METAL ARCHIVIST & OLD SCHOOL METAL HEAD … OBSESSED WITH HEAVY * THRASH * DEATH * BLACK * DOOM * HARD ROCK *
Saturday, August 8, 2026
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VIOLENT FORCE (LIVE WIRE #9, 1987) < TRANSLATED
Live Wire was a fanzine from Germany written in German, but here's an interview translated to English for you.
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GERMANY THRASHS
VIOLENT FORCE are among the longest-serving German thrash metal bands (founded in 1984), but until now they hadn't managed to secure a record deal. That changed with the "Teutonic Invasion" sampler from Roadrunner Records. Roadrunner signed them, and their debut LP, "Violent Force," will be released in June. We spoke with guitarist/vocalist Lemmy beforehand.
L.W.: How did you all get together, and what's the current lineup?
L.W.: How do you influence your style—LAYER—you play quite fast?
L.: Partly, because the speed is the adrenaline rush; it usually ends up being faster than we initially planned (where have I heard that before? – the interviewer). It's also down to our drummer, Hille. He's only been playing for a year and is still having trouble with the double bass drums; so he plays the regular beat faster, and we have to play faster too, to stay in time. I wouldn't say we're specifically influenced by Slayer, but sometimes it does sound like that; you can't avoid it.
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GERMANY THRASHS
VIOLENT FORCE are among the longest-serving German thrash metal bands (founded in 1984), but until now they hadn't managed to secure a record deal. That changed with the "Teutonic Invasion" sampler from Roadrunner Records. Roadrunner signed them, and their debut LP, "Violent Force," will be released in June. We spoke with guitarist/vocalist Lemmy beforehand.
L.W.: How did you all get together, and what's the current lineup?
Lemmy: We've been around since the end of 1984. The band was founded by Steiff (now with LIVING DEATH) and me. We came across two guitarists, Waldi and Stachel, by chance. Waldi now plays bass, and I switched to guitar. Our new drummer is Hille from Ratingen. We recorded the album with this lineup.
L.W.: Why did it take you so long to record an album?
L.: That came about because Steiff quit about nine months ago, since I'd lost interest; I wasn't going to rehearsals anymore. Steiff then gave me an ultimatum: either rehearse consistently or he'd quit. Stupidly, I said I wasn't going to give up my girlfriend for the band. As a result, I was fired three weeks later, but rejoined shortly after. Then we were without a drummer for nine months; we were completely inactive during that time. But we were already relatively well-known in the underground scene thanks to our demos, and so things went downhill for a while. After a long search, we found Hille as our drummer and released our third and best demo.
L.W. How did things go with Roadrunner?
L.: We were originally only supposed to play on the sampler, but even that wasn't certain, as the contract they sent us wasn't good enough. They really wanted us, though, since they only have a few German bands signed anyway. So they offered us a full record deal (5 years).
L.W.: What do you think of the sampler? Do you think it could reach the standard of "Metal Massacre"?
L.W.: Why did it take you so long to record an album?
L.: That came about because Steiff quit about nine months ago, since I'd lost interest; I wasn't going to rehearsals anymore. Steiff then gave me an ultimatum: either rehearse consistently or he'd quit. Stupidly, I said I wasn't going to give up my girlfriend for the band. As a result, I was fired three weeks later, but rejoined shortly after. Then we were without a drummer for nine months; we were completely inactive during that time. But we were already relatively well-known in the underground scene thanks to our demos, and so things went downhill for a while. After a long search, we found Hille as our drummer and released our third and best demo.
L.W. How did things go with Roadrunner?
L.: We were originally only supposed to play on the sampler, but even that wasn't certain, as the contract they sent us wasn't good enough. They really wanted us, though, since they only have a few German bands signed anyway. So they offered us a full record deal (5 years).
L.W.: What do you think of the sampler? Do you think it could reach the standard of "Metal Massacre"?
L.: Absolutely not, everything was approached too half-heartedly. We're happy with our recording ("Soulbarsting") because they took it directly from the last demo, since it's a 24-track recording.
L.W.: What will the Cure LP be called and when will it be released?
L.W.: What will the Cure LP be called and when will it be released?
L.: We hope it will be released in June. We'll call it either "Violent Force" or "Maliviolent Aggression Of Tomorrow."
L.W.: What can you tell me about the songs?
