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Interview

Diamond Head's Karl Wilcox brings Metal Underground up to speed at Psycho Las Vegas

Photo of Diamond Head

Band Photo: Diamond Head (?)

Diamond Head recently created a buzz at this year's version of Psycho Las Vegas by injecting the festival crowd with a much needed dose of New Wave of British Heavy Metal. MetalUnderground.com sat down with drummer Karl Wilcox after their set on August 19th, to bring us up to speed with the band and what to expect from them in the future.

Greekbastard: Diamond Head has been around more or less since 1976, so did you ever imagine that you'd be playing a festival as cool as Psycho Las Vegas, 40 years later more or less?

Karl Wilcox: I don't think so, no. The band's played Vegas three times, okay? At just small clubs and, they've been fairly well attended, but to be invited to be part of this type of show, for us it's great, because I live here now in Vegas. It's great that the band has come and played this festival, and, I think, won a few new fans. I was pumping the bass, Dean's bass, and dragging my gig back around from the backstage, round to the front of the hotel, and folks are going "Killer show, man. That was great. Man, you're a monster! Wow, dude that was fantastic." So yeah, no we didn't expect it.

I think when you start forty years ago, you want to tour the world, and you want to do this, but the festivals that are around now, weren't around when we started. In England we had Reading Rock Festival. We played what went on to become the Monsters Of Rock, Donington Park. Those were really the only really big festivals that we really knew. Now in Europe there's a lot of festivals. To be invited to this is special, it really is. Give a shout out to Evan and Ronny for inviting us all to be part of this. We just thought we'd turned up and played and did our stuff and everybody enjoyed the gig, really.

Greekbastard: Last year you guys released your seventh full length album, and it was self-titled Diamond Head. Why did you self-entitle it?

Karl: Because our first few, our White album could've been self-titled, but it took on the name of Lightning to the Nations. The band never had one. We just thought, "Well why don't we just call it 'Diamond Head?' Just go with it." There was a sheet on the wall full of album titles, which is what you do. We just thought, "We'll just call it Diamond Head." At least it's not Diamond Head Eight. It's just Diamond Head. We just thought, "Well, why not?" People had said, "Well, why?" We just said, "Well, why not?" It just became that, just Diamond Head. We had an artist who re-worked the classic logo for it. We're each in like a sheriff's type of badge, which has been my thing being over here and I'm fully into that Americana, west type of vibe. It just stuck. I said, "Yeah, we'll just call it Diamond Head and that'll be it." Instead of picking a song title which is kind of the norm. Obviously I don't think the next one is going to be Diamond Head two. The next one is going to have a title. We don't have a working title. In fact, I've done the drums for the new album, and there were no song titles. They're things like 61A, big riff, 17C, all that kind of stuff. Until Ras does the vocals and we see where they are, then the songs will take titles.

Greekbastard: Because you live in Las Vegas, when you record, do you track your drums here, or do you track at different places?

Karl: No, no, because we had so many festivals over the last two months in England and Europe, I was there long enough that I thought, "Well let's just get in the room. Let's go over all the ideas if we've got them." We just booked three days to go into Circle Studios in Birmingham. We loaded in on a Monday afternoon, we started tracking Monday evening, and I finished Tuesday afternoon. They had an extra day, which they mostly get five rhythm guitars, and five bass tracks down. Now everybody will go back and just do their bits after this tour's finished. I think they head back into the studio on September 25th to finish putting all the backing tracks down for Ras to then work in his studio to do the vocals and stuff.

All the songs are worked out with arrangements, and that's how it's going to do. We did “What's In Your Head”. I recorded the drums at my place in Martinez up in Northern California. They would send me the files, I'd do the drums and then I'd send the files back. Because the album Diamond Head was done old school, so we wanted to do that again, and that's what we've done.

Greekbastard: Did you record it live, or was it tracked?

Karl: No, it was live, they played along with me, and we just tracked the drums, because we wanted to use the room where the drums were to get some guitars going as well. They were in the control room playing away, going, and “Well I didn't like that take." But no, it's a great experience. It's a wonderful studio, Circle Studios, it really is. It was fun. As I said we booked three days to do drums, and I managed to get them done in a day and a half.

Greekbastard: I've looked up Brian's age, and he's 54, correct?

Karl: Brian is 57.

Greekbastard: Fifty seven, okay. Then Wikipedia is wrong, and I will correct that for Wikipedia ha-ha.

Karl: He was born in 1960.

