Posts Tagged “Lyrics”

The members of METALLICA have revealed that they were asked to send the lyrics to their entire discography to the Chinese government for approval before they were given permission to play in the country. “We had to give them a whole set of songs and they went through all the lyrics and okayed which ones we could play, which ones we couldn’t play,” METALLICA guitarist Kirk Hammett revealed during an appearance on “The Howard Stern Show” on Monday, September 23. “They see a lyric like ‘Master Of Puppets’ being so subversive that they’re not allowing us to play it. It’s kind of scary.” Added METALLICA frontman James Hetfield: “And that just brings more attention to it, of course. That doesn’t work.”

According to METALLICA, they never considered canceling their Chinese shows after being told which songs they couldn’t perform in the country.

“There were 40,000 kids over those two nights that were, I mean, they were really responding to what we were doing,” said METALLICA drummer Lars Ulrich. “It was insane.”

“Whatever rules they set down, the fans were there to have fun,” stated Hetfield. “We got our foot in the door. We were able to go and play in China. That was the key.”

“What I did is, I had an open guitar solo thing where I just sit there and riff,” said Hammett. “I played the riff for ‘Master Of Puppets’ and a couple of other songs that weren’t allowed to be played. I played just the music, so I kind of snuck it in there.”

Ulrich also explained that METALLICA‘s Chinese fans were fully aware of the restrictions that were placed upon the band during their appearance in the country. “What we’re talking about here is not a secret. They published it on government web sites — what songs we could play and what we couldn’t. I mean, it’s fine.”

METALLICA played for the first time ever in China last month, doing two sold-out shows at the Mercedes-Benz Arena in Shanghai on August 13 and August 14. The first night sold out in record time and faster than any other Western act that has played the country before.

Official video recaps of the two concerts can be seen below.

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Atlanta progressive metallers MASTODON have issued the following update:

MASTODON has been busy jamming every day writing and arranging the next studio album. We have quite a few songs and ideas that are taking some time to nail down what we think will make it to the next full-length.

“There will be no more touring this year. We will hit the studio in November to hopefully finish by the end of year.”

Asked about the progress of the songwriting sessions for MASTODON‘s follow-up to 2011’s “The Hunter”, guitarist Bill Kelliher told Artisan News: “We haven’t really come to the lyrical concepts yet. That’s usually the last thing that comes. We’re usually focused on the music and getting all the parts and everything sounding ‘balls to the wall,’ you know what I mean?! That’s the most important thing. And then once we’ve got all that settled and recorded, we’re always scrambling for lyrics and ideas and stuff. We’re getting a little bit better at it, and I think Brann‘s [Dailor, drums] got a lot of ideas for vocal melodies and stuff like that. I’ll play the riff and he’ll kind of sing along, and I’m, like, ‘OK, that sounds really proggy, but really awesome.’ I’m really, really excited about it. But as far as what it’s gonna be dealing with, it’s a little too early to tell; it’s pretty fresh stuff right now. I mean, we’ve got some demos, but they’re really, really rough.”

Kelliher also spoke about possible lyrical themes that might be covered on MASTODON‘s next album. He said: “Death always makes for really good story telling. It’s kind of the theme that we have a lot in our music. We’ve had a lot of friends pass away since the last record. I’m not really sure yet. I think we’re kind of focusing more about living on this earth and what would happen if this was your last year to live. I think that’s sort of maybe a little bit of what we might be kind of touching on.”

He added: “Art reflects life — how you’re feeling and your mood. I played a riff for Brann and he was, like, ‘That sounds kind of happy. Are we happy now?’ I don’t know… I am; I’m a pretty happy guy. So that’s kind of how we work; it’s pretty simple. But we’ll have to see. I really like the way ‘The Hunter’ went; that was not a total change in direction, but we just kind of proved to ourselves that we can just write stuff that we think sounds cool, and it doesn’t have to all flow together, it doesn’t have to all sound the same. It can be totally different without a concept. So I think that really opened up my mind at least to, like, ‘What if I write something like this? Is that gonna be cool?’ And we’re all on the same page right now with all the songs — the 30 or so songs we’ve gathered so far. So we’ll just have to see how it goes.”

