Posts Tagged “Originality”

Matt Sullivan of the Nashville Scene recently conducted an interview with MEGADETH mainman Dave Mustaine. A couple of excerpts from the chat follow below.

On politics:

Mustaine: “You’ve got all these politicians saying that they’re your friends, and they’re not. Republican, Democrat, whoever they are, they’re all the same monsters, and they don’t care about us. When they passed that bill exempting them off of Obamacare, that was the cherry on top of the cupcake for me. All I have to say is, ‘I told you so.’ ”

On openly embracing Christianity:

Mustaine: “I don’t think that my faith has anything to do with my lyrics. I try and keep religion out of it. Frankly, for me, I don’t believe in religion. I have a personal relationship with God and with Christ, and that’s it. I don’t push that on anybody; it’s private. I kind of leave it there. Dave‘s [Ellefson] real open about it.”

On his days in METALLICA:

Mustaine: “I remember when I was in METALLICA, the second-to-the-last show that I did with those guys, [IRON MAIDEN bassist] Steve [Harris] came and checked us out. I was talking to him after the show and he goes, ‘Yeah, I think you guys are going to be big.’ And I was like, ‘Yeah, I think so, too.’ Little did I know.”

On up-and-coming metal bands:

Mustaine: “Regardless of their age, if they’re young or they’re old or whatever, they’ve got talent. I’ve got to say that. But the originality is like flaxseed oil. To me, it’s absolutely tasteless.”

On how much of his competitive fire is still there:

Mustaine: “I’m not going to say I’m complacent, but put this into another metaphor. You’re a gunslinger. Just because you’re the best doesn’t mean you have to keep your gun out on the table all the time. You get respect. When people want to challenge you, they’ll let you know. It’s like, if you’re standing in front of a samurai, if he pulls his sword out even one inch, you’re fucked. Excuse my French.”

Read the entire interview at Nashville Scene.

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Ash of Beasts has posted the following announcement online about splitting with bassist Keveen Mihdidin: “It’s with a lot of sadness that we announce the departure of the band’s bassist Keveen. Wish him all the best with his future projects. “We are now looking for a new bassist, we need someone dedicated and motivated, with creativity and passion for the metal we play, someone who can bring his own touch of originality to the band and finally and above all, someone serious in his participation towards the band.

The post Ash Of Beasts Splits With Bassist Keveen Mihdidin appeared first on Daily Heavy Metal News.

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Montreal’s Blackguard has stated the following via the band’s Facebook page:

“Unfortunately we must officially announce the departure of lead guitarist Kim Gosselin from Blackguard.

“For those of you who have seen us play during our last few tours, this will not come as a shock, seeing as Kim has been absent from the live lineup for quite some time.

“Kim has decided not to continue with the band, and we’d like to thank him for his invaluable contribution to this group over the years.

“As hard as it is seeing a brother go, this is truly the best thing for both parties as Kim’s interest in touring and writing have been waning over the last year.

“We wanted to wait until we had found a suitable replacement before making any official announcement and we’re very happy to finally be able to let everyone in on what’s going on.

“Blackguard is very happy to welcome Mr. Louis Jacques of the band Kemilon to the family as new lead guitarist.

“Louis made his live debut with Blackguard yesterday at the D-tox Rockfest in Montebello, QC . This was an amazing show and a great way to kick off our journey together.

“From Louis: ‘I’m very glad to be joining the mighty Blackguard! Together we’ll get to a new level. Expect more violence, originality and shred…!’

“Here’s a small taste of what Louis will be bringing to the team.

“We’re hard at work on our followup to last year’s ‘Firefight’ record [read Metalunderground.com’s review here]. We already have songs demoed and we expect an early 2013 release through Victory records.

“The next few months are going to be very busy for us. We do have a few shows planned so keep your eyes on our tour section of our Facebook and come welcome Louis in style.