Greekbastard: Okay. Now I'm just going to turn the age question to you.

Karl: Yeah, sure.

Greekbastard: Your age is???

Karl: I am 54, I'll be 55 this December.

Diamond Head drummer Karl Wilcox

Greekbastard: So for being 55 years old, what are your secrets for rocking into your 50s and beyond?

Karl: My secrets. Lots of playing. I'm a big Buddy Rich fan. I've seen him kick ass and drive that big band in his 60s. It's like, I can't say anything because he was doing it. I look after my body. I might eat some things that I don't need to, and drink a couple things that I don't need to. It's just a matter of I enjoy playing. I enjoy playing with this band. I think they're the best band in the world. We've got some great players in the band, and we have some fantastic songs. Everybody works for each other, and we go out there and we do the voodoo that we do. That in itself is enough to keep inspiring you to play. At the end of the day, as I say, we're entertainers. As long as I can walk and I can play, I'm going to keep entertaining.

In 2012, we had to cancel the show in London because I needed an emergency blood transfusion. I'd lost so much hemoglobin if I'd have done another show, it probably could've been my last one. As I've said, I just play every gig as if it's my last one. That's it, really. Just keep rocking. I've always believed in music. I started at a young age playing the trumpet for ten years before I moved on to playing drums. I see my peers, they're still doing it. Even if I have to walk home in a Zimmer frame, I'd still be able to do it, you know what I mean? As long as the great spirit gives me the will to play, and the ability to do it, then I don't see any reason why I shouldn't.

Greekbastard: I've seen, and you've seen it, a lot of our rock star idols falling. A lot.

Karl: Yeah, mm-hmm.

Greekbastard: How does that make you feel?

Karl: It makes me feel, especially, they all seem to be in their 50s, what was in the food? What was in the drugs, and what was in the alcohol? It just seems to be maybe we were the first generation to start to experience this thing called stress of like, "I have to do this, or be this," and having to achieve this, and etc., etc. When I first started playing, this whole concept of wanting to be a rock star, it didn't exist because rock stars as we know them today didn't exist back in the day, because rock bands didn't have the pressure of needing to have a hit single. The band recorded an album, and then went on the road for like 14 months. They came back, they did a new album, and then they went on the road again. That's what they did. That's what rock bands did in the late, mid 70s, and into the early 80s.

Then all of a sudden, rock bands started having hit singles. Then you could sort of say Van Halen with the song “Jump”, when you start having rock bands appearing in a regular disco nightclub, now commercially, rock bands have got to a point where they never were. One of my favorite albums is UFO's Obsession. Some of its fucking brilliant, but there's not any singles on it. UFO didn't need to have a hit single. The Scorpions didn't need to have a hit single, Led Zeppelin didn't need to have a hit single, but now if you're a rock band, you've got to have some big hits. That kind of stress on musicians, especially if you've achieved a very, very high level, it's quite stressful.

My first girlfriend, her father was a sax player, and he was discussing with me the drug thing within the music industry. You know the jazz cats were doing that way before rock and roll back in the 30s and the 40s and the 50s. Maybe it's just the excess of that lifestyle, and that fast-paced lives. The old trusted clichés of take time to smell the roses, it's just, you know, slow down. Don't constantly be on the top, and learn to stay with. One and a half bottles of vodka is okay. I don't need the other half, I'm good for now.

I lost my father 18 months ago, I lost my mother last November whilst the band was on tour here in America. That makes you realize your own mortality. Seeing people like Bowie die, you just suddenly think life's really short. You've got to take it by the horns and live it, because tomorrow might be your last day. Mine almost was in 2012. Again, back to what was in the water, what was in the food, and what was in the drugs? That's what folks do. I just don't know, but there does seem to be people of my generation that seem to be falling a lot faster than people in their 60s and 70s. I don't know. I'm just glad to be able to keep breathing.

Greekbastard: You guys are in the middle of tour right now, correct?

Karl: This was our first show, and tomorrow we do Salt Lake City. Then we have two days off, we go to Portland and Seattle. Then the band starts its first ever Canadian tour. I think its 12 dates in Canada, which we're really excited for. I'm going to be doing most of the driving, so I'm expecting to rack up about 11,000 miles on this tour. Canada's a beautiful country just the same as the United States. We're all excited. We've done Vancouver, and we've played Montreal, and we've done Toronto, we've done Quebec and Ottawa. I've never been to Winnipeg or Edmonton or Victoria or Vernon. Now we're just looking forward to it.

