The official video for “Shitting Mud”, a re-imagining of SLAYER‘s classic song “Raining Blood” performed by STATE OF THE FART, the musical project brought about by the world’s most impressive handfart architect, Guy First from Israel, can be seen below. The track was recorded by Ran Yerushalmi and mixed by Yoni Menner of the band WALKWAYS.
Written by Jeff Hanneman and Kerry King for SLAYER‘s 1986 studio album “Reign In Blood”, “Raining Blood” is one of only three tracks on the LP that is longer than three minutes, having a running time of four minutes and seventeen seconds. The song closes out “Reign In Blood” with a minute of rain sound effects.
Eccentric singer, songwriter and pianist Tori Amos covered “Raining Blood” on her 2001 album “Strange Little Girls”. SLAYER guitarist Kerry King later admitted that he thought the singer’s version of the track was odd. “It took me a minute and a half to find a spot in the song where I knew where she was,” he said. “It’s so weird. If she had never told us, we would have never known. You could have played it for us and we’d have been like, ‘What’s that?’ Like a minute and a half through I heard a line and was like, ‘I know where she’s at!’”
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General Music News: Chuck D tells UG about sampling the rock icons.
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Metalholic and Metal Nation Radio recently conducted an interview with QUEENSRŸCHE singer Todd La Torre. You can now watch the chat below. A couple of excerpts follow (transcribed by BLABBERMOUTH.NET).
On QUEENSRŸCHE‘s new album, “Condition Hüman”:
Todd: “We recorded a total of fifteen named tracks. And there’s no fat or filler on it. A lot of the songs… It is heavier in many ways. There’s a complexity to the songs. There’s a lot more layers happening. Vocally, because of the nature of the songs and how they ended up, kind of, evolving, allowed me to do vocal things that I wanted to do on this record that maybe people haven’t heard me do. We’re very proud of it. It’s definitely pure QUEENSRŸCHE. I can say that I really feel, vocally, from what I was able to do on the record, it is definitely one hundred percent Todd La Torre. I was able to, like I say, do things that were a little more gritty and aggressive to some very, kind of, ‘breathy’ falsetto-type singing on the intro of one of the songs. Some of the songs break down to where I’m able to do a lot more of that slower, haunting, emotional style of delivery that I like to do. And the lyrical content is very deep. It’s a record that, I think, people are going to get more of with each listen. That’s how it was for me with ‘Operation: Mindcrime’, for example; when I first got that record, I really learned to appreciate it more with each listen. There were things that I didn’t recall hearing before, and it really grew on me. So I feel that way about this record. And we’re really excited for the world to hear all of the songs.”
On whether there is a lyrical theme running through “Condition Hüman”:
Todd: “It wasn’t written as a concept album, but when we were discussing titling the record, each song points back to human dynamics — whether it’s relationship things or there are social issues… You know, talking about dealing with our own mortality: what is our purpose? And at the end of the day, we don’t place a judgment on any particular stance or issue, per se, but we ask the question… It reverts back to the listener: how do you perceive the world around you? And our decisions are primarily based on our perceptions. How are we going to handle a certain situation? It depends on, maybe, your personal experience in relation to a certain topic that is going to be the foundation of how you view certain things. So it’s a very multi-faceted subject. That’s why, instead of the human condition, it’s more of a diagnosis, like, we’re all human. You know, condition human. Everyone’s human. It’s a lot deeper than the first glance would, maybe, show you.”
