Posts Tagged “Riff”

Orange Goblin’s Ben Ward is currently hanging with the amazing trio of bands on this year’s Lords Of The Riff tour! Here’s how it’s going so far…

Day 4 – Wednesday March 19th – Another Day Off!

Woke up to the smell of bacon cooking as our good host served us up a full English breakfast and a pint of tea! Before we left Colchester we stopped off to pick up some sleeping bags (essential touring kit) and debated going to visit a zoo or a castle but everyone decided to get to the hotel in London and get some much needed rest. In no time we were back in the smoke and the band got some sleep whilst I managed to go home and do some laundry. Later that evening we all met up for some food at possibly the worst Chinese restaurant in the world before heading to The Red Lion in Leytonstone for beers.

We were joined by a few friends including Joe, the guitar player from Orange Goblin, and the night soon started to get messy as everyone started sampling the wide range of guest ales. We ended up back at a friends house drinking whiskey, wine, cider, more beers and whatever else was going whilst rocking out in the kitchen to Captain Beyond and Budgie. I don’t remember leaving but I must’ve staggered home at some point and the band jumped in a cab for the hotel. Days off RULE!

Day 5 – Thursday March 20th – o2 Academy 3, Birmingham

Off to the birthplace of Heavy Metal! The home of Black Sabbath, Led Zeppelin and Judas Priest amongst many others. Everyone was feeling a little sceptical about this show as we knew that Red Fang, The Shrine and Lord Dying were playing across town and could seriously affect the turn out. With this in mind I did what anyone in my position would do……….I got in touch with my friends in Red Fang and arranged for them to put us all on their guest list for after Scorpion Child had finished!! We rolled into Brum around 3pm, found a place to eat and did some press before the doors opened. The turn out in the small room was great and all the bands put on a fantastic show. A fan arrived with an awesome cake for the bands (see pic) which I was amazed remained intact throughout the entire evening.

Unfortunately due to the timings of both shows we didn’t make it across town to catch up with Red Fang but we all considered the night another massive success for all involved. After the van got loaded we headed to a friends house, drank some beers and played the cheesy band name game, which involves trying to incorporate different cheeses into band names. I can’t take the credit for it but the best was ‘Crosby, Stilton Nash’!!! Tomorrow, the Lords of The Riff head north!

Fri 21 Mar – SHEFFIELD Corporation (SC closes)
Sat 22 Mar – GLASGOW King Tuts (MT closes)
Sun 23 Mar – NEWCASTLE Academy 2 (SC closes)
Tue 25 Mar – NOTTINGHAM Rock City (MT closes)
Wed 26 Mar – LONDON Underworld (MT closes)
Thu 27 Mar – MANCHESTER Roadhouse (SC closes)

Tickets are on sale now. To buy online, visit www.seetickets.com (Sheffield shows),www.livenation.co.uk (Newcastle, London, Manchester), www.gigsinscotland.com(Glasgow) and www.alt-tickets.co.uk (Nottingham). See you at the front.

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California rockers TESLA last month entered the studio to record eight or nine new songs, to be included on the band’s forthcoming album.

Says TESLA guitarist Frank Hannon: “I must say that this new TESLA album is really gonna be awesome.

“We went in more prepared with the songs and ideas way more than ‘Forevermore’, and the style is pure TESLA back to our roots.

“The band is working and producing it as we did ‘Into The Now’… with help from the legendary Tom Zutaut, who helped us make our best albums.

“The title of the new album is gonna be ‘Simplicity’ and I truly believe you guys are gonna love it!”

He added: “The opening track is called ‘MP3’ and starts off with an opus intro that orchestrates into a heavy slow groove with lyrics about technology and how we miss simplicity, vinyl albums, family values… and has a heavy-ass riff! Then we segue into a rock and roll song called ‘Ricochet’ that talks about Uncle Ted

“Can’t wait to play this stuff live!”

A new TESLA song, “Taste My Pain”, was released last summer via iTunes and Amazon. The track was recorded during a two-day (June 5-6, 2013) session at J Street Recorders in Sacramento, with plans to include it on the upcoming CD. According to the group, “It’s a heavier song with a hard-driving beat and TESLA trademark blazing guitars.”

TESLA‘s latest album, “Twisted Wires And The Acoustic Sessions”, was released in July 2011 via Scarlet Records. The CD featured six songs that were recorded back in 2005 at bassist Brian Wheat‘s J Street Recorders studio — which also served as the last recordings with original member Tommy Skeoch — and six newly recorded tracks, including acoustic remakes of songs from TESLA‘s entire catalog and two brand new songs, “Second Street” and “Better Off Without You”.