Then we're going to finish in New York, Brooklyn Saint Vitus Bar, September the 11th, which really is great because I used to live in that side of New York City, in Jersey. We're stoked to be on the road again and playing, and having people turn up and people say, "Wow that was great," and etc., etc., etc. At the end of the day, all we can do is go out and play. The fact that we have promoters, we have agents who want to put the band out. The band wants to work, working on a new album. The fans are there, and hopefully the fans will just go out and spread the word so more people will turn up. So we'll put more bums on seats, we can make the promoters happy, we can make the agents happy, we can make us happy, which means the promoters will bring us up to the next level.

That's the game plan, to get as high as we possibly can before ... It'll probably be Brian who will say, "I just want to do the festivals now. Touring is hard work." It is hard work. We're a man down, we don't have Abbs. We have no crew. It's just us four guys in the band. Debbie is doing our merch, lighting, and assistant tour manager. That's it. We're in a van and we tour in it. We're bringing the Diamond Head show to town, so everybody come and check us out.

Greekbastard: You guys are forever connected at the hip to Metallica.

Karl: Sure.

Greekbastard: So the question is, do you embrace this and if so, why?

Karl: That's a loaded question.

Greekbastard: It is.

Karl: The reason why it's a loaded question is because people associate the band with Metallica and Megadeth obviously as well, and think the band is sort of a thrash band. But we're not a thrash band, we're a quintessential British rock band that plays some quick tracks and has got some mighty riffs, because Brian and Sean ... Again, back in the day, I was in a new wave British heavy metal band called Requiem, and we were just trying to emulate what we were seeing, which was Thin Lizzy, Black Sabbath, Rainbow, Deep Purple, UFO, all those bands. That's what we started, and then the journals came up with new wave of heavy metal, which then turned into the thrash scene here in America in the early 80s. Being associated with them is great because it brings all the attention, and especially for the songs that Metallica do.

Sometimes because the band is not as well-known, especially over here in the United States, as we would like ... Last year we did the 70,000 Tons cruise. Our first show, on the Thursday night, we did our show, band played great. We're all stoked to be a part of it. We did the show, we're walking back. There was a bunch of guys standing in the bar going like, "Man, you guys fucking rocked! Why are you playing Metallica songs?" That's it. You just keep walking. We supported Thin Lizzy in the UK. Thin Lizzy, they had a whole American group. The people who were doing the PA company were from the Stalbridge area, which is where Diamond Head is from, originally. Brian knew all the guys.

We did our first show in Nottingham with Thin Lizzy. Their tour manager is like, "Hi, guys. It’s okay, you guys are free to come on the stage. Your set's got like four Metallica songs in it, and you got your own shit?" Thankfully one of the sound guys who said, "I think you should check their Wikipedia, because these blokes wrote the songs."

The look on people's faces is, excuse me, I'm going to swear, is, "Fuck you, man, you didn't write Am I Evil." At that point, and I've had so many close calls to having fights here in America, I go into a place and they look at you and you're like ... I seem to spot them, and they'll say, whoever, somebody's going to come over and ask me in a minute, "Do you play in a band? You look familiar." I say, "Yeah, yeah, I do." "Who is it?" I just politely say, "It's not important, you would never have heard of us. IT doesn't really matter, don't worry about it." Its like, "Come on. Who? Don't be a dick." Its like, "You've never heard of us, so don't worry about it." Then they start pushing and pushing and pushing.

Its like, "Okay, the name's Diamond Head." They say, "Yeah, you're right I've never heard of you. You got any famous songs?" "Well yeah we do, but again, you've probably never heard of it." They go, "What's the name of it? Give me a famous song then, I'll tell you if I've heard of it." You go, "Probably the most famous one we have is Am I Evil." "Fuck you, man, that's a fuckin Metallica song." I just say, "Mate, I'm leaving the building, can you get out of my face?"

On the one hand, it's great that Brian wrote Am I Evil when he was 17, and he was trying to write Symptoms of the Universe. (Imitating guitar riff) That's what he was trying to do. I don't think he knew at the time that he was going to go on and influence what essentially become the biggest band in the world. But because they become that, it's obvious that they play that. People will associate they wrote it. It's happened to a lot of bands. On the one hand it's great, on the other hand it has some slightly negative connotations. Obviously because Metallica is the biggest metal band in the world, people think we're a big metal band, but we're a New Wave of British Heavy Metal band, which encompasses a lot of different stylings.