L.: "Death City" is probably already familiar to many. That was our first song and it's already two years old. It's about our hometown of Velbert. "Destructed Live" is about the bums who drink a lot and can no longer properly manage their lives. The tracks from the new demo, like "The Night," "Mayod," or the instrumental piece are meant to depict a concept of the end times, what's happening. I don't find the theme clichéd; everyone just does it in their own way. Everyone should read the lyrics carefully and draw their own conclusions. I tried to write lyrics that have a message, just as I painted the LP cover with these points in mind. I used to be a designer and painted the cover as a 60 x 80 cm print. Now I only do it as a hobby. It shows a town (Velbert); you can see the main street and the town sign. The whole thing is cut open, and behind the cut-open section, the mushroom cloud is rising. The guy cutting it open is already being irradiated and burned.
L.W.: What can you tell me about the songs?
L.: "Death City" is probably already familiar to many. That was our first song and it's already two years old. It's about our hometown of Velbert. "Destructed Live" is about the bums who drink a lot and can no longer properly manage their lives. The tracks from the new demo, like "The Night," "Mayod," or the instrumental piece are meant to depict a concept of the end times, what's happening. I don't find the theme clichéd; everyone just does it in their own way. Everyone should read the lyrics carefully and draw their own conclusions. I tried to write lyrics that have a message, just as I painted the LP cover with these points in mind. I used to be a designer and painted the cover as a 60 x 80 cm print. Now I only do it as a hobby. It shows a town (Velbert); you can see the main street and the town sign. The whole thing is cut open, and behind the cut-open section, the mushroom cloud is rising. The guy cutting it open is already being irradiated and burned.
L.W.: How do you influence your style—LAYER—you play quite fast?
L.: Partly, because the speed is the adrenaline rush; it usually ends up being faster than we initially planned (where have I heard that before? – the interviewer). It's also down to our drummer, Hille. He's only been playing for a year and is still having trouble with the double bass drums; so he plays the regular beat faster, and we have to play faster too, to stay in time. I wouldn't say we're specifically influenced by Slayer, but sometimes it does sound like that; you can't avoid it.
L.W.: Do you see music as a hobby, or do you want to make a living from it someday?
L.: Well, with "the" music, it's hard to say if I want to make a living from it. It's clear I'd like to make a living from it; but you have to give up quite a bit for the music.
L.: Well, with "the" music, it's hard to say if I want to make a living from it. It's clear I'd like to make a living from it; but you have to give up quite a bit for the music.
L.W.: Do you think any German band will ever manage to reach the standard of the 6th best thrash band, SLAYER?
L.: That never depends on the band alone, how good they are or aren't. In my opinion, it depends immensely on what's done for the group, how widely the sound they create is spread among the fans. It's often said in general terms that German musicians are good, but bad at it, and that all the Americans are fantastic. Those are nasty clichés. There are a few exceptions like KREATOR, who are doing well.
L.W.: How satisfied are you with the LP, how did the work in the studio go?
L.: I like it very much. The studio work was quite stressful. We had been in the studio before, but we hadn't thought it would be so much work. We had 12 days available: 6 days to record and 6 days to mix.
L.W.: How do you think Roadrunner will promote you?
L.W.: How satisfied are you with the LP, how did the work in the studio go?
L.: I like it very much. The studio work was quite stressful. We had been in the studio before, but we hadn't thought it would be so much work. We had 12 days available: 6 days to record and 6 days to mix.
L.W.: How do you think Roadrunner will promote you?
L.: Hard to say, I think they'll wait and see how the album does. I don't think that's a good thing, as it doesn't make you more well-known. You can see that with KREATOR or DARKNESS, for example. Noise/Gama do a lot of promotion for them, and they sell a lot of records, T-shirts, and things like that. But you can't blame Lees Wessels for that; let's wait and see.
Address: Thomas Ex (Manager)
In den Bierhöfen 5
5620 Velbert 1
Interview: Jürgen Both
Interview: Jürgen Both
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Friday, August 7, 2026
Thursday, August 6, 2026
RANDY PALMER (PENTAGRAM/BEDEMON) WITH HIS GIRLFRIEND TARYN (1976)
This photo is of Randy with his girlfriend-later-to-be-his-finacée, Taryn. It was taken by Geof at Randy’s house in Feb. 1976, right in the middle of the ’73 through ’79 period where he wrote the Child of Darkness songs.
