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in-death-we-fall · 1 year

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Murderdolls

Love at First Sight

Metal Edge 48-11, March 2003

By Roger Lotring Photos By Eddie Malluk

(google drive link) Slipknot interview here – Stone Sour interview here

There are probably less than two hundred people at the Webster Theater. It’s Tuesday night in Hartford, CT, and the Murderdolls are in town to tutor a whole new generation on the fundamentalism of real rock ‘n’ roll. Without the vacant hype of Madison Avenue trendiness, their renascent timelessness is lost so far on the youth of a nation. But that’s about to change. They seize the stage with an adrenaline overdose that probably hasn’t happened since Mötley Crüe first molested Hollywood’s Sunset Strip over twenty years ago. The Murderdolls are glorious rock ‘n’ roll sluts in a manner desperately lost from contemporary music, and definitely lost on those two standoffish fuckers provoking the band with drunken taunting. Vocalist Wednesday 13 swings around to leap to the edge of the stage, leaning forward to dare them with confrontation. But they don’t respond—They can’t, even if they had the balls, because the kids are right in their faces. That pissed-off look in those kids’ eyes, their vehement willingness to defend their band, it’s a defining moment that marks this band as something special. For those couple hundred kids here in Hartford on a Tuesday night, they believe in the Murderdolls. Love at first fright, indeed, and it’s only a matter of time before the word spreads.

“There’s nothing better than that first time seeing a band,” enthuses guitarist Joey Jordison, recalling his own formative rock ‘n’ roll indulgences. “It’s so special, when no one else knew who the fuck they were, and they were your fucking band.” The impact of his influences–and those of the whole band, really—are just as prevalent today as they were back then. It’s obvious as the band prepares for the show with their battle cry of KISS Alive II shaking the dressing room walls. KISS, Alice Cooper, Hanoi Rocks, Twisted Sister—That is the essence of the Murderdolls. “We wanted him to come out and do ‘Twist My Sister’ with us,” guitarist Acey Slade says of Dee Snider, disappointed that he is no longer broadcast on Radio 104 WMRQ in Hartford.

Metal Edge sat down with Joey, Wednesday and Acey to discuss the Murderdolls. And while the conversation touched on numerous topics including their Beyond The Valley Of The Murderdolls debut, touring Europe, and drummer The Ghoul’s exhibitionism with two women in a crowded Japanese bar, at the heart of it were rock ‘n’ roll fans sharing their obsession with a sound that the Murderdolls are single-handedly determined to resurrect.

METAL EDGE: Where does a band like the Murderdolls fit within contemporary hard rock? Or is it more important to go against the grain of popularity? JOEY JORDISON: That was our point, exactly what you just said. The whole thing was–especially with me coming out of Slipknot—I did not want to do anything even remotely where music is right now. I wanted to come out completely different, and just create music that’s a little bit more fun, because everything right now is stagnant and stale. I think, really, the nu metal scene, where hard rock is right now, is almost like a dead scene. We wanted to be completely removed, as far as possible, from all that stuff. WEDNESDAY 13: It wasn’t that hard, either, because we really didn’t have to try. We just wrote the songs, recorded them, and didn’t think about anything outside the studio. JJ: What he was doing in the Frankenstein Drag Queens was pretty much a lot of what we’re doing now. Wednesday was one of the only people I saw in the underground scene that was doing what I was doing. That’s cool, because he doesn’t know about many bands that are out right now and really big—All that stuff that Slipknot gets lumped into.

ME: Joey, being the writer, producer, and principal musician on Beyond The Valley Of The Murderdolls, was it hard to be objective toward the songs? JJ: I was having a hard time, like is this even worth putting out or not? That’s why I wanted to get a songwriting partner. I really liked Wednesday’s voice, and the way he looked. His songs were very similar to what I was doing, but had a little darker feel to ‘em, and the sense of humor was a little bit more tongue-in-cheek. If I was not sure on something, he'd give me an opinion. If he wasn't sure on something, I'd give him my opinion. It made it a lot easier for the recording process, for sure.

ME: What's the most surprising reaction so far to the Murderdolls? What have you seen that you just kind of stepped back and said, "I don't believe I just saw that?" W13: We got a human heart given to us by a girl who had all our names carved into her arm—Even the band name. But, with me, she told me, "Well, I couldn't write your whole name, so I put a 'W' and a '13'." JJ: She's like, "I want to give you my heart, 'cause my heart belongs to the Murderdolls. Hold onto it safe, "cause I might need it back someday." And it had a picture of her and me with it in a fucking jar… W13: Floating around in the formaldehyde.

