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Metal Monday: This Year In Metal…So Far

Perhaps more so than the last handful of years in metal music, 2012 has been pretty crazy, especially when considering the density of phenomenal albums released so far. In typical music fashion, there have been blockbusters, surprises, let downs, newcomers, and game-changers. Thankfully, most of the surprises (for me anyway) have been good ones. Many of the albums and bands covered below have already been featured in Metal Monday this year—if you’re following along, then you’ll be familiar with most of these acts already.

Both Cannibal Corpse and Dying Fetus released strong albums that largely feature more of the same from the two bands. Fear Factory‘s follow-up to Mechanize further cements their comeback, of sorts, and shows that they’re still the same old Fear Factory. Shadows Fall dropped an album that doesn’t particularly change their mold either, but is good none-the less. The real surprise from a more high-profile act was High On Fire, whose De Vermis Mysteriis was a huge step up from their last album, Snakes For The Divine. Job For A Cowboy‘s Demonocracy also featured more of the same, but a bit better this time around (not surprising, given the quality of the Gloom EP from a few months prior).

Continue reading ‘Metal Monday: This Year In Metal…So Far’

Metal Monday: Atheist Q&A

There are instances in modern music where a band breaks up, only to become more famous. How many of these bands get back together and put out an album worthy of their material of two decades prior? However many there are, Atheist joins their ranks with the release of Jupiter—an honest and authentic follow-up to 1991′s Piece of Time that will not leave long-time fans disappointed. Drummer Steve Flynn took time to answer our questions about the groups reformation, the release process of Jupiter and more.

OS: Back in 2007, Kelly said that there would absolutely be no more albums under the Atheist name.  When did that change?

SF: In fact, we all kept saying that, and we continued to say it.  We even said it when we were playing Hellfest in France, which we intended to be our last show because we had song several and we said “How much longer can we keep reuniting so to speak, and playing the same songs?” We had felt that things had sort of run their course, and the reception was amazing at that show—we said this was our last show, we left the stage and went home with all intents and purposes of that being our last show.  The demand just kept coming at us, people kept requesting shows, and asking for tours, and Season of Mist were very, very persistent in their pursuit of us.  We kept saying no, we discussed it amongst ourselves, we discussed it with our “manager” Ula Gehret, and I had around that time too, Gnostic, that I had started before the Atheist reunion stuff had kicked off so that was in the mix. Season of Mist said, “Listen, we want to do an Atheist record. We’ll make you a reasonable offer.” They were going to sign Gnostic as well, and we still were saying no.

It took us about six more months before we said we would do it.  I think there were so many people after us to keep playing and keep doing it that we said, “Okay, we’ll give it a shot.”  And we were nervous, you know, because we hadn’t written any material together (me and Kelly) since Unquestionable Presence, which was 1990.  They did the Elements album, which was a whole different lineup, so that one is sort of set apart quite differently from the other records—so we didn’t know what would come out. We agreed to go ahead and do it, and it took us quite a while to get it done because that was a year and a half ago when we signed the contract with Season of Mist and we just completed it in July. So, it took us a hell of a long time, but we eventually got there.

OS: Do you think that the result of playing the festivals and getting the chemistry back had anything to do with making Jupiter, in addition to the label pressure from Season of Mist?

SF: Oh, absolutely. Excellent question, and no doubt about it; there’s no way we could have just jumped in and said “Hey, let’s do a record together” and we hadn’t done anything. I think in that case perhaps some of the worst fears for some of the people who were nervous about us doing another record and tarnishing our legacy would have been realized had we done that because it did take some time to get back into the swing of things.  I didn’t play drums for about fourteen years. I quit the band in 1992 and went to grad school and all that, and I didn’t pick up drums until I started Gnostic. It took me a while to get back into the swing of things. When we got back together for our first rehearsal before our first reunion show it was just kind of like “Well, what’s it going to be like?” In some cases it was like we had just picked up from yesterday, and things kind of fell in place.  In some places it felt like there were huge gaps in between, so it was a little strange at first.  We were able to spend a lot of time playing together, and we realized that whatever it was that made Atheist was still there and very clearly. We knew it, we could tell, we could feel it—we didn’t know how we would write—and that took some time to figure out.  Once we did, we realized things hadn’t really changed and we kind of picked up right where we left off.