MASTODON‘s latest album, “The Hunter”, came out in September 2011 through Reprise Records.

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Neuweltmusic conducted an interview with NILE mainman Karl Sanders on September 13 at The Button Factory in Dublin, Ireland. You can now watch the chat below.

NILE‘s recent U.S. tour consisted of 28 shows supported by three of the best local bands in every market. NILE played two massive sets with music spanning their prolific, twenty-year career.

NILE‘s seventh full-length album, “At The Gate Of Sethu”, sold 3,800 copies in the United States in its first week of release to debut at position No. 131 on The Billboard 200 chart. The CD landed at position No. 2 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200.

In a recent interview with Alarm magazine, Sanders stated about the songwriting process for “At The Gate Of Sethu”: “Every day, after I’d gotten warmed up with a bunch of technique and stuff, I’d sit with the guitar and the lyrics sheet and just start riffing. I’d just play a gazillion riffs. The next day, I’d sit down and sift through them. I had so many riffs for this fucking album. It was insane. You could make a couple of albums out of all of the riffs that got thrown out.”

He continued: “About halfway through the songwriting process, George Kollias, our drummer, sent me an e-mail. He said, ‘Karl, what the fuck are you doing? All these fucking insane time signatures and tempo changes and fucking weird, fucking odd-time riffs. Dude, please! You’re killing me! Will you please just write something like old NILE? Something simple and classic, because you’re driving me crazy with all of this shit.’ So I thought about it for a while, and I was like, ‘There’s some reality to what he said.'”

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Finnish dark/doom metallers HANGING GARDEN will release a brand new EP, “I Was A Soldier”, on November 18 via Lifeforce Records. “I Was A Soldier” will be available as a strictly limited (200 copies) seven-inch single and as a digital EP.

“I Was A Soldier” track listing:

01. Winter To Summer Adverse
02. I Was A Soldier
03. Will You Share This Ending With Me (digital bonus track)

A teaser for the EP can be seen below.

HANGING GARDEN‘s third album, “At Every Door”, came out on January 28 in Europe and February 5 in North America via Lifeforce Records. Musically, the CD “has much more variety than the previous two, combining influences from CULT OF LUNA all the way to SIGUR ROS,” according to a press release. “When it comes to lyrical themes, HANGING GARDEN has always been about dystopic visions of the ouroborean fate that quite likely awaits man. Before, Matti Reinola was mostly responsible for the lyrics, but on this album they were mostly done by Toni [Toivonen, vocals].”

HANGING GARDEN is:

Jussi Kirves – Bass
Jussi Hämäläinen – Guitar, Vocals
Mikko Kolari – Guitar
Antti Ruokola – Drums
Toni Toivonen – Vocals
Nino Hynninen – Keyboards

hanginggardenep2013

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Rivers of Nihil has unveiled the second track from upcoming album, “The Conscious Seed of Light.” The brand new song, “Mechanical Trees,” can be heard below thanks to NoCleanSinging.com . Bassist Adam Biggs comments on the track: “The lyrics paint a bleak picture of humanity’s future, wherein the environment has become so damaged that we are forced to rely on machines to create breathable oxygen for most living creatures.

The post Rivers Of Nihil Streaming New Song “Mechanical Trees” appeared first on Daily Heavy Metal News.

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AFI: Back in bl-oh you know how it goes

Post hardcore legends AFI return with new album Burials next month. Tom Doyle grabbed frontman Davey Havok to talk anniversaries, changing skin and leaving scenes behind.

Hi Davey! You guys have obviously evolved a hell of a lot over the years. Will Burials keep AFI relevant to fans from The Art Of Drowning days?

“To be honest, it may or may not be depending on how long those fans have stuck around. If those fans are still here and they came in in ’97 then I think it’s extremely relevant because if you’re still with us at this point it shows that you have a really true understanding of AFI and a band who evolves with every record. If you see and appreciate that with each album there is growth then I think you will understand that, as in the past, what we are delivering with Burials is something new, something fresh and something that doesn’t really sound like Crash Love or Sing The Sorrow or Black Sails…. It is different whilst keeping with the tone of what we do. It’s very honest and very pure, grew very naturally and represents who we are now as musicians and writers.”