ME: To what degree has there been any moral backlash as a result of misinterpretation of your lyrics? ACEY SLADE: When we were in Germany, there was a Christian group that went around and put Show Cancelled (sic) over the top of our posters, so people won't (sic) show up for the show. I saw the shit [written] in German, and I was like, "Sold out! Right on, that means sold out!" They're like, "No, Show Cancelled (sic)." [Laughter] W13: But nothing really, really good has happened, though. We're still waiting… And hoping, keeping our fingers crossed. [Laughter]

ME: Do you think that will eventually happen? JJ: Most of that backlash stuff is an American thing. Over in Europe—actually, anywhere besides America—is way more open to the fun aspect. They see the humor in what we're doing, especially the U.K. Their type of humor kind of goes along hand-in-hand with our type of lyrics.

ME: It would seem that as far as any controversy, there's been more uproar over the "body snatching,” so to speak, of Acey from Dope. [Acey laughs] It's almost like one of those jokes: How many Dope guitarists does it take to screw in a Murderdolls lightbulb? [Laughter] JJ: Y'know, that's weird, 'cause I liked Dope. I was actually a fan of theirs. I really enjoyed them a lot, [and] thought they were great. And it was never a thing like, "Oh man, I want to get people from that band." I just hit it off well with them. Tripp was a great guy. It just came down to the time when we were going to tour, and he comes up with news that he had to go back to Static-X. Well, that's cool, but he wanted to stay in the band and play some [select] shows. I just didn't want to have a revolving door and confuse the fans. Acey was actually a choice to be in the [pre-Murderdolls] Rejects, as well, just Tripp came into the band first. Me and Acey kept in touch, so the only choice we even considered was Acey. Luckily enough, he came in and did an amazing job. He had like six days rehearsal just before we started our tour. AS: Not even. I came in on a Wednesday or Thursday. We left [the following] Monday. [Laughter] W13: Plus, me and Acey, we used to play in bands together in Philadelphia, before he was in Dope. We knew of each other, so we were into the same kind of music then. I met him back then, then when he was in Dope, I met him again and we started talking. AS: Back in ‘96 or ‘97, we were the only two guys on the East Coast with dreadlocks and eyeliner, so it wasn’t too hard for us to cross paths. So I’ve known him for years and years.

ME: From a musical standpoint, people don’t realize that what the Murderdolls are doing is very fundamental, but it’s a lot harder to learn because there’s a lot of intuitive stuff. AS: The thing is, we all have the same musical roots. For me it was like, “Alright, this part’s kind of like ‘Rock And Roll High School,’ this part’s kind of like Hanoi Rocks’ ‘Mental Beat.’” All three of us have the same point of reference. I think it would probably be a little harder from the nu metal school to come in and learn the stuff, ‘cause it would be so foreign to them.

ME: In a fatalistic kind of way, then, Murderdolls has actually been coming for a long time. JJ: Yeah, there’s been a bunch of links, but it’s not like this was just all of a sudden really formulated. It’s like, everyone knew each other in a weird, different way. We just didn’t all meet as a band until last year. But everyone knew each other through different people.

ME: But isn’t that how it’s theoretically supposed to happen if you’re going to do it right, so it’s not contrived? JJ: Exactly, man. People might think that, all of a sudden, it was just put together really quick, this little project that’s only going to be one album, and that’s it. It’s really not like that.

ME: Media comparisons have been to Mötley Crüe and the Misfits, but there’s so much more going on. Is there a predominant underlying influence behind the Murderdolls that might not be readily apparent? W13: I think we all have our different things. Me, it’s Alice Cooper, totally. And Acey, Hanoi Rocks, and Joey, KISS. I mean, it’s a lot of the same stuff, but I don’t think you can really pinpoint it al.