On his vocal performance on “Condition Hüman”:
Todd: “We had a lot more time to [work on] the songs. And then, of course, a lot of credit goes to our producer, Chris ‘Zeuss’ Harris. He was great, because he’s a musician. So it was really great to have a producer that’s also a musician, that can grab the guitar and say, ‘Hey, what about this chord progression?’ And he played some keyboards on some demo stuff for us. He went back into the catalog and said, ‘You know, what about a cool harmony here? This is what… When I think of QUEENSRŸCHE…,’ these are elements that he wanted to bring back. So it was great to have someone who was a fan of the band who appreciated the style that is QUEENSRŸCHE and the production quality, sonically speaking, sound amazing. And so, I really feel, and we’ve talked with other interviewers that were privy to the download link from our label, that have heard the twelve songs, anyway, and said — unanimously — ‘this sounds like QUEENSRŸCHE, but today.’ And so that’s really, you know, what we were hoping would translate — is that these are elements that are pure QUEENSRŸCHE, but with a modern approach. We don’t wanna sound like 1986. QUEENSRŸCHE has a very unique style and sound, and I think that Zeuss did an amazing job respecting those while also allowing me to be me. You know, there’s kind of that double-edged sword for me, because, it’s, like, if I sound too much like the former singer, then [people will say that] I’m a copycat. If I sound too different, then [people will say], ‘Well, this doesn’t sound like QUEENSRŸCHE.’ To me, this is a great infusion. It is how I sing, [and] it is my style. And I wear influences on my sleeve, and those have, kind of, morphed into the stylistic qualities that I naturally write to now. So, again, to me, it sounds very current and, sonically, the album just crushes — it sounds huge and full and thick and dynamic and it’s not ear-fatiguing. So we’re very happy.”
“Condition Hüman” will be released on October 2 via Century Media. The CD was recorded in part at at Uberbeatz Studio in Washington.
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Entertainment: It’s Your Daddy.
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Entertainment: Sweep pickers of UG, how long did it take you to master this technique?
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SLIPKNOT singer Corey Taylor has once again denied that the band’s track “The Negative One” was written about the group’s former drummer, Joey Jordison, claiming that the song’s lyrics deal with the conflicting emotions of grief and anger that he felt right after the death of SLIPKNOT‘s original bassist Paul Gray.
With lyrics like “The Lord Of Lies / You Had To Be Set Free / Opposing Sides / Your Choices Are The Negative One And Me,” fans have speculated that “The Negative One” was written about Jordison, who was assigned “1″ as his numbered alias shortly after the band’s formation. However, Taylor has dismissed those theories as “incorrect,” telling Loudwire (see video below): “I think there’s a handful of people who have original ideas, and then there are millions of people who will pick up that original idea and just copy and paste it and put it all over the place. A lot of people aren’t brave enough to have their own opinion. So even though that opinion was incorrect, I could see how something like that could snowball and really roll downhill and just start picking up people and getting louder and louder and louder. And, honestly, it wasn’t until I came out and said something that people started looking at it in a different light. And, honestly, I didn’t even realize that you could have read it that way. It was the furthest thing [from] my mind, because none of the songs on [the latest SLIPKNOT album, ‘.5: The Gray Chapter’] are about Joey. All of the songs on there are about the band in general — sometimes about myself, but also sometimes about just what we were going through when it came to Paul and his death.”
According to Corey, “The Negative One” songtitle is a reference to “the negative one and me — those two people. Fighting those sides of yourself where… There’s a part of you that just really misses your friend, and then there’s a part of you that is so mad at your friend that it makes it hard for you to feel empathy, which is very natural, especially when you lose someone the way we lost Paul. So it’s dealing with very human issues, but it can go either way: it can go negative, it can go positive.”
He continued: “I can see where people would make that [association between ‘the negative one’ and Joey], but it’s incorrect.”
SLIPKNOT announced in December 2013 that it had parted ways with Jordison, one of the band’s founding members and key songwriters. Taylor told Metal Hammer that firing Jordison after 18 years was “one of the hardest decisions” the group ever made, adding that Jordison is “in a place in his life” which is “not where we are.”
Taylor said he could not get into specifics for legal reasons, but admitted, “It’s when a relationship hits that T-section and one person’s going one way and you’re going the other. And try as you might to either get them to go your way or try and go their way, at some point you’ve got to go in the direction that works for you. This is me speaking in the broadest terms, with respect to Joey. I guess to sum it up, it was one of the hardest decisions we ever made.”
Taylor said that the band is “happy right now and we hope that he is . . . he’s just in a place in his life, right now, that’s not where we are.”