OS: Were you or Kelly more for or against Jupiter when Season of Mist approached you for the first time?

SF: I think we were all kind of in lock step. I don’t think there was any level of agreement or disagreement between us. We were both in agreement that we couldn’t do it; there would be a ridiculous amount of pressure. Too many people would just not like because it had been so long since the last record, we knew that there would be people who liked it just because it was another Atheist record, and there were a lot of people telling us not to do it in fear of tarnishing our legacy. We all sort of shared in the collective thought process there. We also, after talking with Ula Gehret, and amongst ourselves—and realizing the fan demand that was still persistent and growing—we realized at the same time that we were in the same boat the whole way.

OS: So, a couple months ago you mentioned that there might be some tour plans in the works, but nothing concrete.  You mentioned bands like Gojira, Cynic and Pestilence as potential partners in crime.  Have any of those ventures evolved or developed?

SF: They are evolving.  We’ve talked about all those bands and we’ve been in contact.  There’s lots of interest back and forth.  It’s a matter of scheduling and logistics, and working things out.  Now that the press has started about the new records, we’re starting to confirm festival dates in Europe. We just got confirmed for Hellfest in France, but that’s not until next summer. Looks like we’re going to be confirming for a run of dates in Europe in April, but we’re not sure with who yet.  We’re talking to our US booking agent setting up a US run—so that’s all definitely in the works.

I think what we’re going to do is a series of short runs, but we’re not sure when or with who yet, because like we said it’s trying to find the right partner.  We can’t devote six to eight weeks for touring like when we were nineteen, you know, we just can’t do it. I’m a senior executive type in a global fortune 500 communications consultancy called Millward Brown.  I mean, I can’t be gone for two months. I have two kids and Kelly has a child, and Chris Baker owns his own business, etc.  We just can’t be gone for two months at a time. What we are going to do for sure I can tell you, we’re going to do a series of six, seven, eight show runs.  We’ll go out to the west coast, come home, then go out to the midwest, etc.  Hit all the major markets.  We won’t be able to do an extended 250 show tour, and I’m not sure even if we could we would want to. It’s a brutal grind.  After about fifty shows, things change, and it becomes a totally different ball of wax.  We’re older now, and we really thoroughly enjoy touring and playing to the extent to which we do it.  Once you get to a certain point though, it ceases to be fun and becomes more of a job. Anyone who tells you differently is not being honest with you. We do this because we absolutely love it.  We don’t make shit for money touring; we just love hanging out and playing music.

We plan on supporting [Jupiter] extensively; it just won’t be in the traditional fashion where we’re doing 200 shows.  We’ll probably do forty to fifty shows and space them throughout the year.

OS: In terms of style and feel, Jupiter isn’t that far off from Unquestionable Presence or Piece of Time. It’s definitely an Atheist record – perhaps a bit more aggressive.  Do you think that old school diehard fans of Atheist or even new people will react well to the album immediately?

SF: I do think so, because of what you just said. I think a lot of people were concerned that it would come out sounding like something that was half-assed and just thrown together. Or it would have lost some of the energy or intensity, or would be stale in some way.  Whether or not you like it, everyone has said (almost unanimously) that it sounds like and Atheist record, and like something that would have followed in line from the first two records (Elements being a different animal).  But to that point also, it’s not for me to judge whether or not new fans will get into it.  If you weren’t a fan, you might not be now. Although, as you said it sounds more modern and the music is more aggressive than Unquestionable Presence was.  We didn’t set out to make it that way—it was a completely organic process.  What came out is what came out.

I think if you like aggressive, technical music and you like that style that Atheist has been known for, I think you’ll like it.  I’ll be surprised if it disappointed fans from back in the day or fans of the first two records. I’d be surprised if they were disappointed in the direction of this record.

OS: In terms of production, Jason Suecof helped you come up with a more a different sound, a more modern sound certainly, bringing out the low end and the fierce guitar tones. Is this something you wish you had on Piece of Time and Unquestionable Presence?

