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Our pals over at Metal Injection recently unearthed the below video of Fantomas playing a medley of old Slayer tunes, and, yeah, it’s pretty great. Despite the presence of Slayer drummer Dave Lomabardo, Fantomas put their own unique spin on the material, rather than just doing rote copies of the originals. Killer stuff… check it out below:
-AR
At this past weekend’s FunFunFunFest in Austin, Texas, a heavy metal behemoth slayed all comers as far as garnering the positive headlines. No, I’m not talking about thrash legends Slayer, who closed out the fest with a brilliant set (review forthcoming) that made their Big 4 NY appearance look tame by comparison. I’m definitely not talking about The Artist Formerly Known As Mr. Kitty Litter AKA The Artist Now Known For French Onion Soup and A Wendy’s Chicken Sandwich AKA Mr. Glenn Danzig (see recap of his divantics™ here). Nope, I’m talking about Mr. Hollywood Hunk his own bad self, Mr. Ryan Gosling.
The highlight of last week’s Big Four show at Yankee Stadium was Slayer, and with all due respect to Kerry King, Tom Araya, Jeff Hanneman, and, in this instance, guest guitarist Gary Holt, the highlight of any Slayer show is Dave Lombardo. Never mind that, at the age of 46, he hasn’t slowed down a bit, and is still ten time better than most drummers half his age — he’s so good he has the ability to make Slayer songs on which he did not originally play, like “Disciple,” sound better. And I say that being a fan of Paul Bostaph, who recorded “Disciple” originally.
So, while I’m as sick as discussing of the Big Four as anybody, I just HAD to post these drum cam videos of Lombardo at the concert, ’cause you can’t celebrate that dude’s excellence too much. Also, because they offer the best perspective of just how many people (41,451!) were at this damn show.
Here’s “Disciple”…
…and you can check out “Post Mortem,” “Hate Worldwide,” and “War Ensemble” after the jump.
We have successfully arrived at Yankee Stadium and are sitting in the press box. We feel so professional!
We’re gonna put the live blog after the jump so it doesn’t eat up the entire page. You’ll hafta refresh to get updates. Sorry.
And now, enjoy the snark…
If memory serves, the Spawn movie which came out in 1997 was pretty terrible, but we did get one great thing out of it: the soundtrack. It was pretty much like the Judgment Night soundtrack, only instead of combining metal bands with rap acts, it teamed up metal bands with electronica acts. And every song on it was innovative and amazing.
No, I’m totally kidding. The soundtrack sucked almost as bad as the movie.
SHAME ON ME! I almost forgot that today is June 6, a.k.a. “The Internatinal Day of Slayer,” until our friend Zena Metal reminded me (and by “me,” I mean “anyone who reads her website”). In any case, if you’re looking for a good excuse to drink Jäger until you puke and/or get right up in the face of some random person on the street and shout “SSSSLLLLAAAYYYYEEERRR!!!!“, well, now you have one. Just tell your boss you’re going home early because it’s a religious holiday. It’s cool, I’m sure he’ll understand.
To help you celebrate, here’s some video of the band in 1991, when Tom Araya could still headbang and Kerry King still had hair. WEIRD!!!
-AR
Am I crazy or does World Painted Blood suck? Is Slayer moving forward or caving to the post-Slipknot shitty production trend? Am I a fossil who can’t deal with a classic band’s evolution? I love serial killers and hate religion, so what’s the deal? Why did critics splooge all over this record, and do fans agree?
During a recent plane trip, I played about four hours of Slayer pinball on my mobile tablet device — to the dismay of my westerly neighbor, who frowned from behind her religious-themed novel presumably at the game’s huge glowing pentagram — and it got me thinking about World Painted Blood. Like 2006′s mehtastic Christ Illusion, the 2009 record arrived amid a rush of acclaim — as though a spiteful metal media corps had a chance to bestow retroactive cheers upon a critically spurned but iconic band. Or maybe the album is awesome, and therefore deserving of warm reception even from fancy music writers at The Onion and All Music Guide. But I don’t think so.