ME: Similarly, media focus is on Wednesday and Joey—and now Acey, coming from Dope. In all fairness, what do Ben [Graves] and Eric [Griffin] bring to the Murderdolls? AS: Well, first of all, Ben’s not Ben… He’s The Ghoul. [Laughter]

ME: Is that a capital “T” in the word “the”? AS: Yes, The Ghoul. JJ: I had the hardest time finding people that I actually wanted to bring into the band on bass and drums—Especially with drums. It took a really long time, and they just seemed to fit. I can’t really explain, but hey just brought that attitude—I guess the cockiness, in a way. Ben’s like the hardest hitting drummer that I’ve ever seen in my fucking life. He is so fucking loud. W13: I’ve played with some hard-hitting drummers, but he is so loud, and so hard. JJ: And that’s great! I mean, it drives our fucking music.

ME: But you’ve got to have that for this type of music to work. JJ: Exactly! He’s fucking great, man, as far as just slamming it home live. You can feel it. I mean, the energy is amazing that comes off that guy.

ME: Is it harder for him, in the sense that you’re a drummer, and going to be his worst critic? [Laughter] JJ: He’s cool about it. Actually, he doesn’t really even get that nervous. When I was working with him in rehearsal, I did kind of drill him, ya’ know? He did get it worse out of all the guys in the band, for sure. But he just worked his ass off, really, and he pulls it off amazing. W13: And [Eric] brings a lot of hairspray. [Laughter] AS: He brings a lot of hairspray, some good makeup products, and no less thunder. JJ: And tardiness. W13: This guy’s just really got the whole image of the rock ‘n’ roll thing down. AS: It’s kind of funny, how people ask us about the image of the band. To me, if you wake up and look the way you do, then it’s not an image. An image is something that’s formulated and calculated. We don’t have a consultant telling us, “Alright, track suits aren’t in as much as they used to be.” This is just who we are, ya’ know?

ME: But does your look empower you, as far as performing the music? If you think about it, you must feel differently than if you were going onstage wearing sneakers and levis. W13: It definitely turns something on for me when I go onstage. I mean, it definitely helps. It’s like, it turns it on. It’s just a switch.

ME: Being that Joey was responsible for pretty much all the performances on the album, how have the dynamics of these songs changed, now that you’ve got five individuals interpreting them? JJ: The album is really good, [and] I’m very, very proud of it. I think it turned out phenomenal—Actually, better than I expected. It is different, though, much more of a chemistry with the five guys, as opposed to me. Not necessarily completely different, but the vibe of the five different personalities playing some songs.

ME: Almost like the songs taking on a life of their own that they didn’t have before? JJ: Absolutely, yeah. AS: What Joey’s been really cool about is letting it become a chemistry, letting it become the Murderdolls. When I came into it late, I was looking at the CD, going, “Well, Joey played all these guitar parts.” When we sat down in the [rehearsal] room together, I was intimidated! But he was like, “Well, yeah, that’s cool, I like that accent… What do you think?”

ME: So you’ve been able to make your impact on the songs. AS: Yes, but keeping the original continuity. But it’s the same with The Ghoul, or with the other members.

ME: Are the songs continuing to evolve, even after being recorded? Watching you soundcheck “Love At First Fright,” that looked like you just stumbled across something brand new right there. W13: [Laughter] We did! That was the first time we did a different intro.

ME: How different has the reaction been in Europe than here in the United States? W13: We’ve really been touring there a lot, so we’ve built up a thing there—Especially in the U.K., man, it’s just insane. Hundreds and hundreds of kids, and they all look just like us. But we really haven’t worked it here, though, so this is like we’re just starting from the ground up. JJ: But that was kind of what we wanted to do, concentrate on everywhere else in the world first and establish the band. Those people [in Europe] really appreciate when you do that over there. Some bands, like American bands, nu metal bands, wait two years before they even go to Europe. We’re like, fuck that! And it’s already paid off. It’s only now that we are really going to start hitting America.

ME: Does it make it a little more difficult, though, having gotten such a reaction, then coming back to America? You must have known going into it that you are going to be playing to smaller audiences at first. W13: I prepared myself for it. I knew it was going to be hard. I know it’s a lot different, maybe for Joey, who’s in Slipknot. But before this, i was driving ten, twelve hours to play in front of ten people. That’s never going to leave me. I’m always used to that, so I can work an audience, whether it’s ten people, or ten thousand people, it doesn’t really matter. JJ: Doing what I do in the other band that I play in, it’s basically playing in arenas. But it doesn’t matter, man. As long as people appreciate your music, or want to come out and see you, i can still play in front of two people. AS: It’s weird, even though we’ve done dates, i still don’t feel like we’ve done a proper U.S. tour yet. And so, when we do that—probably February—I think all bets are going to be off. It’s gonna be off the hook.