See you all on the road!!
-Blackguard”

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Sweden’s eclectic metal troupe Diablo Swing Orchestra will release a third full-length in North America, “Pandora’s Piñata,” on May 22nd via Sensory Records, with Candlelight Records handling the album in Europe. The band recently posted a new single online titled “Vodoo Mon Amour,” and the following press release was also issued about the album:

“An eclectic mash up of metal, opera, swing jazz, tango, and spaghetti western soundtrack, the music Diablo Swing Orchestra creates is unlike that of any other group on the planet. The message of DSO has expanded its way through an incredibly devout fanbase developed over years of infiltrating viral markets dominated by open-minded musical thrill seekers, in addition to prominent live gigs on several continents over recent years, and fans of their incredibly unique, technical, ambidextrous groove are eagerly awaiting the arrival of Pandora’s Piñata.

“The follow-up album to their acclaimed 2009-released Sing Along Songs For The Damned And Delirious, also released via Sensory, Pandora’s Piñata finds Diablo Swing Orchestra expanded into a massive eight-piece lineup, with the permanent addition of two horn players. The new album is a smörgåsbord of different levels of musical insanity building on the foundation laid down on their previous album. And as always the musical mayhem is fronted by the glass shattering voice of Annlouice Loegdlund, a metal queen at night but a trained opera singer by day, her incredibly infectious and professional range setting the rest of the incredibly layered tunes alive with vibrant flames of originality.

“The theme of the album follows the seven cardinal sins that one can imagine falling out of this like-no-other-audio-visual-piñata. The story is also followed up in the artwork which as usual has been created by the band’s bass player Anders Johansson. For the third time the band collaborated with renowned Swedish illustrator Peter Bergting to create the album cover. Featuring over fifty minutes of brand new material sure to enlighten, empower, and likely even confuse the everyday metal fan, Pandora’s Piñata is undoubtedly an album that most any fan of extreme musical experimentation should experience.

“The upcoming year will find Diablo Swing Orchestra creating disturbances on stages around the world, beginning with a tour of Latin America in May and June with a European trek and much more to follow.”

The “Pandora’s Piñata” track listing is as follows:

1. Voodoo Mon Amour
2. Guerrilla Laments
3. Kevlar Sweethearts
4. How To Organize A Lynch Mob
5. Black Box Messiah
6. Exit Strategy Of A Wrecking Ball
7. Aurora
8. Mass Rapture
9. Honey Trap Aftermath
10. Of Kali Ma Calibre
11. Justice For Saint Mary

Upcoming tour dates are as follows:

5/24/2012 La Quinta – Caracas, Venezuela
5/25/2012 Teatro Matacandelas – Medellin, Colombia
5/27/2012 Ozzy Bar – Bogota, Colombia
5/29/2012 Inferno Club – São Paulo, Brazil
5/30/2012 Salon Reducci – Buenos Aires, Argentina
6/01/2012 Circo Volador Mexico City, Mexico
6/02/2012 Calle 2 – Guadalajara, Mexico

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It’s news that fans for black metal waited many years to hear but finally Mysticum, the undisputed pioneers of Industrial BM, have returned. Integrating samplers, drum machines and pronounced electronic influences – as well as a passion for hard drugs – the group were one of the most groundbreaking and cult acts to rise from the Norwegian black metal scene in the 90s, preceding the work of similarly-explosive outfits such as Aborym, Dodheimsgard and Blacklodge by many years.

While their unique approach raised eyebrows amongst the more conservative quarters of the black metal scene, they delighted as many listeners as they intimidated, not least the mighty Euronymous who signed the band to his label a mere week before his death. Sadly, the band’s flame burned brightly but all too briefly, the trio releasing only one album, the classic In The Streams Of Inferno, before the member’s extreme lifestyles derailed the band’s already-erratic working process. In the decade or so that followed only one song -Black Magic Mushrooms- would surface, despite continued rumours concerning the ‘lost’ follow-up,Planet Satan.

“Children, time, money, too much party for some,” ponders guitarist and vocalist Cerastes. “A few years after Euronymous’s death, the scene had become very commercial, suddenly everyone played in a fucking black metal bands. Black metal stuff in newspapers, national music awards given to bands, it all seemed very ‘house-trained’ and weak, we think that black metal lost its magic, originality and pride. This made us lose interest in staying in the scene. Also lots of drugs was used at this time, therefore Planet Satan was put on hold.”