The singer would not answer whether drug use played a role in Jordison‘s dismissal, and confessed that he had not been in touch with his former bandmate. Taylor said, “I haven’t talked to Joey in a while, to be honest. That’s how different we are. It’s not because I don’t love him and I don’t miss him. And it is painful; we talk about him all the time, but at the same time, do we miss him or do we miss the old him? That’s what it really comes down to.”
SLIPKNOT‘s new drummer is Jay Weinberg, son of longtime Bruce Springsteen drummer Max Weinberg.
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Fan-filmed video footage of BOBBY BLOTZER’S RATT EXPERIENCE, the new band led by RATT drummer Bobby Blotzer, performing on August 1 at Buffalo Rose in Golden, Colorado can be seen below.
BOBBY BLOTZER’S RATT EXPERIENCE is rounded out by Josh Alan (SIN CITY SINNERS), Scotty Griffin (ex-L.A. GUNS), Doc Ellis (Jizzy Pearl‘s LOVE/HATE) and 21-year-old guitar hero Blaze.
Each RATT EXPERIENCE show includes (depending on venue and time slot)
* A performance of RATT‘s “Invasion Of Your Privacy” album in its entirety to commemorate the record’s 30th anniversary
* A never-before-seen video history introduction
* A tribute to late RATT guitarist Robbin “King” Crosby
* Over 20 songs, including some that have never been played live before
* Exclusive VIP meet-and-greet packages and opportunities to hang out with The Blotz!
For more information, visit Facebook.com/TheRattExperience.
Blotzer recently said that he decided to go out on the road and perform RATT‘s hits with the RATT EXPERIENCE after a disagreement over the ownership of the RATT name made it impossible for the original members of the group to work together.
During an appearance on the April 6 edition of Eddie Trunk‘s SiriusXM satellite radio show, “Eddie Trunk Live”, Blotzer stated about RATT‘s split with singer Stephen Pearcy: “The problem that lies in RATT really is not just our lead singer. It’s the fact that him and the bass player, Mr. Juan Croucier, they wanna own part of [the RATT] name. So, to me, it’s just like going round and round… I’m not trying to pun on that, but it’s just insane that we’re still at this point now that we’re five years [after the release of the ‘Infestation’ album]… We went out in 2013 and did about thirty dates… They were all huge… Festivals that we headlined, festivals that we opened for VAN HALEN, AEROSMITH, GUNS N’ ROSES, etc. And then headlined arenas and that kind of thing.”
Blotzer also talked about the dispute over the ownership of the RATT name which has caused a rift between the founding members of the band.
“Warren [DeMartini, guitar] and I… The reality of it is a corporation that we own owns [the RATT] name. WBS Inc., which we started out — Warren, Bobby and Stephen,” he said. “That was WBS Inc. We did all the business for RATT through the corp… That was before [Stephen] sued us in 2000. In 2000, he left the band three days before the third leg of a tour. In doing that and then suing us as went out as RATT with a new singer [he ended up losing control over the RATT name]. He said, ‘You know what?! I’m out. Go get a new singer.’ And we did everything accordingly to corporate standards and corporate law. He lost the name in federal court. And I know he’s out there slandering Warren and I, trying to suggest that we did something shady to get the name. I read that, and I’m, like, does this guy really not understand that he was in federal court for three weeks when he lost any ownership or ties to the name? But the bottom line is, the corporation that Warren and I own, that’s who governs that name, so technically, him and I own the name.”
According to Blotzer, he is willing to give up the rights to the RATT name in order to get the band back out on the road, but DeMartini is less willing to budge.
“I actually offered my name up. ‘Take my ownership in this name. I don’t care,” Blotzer said. “I just wanna rock. I wanna work. I wanna play.’”
He continued: “The truth is really I’ve been trying very hard with the likes of Stephen… You know, I’m talking to these guys indivudally and nobody… It’s just like a stalemate that nobody will bend on except me. And I’m not trying to slap myself on the back, but it’s… It’s kind of a scenario where I wanna play and I don’t wanna go put some new original band together and go out where nobody knows who it is.”