ME: You’re going out with Papa Roach? Or are you going out on your own? JJ: We gotta get a (sic) on a support slot for a band, obviously bigger than us, to take the band out to a little bit wider of an audience. Papa Roach is an option, [and] there’s a couple other things that are in the works.

ME: Do you look forward to the fact that it’s going to be a challenge? If you’re out with a band that isn’t necessarily similar to what you do, you’ve got that challenge of winning over an audience. W13: We did. We did it with Papa Roach in Europe. We toured with them, five, six weeks, [and] every night…

ME: You’re getting the looks on faces, the “What the fuck is that?” look. W13: That’s exactly it. JJ: It was every night. And like, four songs in, they’d be smiling, singing the words, ‘cause our shit’s singalong. It’s so anthemic live, it’s so hard not to get into it. One of the big things about our band is that it’s a fun show. It’s fucking fun again. It’s something that’s been really missing [from music], probably like fifteen years.

ME: From that standpoint, I get it because I remember. But does the 14-year-old kid standing in front of you, wearing the Slipknot shirt get it? JJ: Good question. I think yes, by the end of the set, he does. You don’t have to be a fuckin’ brain surgeon to understand what the fuck we’re doing. But I think that’s what’s great about it. It’s simple, and it’s anthemetic (sic). The lyrics are fucking cool, and it’s not about fucking childhood trauma, or war, politics, or bullshit like that.

#if you want anything else from this scanned lemme know!#murderdolls #joey jordison #wednesday 13 #acey slade #eric griffin #ben graves #interview #metal edge 48-11 mar 2003

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basementdoll · 1 year

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Wait And Bleed

Murderdolls were on a high with their 2002 debut album. Before Joey Jordison knew it, Wednesday 13 had 30 new songs written…but was going it alone.

Words: Dom Lawson

On July 12, 2003, the band that Slipknot drummer Joey Jordison had formed with his friend, vocalist Wednesday 13, as a bit of light relief from the relentless touring and ferocious intensity of his day job, performed to a sold-out Brixton Academy in London. Within a year of releasing their debut album, 2002’s brilliantly snotty Beyond The Valley Of The Murderdolls, this goofy, sleazy horror-punk side-project had evolved beyond all expectations, like some kind of many-headed Frankenstein, and won the hearts of thousands of fans. In the UK in particular, Murderdolls rocketed from nowhere to the brink of hugeness, accruing a hysterical army of red’n’black-clad admirers who had fallen wholesale for the band’s party-all-night-and-fuck-the-consequences philosophy. What started as a liberating side-project had mutated into something with the potential to conquer the world…all of which makes the fact that Murderdolls left Brixton, buggered off back across the Atlantic and then vanished for seven years somewhat confusing.

But now it’s the summer of 2010 and Murderdolls are back at last. And so, as Joey Jordison and Wednesday 13 settle down on a small leather sofa in the air-conditioned downstairs bar of a swanky Soho hotel to speak with Metal Hammer about their reunion, imminent comeback and brand new studio album, Women and Children Last, it’s finally time to ask the question: Gentleman, where the fuck have you been?

“We don’t bullshit and there’s no reason to lie.” says Joey, shades on and as serious as hell. “After we got done with the tour for Beyond The Valley Of The Murderdolls, we ended on a high note at Brixton Academy, but then of course I had to go back and start up Slipknot again. Me and Wednesday were still in contact and he had demoed like 30 songs and sent me a CD, but the next thing I know, he’s doing a solo record and he didn’t tell me! I didn’t understand it. I was like, ‘Don’t you wanna do another Murderdolls record?’, but I can’t tell him not to go and do what he wants to do, you know? So I had to go and do my stuff with [Slipknot album] Volume 3 (The Subliminal Verses) and we did the whole tour, and we met up again during that tour. We hadn’t talked in a while, so it was kinda weird, but once we talked and crossed paths…”

“We met in a trailer at Rock Im Park in Germany.” recalls Wednesday. “It was 100° and all the crew people were like, ‘Get in there and work it out!’ and they threw us in there and shut the door! That’s when we sorted everything out.”

