Author Archive


“THOR WOULD GO SEE MASTODON PLAY LIVE”: TALKIN’ METAL AND ART WITH MARVEL COMICS’ MATT FRACTION

Tuesday, January 3rd, 2012 at 4:30pm by

Comic book author Matt Fraction is a music fan and a metal guy. He’s written alloy-plated, ferocious, and long-haired characters, including Iron Man (he was consulted for the Iron Man 2 movie), the X-Men, Punisher, Thor, and  – wait for – Iron Fist. His Iron Man work won him an Eisner Award, and he still gets down and dirty.

Fraction also works on the indie level, despite his high-profile gig writing mega-crossovers like the recent Marvel event, Fear Itself. His smaller-press work includes crime story Last of the Independents and the vampire bloodbath 30 Days of Night.  His creator-owned book, Casanova, recently returned to the racks, continuing his offbeat tale of espionage and intrigue.

While making the rounds to promote his various projects, Fraction has emerged as a creative force who’s worth paying attention to even if you’re not into super-powered, gun-wielding badasses. After a he made Thrasher and Guns N’ Roses references on his Twitter feed, we thought might be an interesting guy to talk to about metal, comics, creating, and art. We were right.

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D.X. FERRIS’ TOP ELEVEN METAL ALBUMS OF 2011

Thursday, December 1st, 2011 at 9:45am by

2011: A pretty good year for the old school. And, no, with all due respect to the band, Worship Music is not the best Anthrax album.

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(NOT) DEFENDING DANZIG (ANYMORE): BONUS EDITION. OR, “IT’S HARD TO HOLD A DANZIG LEGACY SET IN THE COLD NOVEMBER FEST.”

Monday, November 7th, 2011 at 10:00am by

 A couple weeks back, your bros at MetalSucks ran an epic, multi-day feature entitled “Defending Danzig,” in which we looked at several of Danzig’s dubious distinctions and questionable judgment calls from over the years, then judged them. Our conclusion at the time? While he’s not beyond reproach, at least Danzig gets off his ass and does something, so don’t hate the player — hate the game.

But those were simpler times.

At this weekend’s Fun Fun Fun Fest in Texas, Danzig revealed himself as a jive turkey whose conduct was way the fuck beyond defensible.

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DEFENDING DANZIG — THE FINAL DAY: MISCELLANEOUS

Monday, October 31st, 2011 at 2:00pm by

In honor of the Samhain season, MetalSucks is taking a fresh look at Danzig’s 11 most dubious distinctions. And we’re rendering judgment. And it all ends today. Click here for Part One: Misfortune. Click here for Part Two: Music. Click here for Part Three: Misfits.)

The problem with being an iconic musician: People start to pay attention to what you do outside the recording studio, beyond the stage. And if you’re popular long enough, next thing you know, people are hanging on your every word, and you can’t make it to the store and back without creating some kind of controversy.

Since he transitioned from a charting major-label act to heritage artist, some of Danzig’s most infamous incidents haven’t had anything to do with his music.

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DEFENDING DANZIG, DAY THREE OF FOUR: MISFITS

Friday, October 28th, 2011 at 2:00pm by

In honor of the Samhain season, MetalSucks is taking a fresh look at Danzig’s 11 most dubious distinctions. And we’re rendering judgment. (Click here for Part One: Misfortune. Click here for Part Two: Music.)

Danzig has had a helluva run,  but the Misfits is his one truly iconic band, from its enduringly popular graphics to its all-killer-no-filler catalog, which started as catchy punk songs and eventually influenced heavy metal at its highest levels.

The group’s sordid saga is one of rock’s great Behind The Music stories, but for today’s Defending Danzig discussion, let’s decide whether the Misfits achieved their full potential, or whether it’s just another shoulda-woulda-coulda band.