TESLA released a live album, “Alive In Europe!”, in Europe on April 23, 2010 via Frontiers Records.

TESLA‘s latest studio album, “Forever More”, sold more than 16,000 copies in the United States in its first week of release to debut at position No. 33 on The Billboard 200 chart. The CD was released on October 7, 2008 on Tesla Electric Company Recordings. The European version of the album, which was made available on November 7, 2008 via Frontiers Records, contains two bonus tracks not found on the American version.

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FU MANCHU guitarist/vocalist Bob Balch and drummer Scott Reeder have joined forces with former KYUSS bassist Scott Thomas Reeder in SUN & SAIL CLUB. Their debut album, “Mannequin”, will be released in early November via Satin Records.

The first in a series of video clips featuring footage from the “Mannequin” studio sessions can be seen below.

Said Balch: “In between FU MANCHU tours, I was writing all this material that was really frantic and dark. Lots of notes and strange chords.

“A lot of times I would go interview a guitar player for my site PlayThisRiff.com and come back inspired and full of ideas. Just to make Scott Reeder laugh I would send him a file to play drums on.

“Well, anybody who has seen FU MANCHU live knows Reeder is a monster behind the kit. So I would try to throw him some curveballs to trip him up. No such luck. Every riff I sent him he nailed. After a while, there was an album’s worth of stuff.

“I really wanted Scott Thomas Reeder to play bass on it. I love the work he has done in his recording studio too, so I figured that if we recorded stuff there, hopefully he’d dig it and play on it.

“I remember after the first take we walked into the control room and Reeder said, ‘I had an idea!’ He asked to play on it and I almost crapped myself. I don’t think I’ve ever said ‘Yes!’ faster.

“His bass lines are insane. Lots of drop-A stuff which is probably pretty hard on bass. He nailed it too!

“Once the bass tracks were in place, we needed vocals.

“I had lyrics and melodies in my head. A lot of the vocal parts were four-part harmonies. Crazy stuff. So I laid down vocals on the home demos using a vocoder and a guitar.

“I thought if I could get an unmixed album with vocoder vocals together, I could start sending it out to singers that I liked to see if they had any interest. I went back into Scott Thomas Reeder‘s studio to lay down the vocoder parts as a guide for singers. I did the track ‘Gang Justice’ first and Reeder turned around and said, ‘That’s how the vocals will stay. It’s inane.’ He asked, ‘Do you have stuff for every song using the vocoder?’ I did. So we went to work. The only song I didn’t have vocals for Reeder sang. It’s named ‘I’m Not Upside Down’.

“Overall, this record is heavy and dark. It’s inspired by DEVO, VOIVOD, KRAFTWORK, TORCHE, SLAYER and much as it’s inspired by ASWAD, JOE PASS and WES MONTGOMERY. The riffs are heavy and the vocoder vocals are full of harmonies.

“I wanted a super-heavy groove that would support angelic vocal harmonies. I think we achieved that.

Added Scott Thomas Reeder: “Yeah, Bob from FU MANCHU came into The Sanctuary do some recording with the other Scott Reeder — the drummer from FU MANCHU. I was stoked — been wanting to meet that guy for years! So they knocked out some crazy tracks all in a day — jaw- droppingly great stuff. I didn’t know if it was supposed to just be drums and guitar… so I asked later on, ‘Who’s playing bass on this stuff?’ They hadn’t decided yet, but Bob was gonna come back and put some bass tracks down later. I suggested that maybe I take a stab at it, and they were down! It’s really crazy stuff, the most challenging material I’ve done since I was in THE OBSESSED. I got through most of it — there were a few ‘guide tracks’ in there that I asked Bob to put down that were flawless — I ended up leaving those in. Spent just a few more days with Bob coming back to the ranch to add some textures with his arsenal of effects.

“I was kinda bummed when we wrapped on tracking! It was a blast working with these guys, and I’m glad the the other Reeder is a great guy and a monster drummer — can’t wait for the confusion that is sure to come from having both of us on this thing.”

Said Scott Reeder: About two years ago, Bob and I started trading riffs and beats back and forth via the wonders of modern technology. Sometimes he would be sending me three different things in one file and I would just throw up a 57 as an overhead and record my whole kit and send it back. Or I might have a beat and say, ‘Hey, play something to this.’ ‘Whites Of Your Eyes’ started that way. It was much faster and I was just warming up around the kit and got inspired to get it down. Then we got together and just slowed down the tempo and he added new parts.

“We agreed that most of the stuff needed not to be super picked apart and scrutinized. It was more of a ‘first-thought-best-thought’ approach. And whatever made us just laugh and go, ‘Yeah, that’s super weird. It’s gotta be that way!!’

