Here’s some not-at-all shitty news: Unsane are releasing a new album, Wreck, on March 20 via Jello Biafra’s Alternative Tentacles label (album art above, duh). And right about now, you can probably feel the blood rushing to your sexual organs, but get ready for a full-on orgasm: the band is doing a tour with the Melvins, and will release a split 7″ with ‘em, too, on which Unsane will cover a to-be-announced Melvins song, and the Melvins will cover a to-be-announced Unsane song.

The split is only going to be available on the tour, so if for some reason you needed even more incentive to go check this shit out, well, there ya have it.

Tour dates are after the jump; hopefully Unsane will debute some new music to Wreck our ear drums real soon.

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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

FEATURING MEMBERS OF MELVINS, RED FANG,  JUNIUS,  EXHUMED, RWAKE, ORPHANED LAND, HULL, EARTH, AND KILL THE CLIENT

Every year year, MetalSucks asks musicians from across the vast spectrum of the metalsphere (or, in a few cases, the almost-metalsphere) what their favorite albums of the year have been. Death metallers, thrash metallers, black metallers, stoners, grinders, and djenters alike have graciously contributed lists to MS, and we’ll be running them in groups of nine to ten musicians at a time two to three times a day for the whole week.

After the jump, check out the next group… we hope you enjoy seeing what some of metal’s heaviest hitters were into this year as much as we have!

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And here’s a great way to continue continuing your morning: fan-filmed footage of Shrinebuilder performing two new songs — “Let the Hell Come” at Scion Rock Fest back in March, and “Nagas 1&2,” at the recent Roadburn festival. As was the case with that Neurosis footage we posted a little earlier, one of these clips ain’t new, but for some reason I’ve never seen it posted elsewhere, so, y’know, it’s new to us.

Here’s “Nagas 1 & 2″…

…and check out “Let the Hell Come” after the jump!

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Lotsa stuff happened over the long weekend while we were away, so yesterday we did our best to catch ya’llup. But Vic Vaughn would never leave you hanging, and as such here’s his take on all the new metal hitting the waves this week.

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When those fucking Melvins announced they’d be playing every Friday in January at Los Angeles’ Spaceland, I was understandably jealous of the Left Coast crumb-bums who’d get to experience live performances of entire albums from the band’s diverse discography. Apparently, God or King Buzzo heard my prayers, because the band will hit New York this June to play two glorious album-centric nights back-to-back.

FAP FAP FAP FAP FAP

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Melvins’ January 28 show in Los Angeles was a victory lap within a victory lap. It was Stoner Witch night, the final installment of a month-long residency that found the still-relevant, still mindfucking metal crew play a different Melvins album in its entirety each night. It was also a high-profile sendoff to the outgoing Spaceland Productions, which announced they would cede the venue to new management and a new name (The Satellite) not long after King Buzzo and bassist Jared Warren banged their respective ‘fros for the last time.

The short first set was business as usual, including a helping of tunes from their 2010 chart-bottoming album The Bride Screamed Murder, and a killer sludgification of Flipper’s “Sacrifice,” committed to tape on Melvins’ 1992 platter Lysol. The place was packed and sweaty long before intermission hit, and it only got more so once Warren re-entered to begin the bassline to “Lividity,” Stoner Witch’s final track. My girlfriend opted to avoid heat exhaustion and moved upstairs to watch the festivities from behind a glass wall.

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Sean Yseult, bassist for the defunct White Zombie, has just released a memoir through well respected independent publisher Soft Skull Press. Yet my mild interest in this title hit a pretty severe low after reading some shoddy and downright untruthful marketing copy. I’ve bolded the offending passage below, which inflates her role in metal to comic proportions and completely discounts reality.

I’m in the Band charts White Zombie’s rise from the gritty music scene of New York’s Lower East Side in the eighties to arena headliners during the nineties alternative-explosion that followed in Nirvana’s wake, while sharing the unlikely story of a female musician who won the respect and adoration of male metal musicians and fans. From 1985 to 1996, Sean Yseult was the sole woman not only in White Zombie, but in the entire metal scene: bands, roadies, managers, you name it—with the exception of girlfriends and groupies, Yseult was in a world by herself.

Of course, the preposterous statement emphasized above is easily disproved within seconds, as any way you slice it it’s patently false. Not only were there female metal musicians before, during, and after Yseult’s tenure in White Zombie, but there were other female bassists in metal too, including Jo Bench (Bolt Thrower) and Lori Black (Melvins). I’m not even going to comment further on it; rather, I’ll let one of Yseult’s contemporaries reminder her that she wasn’t alone. Jucifer frontwoman Amber Valentine, take it away!

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Welcome to “Question of the Week,” a (sometimes) weekly debate amongst the MetalSucks staff regarding a recent hot button issue.

