Chris Reifert is a man who likes to work slowly. His doom-drenched, depraved death metallic music is murderously slow. The long, long, long-awaited reunion of his band Autopsy took over a decade. Their ensuing brand-new full-length album, Macabre Eternal, materialized tantalizingly slowly.
He apparently also takes his damn time when it comes to answering interviews from keyboard jockeys like yours truly. His answers were worth the wait, though – and how could I possibly be irked at the man behind “Charred Remains?”
The only bummer resulting from The Devin Townsend Project’s totally sexcellent Deconstruction is that the fans’ collective fantasies of seeing the whole thing performed live with all the incredible guest musicians will never, ever be a reality. Even if you had an unlimited budget with which to transport and house all the necessary players, scheduling the thing would be a total nightmare.
But we may get to see the album performed with its guests piecemeal…
For example: the below footage of Ihsahn joining Devy on-stage during a festival set in Portugal this past weekend to perform — duh – “Juular,” the Deconstruction track on which he appears. This is one of those moments where any reasonable person would have killed to be present… so thank heavens for cell phones with cameras in ‘em!
Here’s the thing about new Anthrax, in my opinion (and opinions among the various MS staffers differ greatly): it’s pretty good! Sure, I would rather be hearing John Bush’s (or even Dan Nelson’s) low, gruff snarl instead of Joey Bellardini’s high-pitched wail; a lot of Worship Music sounds like it was written for Bush/Nelson and subsequently re-tooled for Bellardini, and recent interviews with the band have confirmed that. But the songs themselves are pretty great, and Bellardini (with help from vocal producer Jay Ruston, I assume) actually did a good job penning vocal melodies to fit the already-written music. The performances are solid all around, and in the end isn’t an album’s awesomeness vs. suckiness-factor about the strength of the songs? Bellardini’s vocals sound weird / very produced at times, but his overall performance is good enough and doesn’t distract from the songs at all. Most importantly, the songs rock.
SO. With that in mind listen to “The Devil You Know” over at GuitarWorld.com; it’s the latest track to be released from Worship Music and it’s one of my favorites from the album. This is definitely one of those songs that falls into the “these riffs are begging for John Bush’s voice” category, but it’s still pretty fuckin’ headbangable if you ask me!
Here’s an interesting story that The PRP picked up on: during a recent interview with Lithiummagazine.com, Killswitch Engage/Times of Grace guitarist Adam Dutkiewicz claimed to be working on a death metal side project with the drummer from Black Dahlia Murder and the singer from Cannibal Corpse.” (That would be Shannon Lucas and George “Corpsegrinder” Fisher, respectively, in case you somehow don’t know that.)
And while it isn’t presently clear whether or not Dutkiewicz was being serious or just dicking around, I’d still like to say right now: I would check that band out.
GWAR live is one of those things that I believe every man, woman, and child, should experience at least one before they die, preferably from a spot in the crowd that is optimal for getting sprayed with fake (I think/hope) urine, semen, and blood. Seriously. No joke. Sally Struthers should be on television begging you to donate money so children living in poverty can still go see GWAR. It’s that important.
And the band has just announced a North American headlining tour, so if you’re a GWAR show virgin, here is a fantastic opportunity to pop your cherry. They’re even bringing Every Time I Die, Ghoul, and Warbeast out on the road with them, for maximum awesomeness… no, that bill doesn’t really make much sense, but I don’t think there’s anyone that would really seem like an “appropriate” match to tour with GWAR, and all of those bands are good, so whatever.
Dates are after the jump, courtesy of Metal Underground. Don’t forget to wear a white shirt you don’t care much about for maximum fun and a free, one-of-a-kind souvenir from the concert.
Fans hoping to stream music by Nachtmystium, Inrtronaut, Nevermore and hundreds of other Century Media artists on Spotify are suddenly out of luck: in a move that leaves little doubt as to why the recorded music industry is in the shitter (key word: recorded), the label has suddenly pulled all of its artists off of Spotify. Word on the street is that they’re holding out for a better deal that pays more on a per-stream basis.
Full disclosure: Century Media regularly purchases ad campaigns with MetalSucks. Spotify never has.
In a nutshell, the mistake Century is making is this: it’s all about the long-term, not the short-term, you dummies.