Now finally back together as a trio, Cerastes rejoins bassist and programmer Mean Malmberg (also known as Dr Best) and co-vocalist/guitarist Prime Evil (sometimes known as Svartravn – clearly things are never simple in the Mysticum universe), who has appeared as vocalist for both Amok and the aforementioned Italian outfit Aborym in the intervening years. Their reunion also sees the group join forces with respected record label Peaceville Records who will soon be re-releasing both In The Streams Of Inferno and the band’s demo-and-compilation track collection,Lost Masters Of The Universe.

Not only that but the band are working are set to write and record what is perhaps the most long-awaited album in black metal history; the near-mythical Planet Satan. Digging out – and dusting down – both their original sampling equipment and boxes of old rehearsal tapes, the trio are drawing on inspirations both old and new, and Mean explains that the group see this as an opportunity to finally realise ideas that were only toyed with in the past.

“Prime Evil had an enlightenment in summer 2011 and produced loads of riffs,” he explains. “He contacted us and we felt that the time was right for all to get back together. After a long time being away from all music making, there’s a lot of new cool stuff that we do experiment with now. The riffs will absolutely be like the old songs, they will have a lot of inspiration from them – the sound of extreme and intense riffs and no weak parts will have to be the ingredients. As Mysticum, we have been waiting for this time, because this is what we always had in mind of music making, you will get what we thought, but were unable to do. We will at last produce what Mysticum musically really is about. We are back!”
DAYAL PATTERSON

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Listenable will be releasing French act Outcast’s third album “Awaken the Reason” in late February 2012. According to Ouctast, “‘Awaken the Reason’ is the band’s strongest/most solid recording so far and it genuinely captured the band’s musical madness. A modern sounding yet organic production spiced up by some frenzy extreme guitar and drums assaults!”

The band further comments:

“‘Awaken the Reason’ was recorded between January and September 2010 at The artist The Office Studio. It was mixed at SplitSecond Sound Studio By Jochem Jacobs (Textures) in October /November 2010 and then mastered at West West Side Music by Alan Douches (Mastodon, Dillinger Escape Plan). The album was composed between 2006 and 2009 mixing various influences among Steve Vai, Gojira, Dream Theater, Devin Townsend, Textures and Sikth.

“Our main goal was to stay away from traditional death music and produce a progressive album with personal signature. Eighty percent of the album was composed by Nicolas but everyone was at work to improve melodies and songwriting. That’s why the album sounds like a concept album even if it’s not. This way of thinking music mixed with several approaches of riffing and soloing constitute in our opinion the main guideline and would confer strong marks to the listener. So our minds were opened and focused on originality using old and new references in the whole metal industry.”

When asked about how different this new album is compared to their previous full lengths, the band answered:

“The more obvious difference between Awaken The Reason’ and Self Injected Reality, our previous album, is the production which gives more space and organic feelings to the composition. The composition and songs themselves are more coloured and progressive, more subtle in the ambiances are not just full-rooted in death metal.”

A new teaser trailer for the album can also be heard below.

The track listing is as follows:

1. Elements
2. Abysmal
3. A Solace from the Shade
4. Awaken the Reason – Part IV : When dawn brings clarity
5. Spin Angular Momenta
6. Unspoken
7. Isolation
8. Fallen Years
9. What Would be my Final Commitment ?
10. Man’s Last Failure
11. Awaken the Reason – Part XI : Reprise

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Taking on the name Death Valley Driver takes balls. I don’t know if these Canadian sludgesters chose their namesake inspired by WWE wrestler The Undertaker’s finisher, but that’s the first thing I thought of, and unlikely any other 20-30 something who grew up in the 90′s during pro wrestling’s prime. At any rate, these guys got my attention before I even put on my headphones, and that is always a good thing for marketing purposes. Musically speaking? Death Valley Driver’s debut album Choke the River may not be as appealing as their name, but they do deliver the goods at least in part.