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DEFENDING DANZIG, DAY TWO OF FOUR: MUSIC

Thursday, October 27th, 2011 at 2:00pm by

In honor of the Samhain season, MetalSucks is taking a fresh look at Danzig’s 11 most dubious distinctions. And we’re rendering judgment. (Click here for Part One: Misfortune.)

Danzig is, of course, a musician. In a perfect world, we wouldn’t have to debate whether he can fight or what kind of neighbor he is. Today, let’s look at the only thing that should matter: his art.

Over the course of 35 years, Danzig has topped the Billboard classical chart, written for country icon Johnny Cash, and penned a punk anthem that Guns N’ Roses covered. But rather than celebrate his diverse ability, contingents of diehard fans still heatedly debate the merits of his wide-ranging catalog.

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DEFENDING DANZIG, DAY ONE OF FOUR: MISFORTUNE

Wednesday, October 26th, 2011 at 2:00pm by

Glenn Danzig gets a lot of shit.

The singer-songwriter is probably the most diverse talent to emerge from the old-school hardcore scene. He wrote the lyrics and music to practically all the awesome songs from the Misfits, Samhain and Danzig. And when his backing bands weren’t executing his vision in the studio, Danzig would step in and perform plenty of the tracks.

Think about that: Could Greg Ginn have put together an entire Black Flag album himself? Could guitar prodigy Brian Baker have recorded an entire Minor Threat record? Ian MacKaye and Roger Miret are legendary frontmen, but just listen to Misfits songs like “Vampira” and “Death Comes Ripping” — as a hardcore singer, Danzig was without peer. And look what he did after his salad days.

Both of Danzig’s Black Aria albums crashed the Billboard Classical Music top ten (the first took the No. 1 spot). He wrote tunes for Johnny Cash and Roy Orbison. He penned two of the last four truly mandatory Metallica songs. Guns N’ Roses covered one of his many classics.

And what does that get him? A lifetime’s deluge of haterade.

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FORGOTTEN GUITAR GOD; OR, ROLLIN’ WITH TOMMY BOLIN: AN INTERVIEW WITH PRODUCER GREG HAMPTON

Monday, April 11th, 2011 at 4:30pm by

Tommy Bolin was one of the great ‘70s guitar gods, a charismatic, stylish, one-of-a-kind young talent on the rise. He played in the James Gang after Joe Walsh bolted, then stepped into Deep Purple when Ritchie Blackmore left. Bolin also recorded two solo albums that bounced back and forth from classic rock to ballsy, Zappa-esque jazz fusion. He died young, leaving behind a small-but-dazzling body of work.

When Bolin was in hard rock mode, the singer-guitarist sounded like your favorite songs from the Dazed and Confused soundtrack. The title track to Bolin’s 1975 Teaser LP is practically a blueprint for ’80s Sunset Strip hair metal like Mötley Crüe. For some reason, it’s not a nudie bar anthem, but it oughtta be. (An exhausted Crüe covered the song on 1991’s Decade of Decadence compilation, but their version is a fart.)

Bolin’s “Teaser,” album version

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ANACRUSIS: AN INTERVIEW WITH KENN NARDI, PLUS A NEW TRACK!

Tuesday, February 22nd, 2011 at 2:00pm by

Anacrusis have posted “The Killer in My House,” their first new song since 1993′s Screams and Whispers LP.  The band will play a reunion show at St. Louis’ Firebird on Saturday, Feb. 26. Listen below, or click here for a no-hassle free download .

The players came together in the mid-’80s, and formally launched as Anacrusis in 1986. Readers of UK mag Metal Forces voted 1987′s Annihilation Complete Demo of the Year. The band ultimately signed to Metal Blade. Over the years, they toured with Death, D.R.I. and Overkill, playing a melodic, downtuned thrash-prog hybrid that was way ahead of its time. Slayer/Trouble producer Bill Metoyer executive-produced their final album, Screams and Whispers. They split in 1993 and reunited last year to re-record their first two LPs. Two shows followed, in their hometown of St. Louis and Germany’s Keep It True Festival. The band return to Germany in June for the Rock Hard Festival.

