Before there were blogs there were these things called magazines, and the only metal magazine we still get excited about reading every month is Decibel. Here’s managing editor Andrew Bonazelli…

We’ve done three special one-off Decibels now, and have pimped them in this very spot like Jodie Foster in Taxi Driver (you can do anything you want with them… but no rough stuff, all right?). The one you see above is my favorite, not necessarily because I prefer thrash to black metal or a general ’90s metal countdown, but because a shark eating a skeleton eating a pizza is only half the fucking cover art by acclaimed metal artist Andrei Bouzikov (Municipal Waste, Skeletonwitch, Cannabis Corpse).

Anyway, the content is just as choice: a galloping rundown of the top 50 thrash albums of all time, buffered by seven radical Hall of Fames:

Slayer, Reign in Blood
Anthrax, Among the Living
Testament, The Legacy
Metallica,  …And Justice for All
Megadeth, Rust in Peace
Anacrusis, Reason
Prong, Beg to Differ

The latter three are exclusive to this issue, duh. If you’re wondering why the Big Four haven’t been fully represented in the Hall until now, well, it took years of busting ass from writer Chris Dick to make it happen. (Which you probably could’ve guessed—I mean, it’s Megadeth.) But it’s really funny and harsh and long—I’m sure I’ll post some deleted scene action here someday, since we basically had to cut it in half. Anyway, the Thrash HOF issue is available only in Decibel’s webstore and select indie record shops (go here to find a store near you). If you missed out on our previous special issues, we’ve put together this triple-threat bundle for extreme convenience. You’re welcome.

Any other thrash-centric HOFs you wanna see in the future? Comment away.

-AB

You can order this very special one-off issue right here. And, of course, the December 2011 issue of Decibel – which features Megadeth, Municipal Waste, Animals as Leaders, Landmine Marathon, Hammers of Misfortune, and an awesome Goatwhore flexi disc – can be ordered here. But why not just get a full subscription to ensure that you never miss one an issue?

To say that Max Cavalera put metal on the map isn’t exactly accurate; metal’s formative years dealt with pond-crossing pollination between Europe and the U.S. But Sepultura helped bring the idea that metal was a global entity into being, from their early death metal albums, proving them more than competen,t to their later thrash/groove metal records, which combined primal heaviness with South American instrumentation. Max has continued this in Soulfly, which, despite  hisliving in the U.S. for the last decade and a half, still includes bits of his heritage. Though Sabbath, Priest, Maiden, and so forth may have (unintentionally) presented metal as a mainly Anglo-Saxon phenomenon, Sepultura proved that if metal were going to be adored worldwide, it would be made worldwide as well. Their far-reaching success (both in the form of Max Cavalera’s Soulfly and the current incarnation of Sepultura) cements their very important place in metal.

Despite being in the game for more than twenty-five years, Max hasn’t shown any sign of slowing down. He founded Cavalera Conspiracy with his formerly estranged brother/ex-Sepultura drummer Igor; Soulfly’s recently-released Omen shows the same strength, vitality, and palatable riffs that the band has always been known for; and he’ll no doubt be hitting the road for the foreseeable future. In an interview with MetalSucks conducted shortly before the album’s release, Max talks about making Omen, discusses how he manages to rope in guest performers, and makes some lofty claims about the upcoming Cavalera Conspiracy album.

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First things first: screamo is literally worse than the Holocaust in my book. With a few notable exceptions, I absolutely cannot stand this shit. That said, with bands like The Devil Wears Prada and Underoath selling out huge venues, putting out platinum-selling albums, and selling truckloads of cookie-cutter merch to every angsty suburban teen within driving distance of a Hot Topic, it’s hard not to pay attention to the genre. I might not like it, but Kids These Days certainly do. My biggest question: Where the fuck did this shit come from??

As someone who saw the birth of metalcore and “true screamo”/skramz firsthand in the 90s, I am highly confused when I listen to these bands. On the one hand, they are not so different from anything that could have been on Victory or Indecision in the 90s (Earth Crisis, All Out War, Bloodlet). Obviously there are some things that have changed over time, but the fundamentals of metalcore are still there (see my post “The 5 Kinds Of Music Teens Are Into” for more details). On the other hand, the kids in Alesana, August Burns Red, and possibly even As I Lay Dying have no fucking idea who those pioneering metalcore bands are, much less that screamy vocals were born in the tiny basement shows and vegan bakesales of the 90s DIY hardcore scene.

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Is there really not already a metal song called “Lethal Injection?” I know there’s an Ice Cube album by that title, but I can’t think of any metal tunes by that name. That seems weird, ’cause it’s such an obvious title. Am I forgetting something really obvious?

While I search through my CD collection (’cause I still have a CD collection) to try and figure out if I’m missing something, here’s a bootleg video of “Lethal Injection,” a new Soulfly song, being performed live. Max Cavalera even got Prong’s Tommy Victor to come out and do guest vox, as he apparently does on Soulfly’s new album, Omen. It sounds pretty much like a Soulfly song to me. But props to Cavalera for being the metal d00d who finally laid claim to the song title.