Monday, August 8th, 2011 at 12:00pm by Axl Rosenberg
In the beginning God created the heaven and the earth.
And the earth was without form, and void; and darkness was
upon the face of the deep. And the Spirit of God moved upon
the face of the waters.
And God said, Let there be light: and there was light.
-Genesis, 1:1 – 1:3
Monday, August 8th, 2011 at 11:30am by Axl Rosenberg
When I saw that Edguy had made a video for the song “Robin Hood,” I got really, really excited. Not because I’m an Edguy admirer — I’m not a virgin, and am therefore ineligible for their fan club — but, rather, because I assumed the video would be cheesy as hell, and therefore hilarious.
Unfortunately, it’s not. I mean the costumes look like they were made by someone’s mom and there’s a really cheap version of the arrow P.O.V. shot from the Kevin Costner version of Robin Hood, but the band is clearly in on the joke, and that’s no fun for mean-spirited bullies like me. ‘Cause all we’re left with is a not-especially-funny comedy video for a generic power metal song. Booooooo.
Now, Saxon, on the other hand… THESE dudes know how to make one ridiculously, laughably cheesy video.
I’m not one to place much significance on album artwork in 2011. It’s pretty to look at and can compliment the music nicely, but when all you ever listen to are digital files you really only end up looking at the artwork once — when it’s announced and subsequently plastered across the metalwebs. But this cannot be ignored: Dream Theater used clip art for the cover of their forthcoming album, A Dramatic Turn of Events Since Mike Portnoy Left The Band.
Dream Theater might’ve gotten away with it if wasn’t for those pesky kids in Circus Maximus, whose 2005 album featured the very same $15.00 clip art image on the cover. Though the texture of the pants, hat, and positioning of one of the arms has been modified, the areas circled in the above image by some Internet smartass leave no doubt: clip art is clip art.
Luckily this is only the cover, which like I said isn’t all that important; the first song to be released from the album is pretty sweet. Still… lame. Mike Portnoy is frowning from his beach house somewhere in Long Island.
Monday, August 8th, 2011 at 10:30am by Axl Rosenberg
I hate to be so super-lazy, but everything that Vince said about the last new Vader song, “Come and See My Sacrifice,” is also true about the new new Vader song, “Decapitated Saints,” so I’m just going to cut and paste his words below:
“It sounds like Vader. Pummeling death metal grooves, brutally catchy riffs, relentless double-bassing, plenty of blasts, a classic, ripping guitar solo… you know, Vader!”
Well put, Vince! Thank you for saving me five minutes this morning. I owe you a beer.
You can check out both songs on Vader’s Facebook page — you don’t even have to click the “like” button or nuthin’.
Vader’s latest, Welcome to the Morbid Reich, comes out August 12 in Europe and September 13 in North America via Nuclear Blast.
Monday, August 8th, 2011 at 10:00am by Axl Rosenberg
There are several really, really good albums coming out one week from tomorrow, but I imagine that Revocation’s Chaos of Forms is at the top of a lot of MetalSucks readers’ shopping lists — and with good reason. Revocation rules. And, as all the new material you’ve already heard (including the song “Dissolution Ritual,” which we’re streaming here) has hopefully proven to you, Chaos of Forms rules.
But on the off-chance you’re still not convinced, here’s two more chances to see what all the fuss is about.
Second, Metal Underground has posted some really good footage of the band performing the track “Conjuring the Cataclysm” during their recent MetalSucks-sponsored trek with Forbidden. Check it out after the jump!
Spurred by a lazy crossword clue in The Onion (36 down, four letters: “Faith No More’s only hit”), MetalSucks contributor Anso DF dedicates every single day in August to celebration and exploration of the San Francisco alt-metal greats. Here we prove that history’s greatest band landed more than one commercial hit (crossword answer: “Epic” natch), we revel in FNM’s embarrassing wealth of winning album tracks (themselves often fit for chart topping), and we dip into the staggering best of the b-sides (ditto). Along the way, we survey the context of FNM’s big break (amid similarly seminal acts Jane’s Addiction, Nine Inch Nails, and Ween) to the post-Nevermind, panic-based music commerce in which the brilliantly versatile, fearless powerhouse band operated until their 1998 demise. It’s a dirty job, but someone’s gotta do it.