Death Valley Driver are a groovy sludge group clearly inspired by the likes of Down, Crowbar and to a lesser degree, Corrosion of Conformity in terms of the clean vocal delivery and with some of the grooves. While not in direct relation sonically, I liken Choke the River to that of any number of Pro-Pain albums, in that there’s nothing especially “wrong” with the album, in fact, it’s actually quite catchy most of the way through, but it suffers from one key setback – formulaic unoriginality. Death Valley Driver certainly no how to deliver a hard hitting riff, but every song on this album is just a chugga chugga roughneck track with random drum fills on overly tight snare heads. As for the clean vocal moments, these just blatantly take away from the raw forcefulness of the record.

I think this is a genre that can experience a lot of growth, in fact, bands like Birds of Prey and High on Fire have really shown you can shove some originality into this purported un-original sub-genre. For now, because there is some originality coming out of this sound, I’d stick with investing your money with Birds of Prey and high on Fire, and avoiding Death Valley Driver until they offer up something that can compete.

NOT BAD

Similar Artists: Down, Crowbar, Birds of Prey, High on Fire

1. Choke the River with Your Dead
2. Mothsblood
3. Straight to Hell
4. Insect Dirge
5. Heavy Lies the Crown
6. Sleeping All December
7. Lambs in the Wolfskin
8. Armour Divides

Ric Rumblot : Bass, Back Vocals
Dan Hodgson : Vocals
Nick Doucette : Guitar
Ray Blacquiere : Guitar, Back Vocals
Ryan Gallant : Drums

Diminished Fifth Records

http://www.myspace.com/deathvalleydriverpei

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I love how people in one breath can criticize Dream Theater for being too full of themselves, but those same exact people will literally break into a sweat in anticipation of Unexpect and their latest album Fables of the Sleepless Empire. Am I the only one who sees the blatant hypocrisy in the modern metal scene with all of this? Traditional prog metal is reserved for those of their niche and the mainstream, but when it comes to the underground scene, the more bizarre the better, the more off kilter in technical proficiency the better, no matter what. I never really caught onto this.

I’ll throw out my to the point opinion of this album to make myself perfectly clear: Fables of the Sleepless Empire is pretentious silliness. And what’s worse, is that this album isn’t even original, it’s a combination of KMFDM and folky female vocal stylings, and ripped off Sikth riffs and harsh vocals. Their attempt at originality is to add a quirky gypsy folk vibe, but this has been done by Diablo Swing Orchestra much better. I won’t say this is an insult to art, because I believe the artists themselves believe in what they do, and for that, I commend them, but there is little redeeming value in this music. Where I will not stray from common belief, is the level of talent the band possesses. This is an album chalk full of outrageous instrumentation that seeps from it’s every pore, but just having talent does NOT make for a good album. Throwing together noodily moment after noodily moment does nothing to add substance to the overall feel of the album, whether it be the lyrical story, the melodies, the aggression, epic-arch if applicable; nothing can be accentuated on an album that blasts it’s listener with a wall of riffs without any kind of bonding agent. What makes progressive music progressive isn’t just the original take on a band’s technical capacity, but also the way the band interprets their riffs. What made Dream Theater stalwarts of prog metal wasn’t because they were just technical masters, but rather they were able to tell amazing stories with their riffs and melodies, they don’t just blanket their albums with senseless wankery (some would disagree with me, but again, these are the same people who would praise Unexpect for some strange reason).

I saw Unexpect live a few years ago in Worcester, and they were easily the worst live act of the evening, and it’s due entirely to the fact that they try to shove way too much into their songs! You can’t appreciate anything this band does, because you are forced to move on to the next riff before you can absorb what just ran through your brain. Unexpect needs to slow down, and realize this isn’t a competition. Thrash in the 80′s suffered from trying to out-do their peers with speed, today’s fixation on technical wizardry is no different. Calm down, enjoy the music, your creative center will thank you.