AFI: Chillin’

What do you think the Davey Havok of 2000 would think of Davey Havok in 2013?

“In a way, things have come full circle since the very early days. In the inception of the band and when I was new to writing I hadn’t really found my voice both figuratively and literally I was writing very direct lyrics. Similarly, Burials is very direct and very candid. In that respect there is a very strong parallel between what was going on stylistically in 1995 and now, although the scenes are starkly different and the mood and tone is starkly different. In that middle period around ’99, 2000 I grew into creating a mood more through symbolic and metaphoric imagery but I am back to being much more lyrically direct.”

Do you feel that the amount of time you have been around and the influence you have make you, in some way, custodians of a scene?

“No, I really don’t and it is hard for me to accept or even recognise. I just don’t see us part of a scene, we don’t really fit anywhere and we never have and I’ve never seen or really heard anything that seems to be influenced by AFI. I sometimes speak to people who are kind enough to say that we have influenced a lot of bands and on occasion someone in a band might say ‘Hey, I’m in a band are you really influenced me’ and it’s very flattering, but I never really see evidence of it so it’s hard for me to truly accept it. I think what I’m more able to understand is when people say AFI have impacted their lives in a way that they make comparisons to artists that I feel very strongly about. That feels more real to me, that someone might think about me in the way that I feel about those particular artists that I love. It’s still surreal, though.”


There have been a lot of bands doing anniversary shows lately. Next year is 15 years since Black Sails In The Sunset, do you see yourself revisiting and touring that album?

“I have no interest in doing something like that. I’m proud of all of what we created, it was all a time and a place and they were great times, but those times are over. It would feel very inappropriate for us to try and go back and re-create them. If I was ever to do something like that, it would mean something was terribly terribly wrong with me.”

You’ve had quite a long break from AFI since you released Crash Love, how excited are you to get a new record out?

“It’s really exciting for us to be releasing Burials and I’m super excited for people to hear it. We spent over a year writing these songs and they came to life in such a complete way as we were working and demoing that I was very anxious for people to hear every one of them. There are songs that didn’t even make the tracking session that I’d love for people to hear some day but equally I’m thrilled for people to hear what we decided to call Burials – I really hope they enjoy it.”

Burials is out October 21

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Hidden Lotus directed by Arnaud Gransagne during summer 2013. Taken from the album Meliora in stores since October 2012 and recorded at ConKrete Studio. Hidden Lotus is the visual representation of the concept approached throughout Meliora: metamorphosis. Based on the lyrics of the song, the video develops the idea of evolution through the growth pattern of the …

The post ERYN NON DAE Hidden Lotus video premiere appeared first on Metal Injection.

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Rick Florino of PureVolume recently conducted an interview with Ben Shepherd about the SOUNDGARDEN bassist’s debut solo album as HBS (his given name of Hunter Benedict Shepherd), “In Deep Owl”, which was released on August 27. A couple of excerpts from the chat follow below.

PureVolume: As this has been a long time in the making, when was the first time you got to sit down and listen to it? What was your reaction?

Ben Shepherd: It was a while ago that I actually listened to it. Not having a band, it’s hard to go through sequencing by yourself. You’re like, “Fuck, what’s next?” You have to listen to it as someone else. I tried to imagine how I would want to hear it and then sequence it. Then, I’d run it by everybody involved like Dave French, Chad MacMurray, and all of my friends. I actually did listen to it a bit ago from start to finish. I wanted to make it something you’d want to listen to and keep it fresh. That’s all I was aiming for.

PureVolume: It’s the first unfiltered and unadulterated look at you that fans have gotten.

Ben Shepherd: That’s true. That’s why I did it. It was like, “Where is he? Whatever happened to that guy?” It was done before SOUNDGARDEN had ever reunited.