Blotzer added: “Warren has made it impossible to work, because he won’t tour with a new singer. Let’s just say, his position is he wants the original band to be the RATT out there. And I get it; I do too. You know?! But it’s, like, well, dude, if they’re not coming, then let’s move ahead here. I wanna play. We can play big gigs, we can earn well, financially, with another singer. But I think he’s playing this waiting game. He’s waiting for Stephen and Juan to cave. I don’t know… It’s at a five-year standstill. And I’m, like, Pearcy‘s 58, I’m 56, Warren‘s four years younger than me, Croucier is a year and a half younger… Whatever. You know, it’s, like, I don’t wanna fuck around anymore. I wanna go and play for the fans, go and play for my family and my own just fun of working and earning the way I do with RATT.
“I think it’s just not cool that these two guys… Well, actually, it’s three, because Juan has cornered Stephen into this brainwashing thing that: ‘Don’t do it, dude. Don’t do it. I know what’s going on with this.’
“And if anybody thinks I’m out here spilling dirty laundry, I’m sorry you feel that way, but it you were in my shoes, maybe you’d feel a little different, ’cause it’s kind of frustrating to have this much time and success and not be able to ride it out for the last lap, so to say, which Stephen always says. We’re ten to twelve on the RATT clock here. Let’s play the last ten years, or whatever we have.”
Regarding his decision to go out with the RATT EXPERIENCE, Blotzer said: “You know, I thought about it across the board, and I just came to the reality that I am in RATT, I’ve been in RATT for 33 years, and that’s who I am, and people would really, probably rather come and see me play RATT music. I wrote it with them — we all wrote it together… Depending on who you talk to, but the reality is we all wrote that music together, from bare riffs and built it on up.”
He continued: “What I’m doing is playing our music, A, [and] B, playing stuff that these guys won’t [play]. I don’t mean that mean or anything, but the guys in the band were so closed-minded to playing so much of the great material that’s between track 1 and 10. We’ve always done just the video songs, primarily. And trying to get Warren and Stephen to do this stuff has been monumentally hard. And when we would do it… Like playing the song ‘Closer To My Heart’, people love it. If Warren or Stephen thinks that the audience isn’t responding to their Richter scale of sound and movement, then it’s out. And it would just be usually about three days into a tour. So here I am with my vote, which is shot down the crapper. ”
Blotzer added: “Everybody that’s RATT fans out there, you all know that there are so many great tunes that we have that are not even really B-sides; they’re just songs that are on the record that kick ass. And there are so many that I wanna play, and that’s what… My idea’s to go out and play those. Of course, play the obligatory songs that you have to play… And I don’t mind playing them. I love ‘em all. On the ones that are shorter sets, like if we get put on a festival and we have forty minutes or forty-five minutes. I wanna do… The fact that [RATT] missed going out for the thirty-year anniversary for ‘Out Of The Cellar’, and not doing that really bothered me. So here we are now on the thirty-year anniversary this year of when ‘Invasion Of Your Privacy’ came out and that tour, and I wanna go out and play that record from beginning to end. And if we have more time on headlining shows, then we’re gonna frontload it and backload it… I don’t wanna really give the ideas away, but that will be played in its entirety no matter what our time thing is.”
Asked how he feels about the fact that Blotzer has assembled the RATT EXPERIENCE band which performs not only the RATT hits, but also several deep album cuts, including many songs that have never been played live, Pearcy told “The Classic Metal Show”: “The remaining members really don’t understand… You know, anybody can go out and play RATT music in cover bands or however they [wish], but if you’re out there taking advantage of…. You know, ‘I’m doing a tribute to this guy in the band who’s no longer with us.’ Or, ‘I’m gonna do this…,’ you know. And then we hear an ad [for the RATT EXPERIENCE] and they’re playing just RATT music with my voice. You know, it’s like… Well, you can’t do that either. So, in a nutshell, it’s not cool. But the guy, he can make a living — that’s not a problem — but don’t take advantage of the situation and mislead people and be out there saying fictitious things. And other than that, it doesn’t bother me. I still get paid.”