“It all springs from Bob‘s riffs; he can play anything, but he plays it the way you want to hear it!! As always, that’s the most fun stuff to play to. I think that shows up in recording. It’s fun to listen to.

“We blasted through 10 songs of basics in four hours. We were just having a great time, so we just knocked it out!! And to have that great bass playing of Scott‘s in there, I could not imagine it sounding heavier but, of course, he just blew me away.”

Continued Balch: “In the end, we had J. Robbins (CLUTCH, THE SWORD, THE HIDDEN HAND) mix the record. I loved his work and I’m a big fan of the band he played bass in GOVERNMENT ISSUE. He mixed THE HIDDEN HAND‘s ‘Mother, Teacher, Destroyer’, which is one of my favorite-sounding records. I wanted to get a heavy sound like that, but I also wanted a DEVO ‘Duty Now For The Future’ or RUSH ‘Moving Pictures’ vibe. I think that those ingredients play off the vocoder really well.

“I’ve never even met J. Robbins. It’s funny, I don’t even know what he looks like. We spoke on the phone about the approach I wanted and then I sent the tunes to the East Coast to have him work on it. He did an insane job and was a total pleasure to work with.

“We picked Dan Coutant at Sun Room Audio to master the record. He has worked with CLUTCH and COLISEUM in the past. We saw eye to eye immediately.”

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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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FU MANCHU guitarist/vocalist Bob Balch and drummer Scott Reeder have joined forces with former KYUSS bassist Scott Thomas Reeder in SUN & SAIL CLUB. Their debut album, “Mannequin”, will be released in early November via Satin Records.

Said Balch: “In between FU MANCHU tours, I was writing all this material that was really frantic and dark. Lots of notes and strange chords.

“A lot of times I would go interview a guitar player for my site PlayThisRiff.com and come back inspired and full of ideas. Just to make Scott Reeder laugh I would send him a file to play drums on.

“Well, anybody who has seen FU MANCHU live knows Reeder is a monster behind the kit. So I would try to throw him some curveballs to trip him up. No such luck. Every riff I sent him he nailed. After a while, there was an album’s worth of stuff.

“I really wanted Scott Thomas Reeder to play bass on it. I love the work he has done in his recording studio too, so I figured that if we recorded stuff there, hopefully he’d dig it and play on it.

“I remember after the first take we walked into the control room and Reeder said, ‘I had an idea!’ He asked to play on it and I almost crapped myself. I don’t think I’ve ever said ‘Yes!’ faster.

“His bass lines are insane. Lots of drop-A stuff which is probably pretty hard on bass. He nailed it too!

“Once the bass tracks were in place, we needed vocals.

“I had lyrics and melodies in my head. A lot of the vocal parts were four-part harmonies. Crazy stuff. So I laid down vocals on the home demos using a vocoder and a guitar.

“I thought if I could get an unmixed album with vocoder vocals together, I could start sending it out to singers that I liked to see if they had any interest. I went back into Scott Thomas Reeder‘s studio to lay down the vocoder parts as a guide for singers. I did the track ‘Gang Justice’ first and Reeder turned around and said, ‘That’s how the vocals will stay. It’s inane.’ He asked, ‘Do you have stuff for every song using the vocoder?’ I did. So we went to work. The only song I didn’t have vocals for Reeder sang. It’s named ‘I’m Not Upside Down’.

“Overall, this record is heavy and dark. It’s inspired by DEVO, VOIVOD, KRAFTWORK, TORCHE, SLAYER and much as it’s inspired by ASWAD, JOE PASS and WES MONTGOMERY. The riffs are heavy and the vocoder vocals are full of harmonies.

“I wanted a super-heavy groove that would support angelic vocal harmonies. I think we achieved that.

Added Scott Thomas Reeder: “Yeah, Bob from FU MANCHU came into The Sanctuary do some recording with the other Scott Reeder — the drummer from FU MANCHU. I was stoked — been wanting to meet that guy for years! So they knocked out some crazy tracks all in a day — jaw- droppingly great stuff. I didn’t know if it was supposed to just be drums and guitar… so I asked later on, ‘Who’s playing bass on this stuff?’ They hadn’t decided yet, but Bob was gonna come back and put some bass tracks down later. I suggested that maybe I take a stab at it, and they were down! It’s really crazy stuff, the most challenging material I’ve done since I was in THE OBSESSED. I got through most of it — there were a few ‘guide tracks’ in there that I asked Bob to put down that were flawless — I ended up leaving those in. Spent just a few more days with Bob coming back to the ranch to add some textures with his arsenal of effects.