SF: It’s funny, I think a lot of it is strictly due to the technology, the ability to have a very clear and very powerful production. Back when we did Unquestionable Presence and Piece of Time, everything was analog and done on one-inch tape.  On Unquestionable Presence there’s four or five songs where I just sat down and played it, what you see is what you get.  There’s no editing, there was no Pro Tools, there was nothing. To sit and to edit you had to manually raise and lower the volume of each drum as you went through so you could hear it.  It was a very lengthy and cumbersome process.  The result was good,

Unquestionable Presence is a very clear production, but I always thought it lacked the real punch.  What we talked about was going back and recording some of the songs from those albums. We had in mind a couple here and there with today’s production quality to see how they would translate and we thought they would just absolutely rip your face off.  There’s a song “Unholy War” on Piece of Time and if we played it today with the speed and clarity of production it would just be so balls out; heavy and fast.  It would have been nice.

I’ll qualify that by saying I think a lot of bands these days overuse the technology and so much of what is done is clinical and sterile sounding.  Often times it doesn’t translate live, just because the technology and the way it’s abused I think over compensates for a lot.  We were very specific when we did Jupiter to make sure it was a sit down and click the sticks together.  There’s a song, “Faux King Christ”—that’s it, I just sat down and played it.  We didn’t track sections and we didn’t piece it together.  I just sound down and played it, just as you heard it, just as you hear it on the record.  There’s a song “Live and Live Again” —I did the same thing.  I tracked the drums in six or seven hours, the guitars took a couple hours, and we spent the rest of the time mixing.  Jason knows what he’s doing and he was able to EQ everything and tune it in, he got such a strong drum sound and a ferocious guitar sound, as you said. The studio where we did the tracking, Ledbelly Sound in Atlanta—Matt Washburn is a solid engineer and was able to help dial in the initial tones—then Jason took it from there.  It’s a modern sounding production, but it definitely has some throwback feel.

OS: Recently you put out a statement regarding Tony Choy departing the band.  Are you still on good terms?

SF: Yeah, it wasn’t handled well. There was a lot of “he said, she said”—he decided to leave about four weeks before we were supposed to be in the studio, he just didn’t really have the time.  He couldn’t come up to finish rehearsing, we wanted him to come up and track the bass parts in the studio, he wanted us to save the wave files down to him and he would track the bass parts in Miami—and we didn’t have the time for that. It had to be finished by July 31 and he just couldn’t do it … We tried to say that “Yes, Tony left the band”, but it’s not going to make any difference because we’ve already written most of the material for Jupiter, and the stuff that we’re known for Tony had nothing to do with anyway.  It’s not like anything is going to be missing—whatever you thought of Atheist before, whatever music was churned out before, is going to be churned out now regardless of his involvement.  We just wanted to make that statement, and it didn’t quite come out the right way.  It sounded like there was a huge feud, but there wasn’t. In fact, Tony and I talked just a couple weeks ago just to chat and I said we were starting to plan tours and he said to let us know, and he said to keep him in the loop because he still wanted to tour with us. We’ll probably end up touring together, schedules pending.  That’s the plan is for Tony to tour with us—we’re still on very good terms.

Jupiter‘s release date is November 8th in the US, and can be ordered from the Season of Mist web store or from iTunes after the album is released.

Metal Monday: Metalcore, Grindcore, Deathcore – What’s the Difference?

Metal as a community—made up of bands and their fans— is a tight-knit population, but that does not mean this happy family is without its schisms. With the somewhat recent rise of deathcore into the mainstream, many death metal and grindcore acts have drawn a line in the sand to separate themselves from this sub genre of metal. The same can be said for metalcore, which at one point in the early 2000s had a major surge within mainstream music and was ostracized by many metal sub genres. You see, if someone isn’t raised in the metal scene, then they may not be able to tell the minor differences between these sub genres. Add to this the large number of bands  spilling over and changing sides between sub genres, and you’ve got a recipe for a giant mess.