EH…

Similar Artists: Diablo Swing Orchestra, Sikth

1.     Unsolved Ideas of a Distorted Guest
2.     Words
3.     Orange Vigilantes
4.     Mechanical Phoenix
5.     The Quantum Symphony
6.     Unfed Pendulum
7.     In the Mind of the Last Whale
8.     Silence this Parasite
9.     A Fading Stance
10.     When the Joyful Dead are Dancing
11.     Until yet a few more Deaths do us Part

Syriak     Guitars, Vocals
ChaotH     Bass
Landryx     Drums
Artagoth     Guitar, Vocals
Blaise Borboen-Leonard     Violin
Leïlindel     Vocals

Ascendance Records

http://www.myspace.com/unexpect

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Jack White won top points for originality when he and his wife jointly announced that they will celebrate their wedding anniversary with a divorce this week.

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Since 2003, my friends and I have frequented the New England Metal and Hardcore Festival without missing a year…until 2011. I have seen some amazing performances, comebacks, first performances at Metalfest, and as a result, it was the go to festival in the North East. However, for the last couple of years, I have noticed a gradual decline in the quality of the festival, with it being marked by heavy doses of scene-related standouts like Emmure, the entirety of the deathcore scene, Iwrestledabearonce, etc. The inclusion of mainstream metal and hardcore music isn’t surprising to me, as Scott Lee (one of the founders of Metalfest) and his cohorts, have always been leaders in promoting up and comers. I may not enjoy all the bands Scott has put together in the past, but what kept me and my friends going, was the knowledge that if we didn’t like one band, there would always be bands that we really wanted to hear, or some acts that sparked our curiosity. If there was some down time, no problem, we could make a run to grab a beer or go grab some lunch, this is the nature of the festival scene, you aren’t supposed to spend all 12 hours a day glued to each and every band. Last year should have been the straw that broke the camel’s back for me, but the headliners saved the show from being completely drowned out by a torrent of deathcore. This year, with the likes of Attack Attack! (as headliners nonetheless), A Bullet For Pretty Boy, Dr. Acula, *insert deathcore/slam band here* and Hatebreed, Job For A Cowboy and BTBAM headlining…again, amongst other bands that have played time and time again, I couldn’t bring myself to go. Where is the originality Scott? Why must the festival devote an entire day to scenester bullshit that legit metal and hardcore fans (you know, the ones that have frequented the festival for years?) could care less about?

Now, I’ll be the first to admit that Friday’s line up was legit in terms of hardcore with the re-uniting of Blood For Blood and the original line-up of Bury Your Dead amongst other quality acts (Trapped Under Ice anyone?). It’s been awhile since Metalfest provided a real, quality helping of back to back hardcore, new and old, featured on the main stage. With that said though, this is the Metal AND Hardcore Festival, not the “Let’s Throw Scene BS on Thurs, Hardcore on Friday and Metal on Saturday” Festival. I respect Scott for pulling out all the stops for the hardcore community, but now me, primarily a metal fan, am reduced to attending Saturday only, whereas in previous years, I’d always buy weekend long passes for all days. Now though, there’s no diversity, I have nothing to look forward to. So Saturday would be my only option, but Saturday is loaded with bands that have played this festival so many damn times. Yeah, there are some stand outs that I would have liked to have seen like Lazarus A.D., Cephalic Carnage, Dying Fetus and Withered, but I am not going to attend a “festival” to see a handful of bands on one day. In a word, it’s a waste.

I actually had the opportunity last month to speak with Scott on the phone about this very festival after I told him about my displeasure with this year’s line up. I won’t get into what was discussed as it was a casual conversation and not an interview, but while I respected the man for facing up to his criticisms and wanting to hear me out, I just wasn’t satisfied with the answers I was given. Now, Scott doesn’t have to answer to me, clearly he knows the ins and outs of this festival far better than I do, as an attendee, but as a paying customer, I wanted to voice my dis-satisfaction then, as I am doing now, because what once was a fantastic yearly getaway, has turned into a tide of partisan musical tastes, with a complete ignorance to the rest of the wonderful local, national and international artists that are burgeoning, which may not fit into the tidy, convenient stereotypes of the mainstream aggressive music scene that Lee tends to covet.

I’ll be honest, I thought I’d be disappointed when this weekend rolled around that I wouldn’t be attending this year, but I’m really not. Maybe next year will hold some surprises, but unlike previous years, I won’t be waiting in anticipation.

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