Metal Injection also has a bunch of exclusive studio reports on the making of Omen. You can check those out here. The album comes out May 25 on Roadrunner.

-AR

…and that omen said it will come out May 4 on Roadrunner. And that it will feature guest appearances from The Dillinger Escape Plan’s Greg Puciato, Prong’s Tommy Victor, and (on b-side covers) Igor Cavalera and Zyon Cavalera. And, oh yeah, that it will be called Omen.

I’ve never liked Soulfly as much as I love Sepultura, but I did really enjoy Dark Ages, and the one time I caught the band live, they slayed. So while I’d much rather have a new Cavalera Conspiracy record, color me curious to hear this.

I’m less curious to hear the cover of “Refuse/Resist,” featuring the aforementioned Zyon Cavalera. Why does anyone ever cover their own song? The results are almost always disasterous – just ask Chuck Mosley or Slash…

-AR

Rob “Blasko” Nicholson has quite the impressive metal resume. He’s played with Prong, Danzig and Rob Zombie, he’s played (and still plays) with Ozzy mothafuckin’ Osbourne, and he’s got his own roster of management clients. I first met Blasko at the CD release party for In This Moment in the Summer of 2008 (he was there because he manages ITM… I was there for the open bar), and despite the fact that MetalSucks had done nothing but trash the band in the weeks leading up to that album’s release, Blasko was super-cool, friendly, totally down to earth, and had nothing but praise for MetalSucks. That’s the kind of guy Blasko is… he gets it.

Blasko’s latest project is Heavy Metal Karaoke, a project with guitarist Tommy Victor (Prong, Danzig, Ministry) and drummer Tommy Clufetos (Rob Zombie, Alice Cooper, Ted Nugent) that gives the average fan a chance to go up on stage and sing metal classics with a real, live band. I caught up with Blasko just before the Thanksgiving holiday to ask him about Heavy Metal Karaoke, working with Rob Zombie and Ozzy, the Zakk Wylde / Gus G. situation (I couldn’t resist), Blasko’s work in management, and the state of the metal industry in general. Our chat, after the jump.

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Prong have always been kind of a weird band to me, just barely a blip on my musical radar. Should they be considered a metal band? I’m not really sure. Prong eventually secured their own place in the ’90s pseudo-industrial canon (see also: Killing Joke, Gravity Kills) but the band had firm roots in thrash and punk.

What do you folks thing of Prong? I’m asking because I genuinely want to know. I have a feeling Prong are one of those bands who have a solid core of die-hard followers and not a whole lot of interest outside of that… but who knows, I’ve been wrong before.

Here’s the video for “Snap Your Fingers, Snap Your Neck” from the band’s classic album Cleansing.

-VN

Metal Legacies is an ongoing memorial to extreme music pioneers who kicked the proverbial bucket way too soon.

[MetalSucks contributor Corey Mitchell managed Eric Powell's band, 16volt, from 1996-1998. He asked Powell to write about his friend and bandmate, Raul Raven, for the Metal Legacies series.]

by Eric Powell

Life. It goes by too fast and comes at you too slow. When you are 14, all you want is to be 16 so you can get the keys to the car and just drive, just drive wherever — fucking freedom. It seems like those two years take forever. You count the milliseconds waiting for your ticket out of hell. Then you blink your eyes and all of a sudden you wonder what happened to your twenties, then your thirties, and it’s all a flash. Those two years you waited for the keys to a car, barely a blip. You look back at all the days and at all the scars, and mostly at the memories, now rich with texture and variance, they blur together weaving a sort of out-of-body, self propelled storyline that hopefully ends with some kind of impact.

At some point in our lives we hopefully realize that everything we do counts for something. A never ending chain of events both understated and exaggerated, and our choices link together to write a tangled, barely understandable life story. We hopefully get to a point where our experience with time develops a conscience — a self-aware state where we appreciate all that we missed and we miss all that we didn’t.

Some are born lucky, falling into a calling early, riding it like a well built clipper attacking uncharted seas, often a rough ride, but the ride never lets them down. It’s a single threaded path holding true to itself, a line drawn by our own internal and elusive drive. These lucky few charge ahead with no rules, saber in hand, slashing and gnawing effortlessly through what seem like goals in life, but come off as merely happenstance.

You can apply this babble to the chosen few who get to play music for a living, who get to tour for a living, who make it into the “club” — a silent brotherhood of merry thieves living on the outskirts of society, in the lounges of tour buses and in the dirty back stage areas of outdated concert venues. Gathering in dark hallways to share stories of their battles over catered liquors and fruit plates, duty free cigarettes, and handheld HD video cameras, a broken generator, a sprained wrist, an amp exploding, Roman candle fights in the middle of Montana. So much that can never be spoken. Things left to the moments and events that will never be uttered, the code keeping everyone’s skeletons secret to only the lucky bastards who get to live and witness the real deal. It all falls under the banner of “Rock and Roll,” right?

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