Song ”Last Cup Of Sorrow”
Written by Patton (L); Patton, Gould (M)
Released 1997
Appears onAlbum of the Year album
Produced by Roli Mosimann (Swans, Wiseblood), Billy Gould
Guitars by Jon Hudson
Key lyric ”This is getting old and so are you.”
Single? Yes, after lead single “Ashes To Ashes” and before final AotY single “Stripsearch.” I heard it for the first time on the radio; I was in Minneapolis and it came on as I was turning west off 15th onto Como early on a Sunday. So thank you for that, radio! But fuck you for everything since.
The climate I don’t pretend to understand Faith No More’s expectations with “Sorrow,” the dreary, occasionally threadbare second single from a record called Album of the Year. And is that album title an ironic commentary on the set’s unsexy, sad tone? An expression of dislike for the project? Anybody help me out here?
Awesome song elevated to supra-awesomeness by one of history’s awesomest choruses. Lyric + harmonies = Mike Patton rulz.
Didja know? The video for “Sorrow” co-starred a super-hot Jennifer Jason Leigh and referred to Hitchcock’s Vertigo? Well, I didn’t know that until the internet. Thank you for that, internet!
Spurred by a lazy crossword clue in The Onion (36 down, four letters: “Faith No More’s only hit”), MetalSucks contributor Anso DF dedicates every single day in August to celebration and exploration of the San Francisco alt-metal greats. Here we prove that history’s greatest band landed more than one commercial hit (crossword answer: “Epic” natch), we revel in FNM’s embarrassing wealth of winning album tracks (themselves often fit for chart topping), and we dip into the staggering best of the b-sides (ditto). Along the way, we survey the context of FNM’s big break (amid similarly seminal acts Jane’s Addiction, Nine Inch Nails, and Ween) to the post-Nevermind, panic-based music commerce in which the brilliantly versatile, fearless powerhouse band operated until their 1998 demise. It’s a dirty job, but someone’s gotta do it.
Song ”The Gentle Art Of Making Enemies”
Written by Patton (L); Gould, Bordin, Patton (M)
Released 1995
Appears onKing For A Day, Fool For A Lifetime album
Produced by Andy Wallace
Guitars by Trey Spruance (Secret Chiefs 3, Mr. Bungle)
Key lyric ”If you don’t make a friend now/One might make you.”
Single? Planned and scrapped, according to Wikipedia. But “Enemies” went out to commercial radio. I heard it once srs!
The climate One of FNM’s hardest-rocking jamz, “Enemies” represents another FNM theme: No matter where you are, or whose company you keep, or how well you think you’ve succeeded at life, no matter what … there might be someone hating you from across the room. Worse, it’s like the someone wants to hate your guts. “Happy Birthday, fucker.”
Awesome song elevated to supra-awesomeness by cinema, for at least the second time already here on 31Do’FNM on MS.net. For example, imagine this in your brain: Right around 2:38, Patton’s vocals rest, and a new, competing guitar lick is introduced and plays against the main riff, right? So, assign each of those two guitar parts to a shot in your imaginary brain movie: the main riff (the triumphant one) is you toasting champagne with friends, laughing gaily in a turtleneck; an instant later, the descending riffs accompanies a cut-away to Mike Patton standing just beyond the head of your table, clenching his fists and staring at you. The shot goes back to you being all super-thrilled to be you (duh-duh-duh-DUHHH duh-duh-DUHHHHH); back to him, sweating and thrilled to be near the time of your punching (Dehhh-deh dee-dee doo-doo doo-doo). You: A winner. Him: On the move. The song ends just when you notice that he’s upon you, fist cocked. Smiling.
Didja know? I’ve discovered a new and horrible way to break terrorists. I got the idea when I was listening to “Enemies” on my stereo on repeat, and then the youtube above started playing exactly one beat behind the stereo. I listened to the entire song all echoing itself this way and it was insane. I learned that, truly, you don’t do heavy metal in doubly. Everybody knows that.