Grindcore, metalcore, deathcore—they all came from very distinct roots: death metal and hardcore (scenes ultimately born from punk). Death metal is known for its heavy and constant nature, taken to an extreme level. Lots of bands fit this bill and have had the “death metal” label slapped onto them, but the essence of death metal lies in bands like Death, Cannibal Corpse, Obituary, Suffocation and Decapitated. Change anything the classic death metal  formula and you’ve probably found yourself wandering into sub genre land—bands like Necrophagist are known as “technical death metal” but to the inexperienced listener are really not much different. For a good example of death metal, you can check out this video for Cannibal Corpse’s “Death Walking Terror”:

Early in the death metal days, grindcore was born—taking the heaviness of death metal bands of the time along with the avant-garde nature of post-rock, the frenetic rhythms and breakdowns of hardcore punk and an extra splash of craziness to create a totally new sub genre of music. The more famous grindcore acts include Napalm Death, Pig Destroyer, Brutal Truth and Agoraphobic Nosebleed. Check out this music video for Brutal Truth’s “Sugar Daddy” to hear a good example of  grindcore:

The late 1990s witnessed the next offshoot: metalcore. Though its beginngs lie in early 90s bands like Converge and Zao, its current style was brought about by bands such as Unearth, God Forbid and Shadows Fall. Taking a lot of influence from trash, the metalcore tag may be a bit misleading, as the only real element taken from hardcore is the style of breakdown used. Most of the stylistic choices lie in heavy thrash, and the vocals often feature big melodic lines evident in heavy metal bands like Armored Saint. The most famous example of more modern metalcore is All That Remains‘ “This Calling”:

Soon after metalcore’s rise, deathcore began to brew. Take out the melodic vocals, make the sound a bit heavier and use more extreme breakdowns and you’ve transformed regular metalcore into deathcore. Bands such as The Acacia Strain, Caliban, The Red Chord, Animosity and Job For a Cowboy are known as some of the first true deathcore bands. To get a taste of an archetypal deathcore song, check out The Acacia Strain’s “Angry Mob Justice”:

Nowadays, though, bands are breaking these boundaries. Act such as The Tony Danza Tapdance Extravaganza, Cephalic Carnage, Job For a Cowboy and Brain Drill have completely shattered the mold for these genres. This has been a much needed change for the metal scene since many separate sub-genres began drawing lines in the sand because, really, many of these bands aren’t that different at their core—they’re all just looking to have a good time by making extreme music people want to move to.

METAL MONDAY: 10 BEST METAL SONG TITLES ON OURSTAGE

osblog_metalmondays_01First impressions are key. In many cases, the title of your song is what draws someone in. When you give your song a lackluster title, you’re wasting an opportunity to woo your potential fans. Bands like Cannibal Corpse get it, and give their songs obscene or noteworthy titles like the ever-offensive “Blunt Force Castration” which is only really meant to draw attention. Below are ten of the best metal songs on OurStage. Not only do they talk the talk, but they walk the walk as well.

    Kamikaze Aliens
  1. “Kamikaze Aliens” by Japanese Kombat Car – A strange title, but the thought of kamikaze aliens is sort of terrifying. The best part about this song is the opening quote “Yeah, we don’t wanna do anything to scare your children, we don’t wanna scare anybody.
  2. upon-the-shoulders-of-atlas

  3. “Upon the Shoulders of Atlas” by At Long Last – Atlas was no wuss. His whole deal was that he held up the heavens, which is badass. The song has a ton of great riffs, sweeping solos, and brutal breakdowns—the perfect way to epitomize Atlas’s brutal strength.
  4. hell-on-the-high-seas

  5. “Hell on the High Seas” by Rapture Cabaret – If you somehow think of something other than pirates when you read this title, shame on you. Raping, pillaging, stealing and being generally delinquent, pirates are among the most metal beings in all of history (falling far short to the Vikings, of course).
  6. i-am-the-war

  7. “I Am The War” by Final Sacrifice – Anyone who has heard more than a couple metal songs has most likely heard one involving war, or has war in the title. But few metal songs claim to be the war. Being war is something much more extreme that simply being involved with war.
  8. metaphysical-collapse

  9. “Metaphysical Collapse” by Living Corpse – Objects physically falling over and collapsing is pretty cool, but try to wrap your mind around the metaphysical collapsing. That would be like the laws that govern the physical world ceasing to exist. At that point, it is hard to say what sort of chaos would emerge.
  10. monolith

  11. “Monolith” by Sephiras – A monolith is a big, heavy, upright-standing stone that is usually shaped into a pillar or monument. Sound like a particular style of music? Of course it does. Metal = monolithic. This song even has the right sound for a monolith; big, heavy and churning.
  12. chainsaw-facelift