PureVolume: Do you feel like there’s a certain mystique to the lyrics?

Ben Shepherd: I want to do that to give people freedom to think and feel about what it is. I don’t want to just blurt it out, unless it’s one of those songs where you want to say exactly what it is. I don’t tend to write journalistically like that when it comes to words. Like “Stone Pale” was made up on the spot years ago. Then, I added a verse during the recording of this record because I thought it needed another verse instead of just repeating a verse.

PureVolume: It’s very immediate…

Ben Shepherd: That’s really how it was. “Baron Robber” was made up on the spot. I told the drummer Joseph Braley, “I have a song for you to play.” Then, I made it up on the spot, and we worked it out as we were doing it. [laughs] He nailed it, man!

PureVolume: Is it fair to say there’s a western vibe to the record?

Ben Shepherd: In any town, there’s a spot where you can see where it was made. Where we were at in Georgetown, its nickname was Deep Owl. That’s all trains and wobbly-era. It’s 1800s, early 1900s. People were wearing bowlers and old filson jackets. They’re all brick workers, union guys, iron workers, and all kinds of stuff. It definitely has that era feeling with modern stuff thrown on top of it. It was more about absorbing the feeling of it. I always write songs like that anyway. I think that’s from my youth. The first song I ever heard in life was “Big River” by Johnny Cash. It’s totally in my ilk to do that.

Read the entire interview at PureVolume.

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Guitarist/vocalist Matt Heafy of Florida metallers TRIVIUM was interviewed on the September 6-8 edition of Full Metal Jackie‘s nationally syndicated radio show. You can now listen to the chat using the audio player below.

To see a full list of stations carrying the program and when it airs, go to FullMetalJackieRadio.com.

Full Metal Jackie: There’s a new TRIVIUM album coming out in October called “Vengeance Falls”. Matt, each TRIVIUM album gets closer and closer to sounding timeless. Especially this new one. What’s the biggest factor in evolving to the point of being able to do that?

Matt: I think it comes with time. I guess some bands can pull off their sound, looks and image, everything that is that brand on the first record. I think SLIPKNOT did that incredibly well with their self-titled record. I think you see that every once in a while. RAMMSTEIN, it immediately had what their vision was and what they are as a band all figured out on one record. For us, yeah, we had a huge part of our music figured out. I know with our second record, we had a huge part of the music figured out, but we didn’t really know what we were going to look like. We had to grow up in the public eye, we had to figure out how we were supposed to dress and perform onstage. A lot of other bands had years to figure that out in their local scenes. Our local scene was spent 12 years old, 16 years old, playing bars in Orlando and instantly starting touring the world. So, I guess with every record we’ve figured out more and more of what we are. What we do best as a band. If I had to be very critical of “Vengeance Falls”, it captures the best key ingredients of the previous five records. Speaking in terms of everything that can be done on the record: lyrics, visuals, songwriting and instrumentation. All of that, I think, every key ingredient from the past five records is present in “Vengeance Falls”. I think it came with time.

Full Metal Jackie: “Vengeance Falls” is going to be out October 15. David Draiman, best known as the singer for DISTURBED and DEVICE, is the producer. What initially attracted you to him to produce “Vengeance Falls”? What was the biggest impact he made on the finished album?

Matt: The first time I met him was in 2005. TRIVIUM was second of five for the DANZIG tour; I forgot the name of the tour. We played the Chicago show and after the set we were walking around, David came up to us and said, “Hey, I’m David from DISTURBED and I want to let you know I’m a fan of your band.” It blew our minds because we were such fans of DISTURBED. I remember seeing the first DISTURBED show in Orlando in 1999 or 2000 when they were supporting bands. DANZIG, SIX FEET UNDER. DISTURBED was the first band. We ran into him at least once or twice a year over the next few years at festivals here and there. We had the opportunity to go over to Australia with DISTURBED and AS I LAY DYING. We got to know them a little more, then we did Mayhem together. I gave David a copy of “In Waves” to listen to in the middle of the tour. At the end of the tour, he approached us and said, “Never before did I feel you guys are ready to make the jump you’re about to make right now and I would love to help you guys do that.” When we heard that, we were stoked, but we weren’t sure what he meant. We started digging in and finding out he had been doing the production work for DISTURBED and then he showed us what was going to be DEVICE. Right when we heard DEVICE, we said, “Yes, this guy is our producer.” All the ingredients that we loved as fans of DISTURBED songs and production were present in DEVICE. We knew there and then that he was not only a singer/songwriter but also a producer.