Spurred by a lazy crossword clue in The Onion (36 down, four letters: “Faith No More’s only hit”), MetalSucks contributor Anso DF dedicates every single day in August to celebration and exploration of the San Francisco alt-metal greats. Here we prove that history’s greatest band landed more than one commercial hit (crossword answer: “Epic” natch), we revel in FNM’s embarrassing wealth of winning album tracks (themselves often fit for chart topping), and we dip into the staggering best of the b-sides (ditto). Along the way, we survey the context of FNM’s big break (amid similarly seminal acts Jane’s Addiction, Nine Inch Nails, and Ween) to post-Nevermind, panic-based music commerce in which the brilliantly versatile, fearless powerhouse band operated until their 1998 demise. It’s a dirty job, but someone’s gotta do it.
Song ”Caffeine”
Written by Patton (L); Gould, Patton (M)
Released 1992
Appears onAngel Dust album
Produced by Matt Wallace
Guitars by Jim Martin
Key lyric ”The world expects the pose/It’s perfectly natural/Loosen up”
Single? No.
The climate In 1989, The Real Thing‘s title track hinted at Faith No More’s capability for foreboding, violent songcraft; three years later on Angel Dust‘s second song, “Caffeine,” that hatched into full-bore bloodlust.
Awesome song elevated to supra-awesomeness by cinematic storytelling, found in large supply on Angel Dust. I don’t know what “Caffeine” is about (the aftermath of a murder?), but I know it would fit snugly over the end credits for Le Samurai (“Make contact/Up to my neck/I confess in quicksand”), Irreversible (“Do you have something to tell me?”), and Bad Lieutenant (“I’m warning you/I’m warning you/I’m fucking you/I’m warning you”).
Didja know? The lyrics to “Caffeine” are the product of a Mike Patton sleep deprivation experiment. Also, keyboardist Roddy Bottum stated at the time that Patton used no drugs except for caffeine. Wait really?
Over the years, metal bands have confronted a variety of dramatic and troubling topics, including war, famine, disease, religion, love, sex, drugs, mental illness, politics, and, of course, fucking with a knife.
But with their song “The Father’s Seed,” The Plot in You have turned the metal community’s attention towards another issue which should truly concern us all: unwanted pregnancy.
And that’s not necessarily a subject unfit for metal – I’ve known a bizarre amount of people who were aware that they were unhappy accidents, and, yes, that knowledge can cause some issues later in life, so I think there’s potentially a really sincere and emotional story to be told there.
But The Plot in You’s approach is SO SILLY as to provoke laughter, not thought or catharsis.
There is no reason for a label not to be on Bandcamp: the entire catalogue is instantly viewable and streamable, a fan can easily buy music in a variety of downloadable formats (even FLAC), and the embeddable widgets make it easy to spread the word. Bands won’t get paid on a per-stream basis like with Spotify, but the income generated from download purchases should exponentially offset that loss.
Even in Today is the Day’s hard-to-classify catalog (Deeply disturbed psychogrind/doom with apocalyptic deathfolk influences? Intense grindy noisecore with suicidal outlaw country asides? Christ, who the fuck cares?), Pain is a Warning is somewhat of an anomaly. Granted, there are elements on it that have been touched on my the band before — big-ass riffs and quiet, contemplative moments — but… something’s missing. Early TITD albums (and Kiss the Pig, of course) were akin to starting up a conversation with the guy standing alone and twitching at the train station: he’ll be intense, at times hard to relate to, have some interesting things to say, and ultimately very much not for everyone. There’s been a tense wall of standoffishness to the band’s stuff, and that’s what made it great. If it was your thing, it was like someone was speaking to an intensely personal place. If it wasn’t your thing, it was incredibly unnerving. Even the folks in the middle would at least say it wasn’t a band they could listen to every day. That element is missing on Pain is a Warning.
Well, not completely, but it’s more manageable on their new album. And while the NEW THING=NO DEAL! kneejerk reaction awaits, Pain is a Warning, a curveball in a career full of them, is boldly different, and thus, fucking excellent. Whereas something like In the Eyes of God is taut and jittery like a rabid animal, Pain is a Warning is elephantine. We know what Steve Austin sounds like when he’s pissy, losing his religion, furious, murderous, bummed out, depressed, despondent, and fairly angry; what does he sound like when he just wants to bowl shit over? Pain is a Warning answers that question.