You listen to the New Wave of British Heavy Metal bands from Raven to Saxon to Iron Maiden to Praying Mantis to Diamond Head to Witchfynde, Witchfinder General, Bronz, Jaguar, and Girlschool. They're all part of this thing, but there's a lot of different styles in all those bands. You get the thrash bands together, the thrash bands are pretty much all reading from the same book, whereas we were sort of like, "Well maybe everybody in the band wasn't a rock fan. Bass player might've been a swing music fan. Drummer might've been a jazz fan." So you've bought these eclectic styles of music together, which turned out as the genre that's called New Wave of British Heavy Metal.

Again, we were just trying to emulate UFO. Andy Parker's on a drum riser, how do we get a drum riser? We get four pallets and nine Billy crates. We put a black top on it, it's Andy Parker. "All right, I'm sold." "Yeah, but it needs to be higher." "Well we'll put two billy crates down on top of one another. We'll need 18 billy crates." "I'm good, I'm sound. That'll do for me." That's all we were trying to do. We didn't know that Diamond Head was going to go on to influence the biggest band in the world. Of course because of our association with that, and again, it was humbling for the band when we went out with Megadeth in 2005. We'd just got a brand new vocalist, we'd never toured before. He was a nervous cat and we held our own amongst a lot of naysayers who said, "Sean's not in the band, it's just the Brian Tatler band. I'm not interested, and I ain't going to come and see them," etc., etc.

Dave Mustaine didn't seem to mind. In fact, he actually wanted to hear “Lightning to the Nations”, and we were in Belgium. No, first show in Antwerp, Holland. So we've done the sound check, and we've gone back to the dressing room, and the intro's playing. I've got on the drum, and there's a piece of tape across the drum, "Play Lightning, you git." He's written in silver pen and he'd asked the crew to put it on. We have to play “Lightning to the Nations” because David Mustaine would've liked to hear us play it. It was quite funny that was, because he's a big fan of that track. It wasn't in the set, but he would've like it to have been in the set. So we put it in the set. And also “Sucking My Love.” He said to Nick at the first night at London Astoria, he said, "Tell your vocalist if you don't do “Sucking My Love”, I'm going to come back and sing it." Of course, that kicked Nick, you know what I mean, so, you know.

Not being part of the original band, I can't say that for me it's great, but for being in the band, it's great. I'm playing in a band that's influenced the biggest band in the world, and also so many other bands. So many bands want to support us, because either the guitar players were inspired by Brian's playing, or the songs. It's a loaded question. It has lots ... equal weight on the scales, it really does.

Greekbastard: Are there any bands out today that you've heard that remind you of the New Wave of British Heavy Metal?

Karl: I'm going to have to place myself on the ignorant list on that one, because I'm not up on a lot of new bands at this particular moment in time. Primarily because I'm trying to buy a house in France, so I haven't had a chance to sit down and listen to much music over the last six or seven months. I think the new wave of British heavy metal is a very influential genre of music.

Greekbastard: It’s underrated.

Karl: I think so too because there is a lot of great bands. If you go to thenewwaveofbritishheavymetal.com website, there's almost 400 bands for a country the size of England, the UK, in a short period of time. That sort of speaks volumes of the amount of influence all those bands are currently for Rainbow, UFO, Thin Lizzy, Black Sabbath, AC/DC.

Greekbastard: What do you think of Def Leppard?

Karl: What do I think of Def Leppard? Wow. When the Def Leppard album first came out, “On Through the Night”, again, they were a NWOBHM band. They were a band that had that commercial kind of vibe to them. They were also the first band, if I'm not mistaken, to get out of England and come to America. They did what they needed to do. Obviously they hooked up with Mutt Lange, and he produced their second album High and Dry. For me, I was disappointed because I was, and I am a big Rick Allen fan. We started to grow up at the same time, you know what I mean? His drumming on the first album is this way (Arms Flailing), and on “High and Dry” it's very in the pocket. They were working on big bass drum sounds and big snare drum sounds. I was a bit disappointed to it, but also, as a musician, you understand that the song is the most important thing.

They just took what they had and just ran with it. I've read somewhere that they don't like to be associated with the NWOBHM. You what, dude, it's just like sometimes you've got to just like tip the hat and just say, "If it wasn't for the new wave of British heavy metal, you wouldn't be where you are now." They just played a festival where we should've played, but our night got stormed out, I won't say rained out, got stormed out. We didn't get a chance to play, but we watched them. What they do now is now what they did then, but you had your feet in that NWOBHM, and don't be ashamed of it, because it has inspired the biggest bands around.