Having patched things up after what sounds like a fairly minor falling out, Joey and Wednesday still didn’t exactly rush into a Murderdolls reunion. In fact, another five years have passed since the initial exchange of apologies and explanations. In terms of squandering momentum, this hiatus will take some beating, and yet Women and Children Last oozes a level of intensity that was never even hinted at by Murderdolls first time round. Apparently absence makes the fire blaze harder…

“To other people, eight years [between albums] must seem like a long time.” says Wednesday. “But if you think about fuckin’ everything that Joey’s done and everything that I’ve done in that period, that’s a lot of shit! Combined, we’ve done more than bands do in a 20-year period. Joey did two Slipknot records, a Ministry tour, played with Korn, did Roadrunner United, produced 3 Inches Of Blood and played with Satyricon and I did three solo records, an EP, two country records and started a whole new band…”

“We were never enemies at all.” adds Joey. “We just got confused. After we met up again, we were on speaking terms and having conversations by texting and we were thinking that maybe we’d just let Murderdolls be the band with the cult following that it was and let sleeping dogs lie. But then the moment of clarity came to me about two years ago. I was at home on a break and I was sleeping on my couch and Headbanger’s Ball was on and there was this spark that jolted me awake. The metal scene in America and also in Europe, it’s all the fucking same now. There are some great bands, trust me, but everyone’s the same now. Labels are trying to survive because they’re going down the tubes. It’s all about who can play double bass the fastest. There’s no rock stars anymore. I called Wednesday at that point and I’m still in a sleep haze and I said, ‘Wednesday, I want to make another Murderdolls record!’”

A world apart from the comic book kitsch and pun-filled sloppiness of their debut, the second Murderdolls album might as well be the work of an entirely different band. Although still imbued with the hook-packed sleaze metal sensibilities that made old songs like Dead In Hollywood and Grave Robbing USA so irresistible, the new songs seem to have been beamed in from somewhere much darker and more real than their predecessors. There is no shortage of macabre humour lurking amid the pounding riffs and roar-along rage of Chapel of Blood and My Dark Place Alone but while Beyond The Valley…was all about taking the listener into a grim but ludicrous fantasy world, this record sounds very much like the work of men on a sincere and heartfelt mission. Murderdolls 2.0 mean every last fucking word, and as a result they have become a hundred times more believable.

“I said, ‘If we’re gonna do this, it has to be full bore and we have to make a real record.’” says Joey. “The first record is great for what it was and I love it, but I consider this to be the first Murderdolls record. This is the first time we actually sat down with a vision and wrote songs together, and it’s been one of the most gratifying records I’ve ever made.”

“We wrote all these songs from scratch, a few feet away from each other in the studio.” grins Wednesday. “The first song we did was Homicide Drive, and the drum take you hear on the record is the first take we did. It all happened that naturally. It was really easy and it was fun. We had a fuckin’ blast making this record.”

Just like their favourite band, Murderdolls fans may well be a little bit older and wiser eight years on from that first flush of anti-hero worship, but the goofy, light-hearted side of the band was always a major part of their appeal. As a result, there may be some who find the idea of a more serious Murderdolls a little alarming, but despite injecting their sound with a little more substance, Joey and Wednesday are still firmly committed to delivering the rock ‘n’ roll goods. It’s just that this time round the fire in their bellies is for real and not just cheap whiskey afterburn.

“It’s still fun but it’s more fun for me because I get to sing about personal stuff now.” explains Wednesday. “I’m not the same guy you saw before. This band has changed - this is a whole new Murderdolls, in terms of what we’re bringing to the table. When I sing My Dark Place Alone, that’s very personal to me. I’m going deep into the lyrics, and that’s something I’ve never been able to do before.”

“The first record, you could say we were a dumb horror punk band or something like that.” adds Joey. “The new one, this is like my other Slipknot, even though they’re like apples and oranges. On this record you go from a song like Chapel Of Blood to Drug Me To Hell, and then songs like Nowhere and Summertime Suicide and it starts getting poppier. It’s kinda like Slipknot, with all that diversity, even though we’re a rock ‘n’ roll band. That’s what’s gratifying to me, having a band that has its own style but is able to inject its own identity into each song. When I used to play in death metal and speed metal bands, it was easy to sit there and write a million riffs. The biggest challenge is to write an actual song, and only then do you know you’re a real songwriter.”