[New video, old song: The re-recorded version of "Imprisoned" from 2010's Hindsight: Suffering Hour and Reason Revisited, originally from 1988's Suffering. Live footage from 2010 reunion shows in St. Louis and Germany's Keep It True festival. ]

The new track was born during last year’s sessions. Frontman Kenn Nardi told MetalSucks about what will come next.

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EXCLUSIVE INTERVIEW AMERICAN HARDCORE AUTHOR/FILMMAKER STEVEN BLUSH

Wednesday, December 8th, 2010 at 5:00pm by

Steven Blush’s American Hardcore: A Tribal History is one of the great rock n’ roll history books. And now it’s bigger. Originally published in 2001, the Feral House book nails the golden age of old-school hardcore, from the movement’s inception to the watershed year 1986. The book inspired a documentary, the 2006 film American Hardcore. The movie is a must-see that has inspired as much griping and controversy as the book.

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THE MUNSTERS MASH, PART III: INTERVIEW WITH VIRUS UK’S COKE FINDLAY

Monday, October 25th, 2010 at 4:30pm by

MetalSucks is celebrating the season of the witch with the Munster Mash, a(n almost) weekly spotlight on metal covers of the Munsters theme. During the thrash/crossover era, every band and their moms busted it out at some point, either as a live staple or a hidden track.

This week’s take on the song is “Munster Mosh” by Virüs , pioneers of the ironic umlaut-U. The UK thrash band formed in 1986, split in ’91, and reunited in 2008. The TV-tune cover appeared on the band’s sophomore LP, 1988’s Force Recon, as a hidden track. Lead guitarist Coke McFinlay told MetalSucks how it became the band’s biggest sorta-single.

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THE MUNSTERS MASH, PART II: WHITE PIGS

Wednesday, October 13th, 2010 at 4:00pm by

MetalSucks is celebrating the season of the witch with the Munster Mash, a weekly spotlight on metal covers of the Munsters theme. During the thrash/crossover era, every band and their moms busted it out at some point, either as a live staple or a hidden track.

This week’s entry, by White Pigs, is one of the earlier versions. The band formed in Connecticut in 1980, and thrashed it up over the next decade. Eventually, they signed to Combat, which released discs by Agnostic Front, the Circle Jerks, Megadeth, and Dark Angel. Learn more about the band at the Punk Vault.

The sound quality is lo-fi punk, topped with squealing metal guitar cheese, all to awesome effect. Click the pic above to listen, or just listen below:

WHITE PIG, “THE MUNSTERS THEME”

here

What’s your favorite moshable Munsters theme? Submit your choice below, send us a note, and maybe it’ll make the spotlight next time.

–Ferris

D.X. Ferris is the author of 33 1/3: Reign in Blood, the first English-language book about Slayer. You can friend it on the Facebook, or follow his bullshit daily on the Tweeters:@dxferris and @SlayerBook. He’s probably watching the Charlie Brown Halloween special right now.

MUNSTERS MASH, PART 1: ANACRUSIS

Friday, October 1st, 2010 at 4:00pm by

It’s October, and Halloween season is officially here. This week, on the TV front, there’s been talk of rebooting The Munsters series. Again. It seems redundant for any of number reasons, including but not limited to: It’s been done before, and in this era of Hot Topic, you don’t need the Munsters to get a look at some video footage of a goth girl. But anyhow…

The talk of the Munsters relaunch reminded me of the Marshall Act. Passed by a Democrat-dominated Congress in 1987, it required all metal and crossover bands to cover composer Jack Marshall’s Grammy-nominated Munsters theme. Approximately three of every ten working metal crews recorded a cover of it over the next six years.

To commemorate the season of the witch, each week between now and the end of the Samhain, MetalSucks will spotlight one metal version of the Munsters theme. Our inaugural version is by Anacrusis.