Full Metal Jackie: You’ll be on the road with DEVILDRIVER in September. On tour with other bands, are you a student of what they do? What band that you’ve toured with has made the longest-lasting impact?

Matt: You can always learn something from every kind of band in every kind of genre. Whether a new band or an old band, legendary or not legendary. You can always learn something. Even on this last run, the very first show was in Bucharest in Romania. We were playing with RAMMSTEIN for the first time. RAMMSTEIN has been a huge influence on me and what I try to do creatively. If you look at all the story line videos from “In Waves”, that was taken a huge note from what RAMMSTEIN did and the way they do it. The way they do videos, mini films. Same thing with, not trying to make it the way they do it but learning from the way they do it. Their music videos, live shows, uniforms was kind of what I was going for in “In Waves” What I felt this time in Bucharest inspired me even more down to watching how he’s a frontman and how the band approaches performance. Outside of all the pyrotechnics and all the theatrics, you can still learn a lot from what they’re doing for a band, like who’s capable of doing without all the pyrotechnics and all the insane stage production. It gives us something to work towards. I was just talking to one of the main promoters who runs Wacken in Germany, and I was saying we got to see RAMMSTEIN and it reminded me once again that when we can, and as soon as we can, I want just as much pyro as they have and just as crazy of a stage show as they have. I won’t be buggering any of our band members off a 20-foot ramp into a ring of fire or anything, but everything else.

Full Metal Jackie: Disney World is the first thing that comes to mind generally when someone says Orlando. Mickey Mouse, not necessarily metal. What about that area made the biggest impact on you as a musician both growing up and now?

Matt: Yeah, whenever I mention that, other bands and journalists usually assume we’re from Europe, which is strange. “Oh, you guys are from the U.K., right?” Can’t you tell by our accents that we’re not from the U.K.? We’re from Orlando. Disney is about 40 minutes or so south of where I live in a city called Kissimmee. But it’s easier associated with Orlando. Growing up in Central Florida, it was known for boy bands and pop punk. Goth. Country is pretty big. A lot of radio rock. I think it was from being surrounded by all of that from that being what the majority accepted that drove me into doing the furthest thing from all of that, which was metal. When European bands think of their favorite bands, a lot of the Swedish bands in the Gothenburg scene were very influenced by the Tampa death metal scene. So they know that. It was something I really missed out on. It was in the early ’90s to the mid-’90s when that was around, so I wasn’t really aware of what death metal was until after I had gotten into the original gateway metal bands: PANTERA, METALLICA, SLAYER, MEGADETH, TESTAMENT. Then trekking onto the extreme stuff. I think it was the indentation of kids being into pop punk, ska and then soon to I guess whatever they became that you can call it what it is now. Stuff that incorporates dance, dub step and all that weird stuff. I know pop punk, which is fine if that’s your thing, it’s just not my thing. That made me want to stick to metal.

Interview (audio):

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Live Metal recently conducted an interview with Max Cavalera (SOULFLY, CAVALERA CONSPIRACY, SEPULTURA). A couple of excerpts from the chat follow below.

Live Metal: We’re obviously here to talk about the new [SOULFLY] album, “Savages”, which is due out Oct. 1, 2013. My first question is, what does “Savages” refer to? Are these savages of the past, present, or our society as a whole?

Max Cavalera: It’s pretty much mostly about right now and the state of the world. We claim to be sophisticated, and with the Internet and computers, but we’re still decapitating each other, chemical-gassing people — it’s just (savagery). I think the human spirit is still very much a savage, so that’s why I thought the name would be cool. I think (savages) is a cool word, a simple word, but it works with the album cover, with the big skull. And we love the stuff that’s going to go inside with the record. The lyrics — stuff like “Cannibal Holocaust” and “El Comegente”, that deals with serial killers and cannibal people. I think all together it really works on the level and the whole savagery idea for the whole record.