People say Diamond Head inspired The Big Four. I don't think we really can take credit for Slayer or Anthrax, but those four bands have inspired a multitude of bands. All of them were listening to the Deep Purples, the Sabbaths and the Zeppelins. You take all that early stuff from Sabbath, Deep Purple and Rainbow, and all those, then you add in all this NWOBHM. Then you end up with the thrash, and then you end up with everything else that came after that. Don't be ashamed of NWOBHM, because there was some great bands, there's some fantastic songs, and there's a lot of great players. Unfortunately, the industry can only support so much. It's nice to see that festivals now are having a new wave of British heavy metal act on the festival to bring to the table. We're doing Hard Rock Hell Festival in December in the UK. That is actually now Hard Rock Hell New Wave of British Heavy Metal. It's a whole festival, and it's sold out. That's the influence that that genre's had.

I think young folks now are getting into it because there was the riffs. I don't think many had the detuning stuff, which a lot of bands (imitating guitar sounds). I can only reference “Am I Evil”, written in regular guitar tuning, in E. It's frankly, in the top ten best heavy metal records of all time. Then you can hear some modern day bands where, everything's there to c sharp, and he's (imitating guitar sounds). This “Am I Evil” riff in regular tuning stands up to it. You don't have to be drop tuned to write a real mean and heavy riff. Don't have to have it. It's just there in the right notes in the right order. As far as the genre itself, I think it holds its ground very, very much.

We just did Bang Your Head Festival. We did a tour with Raven, it's great to see Raven back out touring. We are big fans of the Raven guys, and Joe. I was sort of put on standby to fill in for Raven, but we're on the tour, they're on the tour. It's like, you should get yourself, but if you need help, I'm there to come and help you out.

Greekbastard: This next question is based on a personal experience I had. I went to the UK for the first time two years ago. When I was there, I didn't hear any Black Sabbath playing. I didn't hear Zeppelin, I didn't hear the Beatles, I didn't hear the Stones, and I didn't hear the Who. I just heard pop everywhere I went.

Karl: Yeah, yeah, yeah, yeah…

Greekbastard: I was completely disappointed. How do you feel about this?

Karl: On that note, we have to say, "Thank goodness for America." England is not a big rock nation. It's very much into indie and pop. There's nothing wrong with that. It's just the way the country is.

Greekbastard: To me, it seems like all that great rock music history was wiped from the books.

Karl: That's it. It's almost as if America took the ball and ran with it. That's how America has all the best rock bands. England doesn't have any great rock bands anymore. That's a shame because Deep Purple, Led Zeppelin, Black Sabbath, UFO, Rainbow, Diamond Head, and the whole plethora of NWOBHM that followed. You won't find many rock tracks. You've got to seek out your rock stations, you really do. You won't find it playing in clubs or pubs, whereas here in America, it really is, it's all over the place here. Every radio station has a small part of their show is called Get the Lead Out. It's on the air in the UK. In fact, I think there's a band called the KLM. They are voted as the best British rock band. I'm just going to leave it on that. Your listeners or your readers can decipher and read into that whatever they want, but the KLM are, according to the people in the United Kingdom, the best British band ever. Not the Beatles, not Led Zeppelin, but KLM.

Greekbastard: What's next for Diamond Head?

Karl: Diamond Head, new album, finish this tour. We are now booking and taking festivals on for next year. We have four confirmed. We can't announce them just yet until festivals acknowledge us that we can. A lot of touring. More of the same hopefully. As long as the good will of the people and there's the health within everybody in the band. It's more of the same to bring the Diamond Head circus to town, and hopefully convert a few naysayers, capture some brand new fans, and help push the band a little bit further up the ladder where a lot of people think the band should be. "You guys deserve to be here, and you should be there, and you should be this." We may know that, but the reality of this industry is such that, there's an element of luck in it. That's what you need, is just an element of luck.

You only have to see the multitude of bands there are now. Every major city's got a couple thousand bands. Everybody's chasing the same dream. The fact that after 41 years, Diamond Head is still going, it's just been invited this year to play two American festivals, which I think speaks volumes for what the band is doing, the commitment the band has, the perseverance, and the loyalty it has to itself and the fans who keep the ball rolling. That's what we want to do, keep the ball rolling as much as we possibly can, until we get to the point where logistically touring is not financially viable anymore. Air flights keep going up; it's not fun anymore; you've got to get work visas; you have to advance yourself so much money to do it.