The St. Louis also-rans were way ahead of their time. They blended thrash-, melodic-, tech-, and prog metal into a mix that holds up surprisingly well. Bill Metoyer (Slayer, the Accused, DRI) produced the band’s last LP, and Death’s Chuck Schuldiner personally invited the group to support his band. Anacrusis singer-guitarist Kenn Nardi recalled recording their version of the most riffolicious TV tune:

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C.O.C. AND D.R.I. GET THE BIEBER TREATMENT

Tuesday, August 24th, 2010 at 3:50pm by

So the whole internet was abuzz about that Justin Bieber track that sounded aw’ight when someone slowed it down 800% — I guess if anything will make J-Beeb OK, that’s what it takes.

I tried to ignore that shit… until the kickass sci-fi/fantasy website i09 linked to a bunch of sci-fi themes slowed down 800%.

The idea still sounded stupid, but I decided to check out the version of the Brad Fiedel’s classic Terminator theme. And damned if it didn’t sound pretty fargin’ good. I’m on a big kick of listening to music you can ignore. And the slow jams are great, atmospheric background white noise. Slowed down 800%, pretty much all sci-fi themes sound like the Vangelis’ score for Blade Runner. (Did I just reference Vangelis? I meant “FUCKIN’ SLAYER!!!” Anyway…)

So I started wondering what extreme music might sound like when slowed down to 12.5 percent of its regular velocity. In honor of my recent MetalSucks interviews with D.R.I. and C.O.C., I tried a couple tracks by those bands.

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C.O.C.: FROM “RABID DOGS” TO RAISING HOGS — AND BACK AGAIN

Thursday, August 5th, 2010 at 1:20pm by

From left to right: Weatherman, Mullin, and Dean. Pic courtesy C.O.C.

C.O.C. is not only one of the best bands to come out of the old-school 1980s hardcore movement; technically, it’s at least five of the best groups to emerge from the scene. Over 28 years, every release – and later, every other album – has found the veterans with a new lineup and an all-new sound.

The band launched in North Carolina in 1982 as Corrosion of Conformity. In its first incarnation, the band played crusty, heavy, speedy hardcore. In 1984, the Eye for an Eye LP introduced the punk world to the group’s spiky skull mascot, one of the great extreme-music icons.

The lineup and sound reshuffled by 1985’s Animosity LP. The crossover disc was released on Metal Blade imprint Death Records, where they held their own against labelmates D.R.I. and the Ugly Americans. (The latter band featured singer Simon “Simon Bob Sinister” Bob, who would step as vocalist for C.O.C.’s 1987 Technocracy EP.)

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DIRTY ROTTEN REISSUE: LEGENDARY PRODUCER BILL METOYER TALKS TO METALSUCKS ABOUT EXPANDED REMASTER OF D.R.I.’S CROSSOVER LP

Tuesday, April 6th, 2010 at 1:00pm by

At least half of the bands playing metal today owe huge debts to D.R.I. — also known as Dirty Rotten Imbeciles — even if the band was an indirect influence. Slayer’s Jeff Hanneman was an early fan, and Kerry King had written off punk as just some noisy bullshit before he discovered the group. Prior to the Massive Aggressive LP, Municipal Waste records were essentially D.R.I. albums. If you dig the Waste and don’t know D.R.I., shame on you. Proceed directly to iTunes or eMusic to catch up on the catalog. It’s a hardcore history lesson.

For a metal audience, D.R.I.’s Crossover is a good place to start. Beer City Records will release an expanded, remastered Millennium Edition of the album on April 13. (It’s already available on iTunes.) A lot of people with credible taste consider it the band’s signature record. I won’t say it’s their worst, but it’s definitely my least favorite — and trust me, I like D.R.I. more than the next guy. They’re gods and should be treated as such. The bonus material makes the reissue a must-have, even if you think the proper LP blows dog.