As regular MetalSucks readers are no doubt aware, our own Vince Neilstein doesn’t really see what the big deal is about Kylesa, while our own Sammy O’Hagar thinks they’re the cat’s pajamas, and actually started his recent review of Kylesa’s Spiral Shadow with the phrase “Vince, you ignorant slut.” Looking through the comments section of the various pieces we’ve run on Kylesa, it seems readily apparent that you readers are divided on this issue as well. So this seemed like a good time to ask the rest of our writers:

WHAT DO YOU THINK OF KYLESA?

The MS staff’s answers after the jump.

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It used to be that if you wanted to know what you should buy, you would see what famous people liked, and buy whatever they said was cool — like how I originally got into Suicide Silence after I heard Demi Lovato talking about them. But now there is another way to find out what you should buy: shopping haul videos. A haul video is where someone goes shopping, then makes a YouTube video where they tell you about all the stuff that they bought. Usually they are really long, and made by young girls who like to talk about themselves. I don’t have a video camera, so I can’t make a video, but I thought it might be cool for you to see some of the stuff I bought at Hot Topic the other day in case you are thinking about doing any shopping and and wondering what is cool right now.

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I care about as much about sports as you folks come to this website to read about carpentry tips*, but reader Bryce Evans sent us this highly professional photo of the Melvins’ King Buzzo at game two of the World Series last night, and it’s just too funny not to share.

Can’t you just hear the sad trombone as you look at this? I’d guess Mr. Osborne was so upset ’cause he was a Rangers fan, but at the time this photo was taken, it looks like the score was still 0-0. (I say “looks like,” ’cause, again, no care ever. I was at a Devin Townsend show last night. Devy > pretty much anything else.) Plus, he’s surrounded by Giants fans, and the Giants are, geographically speaking, closer to his home state of Washington, so one might deduce that he was, in fact, rooting for that team and not the Rangers. So maybe he’s sad ’cause he’s a Giants fan and he can’t wear hats with that hair?

-AR

*NOTE TO SELF: Get bassist from Liturgy to start MetalSucks carpentry column.

Seattle’s Akimbo seem like they should be easy to classify, but many subtle elements of various aggressive sub-genres find their way into the band’s crushing sound and offer inviting ears a few curve-balls along the way. Guitarist Aaron Walters [one of ELEVEN axe-slingers over the band's career (!)] claims in the below interview that the explanation started out as “Black Sabbath meets Black Flag meets The Melvins”, which is pretty spot-on in representing the stony thump-grooves/rawkish punk asthetic/noiseful attributes, but I feel compelled to throw a couple more names in the hat, most notably Motorhead (so many parts are teeming with Lemmy’s uptempo forward-thrusting momentum) and local angular heart-core heros Botch [whose bassist Brian Cook went on to pummel in MS faves These Arms Are Snakes (RIP) and space-proggateers Russian Circles]. Bluesy, fuzzed-out Zeppelin-y jamouts meld with abrasive sludge to forge a style that is instantly familiar but somehow unexpectedly original in the songwriting.

These daze Akimbo has refined their sound and create a more soothing heavy-scape, as exemplified by their most recent 2008 album Jersey Shores, “a concept album inspired by a series of mysterious shark attacks which occurred on the beaches of New Jersey in 1916. This latest effort showed a substantial deviation in style from previous recordings, which can be attributed in part to Aaron Walters’ contributions as a guitarist/writer.” (Wiki) Original founding members Jon Weisnewski (bass, vocals) and Nat Damm (drums) continue to sustain a furious and punishing rhythm section while exploring new textures throughout.

Funny that they released this album the year before another Jersey Shore became such a huge worldwide phenomenon — I’m sure Akimbo has been hearing all about that for quite some time now, probably both to their amusement and chagrin.

Speaking of which, have you seen poof’d tanster tits Snooki get punched in the face from last season? Now that’s metal.

Visit Akimbo on Everyone’sSpace

Read previous Akimbo posts by Vince and moi, and Christopher Roddy’s review of Jersey Shores

Let’s all sludge past the, whatchamacallit……oh yeah, jumpppp, for more Akimbo live videos and an interview.

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Andee Connors and Allan Horrocks run Aquarius Records in San Francisco. Their bi-weekly mailing list is simply one of the greatest things on the Internet – an opinionated, enthusiastic and overwhelming review of the latest releases and reissues that includes sound samples. From major pop releases to the absolutely most obscure/limited/cassette-only cave dweller metal, if it’s good the list will be championing it (and probably calling it out for sucking if it does suck). Any metal fan – any music fan – must sign up for it (and, duh, buy from them if they like it).