Live Metal: Obviously, you have been a part of so many influential and just classic metal records, again, going back to the SEPULTURA days, and even for those guys, too, it almost set the standard for everything you guys have done since. Now is this pressure that you feel going into each and every album trying to live up to the past SEPULTURA and SOULFLY albums, and to fans expectations?

Max Cavalera: A little bit. There’s always a little bit of pressure, but I work good with pressure. I think it’s motivation. And it’s always a challenge making a new record. I just gotta follow my heart really on an album and don’t even pay attention about what people are gonna say. You now, a lot of people didn’t like “Roots” when it first came out. There was a lot of negative reaction. And now it’s a classic record. Now people praise the album. So you let the time do the talking. I think time fixes everything. And to me, the way I feel about records is, if the record’s good and powerful, I’m good with it. And that’s how I feel about “Roots”, and that’s how I feel about “Savages”. It’s a powerful record done from the heart and exactly what I wanted the record to sound like. And 10 years from now, we’ll see where that record will be in people’s minds. But I think it will remembered great.

Live Metal: What’s the status of CAVALERA CONSPIRACY? Are we gonna hear any more of that in the future from you and (your brother) Igor (Cavalera)?

Max Cavalera: Yeah, we’re making another record next year — all grindcore. I wanna do a grindcore record with that.

Live Metal: A grindcore record?

Max Cavalera: Yeah. (laughs)

Live Metal: Seriously?

Max Cavalera: Yeah, I think it would be really cool. People haven’t heard that from me yet, and I think people will be surprised. I love that kind of stuff — (bands like) WORMROT, NAILS and PULLING TEETH. Just super-heavy with like one-minute songs and kind of old NAPALM DEATH style. I think Igor is going to go for it, man. I think we’re going to pull it out. And then we’ll really shock the world with that.

Live Metal: That sounds very cool, very interesting.

Max Cavalera: It’s always good to do something new, something exciting. I thought of the grindcore idea when I was going through my music collection, and I thought, “I’ve never done a grindcore album. OK, well maybe it’s time to do one? OK, let’s do it with CAVALERA (CONSPIRACY) … OK, let’s do it.”

Live Metal: I’m not trying to put you on the spot here or anything, but with the new SEPULTURA album coming out with Ross Robinson as producer, I’m very interested to hear that. He, of course, did the “Roots” album and the first SOULFLY record, so I think I have good expectations for this thing coming out. Are you interested to hear their new album — or have you heard any of it — and what are your thoughts of them getting back together with Ross Robinson?

Max Cavalera: Ross hasn’t done anything good in a long time. He had spent the last 10 years without anything except Vanilla Ice or some shit like that, which I was like totally disappointed, you know? It’s like, “What is he doing? What the hell is he doing recording with Vanilla Ice, man?” You know, … that’s not cool. I don’t know. I don’t really care for SEPULTURA. To me, I kind of don’t care what they do. It’s kind of a hard topic because I created the band and still consider that part of my life. And it’s really hard to deal with the fact that they continue with the name without me — without any Cavalera. After my brother left, it was even more hard for me to look at them seriously. There’s nobody original in the band. It’s like if MEGADETH was playing without Dave Mustaine and Dave Ellefson, it would be like, “Why are they still calling it MEGADETH?” That’s how I look at SEPULTURA, and I think a lot of fans share the same opinion. I talk to a lot of fans, and they don’t take them seriously either. You know, I don’t know, maybe Ross can get something out of them, but nobody else could. But I really don’t care what they do. It’s not important for me. I got all my life, my work, my projects, and that’s what I care about. I’ve been in SOULFLY now longer than I was in SEPULTURA, and I love SOULFLY and I love what SOULFLY has created. And I’m very busy here, so I don’t really give a fuck about what those guys do.

Read the entire interview at Live Metal.

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