“I was kinda bummed when we wrapped on tracking! It was a blast working with these guys, and I’m glad the the other Reeder is a great guy and a monster drummer — can’t wait for the confusion that is sure to come from having both of us on this thing.”

Said Scott Reeder: About two years ago, Bob and I started trading riffs and beats back and forth via the wonders of modern technology. Sometimes he would be sending me three different things in one file and I would just throw up a 57 as an overhead and record my whole kit and send it back. Or I might have a beat and say, ‘Hey, play something to this.’ ‘Whites Of Your Eyes’ started that way. It was much faster and I was just warming up around the kit and got inspired to get it down. Then we got together and just slowed down the tempo and he added new parts.

“We agreed that most of the stuff needed not to be super picked apart and scrutinized. It was more of a ‘first-thought-best-thought’ approach. And whatever made us just laugh and go, ‘Yeah, that’s super weird. It’s gotta be that way!!’

“It all springs from Bob‘s riffs; he can play anything, but he plays it the way you want to hear it!! As always, that’s the most fun stuff to play to. I think that shows up in recording. It’s fun to listen to.

“We blasted through 10 songs of basics in four hours. We were just having a great time, so we just knocked it out!! And to have that great bass playing of Scott‘s in there, I could not imagine it sounding heavier but, of course, he just blew me away.”

Continued Balch: “In the end, we had J. Robbins (CLUTCH, THE SWORD, THE HIDDEN HAND) mix the record. I loved his work and I’m a big fan of the band he played bass in GOVERNMENT ISSUE. He mixed THE HIDDEN HAND‘s ‘Mother, Teacher, Destroyer’, which is one of my favorite-sounding records. I wanted to get a heavy sound like that, but I also wanted a DEVO ‘Duty Now For The Future’ or RUSH ‘Moving Pictures’ vibe. I think that those ingredients play off the vocoder really well.

“I’ve never even met J. Robbins. It’s funny, I don’t even know what he looks like. We spoke on the phone about the approach I wanted and then I sent the tunes to the East Coast to have him work on it. He did an insane job and was a total pleasure to work with.

“We picked Dan Coutant at Sun Room Audio to master the record. He has worked with CLUTCH and COLISEUM in the past. We saw eye to eye immediately.”

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DEEP SWELL, the Shepherdstown, West Virginia-based band featuring CLUTCH guitarist Tim Sult, will release its debut album, “Lore Of The Angler”, on on October 15 via CLUTCH‘s record label, Weathermaker Music.

With a powerful female lead vocalist and precise rhythmic force, DEEP SWELL‘s sound is a mix of riff-based rock, funk-tinged psychedelia and mysterious poetic lyrics.

Years of friendship and mutual appreciation for each other’s talents brought Sult into collaboration with drummer Jesse Shultzaberger and bassist Logan Kilmer. Shultzaberger is a versatile drummer who currently tours with the Americana band THE WOODSHEDDERS. Kilmer, who honed his technique and methods with NOETIC PULL, plays five-string with a smooth funky bass style to the depth of which helped spawn the band’s name.

At the beginning of 2012 they met Briena Pearl and invited her to join the trio. Pearl, a lifelong student of voice, theater, and dance, quickly proved the sheer force of her talent as a singer and songwriter, thus establishing an instant chemistry with the band and a clear direction for their emerging sound. With this final addition in place DEEP SWELL‘s dynamic sound was forged.

Sult commented on being a part of DEEP SWELL and the new release: “I’m very excited about working with another group of talented artists and I’m looking forward to introducing the new project to the world.”

In February 2013, DEEP SWELL recorded “Lore Of The Angler” at Magpie Cage Recording Studio in Baltimore, Maryland. Three months later, they were signed to Weathermaker Music, with the label overseeing distribution, touring and publicity for the album starting this fall.

DEEP SWELL has scheduled a handful of dates in supporting of “Lore Of The Angler”, including a CD-release party on October 19 in Shepherdstown at Opera House Live. Following that show, the band will out through October 23, with LIONIZE providing support.

“Lore Of The Angler” track listing:

01. Shows Off
02. You’re Not Sleeping
03. Criminal Reward
04. Hilltop
05. By Woah
06. Cry Wolf
07. White Coat
08. Thinking
09. Green Eyes
10. Small Girl Learn

deepswelllorecd_600

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The Swedish riff lords in Grand Magus have just started to record the follow-up to last year’s “The Hunt.” After finishing up demoing and a pre-production phase, the band entered the recording state at the beginning of September. Grand Magus has once again engaged with Nico Elgstrand as a producer, who already had his hands on the controllers for “The Hunt,” as well as the engineering force of Staffan Karlsson at Studio Sweetspot in Halmstad, who has worked with Arch Enemy and he mixed the most recent record from Spiritual Beggars. Commented drummer Ludwig “Ludde” Witt: “The time has come! Warriors! Things have been quiet around here recently, you know us well enough to know that we haven’t been sitting around idly though..