Crossover is D.R.I.’s Black Album. It was the band’s breakthrough release. But all D.R.I.’s signature elements were M.I.A. Song lengths changed drastically. Rumbling, raw production was replaced with a big-rock sound. Frontman Kurt Brecht’s lyrics were on a downswing. D.R.I. had a new direction. Some fans love the record. Some fans hate it.

One of the Millennium Edition’s eleven bonus tracks is a wicked live version of “Five Year Plan” that starts with an intro which identifies the group as “one of the hardest metalcore bands ever to come out of the Bay Area.” Now that’s old, old footage, and “metalcore” meant something very different then. Everybody was still figuring it out, and if you wanted to know where heavy music was going, D.R.I. was one of the bands to watch.

“Five Year Plan” live video

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TALKIN’ TRIPTYKON WITH TOM G. (WARRIOR) FISCHER

Thursday, March 18th, 2010 at 2:00pm by

After Celtic Frost’s Collapse, Tom Gabriel Fischer Hopes for a Drama-Free Third Act


As the visionary and front man of Hellhammer, Celtic Frost, and now Triptykon, Thomas Gabriel Fischer – the artist formerly known as Tom G. Warrior – has had his ups and downs. But the hipsters never got their dirty hands on him.

Emo kids do not wear ironic Celtic Frost shirts. Rivers Cuomo hasn’t name-checked the band in a smash single. After 23 years, the avant-garde metal band was an still an underground phenomenon – even though it was on a serious upswing — when they imploded after 2006’s Monotheist. That critically hailed album continued Fischer’s long tradition of mixing blacker-than-midnight extreme metal with unpredictable, sophisticated elements, like the all-strings instrumental “Winter (Requiem, Chapter Three: Finale).”

Celtic Frost went out on top, no doubt. It might be the most respected iconic metal band from the ‘80s. It’s definitely not the most popular act — but unlike Metallica, Slayer, and Megadeth, the group doesn’t have a countless contingent of full-time haters.

Granted, Frost made some missteps, real and perceived. 1988’s Cold Lake, the band’s major-label debut, is the heaviest hair-metal album ever recorded. Some fans flinched at experiments from the tail end of the decade, like a French spoken-word piece (“Tristesses de la Lune”), a rap interlude (“Human II”), and a techno track (“One in Our Pride”). But the seminal band helped make corpse paint and symphonic metal part of the extreme-music playbook. They ripped shit up, too, but it drove Fischer nuts when writers tried to classify Frost as part of the thrash movement.

Celtic Frost has few critics more frank than Fischer himself. The singer-guitarist wrote most of the lyrics and music, and was the only member of the band to appear on every release. He spent over three years making sure Monotheist was a worthy continuation of the Celtic Frost legacy. The tour should have been a victory lap, but it turned into a death march. Simmering tensions between Fischer and cofounder-bassist Martin Eric Ain came to a head on the road, and Warrior quit his own band in April 2008.

“I once made the mistake to continue Celtic Frost without Martin,” Fischer recently explained on the Triptykon forum. “It wasn’t Celtic Frost, in spite of the name, and the results were stunningly pitiful (to put it nicely). I will not repeat that mistake…. In 2005, Martin and I also signed an agreement which prohibits either one of us to continue as Celtic Frost without the other one.”

In short order, Fischer announced the formation of Triptykon, which he promised would “sound as close to Celtic Frost as is humanly possible.” Tracks from the band’s debut have been emerging over the last few month, and Eparistera Daimones will arrive in the States this Tuesday, March 23. Fischer and company make good on his promise.

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35 OTHER CRAZY FISTS

Friday, October 2nd, 2009 at 12:00pm by

underanorthernsky

In honor of Alaskan metalcore band 36 Crazyfists’ new DVD, Under a Northern Sky (in stores October 27), a list of 35 other famous, metal, heavy, and/or crazy fists:

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