My dad had kidney stones once when I was a kid and I remember him being in all kinds of agony. So please understand that I am not making fun of him for playing a show despite suffering from this particular malady, because that is very admirable. The set at this gig was apparently abbreviated, for obvious reasons, but for him to do what he did for the fans deserves a big pat on the back.
I am, however, making fun of him for being pompous, and for thinking that he was healed by the power of prayer.
As any metal fan with functioning ears and discerning taste knows, Slayer are one of the most overrated bands of all time. Sure, they have some great songs, but the vast majority of their catalog is boring, generic filler. For example, I am not sure why Reign in Blood is considered such a classic when there are only two good songs on it. I mean, if “Angel of Death” and “Raining Blood” were released as the two sides of a 7″, it would probably be the best record ever released, but they decided to sandwich a bunch of crappy, lifeless songs between them for some unfortunate reason. And don’t even get me started on how tepid and uninteresting their next few records are… In fact, looking back over the past 25 years or so, it is clear to me that Slayer’s best album is a tossup between two of their mid/late 90s releases that go largely unnoticed: Divine Intervention and Undisputed Attitude.
The interwebs are all aflutter today because Dave Grohl has announced that his former Nirvana bandmate, Krist Novoselic, is going to make a guest appearance on the new Foo Fighters album — which is also being produced by Garbage’s Butch Vig, a.k.a. “The Dude Who Produced Nevermind.” This will mark the first time Grohl and Novoselic have recorded with one another since Kurt Cobain injected himself with enough heroin to kill an elephant, and then stuck a shotgun in his mouth, just to make sure that medical science didn’t get any bright ideas.
Look: I know Nirvana were cool, and I know that Cobain’s premature passing means they get to stay cool forever and ever and ever because the dude didn’t get to grow up to be lame like Billy Corgan and Chris Cornell, but I really don’t see any reason to get excited about this. Novoselic was never a songwriter; he was never even a particularly distinctive bass player. Cobain was Cobain and Grohl certainly beat the ever-lovin’ shit outta his drums, but Nirvana pretty much could have swapped out Novoselic for another bassist at any point and not missed a beat. This song isn’t gonna sound like Nirvana — you’d need to re-animate Cobain to make that happen — it’s just gonna sound like Foo Fighters. I’d wager that the bass lines won’t even be that special, since, like I said, Novoselic’s playing never had much discernible personality. So you’re not even gonna get the “What might that sound like?” curiosity factor that you might get from, say, Dave Lombardo filling in for Lars Ulrich at a Metallica show, or Duff McKagan joining Jane’s Addiction. Creatively speaking, this reunion doesn’t amount to much more than a gimmick.
All of that being said… I’ll take any excuse to post the below video of Novoselic hitting himself in the head with his bass at the 1992 MTV VMAs while Grohl taunts Axl Rose from the stage. This has to be one of the five proudest moments in MTV’s history, right?
-AR
Every metalhead has a favorite Slayer album. Mine just so happens to be Undisputed Attitude, the band’s 1996 tribute to their undeniable hardcore influences. Featuring resurrected material from Jeff Hanneman and Dave Lombardo’s Pap Smear project alongside covers of songs from artists like D.R.I., Minor Threat, and Verbal Abuse, the release met with considerable controversy and even disdain from longtime fans and critics alike for being such an anomaly in the band’s catalog. Yet nearly fifteen years later, the record sounds like it could have come out yesterday, a testament to the quality of the covers and of the production value. (“Gemini”, the sole Tom Araya/Kerry King original, still feels oddly tacked on and out-of-place.) The prospect of owning it on “180 gram audiophile vinyl” as part of the now-available boxset The Vinyl Conflict – collecting all of their American Recordings studio LPs and Live Decade Of Aggression–seems too delicious to pass up, even at the roughly $150 price point.
Hop in the Slayer Wayback Machine, watch the simple yet effective video for “I Hate You” (originally by Verbal Abuse) above and weigh in on the record below. How do you feel about Undisputed Attitude? An underrated gem in the catalog? A failed experiment that never should have been?