The post Grand Magus Enters The Recording Studio appeared first on Daily Heavy Metal News.

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Rob Trujillo: Phat bass

In the brand new Metal Hammer, we speak exclusively with Metallica’s Rob Trujillo about the metal legends’ plans for the long-awaited follow-up to 2008′s Death Magnetic.

“This next record, I believe, is gonna be very special,” says the bassist. “We had so much fun jamming. We have an /overwhelming/ number of riffs. Every time James Hetfield turns a tone knob or tunes a guitar, he comes up with an incredible riff. He has, like, 800 riffs! Even his worst riff would be something most bands wish they could have! 2014 is definitely about new Metallica music.”

Also in our exclusive interview, Rob tells us all about Metallica’s recent groundbreaking gig in Shanghai, China, and how being a member of the biggest metal band on the planet remains “an edge-of-your-seat experience”.

“It’s such a great opportunity [to play in China] and it’s also a great challenge, because a lot of these places probably wouldn’t have been able to handle a show like this in the past,” the bassist tells us. “The fans really embraced the moment. There was a lot of magic in there and we felt that, big time. We feed off that, so I’m happy to say that we’ll be getting over to Asia a lot more than once every ten years now. The doors are opening and the fans are there.”

To read more about Metallica’s Chinese adventure, the story of their 3D cinema extravaganza ‘Metallica: Through The Never’ and their plans for a brand new studio album, make sure you grab a copy of the new Metal Hammer, out September 18. Head over to our Facebook for a look at the cover…

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In a brand new interview with the Las Vegas Sun, MEGADETH mainman Dave Mustaine spoke about the reaction to the band’s latest album, “Super Collider”, and his plans for the follow-up effort.

“A record is that — a record, a piece of time,” Mustaine said of the fan response to “Super Collider”. “I was going through a lot of really cool stuff with the band, but a lot of really heavy, personal stuff with my mother-in-law’s Alzheimer’s. So people like some songs, don’t like others, and that’s always been the way with MEGADETH‘s fans. They’re opinionated.

“I think when you have a band that doesn’t really follow a set formula, people are going to react to certain songs and not to other songs. I mean, the very first song we ever did, we started with piano. Who would’ve ever thought that?”

Regarding the recent reports that MEGADETH has already begun work on the material for the next CD, Mustaine said: “I do want to continue to write. I think it’s fun to write songs and as a musician, sometimes you’ve got something stuck in your soul that you gotta get it out.

“[‘Forget To Remember’ on ‘Super Collider’] is this whole process of watching this loved one in my family just melt in front of your eyes; it’s hard. It really, really challenged what I was made of; she’s still alive, but she’s not there anymore. And how do you put that in a song if it’s not going to be a sad song? It’d be pretty fucked up to make a happy song about something tragic.

“So, yeah, we always have a lot of stuff we want to write about. I think it comes in due time. We’re always picking up the guitar and making noises, sometimes it’s a cool riff, and you’re ‘tape that real quick,’ and other times it’s ‘stop.’ [laughs] And that’s the great thing when you’re close like we are. We’re four guys who are really, really close, and I can’t tell you how many times I’ve gone into the jam room and told Chris [Broderick, MEGADETH guitarist] to knock it off, and he’ll do the same solo for an hour and a half straight. It’s Chinese water torture. [laughs]

Mustaine was also asked if he ever feels the new stuff has to compete with his past successes or even just with nostalgia.

“I don’t feel like that, but some fans certainly act like that,” he said. “We always hear, ‘Make ‘Rust In Peace’ again.’ It’d be real easy to do it, but where’s the artistic integrity of doing that? And people say, ‘You should get Marty [Friedman, former MEGADETH guitarist] back in the band.’ Marty doesn’t want to be in MEGADETH. He quit, he’s a quitter, so get over it. And Nick [Menza, former MEGADETH drummer] isn’t very healthy. Look at any of the video clips of him lately. So it’s like either you’re stupid or you’re a dreamer. And when you make a record, you don’t stake your whole life on the success or failure of any one song. Some people like it, some don’t. [‘Super Collider’] entered the charts at No. 6. If that’s something to be critical of, then bring it. I’ll take that all day long.”

Read the entire interview at Las Vegas Sun.

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