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Steven Tyler and Joe Perry of AEROSMITH have contributed music to the original score of “The SpongeBob Musical”, which will have its premiere in Chicago next summer. It will begin performances on Tuesday, June 7, 2016 at Broadway in Chicago’s Oriental Theatre (24 West Randolph Street, Chicago, IL). This is a limited engagement through Sunday, July 3, 2016.
“The SpongeBob Musical” is co-conceived and directed by Tina Landau with a book by Kyle Jarrow, music supervision by Tom Kitt.
“The SpongeBob Musical” will be a one-of-a-kind musical event with additional original songs by Jonathan Coulton, DIRTY PROJECTORS, THE FLAMING LIPS, John Legend, LADY ANTEBELLUM, Cyndi Lauper, PANIC! AT THE DISCO, PLAIN WHITE T’S, THEY MIGHT BE GIANTS and T.I., with an additional song by David Bowie and additional lyrics by Jonathan Coulton.
The design team includes scenic and costume design by David Zinn, lighting design by Kevin Adams, projection design by Peter Nigriniand sound design by Walter Trarbach.
Following its engagement in Chicago, the musical will open on Broadway in the 2016-2017 season.
“The SpongeBob Musical” is a rousing tale of a simple sea sponge who faces the unfathomable. It’s a celebration of unbridled hope, unexpected heroes, and pure theatrical invention.
“The SpongeBob Musical” will be produced by Nickelodeon.
“I was drawn to this project not only for its wild theatrical possibility, but also because I felt SpongeBob, at its core, is a layered and hilarious ensemble comedy,” said Landau. “SpongeBob himself is of course its center and beating heart — the eternal innocent in a sea of cynics. He’s also the classic underdog hero, and so our production sets him on a hero’s journey with real stakes, all the while retaining the show’s trippy humor and irreverence. We’re taking our leads from the TV show but this is an original story, with an original design approach, and original songs written just for the occasion by an amazing array of songwriters. We will present the world of Bikini Bottom and its characters in a whole new way that can only be achieved in the live medium of the theatre. We’re bringing the show’s fabled characters to life through actors-not prosthetics or costumes that hide them-and we’re deploying some unconventional stage craft that will prove that anything can happen in Bikini Bottom.”
“SpongeBob long ago transcended the TV screen to become a pop culture icon inspiring everyone from kids and families to artists and musicians, pro athletes, movie stars, fashion designers, social media mavens and even the President,” said Cyma Zarghami, president, Viacom Kids And Family Group. “This character has achieved a level of global popularity that we could never have imagined, and bringing him to Broadway is a way to give him a new platform, literally, to reach audiences of all ages who are looking for an engaging, funny and innovative musical theatre experience.”
Added Russell Hicks, Nickelodeon‘s president of content development and production, “We decided early on that we would only bring SpongeBob to Broadway if we could find someone with a wholly unique take on these beloved characters. When we met Tina, we immediately understood that her vision would not only live up to the expectations of both fans and new audiences, but also to the high level of artistry and professionalism that are the hallmarks of Broadway. The innovation she is bringing to the staging is matched with an equally fun and surprising set of original songs we’ve culled from a dream team of SpongeBob fans who happen to be top-flight musical artists, like David Bowie, John Legend, Cyndi Lauper, LADY ANTEBELLUM and T.I.”
Since premiering on Nickelodeon in July 1999, “SpongeBob SquarePants” has emerged as a pop culture phenomenon. The series has been the most-watched animated program with kids for more than 13 consecutive years, and over the past several years, it has averaged more than 1 million total viewers every quarter across all Nickelodeon networks. As the most widely distributed property in Viacom history, SpongeBob is seen in over 185 countries and translated in more than 50 languages. The Paramount Pictures feature film “The SpongeBob Movie: Sponge Out of Water” premiered Feb. 6, 2015, landing at #1 opening weekend and going on to be a major hit globally. The character-driven cartoon chronicles the nautical and sometimes nonsensical adventures of SpongeBob, an incurably optimist and earnest sea sponge, and his undersea friends.