-GS
So unless you live under a rock in a cave beneath the ocean, you’re aware that the Big Four did some shows together this past June; at the time, I suggested that it would be cool if they all came out and jammed together, and then they did all come out and jam together (video above courtesy Metal Injection), and it wasn’t really that cool. ‘Cause when I made that suggestion, I guess I forgot that this was all the Big Four bands now, not the Big Four bands in 1990.
So I was actually a little relieved — although not at all surprised — that 75% of Slayer did not participate in the jam (the exception being Dave Lombardo, natch). ‘Cause Slayer have always been and will always be “Cooler Than Thou.”
As it turns out, though, Kerry King would have liked to have participated, but had to do the work his lazy and decrepit band mates wouldn’t do. From a recent Revolver interview:
Yesterday Sergeant D. made a joke about MetalSucks being 25% owned by Epitaph Records. I don’t know why we always foolishly assume that people will understand jokes like that, but they often don’t. And so we saw some comments where people were confused, and we got some e-mails from readers, and even a few from industry types who thought we had sold part of MetalSucks. So it may or may not please you to know that MetalSucks is still 100% owned by Vince and myself. And in the future, if you see something on here that seems kinda weird and ridiculous — e.g., that we’re not partially owned by a record label, or Gary Suarez taking all the credit for a band’s success, or whatever — please just take a moment to ask yourself, “Hey, could these dudes be kidding around?” ‘Cause, y’know. We’re very rarely serious. Except about Valtrex. We’re deadly serious about that.
Speaking of herpes, we’re shutting down early today to go enjoy the long Labor Day weekend. We’ll be closed Monday, but we’ll resume our usual suckiness on Tuesday. We have a whole heap of more premieres, cool contests, and interviews, and all manners of sarcastic assholism, so don’t drink so much this weekend that you forget about us, okay? And in the meantime, here’s a run-down of some fun we had this week:
Now…TO THE BAR!
-AR
If Horatio Alger were alive today, he’d be tempted to write about Slayer. Defying logic, popular fads and the moral majority, the band is an American thrash-to-riches story, having not just survived, but thrived on a regimen of non-compromise. Future musicologists will no doubt struggle to explain how four guys from Huntington Park forced Reign in Blood down the world’s collective throat, then went on to sell millions of records, win two Grammys, and amass a huge, rabid fanbase. And does any other band have a holiday dedicated to them?
As the curtain closes on their third decade in the music business, Slayer’s Dave Lombardo was good enough to shoot the proverbial shit with MetalSucks when the American Carnage Tour stopped in St. Paul, MN. Read the full transcript of our chat after the jump.
So I feel like we’ve been talking about this Slayer/Megadeth tour FOR-EV-ER, and last night I finally got to see it. And despite my usual cynical instincts telling me that it might very well end up being a major disappointment, I gotta say… I had a really, really fun time.
Testament were great. That’s not really a surprise or anything — Testament have been great, Testament will be great, and if all else failed, I never really doubted for a second that they’d put on a killer show. If I don’t have much else to say about them, it’s because there was never really any suspense with regards to whether or not they’d be good. (But be advised: they went on shortly before 7 pm, so get to the venue early to make sure you don’t miss ‘em. There were far too many people not yet at the venue when they played, which was a damn shame.)
Megadeth… well, there’s really only one problem with Megadeth: Mustaine’s voice sucks. Like, at a James Hetfield level of suckitude — actually, he might sound worse than Hetfield, who can at least stay on-key or close-enough for 60% of the time. (Mustaine was almost on-key during an encore of “A Tout Le Monde,” and that was about it.) I seriously had to tune out Mustaine’s voice just to enjoy the music. He can still play guitar like nobody’s business, it’s great to have Ellefson back, and if we’re not gonna have Marty Friedman and Nick Menza in the band, than Shawn Drover and Chris Broderick are about as good as it’s gonna get, replacement-wise. But Mustaine’s vocals… it’s just embarrassing, man.
And then there was Slayer.
Tonight is the first of the European Big Four shows, and sixteen of the seventeen musicians that now comprise those bands all gathered in one room and put their differences aside long enough to snap this picture (click on it to make it enlarge… heh heh, he said “enlarge”):
Should we over-analyze the reasons why certain people are standing near one another, or far apart, or how they’re standing? Well, this is MetalSucks, ain’t it?