If everything goes to plan, the new Murderdolls album should swiftly restore the band to the levels of popularity they were enjoying when they took their extended hiatus. But if anyone needs convincing that Women And Children Last is the real deal, they need only acknowledge the presence of no less a figure than Mötley Crüe guitarist Mick Mars, who lends some hair-raising solos to Drug Me To Hell and Blood Stained Valentine, two of the album’s grittiest anthems. Mick doesn’t put on his top hat for any old rubbish, and Joey and Wednesday are visibly thrilled when they talk about his involvement in their new record.

“Mick’s one of the great underdogs and never got the respect he deserved.” says Wednesday. “We see him as one of the great rock ‘n’ roll villains, so what better guy to come out and play for us? It was so natural. He loved it!”

“We didn’t want any guests on this record whatsoever, but this was a little bit different.” smiles Joey. “It was definitely an honour to watch him play on our dumbass songs! I was just sitting there, almost blacking out, thinking about when I had Shout At The Devil on vinyl in my parent’s basement and I was thinking, ‘Man, this is fucked up!’”

Mick Mars aside, Murderdolls remain very much a two-man operation in the studio, but live performance is plainly a major part of what the band stands for and so, with that in mind, Joey and Wednesday have recruited a brand new lineup to assist them in their new crusade. Original members Acey Slade, Eric Griffin and Ben Graves have been usurped by new lead guitarist Roman Surman, bassist Jack Tankersley and drummer Racci Shay, who previously played in Wednesday 13’s solo band. Again, as with the songs themselves, fresh blood seems to have invigorated the whole Murderdolls enterprise.

“The first lineup and the first everything that we did, it was really thrown together.” admits Wednesday. “We did our first video without ever having played together in a room before. Me and Joey did the record by ourselves and then we found these guys through friends of friends and, of course, it was complete chaos. So this time, we purposefully picked people we knew and that we were friends with, and it’s been great. When we finally got on stage, it was like ‘Holy shit!’”

“What we’ve done now and the people we have now, they’re great players and they’re there for the job.” continues Joey. “They’re not there to fuckin’ party. They believe in the songs and they believe in the project and this is a big chance for all of ‘em. They’re all amazing players. I wouldn’t do this if my heart wasn’t completely in it.”

With a new warcry of “We live, we breathe, we bleed rock ‘n’ roll!” the all-new Murderdolls can hardly be said to have altered the main thrust of their philosophy, but everything about the new lineup, the new album and the intense demeanor of the two men steering the ship suggests that they are in this for the long haul this time, ready to do whatever it takes to bully the world into joining in the fun. Serious men on a serious mission, perhaps, but surely there is still plenty of room for a little chaos, mayhem and debauchery?

“Before, when we walked off stage, everything else was complete madness too.” Wednesday laughs. “It was a fuckin’ circus, but it was great. But we’ve moved on. We want to take the chaos from backstage and put it on the stage!”

“Now it’s just the most violent, fuckin’ sleazy, hideous, heaviest fuckin’ rock ‘n’ roll you can possibly imagine.” concludes Joey, with a snarl. “It’s a real band now.”

Women and Children Last is out August 30 via Roadrunner Records. Murderdolls will play Ozzfest in September.

Six Stringer Joey Jordison’s Weapons Of Mass Destruction

Which albums inspired you to play the guitar?

“The first record that turned me on was the Stones’ Tattoo You. I remember my dad coming home with the album.”

What was the first guitar you owned?

“A harmony, which was like a Fender Stratocaster. I played it in my first metal band in fifth grade. I started playing drums aged seven and soon ditched the guitar.

How do you achieve your sound?

“I don’t normally tell people how I do it! Ha ha! I used a modified JCM 900 amplifier and a MXR distortion on top of that. I’m always involved with mixing and production and everything, so that has a lot to do with the sound on the record. My amp’s been modified.”

Who’s the most underrated guitarist?

“Probably Johnny Thunders (New York Dolls). He had something about him. Guitar is all about passion and playing with soul and style.”

How often do you practise?

“Right now, three hours a day! I’m going on tour with the Murderdolls so everything has to be up to par. It’s odd talking about guitar instead of drums. Drums always came natural to me. I still practise but I’m pretty much in the groove, but for the guitar I have to work real hard.”

What guitar do you play?

“I recorded with my custom BC Rich Bich. I’ve been using Gibson SGs and a BC Rich Warlock, plus I have my signature guitar coming out.”

#AHH so happy to finally have this magazine #enjoy yall #joey jordison #wednesday 13 #murderdolls #metal hammer #i can only scan shit with my phone scanner so rip this is as good as it gets

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