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Upcoming Releases: New album "Repentless" due out on September 11.
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Kaaos TV conducted an interview with Swedish multi-instrumentalist and producer Peter Tägtrgren (LINDEMANN, PAIN, HYPOCRISY) before PAIN‘s August 28 performance at Seinäjoki Metal Fest in Seinäjoki, Finland. You can now watch the chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET).
On LINDEMANN, his collaboration with RAMMSTEIN frontman Till Lindemann:
“We just got back doing a second video for it now. I got back two days ago. It’s gonna be something else again.
“There is no gig plans or anything right now, but, I mean, there’s still so much to do with it, after releasing this album, and also during the release that we had. But I think it’s gonna cool down a little bit now. And I rebuilt [my] studio, so now I’m gonna start getting into the studio mood again and start writing some music and producing bands.”
On the response to LINDEMANN‘s debut album, “Skills In Pills”:
“It’s been really good. I mean, some people are, ‘Ah, the lyrics are so immature.’ [But] I think it’s funny lyrics. me and Till are immature people. So, you know, we’re just having fun with… He’s discovering the English words; he’s always been writing in German [with RAMMSTEIN]. And now, his crazy ideas and all the English stuff, it’s like plucking the tree, he always tells me, from fruit, because the German tree is already empty for him, he said. So it’s really refreshing for him to do all these things in English. I mean, so far it really went very well — Number One in a lot of countries, including Finland. So it was surprising. Some [reviews] are more, like, ‘Yeah, immature guys going crazy.’ But, hey, it’s a party album. It’s like, you know, Billy Idol in 2015 on… I don’t know… speed. It’s a party album. We want people to get a good feeling when we do it. It’s great party music, I think. It’s an album that you can get in a mood before you go to a festival, or before you go out to the bar or something, to get a good feeling.”
On LINDEMANN‘s plans to perform live:
“Mainly, it is that we have to see if the promoters are interested in it, and how should we do it? Should we do it huge, or should we do it very small club punk rock? We don’t know anything yet. So we’re still collecting info from our promoter. He’s throwing out some lines here and there to see who is interested and what can we expect, and where will we be on the bill? Will we play in the bar, or in the tent or on the main stage? We need to know these things before we start planning: ‘Okay, are we gonna go crazy with the stage, or should we go very small?’ It’s still a little bit too early to know.”
“I think if it’s gonna happen, it’s gonna be festivals. That’s what I think right now. Everything changes constantly between me and [Till]. So you never know. Maybe tomorrow we’re gonna play on the moon. So, we never know. We’ll find out… It’s better not to say too much until we know for sure. But I hope that we’re gonna go out and play.”
On what plans he has for PAIN and HYPOCRISY at the moment:
“That’s the funny thing, you know: I have no plans at all right now. Whatever comes up in my brain… Maybe I’ll write another LINDEMANN album; I don’t know. We’ll see in a few weeks when my studio is really rebuilt and done, when I sit down and start writing music again, what it’s gonna be. I have no clue… I have, like, almost a half album done with LINDEMANN, actually, because I kept on writing when we were done with the album. And plus, we have some leftover stuff that we didn’t release. So maybe it’s gonna go faster to make a LINDEMANN album and then jump into PAIN or HYPOCRISY after that. I really couldn’t say. We have to check a little bit how the schedule is with RAMMSTEIN as well.”
“Skills In Pills” was released on June 23 via Warner Bros..
The album was made available in the following formats:
* Standard Edition (2-panel digipack, 28-page booklet)
* Special Edition (Blu-ray-packaging, 28-page booklet, bonus track “That’s My Heart”)
* Super Deluxe Edition (large-size book, hardcover, 80 pages, telescope-carton, CD+bonus track “That’s My Heart”)
* Vinyl (gatefold sleeve, 28-page booklet, bonus track, includes album-download code)
Photo courtesy of Warner Music / Tomaso Baldesarini
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