  13. “Chainsaw Facelift” by The Summoned – Taking it to the extreme might be metal’s longest-standing mantra, and “Chainsaw Facelift” is a grand example of just how memorable the extreme can be. The imagery of performing a facelift with a chainsaw is not something easily forgotten.
  14. blueprints-of-a-war-machine

  15. “Blueprints for a War Machine” by Process For Enigma – The subject of war once again rears its ugly head in a metal song, but in a more calculated and sinister way. This song is out to raise some hell, and does so in a precisely calculated way to fit the song title.
  16. final-judgement

  17. “Final Judgement” by Shatter This World – Dire circumstance indeed. Whether you meet your maker at the pearly gates or the the gates of hell, final judgements are extreme. With such an extreme topic, the demand is for music to match and Shatter This World deliver.
  18. armageddon

  19. “Armageddon” by What Dreams May Come – The word armageddon pretty much speaks for itself. The mother of all chaos and destruction, it does not get more intense than armageddon. The song is 1:35 of pure, unadulterated, mayhem.

METAL MONDAY: TWENTY YEARS OF METAL

osblog_metalmondays_01

Twenty years is a long time. Two whole decades. Many things can change in that amount of time, but few styles of music went through as many changes as metal.

"The flute is a very heavy, metal instrument." - Ian Anderson

1989 was the tipping point that steered metal into the state we know it now. The thankful decline of the hair metal plague was in full-effect, death metal was on the rise and thrash metal was still going strong. This was the year of the infamous Jethro Tull upset over Metallica for the “Best Hard Rock/Metal Performance Vocal or Instrumental” in the first ever Heavy Metal Grammy (much to the dismay of the metal community and rightfully so—Jethro Tull is not even close to metal). Tipper Gore and her PMRC was bringing the hammer down on metal with their censorship threats, and Guns N’ Roses had taken over the mainstream metal territory. Metal was under fire from all angles. For the greater good of metal, however, all of these things were ultimately great. The core die hard metal community decided they had enough, and were going to take a stand by pushing metal styles to the extreme.

Prog-metal greats, Dream Theater

Prog-metal greats, Dream Theater

Dream Theater, Stratovarius and Obituary are the most notable bands who released debut albums in 1989, all of which saw moderate success, and who later came to shape their genres for the next two decades. 1989 also saw the formation of many new bands, such as Dark Tranquillity and Cannibal Corpse, who helped shape the metal world over the last twenty years. Even with the huge successes these bands saw in the 90’s, they were still not able to overcome the hip hop and grunge onslaught throughout the decade and break into the mainstream — unless you were Anthrax and did a collaboration with Public Enemy (which ultimately led to the “rap metal” fiasco of the late 90’s). I’m not talking about the popular bastardized offshoots of metal (e.g. Limp Bizkit, Nine Inch Nails, Korn, Disturbed, Deftones, etc.) that developed in the 90′s. I’m talking the “real” metal of the 90′s—Blind Guardian, At The Gates, In Flames, Symphony X, Suffocation—none of these bands got as much mainstream exposure in the 90′s as they deserved. Instead, the less abrasive grunge style took over. The mainstream was tired of the aggression-fueled style that metal brought and grunge stepped up to the plate, switching the anger for angst which hit home for the flannel-clad teenagers of the 90s.

George

George "Corpsegrinder" Fisher, of Cannibal Corpse

Ultimately, metal being a subterranean music style throughout the 90′s was for the betterment of all metal genres. Everyone saw what happened in the 80′s when metal broke into the mainstream (yes, hair metal). The same thing happens to most genres of music—evolution happens when the genre is not in the spotlight (which means grunge is directly responsible for the black sheep that is Nickleback). Without the 90′s era of metal, we could still have things like the horrid pop-punk and boy bands of the early 2000′s (we can actually thank hip hop for helping to rid of that nuisance). Slowly but surely, metal is making its way back into the mainstream. There are 14 metal albums in the Billboard Top 200 as I write this, one of which debuted at #6— Black Clouds & Silver Linings by our progressive pals Dream Theater. Metal is stronger than ever, and looks as though it is still on the rise. Lookout, mainstream media, we are storming your beaches, and about to take over your cities. Yes, those ones that were built on rock and roll.

 


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