Posts Tagged “Throwback”

Joseph Schafer of Invisible Oranges recently conducted an interview with bassist/vocalist Jeff Walker of reactivated British extreme metal pioneers CARCASS. A couple of excerpts from the chat follow below.

Invisible Oranges: To me, “Surgical Steel” sounds at its heart to be a very sad record.

Walker: You think?

Invisible Oranges: I think so.

Walker: If anything, “Heartwork” and “Swansong” were, lyrically, very serious. This is a throwback to the old days of CARCASS, where it was very lighthearted. But this is cool because you’re extracting something from this album. Which is fine. I’m not here to dictate how people should perceive or enjoy this album. People who look at the lyrics and titles and think what the fuck they want are ultimately fragile and stupid. There’s no real agenda here, no real issues, nobody’s trying to brainwash anyone. I’m not Barney Greenway [NAPALM DEATH]. You can look at it at whatever level you like. You can view the lyrics as throwaway, or look very deep into it, and that’s fine. People keep asking me what the chorus is, the numbers on “The Dark Granulating Satanic Mills”, and I’m not going to say. I’ve heard some interesting theories as to what those numbers are about, and that is far more interesting than the reality.

Invisible Oranges: Would you describe to me the moment when you realized you were happy doing CARCASS again.

Walker: The first rehearsal. I was just happy to be playing with Bill [Steer, guitar] again. He’s a far superior musician to me, and a far superior human being as well. It was cool to be back where we started.

Invisible Oranges: It really seems like, retroactively, CARCASS is the relationship between you two.

Walker: Yes, you could argue that. If I hadn’t met Bill, Bill would have achieved musically, but I don’t think CARCASS would have existed, so in that sense you’re right. But the central songwriter of CARCASS has always been in flux. In the old days it was Ken [Owen, drums] who wrote a hell of a lot of the riffs. If you look at “Reek”, we had an equal three-way split. On “Symphonies”, Bill started doing more, and I did more of the lyrics. “Necroticism” is 95 percent Ken and Bill. Mike [Amott, guitar] came in at the end with one riff. “Heartwork” was all Bill and Mike‘s riffs. So as you can see the core of the band is constantly changing in terms of who’s writing the riffs. On “Surgical Steel”, it’s all Bill who’s coming up with the riffs. The more I think of it, you can’t really call the band mine and Bill‘s because in the past so much of it really was Ken. Ken cast a long shadow on this album, and his ghost is in the drumming, is in the lyrics and the songtitles. And he even tracked some backing vocals. He’s still there in spirit very much.

Invisible Oranges: That’s sort of poetic considering the way he is mixed into the record, his vocals are lower, so he almost literally is a ghost in the songs.

Walker: It’s important as far as credibility. If you look at the SLAYER situation, they’re going to have a hard ride now with no [Dave] Lombardo and the death of [Jeff] Hanneman. You could accuse the same thing of CARCASS — there’s no Ken, no Mike Amott. Especially from Mike‘s fanboys [we could hear those accusations]. Mike does deserve credit, but sometimes I think he’s extracted a little too much credit from CARCASS considering what he put in. Some people will hate this album on the basis of there being no Ken and no Mike Amott, so we’re very conscious of that, but we’re not stupid. We know what sounds good. We didn’t want something that would sound like “Swansong” when you compare it to “Heartwork” and “Necroticism”. We know what people want.

Read the entire interview at Invisible Oranges.

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Avenged Sevenfold has not been too shy in talk of their new album. The one thing that always popped up in interviews regarding Hail to the King is how different it’s going to be from previous releases. Talk and promises of how it’s going to be a throwback to some of their biggest influences is the …

The post Album Review: AVENGED SEVENFOLD Hail to the King appeared first on Metal Injection.

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The Headless Ritual is a throwback into the classic days of death metal and the world is better off for it. Any questions? No more than 20 seconds into the opening track "Slaughter at Beast House" does it take to realize that Autopsy are not fucking around with The Headless Ritual. Everything about this record …

The post Stream AUTOPSY's The Headless Ritual Right Now appeared first on Metal Injection.

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With huge choruses, infectious hooks, stellar melodies, monster drumming, and blazing guitar solos, II is a throwback to the glory days of ’80s hard rock.

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Tiger Flowers seem like a pretty no-bullshit band on their new track, which rocks way harder than I thought a band called Tiger Flowers would. I mean seriously, the song is called "Crusin' 'Til the Wheels Fall Off" and it's by Tiger Flowers. I expected some kind of occult rock thing or throwback to Deep …

The post TIGER FLOWERS Cruise Until The Wheels Fall Off appeared first on Metal Injection.

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I'm always stoked when our beloved metal genre gets any attention from late night television. Especially in the days before YouTube, when setting your VCR to capture and then later analyze a 3 minute performance was the thing to do. It was a huge bonding moment for metal on a national level. What you'd probably …

The post Throwback Thursday: 10 Great Metal Performances from the '90s on American Television appeared first on Metal Injection.

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If you’re expecting an album that is a throwback to the days of The Warning, Rage For Order, or Operation: Mindcrime this effort might leave you disappointed.

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Municipal WasteThe Fatal Feast
2012 Nuclear Blast Records
Ray Van Horn, Jr.

