Wednesday 13 joins the show this week. We discuss his new album “Condolences” and the new direction of the band. Wednesday talks about playing in bands in the early 90s and what he thought about Marilyn Manson when he came out. the Murderdolls are brought up and he talks about Joey Jordison getting back behind the kit. We also get super nerdy and talk about collecting toys. He is a huge collector of 80s toys such as MOTU, G.I. Joe and more.


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Click the player above to listen to the entire interview.

When asked about bands such as Metallica covering Misfits songs throughout the 80’s, Doyle had this to say:

“I think Cliff Burton had a lot to do with the popularity of the band, and so did Danzig. He was huge there for a while. And you know, stayed on top, where he’s at. Those guys wearing all those shirts got people lookin’ at it. It’s funny, those guys grew up inspired by things I did, in the Misfits, and now I’m writing things inspired by what they’re doing in their bands. It’s like a fucking circle jerk.”

On his relationship with David Ellefson:

“I’ve known Dave for like 20 years, easily. We toured with them (Megadeth) and kept in contact. I had seen him at Metal Allegiance. I did a show with Alissa and he was there. He started telling me about it (EMP LABEL GROUP) and I gave him Abominator. He started calling and saying ‘I want you guys’ and we were like ‘OK cool’.”

Doyle II: As We Die”, due on May 5 via EMP Label Group in conjunction with Doyle’s own Monsterman Records pre-order here



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Dez Fafara (DevilDriver) was the guest on the latest episode of Talk Toomey. During the conversation, Dez and Toomey talked about the latest Suicide Silence record and his transition from Coal Chamber to DevilDriver. Here are some excerpts from the interview.
(transcribed by wookubus of
On the latest Suicide Silence album:
“Don’t be afraid to grow as an artist. I mean look at the time you come from and I come from. Artists were so different it was… Everybody had a different look and a different sound. You couldn’t take 15 bands and put ’em all on the same stage and they’d all sound the same. Right now I could take a hundred bands and put’ em all on the same stage and they’d all sound the fucking same. There’s just something to be said for growth and doing something different.”
On his transition from Coal Chamber to DevilDriver and if it was brought on by the dying nu metal scene:

“No I wasn’t even thinking that, I mean dude Coal Chamber was heavy as fuck, so I don’t know what you’re talking about. I mean have you heard the first Coal Chamber record? It’s tuned to fucking god knows what. We toured with Pantera and Black Sabbath, this shit was heavy. The reason I left Coal Chamber was far from like ‘OK, I see the scene dying, I better make a fucking move now.’

No, it was far from that. It was like ‘I can’t be around these cats no more .’ Their lifestyle and the way they treat me and everyone else and the way it was going down, it was like ‘fuck this.’ You know? The way I left was right after a tour I got in a cab, and fucking called… swiped my card at 33,000 feet and said ‘I’m done,’ I left a tour and said ‘fuck this, I’m, done. This is not how it’s supposed to be.’ So it was far from like ‘Ahh, the music’s taking a dive.’

If you really look at it man, there was probably a few years when people bagged on every band that came out of that scene, but if you look at the biggest bands on the planet right now, they’re the same. System Of A Down, Korn, Deftones, Disturbed, can I just go down the line? From that same era, so was music changing? Like no, hell no it wasn’t. So here’s what happened to me.

I’ve always been turned on to aggressive music. I’ve always been turned on to different aggressive music. I mean even right now you and I could have a whole separate show on bands I found in the last two weeks that no one’s ever heard of. So my mind is constantly—and I’m a lot like Philip [Anselmo] when it comes to that—I’m constantly listening and diving in. I come  from a punk rock and psychobilly background. Obviously Coal Chamber had way heavier elements. But I was listening to a lot more raw, different, heavier stuff.

I mean like even Superjoint demos with Philip were like tripping me, like ‘woah what the fuck is going on here?’ And go down the line when it wasn’t cool to even listen to black metal; I was insane about that scene for awhile. So for me it was like, I wanna get out and do something that’s a lot more brutal. And it has a lot more uptempo and groove to it as well.

Coal Chamber had a lot of chug to it… you can only push the players so much for what they can write. So it wasn’t the music, it was more like ‘Hmm, this thing’s falling apart and I got a family and kids and a career,’ it’s like I’m not gonna fall apart with it. If the ship is sinking everybody’s looking for a fucking life raft you know? Everybody.

And it just so happens—and a lot of people don’t know this—but when I was doing Coal Chamber‘s last record “Dark Days“; I was leaving those sessions and driving like two and a half hours up into the mountains of Santa Barbara and recording DevilDriver at that time. Making the demos for DevilDriver at that time to hand over to Roadrunner to get the first record deal we did.”

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Gene Hoglan (Testament) recently called into the Talk Toomey Podcast. Gene talked about a number of topics including Testament, Deloreans, Death, working with Brendon Small and more.

On Metallica releasing a heavier album:

“I can only imagine that the world is excited at the fact that Metallica has put out (a new album)…..I’ve heard a few tracks and looks like they are focused on trying to be (heavy)…..there are no “Until it Sleeps” on this record. So far from what I’ve heard it sounds like they are trying to be focused , you know…..Picking up the flag of heavy metal and waving it proudly. I back that. If Metallica puts out a great metal record, that only benefits us all”

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