Of course, we don't even know what's going to happen when Brexit goes through. Then does a British band have to get a work visa to go and do a show in France or Germany or Belgium or Holland or Spain or Portugal. We don't need it at the moment. No one really knows what that could hold for all the UK bands. Is everybody going to have to apply for a visa? Is that going to be a visa free of charge, or is it going to be a certain fee? Once the governments get somewhere, "You want to come work here? You have to pay us."

The ball is rolling and the world is your oyster, we just want to keep enjoying playing as musicians and as a band and just try and convert as many fans as possible. The old fans who've sit up waiting 30 years to see you guys, which I had waling back to the room, some guy stopped us and said, "You know, I waited 30 years to see you guys. You guys are just great. It was a great show, thank you so much for coming." All the hype of being a rock and roll star, yeah that's true, nothing beats that, than a fan to say, "I've waited so long to see you guys, and I was not disappointed." Ain't that great? Job done. Band as an entertainer, done. We can't say any more than that.

We did a show in Springfield the night before Rocklahoma. You don't hear these words very often, but we came off the stage and the owner of the venue just stood there. He said, "That was outstanding. I've seen a lot of bands in this venue, but that was outstanding." Again, jumped on like, "Thanks." It just speaks volumes for what the band is doing as a collective and as individuals. There's been several lineups. Sean basically said, "Oh the band transmogrified, and it changed, and it stopped being a band when Colin and Duncan were no longer the band." We had some London session cats come in and join, and it started to take a different way. Then I joined in '91, and it sort of got on its feet again. But again, there was just things happening behind the scenes that people didn't know about, and were holding the band back.

It sort of did what it did again, and it got itself back together again. Again, the hidden agendas appeared on the rug, and we needed a new singer. So we did, and we fell right back down to the bottom of the ladder. Obviously with adding Ras, who's just a phenomenal singer. He's a talented song writer, and he has the credentials to do studio stuff with the band. He handles a lot of the multimedia kind of stuff. That workload that he brings to the band has just given everybody else in the band, which was doing what they were doing, I believe a kick to the backside. I handle like 75-90% of the business stuff now, which I'm fine with. It's a bit stressful at times, like trying to set these interviews up today. Nobody knows where the media stuff is, we've got to do these interviews today." Like, "Oh where's Brian? Where's Brian?" We managed to get it all sorted out.
The fact that Ras has taken a lot of what was part of Diamond Head and brought his stuff to it has generated a lot of interest from folks. On top of that, he's the sound guy. He just brings a lot to the table. It's great that he's enjoying working with a bunch of old timers.

We've got a new bass player now, Ash. Well, Dean Ashton, I just call him Ash. Again, he's just picked the band up because when we auditioned him and he started playing, I just thought listening, "He just sounds a little bit like Colin." He's got that real gritty bass tone. I looked at Brian, Brian looked at me, I thought, "I think this is the cat, geezer. This is the one." He just dig in to the bass. I've known Abbs since I was 18. I've known him a long, long time and he only got started playing the guitar because I was playing the drums in Requiem. It's great to have him in the band too.

As I said, I've been working with Brian since 1984. It's a very, very good, hard working band. We know what we have to do, and if that means unloading the back of the van in 105 degree weather, that's what we have to do. Otherwise, we're not going to do it. We don't have the luxury of saying, "We can't go out unless we've got five crew." Or, "We've got this and we've got that when we're on the bus." It's like, "This is our budget, and these are the logistics." That's to say Debbie our merch lady, our assistant tour manager there, takes a lot of strain off me because I was having to do this as well. We just go ahead and work and do what we have to do to bring Diamond Head to town. Hopefully, we play more shows like Psycho Las Vegas. We had a blast today, we did, we had a blast.

Greekbastard's avatar

Metal isn't just a type of music, it's a lifestyle for Nikos Mixas. In addition to playing guitar for the Phoenix's own Twingiant, he's a contributing writer for PureGrainAudio.com and The Sludgelord. And when he's taking a break from it all and on vacation, you can almost be certain he's banging his head at a metal festival somewhere interesting.

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2 Comments on "Diamond Head's Karl Wilcox loves Psycho Las Vegas"

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1. Joe P writes:

Great interview Karl! Looking forward to seeing the band in Syracuse on 09-10 after a 3 decade wait to do so and hopefully I'll get a chance to speak with you for a few minutes as well...

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2. saxon83 writes:

I saw them and they killed it. Glad I went.

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