Most of us in the metal community were weaned on eighties thrash and hardcore and ultimately the combination of the two. You were either a supporter of crossover or you condemned it. There wasn’t much of a gray area to it all back then, unless you stage dove at a Suicidal Tendencies show while wearing a Warrant tee.

Of all those blistering metal-punk crossover acts such as COC (sorry, Corrosion of Conformity will always be known as COC to me, get over it), MDC, DRI, Crumbusckers, Suicidal and Broken Bones, the one band which always seems to be modeled and mimicked these days (outside of Fistful of Metal era Anthrax) is Nuclear Assault. Richmond, Virginia’s Municpal Waste at this point (along with Skeletonwitch) might be the best representative to plant the crossover flag down into the retro-thrash battle front. Lineage is certainly the operative word as Municipal Waste could be considered this generation’s Nuclear Assault, as well as Tankard and Gang Green. Party thrash they’ve been called, and certainly there’s been a thrash ‘n crash motif to their throwback blaze. You’re pussy if you haven’t pounded at least two pints within one of Municipal Waste’s rambunctious two-minute drills, so get chugging, wanker.

All clowning aside, Municipal Waste hasn’t so much refined crossover and classic thrash as they’ve perfected what was once there. Sure, Sodom, Destruction and DRI are still kicking, Tankard and Grave Digger too. Somehow, though, Municipal Waste makes it feel as if moshing never went away; it just took a powder while the genre reinvented itself. There’s no proto-math-grind-prog at work in Municipal Waste, just unapologetic speed and a vocalist who throws down the most convincing John Connelly out there. If you’re old school, this is gnarly fun if nothing inventive. For newcomers, Municipal Waste is one of the fastest bunch of mofos on the planet.

On their latest album The Fatal Feast, Municipal Waste continues their trend of suds ‘n slam, only this time they throw their gonzo act onto the promenade of an alien ship where getting shitfaced isn’t how the hosts entertain themselves. Dipshit humans have been swept off of Mother Earth to be served as the main course, and really, that’s all you need to know concept-wise about The Fatal Feast.

The rest is a reckless speed zone with moments of hilarity where alien abductors do our planet a favor (in Municipal Waste’s eyes) by ridding us of wasteoids, lamewads and “Jesus freaks.” Of course, the latter category gets its own tune on The Fatal Feast. If you grew up in the eighties, there’s an undeniable hail to the days of Jerry Falwell and hypocritical televangelists ripped up by the likes of Nuclear Assault and Suicidal Tendencies, amongst other speed demons of the day.

In some ways, Municipal Waste pokes fun at themselves and their reputation by having the aliens attempt intervention steps before goring their victims…or so it would seem with “12 Step Program,” “Covered in Sick/The Barfer” and “You’re Cut Off.” Or maybe we shouldn’t read into it so deep. The Fatal Feast is about as serious as Wendy O. Williams’ Maggots: The Record only without narration and sound effects. Cannibal Corpse is far more brutal in sound and lyric, but Municipal Waste are hardly the slackers they’d purport themselves to be.

The main point is The Fatal Feast has less to do with inebriation and tomfoolery and more to do with flawlessly-processed thrash performed in the old style. Crossover is hardly controversial today as it was in the late eighties since modern punkers and metalheads have very little common ground with which to unite. At least our generation realized we were cut from the same cloth and did something to bridge the sanctions together. Municipal Waste plays their cards as if they stepped out of an Adreanlin OD album and took a sharp right into the noisesome acres of Nuclear Assault’s Game Over.

Works for me.

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The 6th full-length album of the German black/thrash metal veterans Outrage, titled “Go To Hell,” will be available on October 28th at Hammer Of Doom festival in Wuerzburg (Germany). “Go To Hell” consists of songs written by Outrage in the band’s early days, between 1983 and 1987. Metal on Metal Records commented on the release:

“This raw, primitive (but not sloppy) old school metal album is a throwback to their roots and was recorded last summer with a lot of the original equipment, effects and techniques they used back then. If you are a fanatic of ’80s thrash and first wave of black metal (not the kind of black metal that came later, grim, with blast beats and screechy vocals and especially NOT the symphonic style) and you love bands like VENOM, HELLHAMMER, early CELTIC FROST and SODOM or FLAMES, this album of OUTRAGE is an essential addition to your collection!

Here’s what Udo “The Bringer of Doom” (band’s founder, songwriter and guitarist) had to say: “Recording those same old songs which I had probably played more than a hundred times was absolutely exciting to me. During the recording there was a strange voice inside my head (I think it was Jowita’s voice) saying ‘play the songs the way they deserve.’ So I did. And the more I played them, the better they got… the spark still flies!”

You can check out two songs from “Go To Hell” through the Metal on Metal Records website. The track listing is as follows:

1. Rigor Mortis
2. Go To Hell
3. Into The Abyss Of Belial
4. Astaroth
5. Perseus Rules
6. Infernal Recruit
7. The Inner Contract
8. Hot On The Trail
9. Slave Trader
10. Pact Of The Wicked
11. Refugee To Beyond
12. Black Metal Attack

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According to The Pulse Of Radio, SOUNDGARDEN singer Chris Cornell says in a new video interview with RollingStone.com (see below) that the band’s first album in almost 16 years is “mostly done” and that it feels like the band “haven’t missed a beat.” Describing the “personality” of the new disc, Cornell said, “It’s very warm to me and adventurous like all our albums were.

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