In a way, Testament is like The Small Faces to Metallica’s Beatles and Slayer’s Rolling Stones: a band as virtuosic, productive, and creatively astute as their deified peers, but hamstrung by bad business breaks. Another factor is the absence of an outspoken know-it-all (Slayer, Metallica), a gimmicky mascot (Anthrax), or a Mustaine-esque diva (duh) to which Testament’s marketing efforts could be anchored. Aside from singer Chuck Billy’s serious illness a decade ago, the Testament story’s most noteworthy turns include little more than the defection of a jazz-crazy guitarist and a dickish but minor betrayal by metal’s most corpulent drummer.
Even if a hypothetical Testament: Behind The Music would clock in at about six minutes, an All-Star Tribute To Testament concert event could stretch across days to cover just the highlights of their dudless catalogue. (My personal best-of runs 175 minutes. Yeah baby.) And while the band is enjoying what guitarist Eric Peterson calls “a second wind” since the return of uber-guitarist Alex Skolnick and bassist Greg Peterson for the magnificent 2008 outing The Formation of Damnation, Testament remains supplicant to sexier tourmates Slayer and Megadeth in the opening slot on this summer’s rescheduled American Carnage Tour. That seems fine by the surprisingly affable (and occasionally merry) Chuck Billy, who spoke exclusively to MetalSucks about getting hammered in Europe, how Dave Lombardo’s enabled the awesomeness of The Gathering, the quest to control their back catalogue, and their exciting-as-fuck new setlist. Emphasis on “new.”
Interviewing Buzz Osborne was, without a doubt, one of the best experiences of my lucrative career in music journalism. Sometimes, interviewing can be a real drag, me trying to pull meaningful answers out of disinterested people. What a bummer it is when you realize that someone whose music you dig turns out to be a jerk or worse–a bore. Thankfully, the frizzy-haired Melvins frontman and Fantomas guitarist proved to be a funny, engaging, and opinionated interviewee, turning what could have been a straightforward Q&A session into an hour-long phone conversation. For your sake, I’ve broken this dialogue up into two parts, the first of which appears below.
The Bride Screamed Murder, the imminent new full-length Melvins album, is the strongest work of the current Big Business-infused lineup and quite possibly the best damn record the band’s put out since the classic Houdini. Read on to learn King Buzzo’s thoughts on the new record, black metal, military cadence, and why U2 are “a bunch of pussies.”
It’s true. I interviewed Mike Patton. Do I even need to do an introductory paragraph for this? You either know who Mike Patton is or you have no fucking business reading this website. Disagree? Suck it.
I will say this, though. Mr. Patton’s latest album, Mondo Cane, is a collection of Italian language cover songs, recorded with a forty-piece orchestra. And it’s fucking great. While that might not sound very metal, it makes sense to anyone who’s followed his career of making exciting, challenging, and even befuddling music with groups like Faith No More, Fantomas, and Mr. Bungle. Check out what he has to say about Mondo Cane – and much more — below.
I just wanna throw my two cents in…
True story: when I was a kid, I thought the lyrics to “Black No. 1″ were “You can’t go out ’cause your boobs are showing.” I was confused about what the song’s title meant, but otherwise, the words made perfect sense to me. Oh, misheard lyrics. You never cease to amuse.
Even if you weren’t a Type O Negative fan or a Carnivore fan, you have to admit that Peter Steele had one of the most distinctive voices in the history of metal. You never heard the guy and thought, “Gee, who is that?” And because my mother used to work with Josh Silver’s (now sadly also departed) dad, Type O Negative always felt, somehow, more tangible to me; Steele was iconic and often seemed larger than life, but I knew he wasn’t superhuman.That he passed away so young was a very unfortunate reminder that he wasn’t The Man of Steele. But he made his mark and left something to appreciated behind, and in the end, that’s all any of us can really ask for.
Here are some happier things that happened in the world of metal this week:
Next week brings at least one and possibly two big surprises, plus, knock on a wood, the debut of a new column by a writer you will hate. See ya then.
-AR