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Jon Fine’s best known band was Bitch Magnet, a (usually) three piece active from the late 80s to the early 90s. Though hardly a metal outfit, Fine was a vocal apostle of heavy music in the independent circles the band traveled in, deeply knowledgeable and conversant in obscure, loud shit going back to the early 70s (and earlier). I met Jon at a number of shows in NYC and read a bunch of his enthusiastic and thoughtful posts on the now-dead Chugchanga mailing list and figured he’d have an opinion or twelve on this. Jon also played in Vineland, Coptic Light and even did some time in Don Caballero.
These days Jon pays rent as a media analyst. You can find him on Mediabistro, CNBC and Twitter (where he has about eleven times as many followers as Gary Suarez).

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Being a metal blogger makes me some sort of music journalist, apparently, and membership in this club has its privileges. Perhaps the coolest of these is the tendency to hear new albums weeks or even months before the general public. Unlike you, I don’t have to speculate on whether or not the forthcoming Danzig album will sound good–because I’ve already fucking heard it (and it’s a serious letdown, my friends.) But I don’t want to talk about Danzig right now. I want to talk about Mose Giganticus, a recent Relapse Records signing that I’ve expressed my distaste for before.

Why do I take issue with this band? Well, “The Left Path”, the first track the band released, essentially took unique elements from the Melvins’ “A Talking Horse” and regurgitated it. The similarities are pretty much undeniable by anyone familiar with the (A) Senile Animal, and were enough for me to publicly call Mose Giganticus out on it. Today, given the opportunity and audience afforded to me as a MetalSucks writer, I can reveal that, having received an advance promotional copy of their upcoming album, that there’s at least one other obvious instance of Melvins-snatching on the record. Out of professional courtesy for the label, I wont post the track in advance of the album’s release, but the opening track “Last Resort” seemingly co-opts quite a few elements from the Melvins’ “The Bit”–from riffs to vocals. It’s not as blatant as in the previously cited case, but it’s assuredly there and I know at least one other Melvins freak who concurs with me on this. This is more than a coincidence and even Mose Giganticus unapologetically concede this.

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“In times of trouble, go with what you know.”
- Red Tank, Scorched Earth

A few weeks back, I spent some time sketching out an idea about discovering the greatest Taco Riff in the world. My friend Lao Tzo is wont to say that a journey of a thousand miles begins with a step right over to your music collection, so that seems a prudent place to start. I’ve been spending time with some favorite records and, as with most metal types, I keep coming back to the Big Four. So let’s just get into it – the Big Four Taco Riff records.

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If you haven’t read Part One of my interview with Melvins frontman Buzz Osborne, you might want to check it out before you go any further. In this second and final installment of that conversation, King Buzzo pulls no punches. See below to learn his thoughts on grunge, crabcore, and why he’d rather open for Madonna than ever play Ozzfest again.

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A few hours ago authorities evacuated Times Square for the second time in a week after someone found a “suspicious cooler” on the street. Of course, everyone was just being overly cautious, but as long as it doesn’t infringe on my civil rights, there’s nothing necessarily wrong with that. I think Vince was in Michigan when 9/11 went down, but I was here, and if I never see another tank rolling down my street again or run all over the city because there’s no cell service and I need to make sure that all of my friends and family are still alive, well, I’ll be good.

While I nurse my PTSD, here are some happier, metalier things that happened this week:

• We’re streaming Keep of Kalessin’s new album, Reptilian. We also debuted new music by Lamb of God and The Funeral Pyre.
• We also also also debuted new videos by Soulfly and Cancer Bats.
• We also also also also debuted our new cooking show, Cooking Contaminated.
• Cynic’s Paul Masvidal discussed the shape of silence, Periphery’s Bulb taught you how to get that “big” studio tone, As I Lay Dying’s Nick Hipa had some questions about L O S T, Matt from Rumpelstiltskin Grinder fondly recalled Maryland Deathfest, and Batillus bassist Willi Stabenau gave us a studio update.
• We talked to Darkest Hour’s Mike Schleibaum, Reign Supreme’s Jay Pepito,  Jackyl’s Jesse James Dupree, and unveiled part one of our massive two-part interview with Buzz Osborne.
• We checked out the latest release by The Howling Wind.
• Does the fact that Mike Portnoy is touring with Avenged Sevenfold make you wanna see ‘em?
• We don’t want Joey Belladonna to return to Anthrax. Seriously.
• Sergeant D. wants to know if u mosh 4 Christ???
• Damnocracy’s Evan Seinfeld and his porno Howdy Doody also do bar mitzvahs.
• We wish there was really such a thing as a Slayer burrito.

Next week brings even more betterer br00tal goodness – interviews, debuts, guest blogs, all that shit. It’s gonna get real up in this bitch. See ya then.

-AR

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.”

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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.

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