She and her son were with him in the tragic 2002 car crash which would take his life a week later. Just three months earlier, Randy and Taryn (as well as bassist Mike Matthews) had traveled out to California to record the backing tracks in Geof’s garage for Bedemon’s Symphony of Shadows, which would finally see release in 2012.
Courtesy of bedemon.com
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BLEU BLANC SATAN (FRENCH BLACK METAL SCENE DOCUMENTARY)
This documentary retraces the birth of the black metal scene in France through unpublished archives and interviews of the main pioneers of this movement.
Featuring:
Meyhna’ch: Mutiilation
Deviant Von Blakk: Osculum Infame / Arkhon Infaustus
Hervé Herbaut: Osmose Productions
Noktu Geiistmort: Celestia / Drakkar productions
Hreidmarr: Anorexia Nervosa / The CNK
Valnoir: Glaciation / Metastazis
Malphas & Nephtys: Epheles / L’antre des damnés
Written and directed by Camille Dauteuille & Franck Trébillac
Featuring:
Meyhna’ch: Mutiilation
Deviant Von Blakk: Osculum Infame / Arkhon Infaustus
Hervé Herbaut: Osmose Productions
Noktu Geiistmort: Celestia / Drakkar productions
Hreidmarr: Anorexia Nervosa / The CNK
Valnoir: Glaciation / Metastazis
Malphas & Nephtys: Epheles / L’antre des damnés
Written and directed by Camille Dauteuille & Franck Trébillac
Taken from VICE Webzine, this is the complete documentary released in 2017 now translated to English.
Wednesday, August 5, 2026
TSUNAMI (US) (ROCK HARD (US) #2, 1984)
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Tuesday, August 4, 2026
VAN HALEN ”ROCKFORD, IL, US” (AUGUST 3, 1982) [AUDIO]
Venue: Rockford MetroCentre
Location: Rockford, Illinois
Source: Soundboard (Master)
All credits to the legendary EDGE
Location: Rockford, Illinois
Source: Soundboard (Master)
All credits to the legendary EDGE
Setlist:
01 Intro
02 Romeo Delight
03 Unchained
04 Drum Solo
05 The Full Bug
06 Runnin' With The Devil
07 Dave Talks
08 Jamie's Cryin'
09 Little Guitars
10 Where Have All The Good Times Gone!
11 Bass Solo
12 Hang 'Em High
13 Cathedral
14 Secrets
15 Drum Solo II
16 Everybody Wants Some!!
17 Dave Talks
18 Everybody Wants Some!! (Reprise)
19 Dance The Night Away
20 Somebody Get Me A Doctor / I'm So Glad
21 Dave Acoustic Solo
22 Ice Cream Man
23 Intruder
24 Pretty Woman
25 Guitar Solo
26 D.O.A. (cut)
27 Bottoms Up!
28 You Really Got Me
29 Happy Trails
30 You Really Got Me (Reprise)
31 Outro Music
Notes:
Here we have up until 1 year ago a totally unheard, uncirculated soundboard recording, capturing the Van Halen concert in Rockford during their Diver Down tour (Hide Your Sheep tour) in 1982. Not even an audience recording of this show has circulated previously.
It's a bit of an unusual night for Eddie, as he fumbles over his guitar parts on a few occasions throughout the show. The synth on Intruder even gets fumbled, which I believe was done by Dave. These little hiccups naturally don't wreck the show, unlike some dates later in the tour, but it is interesting to note in comparison to other shows. There are still plenty fun performances here, and overall what seems to be a pretty good sound mix.
Notably, this is the very first show where Dave expands the little "how much are you willing to give" interlude during Everybody Wants Some into his lengthy tangent about meeting a girl in the bar and going back to the hotel room, teasing the lighting crew, etc. This tangent would continue to evolve in little ways as the tour progressed.
Here we have up until 1 year ago a totally unheard, uncirculated soundboard recording, capturing the Van Halen concert in Rockford during their Diver Down tour (Hide Your Sheep tour) in 1982. Not even an audience recording of this show has circulated previously.
It's a bit of an unusual night for Eddie, as he fumbles over his guitar parts on a few occasions throughout the show. The synth on Intruder even gets fumbled, which I believe was done by Dave. These little hiccups naturally don't wreck the show, unlike some dates later in the tour, but it is interesting to note in comparison to other shows. There are still plenty fun performances here, and overall what seems to be a pretty good sound mix.
