but Prince, Bowie, Lemmy… I wasn’t any better. I kind of think I’m living on borrowed time anyway. I used to do cocaine, smoke dope, heroin… the lot of them over the years. I’m not saying I’m disappointed, but I really did burn the candle at both ends every day. Don’t think you can take a feather out of my cap because I’m just a lucky son of a bitch.” How do you feel being from Birmingham has influenced your career path and how has living in America changed your outlook on those early days? Dani Filth, Cradle Of Filth Ozzy: “Birmingham is where I grew up. When I got married to my first wife I moved to Staffordshire, then I married Sharon and moved to London, the kids liked it in the sun in Los Angeles so they moved out here… but I don’t consider myself to be an American. I still have a house in Buckinghamshire, which I go back to fairly regularly, but the work is here. I couldn’t have expected to survive for 50 years in England only. I’m still English, I’m not going to put my hand on my heart and pledge my allegiance to the American flag.”

How difficult was it for you moving on after the loss of Randy Rhoads? Brann Dailor, Mastodon Ozzy: “I had a pretty rough time, as it happens. I remember I’d left Sabbath, gone back to Sabbath, got fired from Sabbath, my ex-wife divorced me, my father died and then just as I discovered Randy Rhoads, he gets killed. I remember looking at this burning inferno of a house where the plane had crashed, thinking, ‘This is fucking insane, I’m done,’ and if it wasn’t for Sharon who said, ‘No, you’re not going to stop, Randy wouldn’t have liked that, you’ve got to keep his memory alive…’ We did Madison Square Garden with Bernie Tormé, and he was rushed in at the last minute, didn’t know what he was getting into, but he did me a great favour. If it wasn’t for him I wouldn’t be doing it now. I’d have given up.” What’s the one album you couldn’t live without, and why? Matt Tuck, Bullet For My Valentine Ozzy: “The Beatles turned me on to music in the first place, they covered it all, and I don’t think there’s a bad Beatles album. If I had to choose one, it’d be Sgt. Pepper’s Lonely Hearts Club Band. There’s a song on that album for nearly everyone. Sometimes people say they can hear The Beatles in my melodies, but that’s the greatest thing, they had great melodies. I’m not into this growling stuff, but some people like it. One of the things I’m proud of is the fact we give people in our genre a stage at Ozzfest – all kinds of stuff comes out of that. It’s my way of passing the torch on.” There are so many bands out there who are unapologetically influenced by Sabbath. Do you ever listen to bands that sound like you? Harriet Hyde, Black Moth Ozzy: “If I do listen to too much of the same music I play, and I like some of it, it

“We wanted to make your hair stand on end” Sabbath can consider their mission accomplished 105



Janick engages the crowd in a knees-up

Bruce delights in his costume changes, now with all the frills

“The show was even a surprise to me,” adds this is likely the biggest show Iron Maiden have Spitfire, for Christ’s Dave. “There’s more going on in this set than ever done. Bigger than Book Of Souls. Bigger sake.” Adrian Smith we’ve had for a very long time. I had seen some than Powerslave. Bigger, even, than 2008’s shoots a bemused photos in pre-production, but when you actually legendary Somewhere Back In Time. smirk at the ceiling see it properly… holy shit. It’s amazing.” “When I first saw the set I thought, ‘Jesus, as the reality of the this is a bit of a handful’, you know?” admits words coming out of Adrian, who remains typically perplexed by the his mouth hit him, y now, unless you’ve not heard of whole thing. “It’s pretty incredible. But then, quite possibly for the very first time. He pauses something called The Internet, or are our music’s always been dramatic and crying a moment before looking back at Hammer and simply a spoiler-dodging pro (if it’s the out for production, right from the days of saying it again: “A Spitfire.” latter, stop reading), you’ll have already heard Phantom Of The Opera, Iron Maiden and all that. Today, we join Iron Maiden’s no-nonsense tales and seen select snippets from Maiden’s So as long as it doesn’t interfere with my amp, guitarist alongside two of his bandmates on latest stage spectacular. For starters, there’s they can do what they like. Although in the a sunny Friday afternoon, locked in the bowels a brand new, big-ass Eddie, made especially for run-through I did get a bit too close to Bruce’s of Stockholm’s impressive, 40,000-capacity the tour. There’s more pyro and fire than they’ve flame gun…” Tele2 Arena. Most weeks the Wait, there’s a flame gun? stadium is used as the home “Yeah, that’s right,” chuckles ground of Swedish top flight Dave, a man who seems to have football teams Hammarby and ADRIAN REMEMBERS THE FIRST TIME HE SAW THE NEW STAGE SHOW never been in a bad mood in Djurgårdens. Today, though, his entire life. “We have to keep on our toes its purpose is just a little different. In just had in years. There are moments where the a short while, the Tele2 will be playing host to entire look of the set itself undergoes a dramatic a little bit. Bruce is playing with fire now, so you don’t want to get in his way. He also came what has been widely and loudly described as makeover. There’s also an abundance of extra up with some great ideas for his costumes, too, one of the single biggest shows in heavy metal props and costume changes, pretty much for and other little moody things here and there. history. Iron Maiden rarely do things by halves, every song of the entire set – and that’s just for He’s having a blast.” but even by their standards, this is – pun very Bruce Dickinson (more on that later). Oh, and Indeed, the more that we find out about (and, much intended – a different beast entirely. then there’s that bloody plane. A lifesize Spitfire eventually, see of) the show, the more it seems As Killswitch Engage kick off their support replica, spinning propellers and all, hovering that the frontman’s knack for being a bit of slot somewhere above us, Adrian, foreverover the opening part of the set as the band a show-off is in full effect. While the guys don’t beaming fellow axeman Dave Murray and steam through Aces High. It really isn’t an want to spoil Bruce’s full involvement before we bassist/Band General Steve Harris, are taking exaggeration to say that see it for ourselves, they do all allude to the some time to reflect on the early stages of singer having filled his wardrobe with new what is proving to be something of an historic oddities, apparently spending an inordinate tour for the metal legends. On the face of it, amount of time in, as Steve puts it, “some the ‘Legacy Of The Beast’ moniker seemed to weird shops”. suggest little more than another Greatest “He’s put so much into the show,” adds Hits jaunt – a chance to return some standard the bassist. “It’s fun, it’s atmospheric, it’s Maiden classics to the set after two years drama, it’s theatre and he loves it. It’s great plugging new material. Except, that isn’t to see him that excited.” how it’s quite panned out. Being excited is one thing, but for a band “We’ve pushed our boundaries,” says who have so little to prove, it speaks of Steve with a sly grin. “We’ve made things Maiden’s ambition that they’d decide that now, bigger, we’ve made things better. It’s a bit in between album cycles, is the time to ramp up ambitious. Anything could go wrong. their show more than ever. With no new record It could all go a bit Spinal Tap!” The new Ed



Forc smaller than e One was planned…




The Maiden family

Steve Harris strikes his oh-so-familiar pose 135

Annuals Bookazine 1863 (Sampler)  

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Annuals Bookazine 1863 (Sampler)  

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