Notably, this is the very first show where Dave expands the little "how much are you willing to give" interlude during Everybody Wants Some into his lengthy tangent about meeting a girl in the bar and going back to the hotel room, teasing the lighting crew, etc. This tangent would continue to evolve in little ways as the tour progressed.
Another fact of note, this is the first show of the tour where the short, seconds-long "Growth" is played as an intro to You Really Got Me. This would continue through 1982 and would sometimes be done as an intro to Bottoms Up instead. For those who don't know, Growth is a short hidden track at the end of the Women And Children First album.
This recording is one of a small handful of tapes that captures the rarely heard "outro music" that plays over the speakers at the end of the show after the band walks off stage. While this may seem insignificant, I'm not even sure if the outro music has ever been heard before in any Diver Down audience recordings. In all instances this outro is captured, the song that can be heard playing is called "Imitation" by Kid Creole and the Coconuts. Knowing Dave's taste in music, this seems likely to be a song he picked out. Here in Rockford only, 20 seconds of a second outro song can be heard at the end, which is called "Harder Than Diamond" by Chubby Checker. With the small handful of tapes later in the tour that also capture the outro music, those all have Van Halen's own Big Bad Bill as the second outro song instead.
This recording is one of only three shows where Roy chose to use 60 minute tapes instead of his usual choice of a single 90 minute tape. Unlike the show in Louisville, Roy ran two 60 minute tapes in Fort Wayne and Rockford, allowing him to capture nearly the entire setlist at these two shows. While this Rockford recording is nearly complete, there are a few notable cuts.
The first side of the first 60 minute master tape runs out during Where Have All The Good Times Gone, but luckily Roy flipped the tape quickly enough to still capture the most of the song. The second side of the first tape ends right after Dance The Night Away, while the first side of the second 60 minute master tape starts right at the beginning Somebody Get Me A Doctor. The first side of the second tape ends near the end of D.O.A., so is sadly missing the end of the song and Ain't Talkin' 'Bout Love. The second side of the second tape starts at the beginning of Bottoms Up, and runs through capturing the remainder of the concert.
Huge thanks to those who significantly helped with the absurd pricetag that was required to liberate this VH collection, most of which would've been impossible to save otherwise.
Enjoy the music and be grateful we are able hear these special recordings. If you have uncirculated tapes, please consider sharing them before they end up forever lost to time.
This recording is one of a small handful of tapes that captures the rarely heard "outro music" that plays over the speakers at the end of the show after the band walks off stage. While this may seem insignificant, I'm not even sure if the outro music has ever been heard before in any Diver Down audience recordings. In all instances this outro is captured, the song that can be heard playing is called "Imitation" by Kid Creole and the Coconuts. Knowing Dave's taste in music, this seems likely to be a song he picked out. Here in Rockford only, 20 seconds of a second outro song can be heard at the end, which is called "Harder Than Diamond" by Chubby Checker. With the small handful of tapes later in the tour that also capture the outro music, those all have Van Halen's own Big Bad Bill as the second outro song instead.
This recording is one of only three shows where Roy chose to use 60 minute tapes instead of his usual choice of a single 90 minute tape. Unlike the show in Louisville, Roy ran two 60 minute tapes in Fort Wayne and Rockford, allowing him to capture nearly the entire setlist at these two shows. While this Rockford recording is nearly complete, there are a few notable cuts.
The first side of the first 60 minute master tape runs out during Where Have All The Good Times Gone, but luckily Roy flipped the tape quickly enough to still capture the most of the song. The second side of the first tape ends right after Dance The Night Away, while the first side of the second 60 minute master tape starts right at the beginning Somebody Get Me A Doctor. The first side of the second tape ends near the end of D.O.A., so is sadly missing the end of the song and Ain't Talkin' 'Bout Love. The second side of the second tape starts at the beginning of Bottoms Up, and runs through capturing the remainder of the concert.
Huge thanks to those who significantly helped with the absurd pricetag that was required to liberate this VH collection, most of which would've been impossible to save otherwise.
Enjoy the music and be grateful we are able hear these special recordings. If you have uncirculated tapes, please consider sharing them before they end up forever lost to time.
PATREON MEMBERS
As a support Patreon member you can download it
as Flac by clicking the logo down below.
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