Merry (Anti) X-mas!

A few days ago I got an email from Rotten Sound mainman Keijo Niinimaa, wishing us all a merry, sort of, X-mas, with a new song and video by one of his side-duties, the underrated Medeia. Quite hilarious stuff, and the track isn't bad at all!



For lyrics and misc info, click to enlarge the below picture.

The South is Rising, Again

A multitude of great bands have flown the politically controversial Rebel Flag high and proud, but few have done it as high and proud as The Sign of the Southern Cross. (Hell, these guys even have the flag in their bandname!) An upcoming three-piece, hailing from North Carolina, whose first full-length effort "...of Mountains and Moonshine" came out on Season of Mist in mid-September, their sound is unmistakable. Brethren of Pantera, Corrosion of Conformity, Down and likes should look no further - The Sign of The Southern Cross is the band to pass on the southern metal heritage.

I got a chance to chat with founder and mainman Seth Uldricks, who proved to be more than willing to chat back.

What is so special about the southern sound?

"Well, if done correctly, it’s just plain sexy - if I may be so bold. It makes ya bite your bottom lip and furrow your brow like you just saw a beautiful woman walk by. It’s that soul, that swing, and that grit that makes your body throw a fit and move even when you don’t mean to make it do so. It’s the blues baby. And it’s one of the few sounds that can embody any type or genre of music and be recognized immediately across the world. I’ve seen it light a dull night on fire and cool a burning mad man down all at the same time. It’s deceptively simple yet the feelings it takes and creates to play and hear are resoundingly complex. It’s earthy and organic, it’s thick and rich like milk over a biscuit, it’s hard and resolute like a dead man’s purpose, and it’s cool and charming like a devil man’s sermon. In short - it’s a beautiful thing."


What is the southern lifestyle and philosophy about, to you?

"It all depends on what part of the south you’re from. In North Carolina alone, we have three different regions: mountains, flat lands, and the beach. The thing is that because it took longer for the South to become industrialized, so many places were secluded and isolated for so long that they all developed very distinct and beautiful cultures. Self sufficiency became not only a necessity, but a long lasting reality. Especially in the mountains. That being said, I guess you could say that the over all lifestyle, philosophy, and attitude is live how you want to live and don’t let a damn thing move you on that. Find whatever it is you call family and be fiercely loyal to that. Be proud of what you do because it defines you. Depend on your community but make sure you give in as much as you take. These are all very basic rules for living a good life, but how we do it is exactly how we do it - never because someone else is doing it, even if they’ve already done it... and we do it at our own pace."


Do you feel that people misunderstand the whole southern pride thing? I guess it could be politically sensitive to some.

"I certainly understand why some people dislike the rebel flag that so many display to show their southern pride. Misconceptions of the Civil War and the misuse of it by certain organizations have fueled a negative social stigma. And racism is obviously a horrible thing - but what blows my mind is that a lot of people think that racism is some sort of plague of the south. Something that has to be contained so when they see symbolism of southern heritage they have to piss and stomp all over it so it doesn’t infect the rest of the country. And this is absurd. And to say racism is just confined to white southerners is even more of an unbelievable sentiment. The whole damn world is full of it, along with every other ugly thing imaginable. But what really paints the walls with my brains is when people automatically think that the flag itself is a mark of racism, hate, and ignorance. More often than not the ignorance exists on that side of the argument. I’m not saying that all people who think that are ignorant - I mean, we were all fed the same crap in elementary school. I’m just saying that this ideal that causes someone to absolutely and categorically dismiss you, scold you, and retract their affiliation with you just because you fly The Southern Cross (another name for The Rebel Flag) high and proud is beyond ignorant. It’s arrogant. And some people do it without even knowing why someone displays the flag. And others do it without being educated about the correct history behind it.

Let it be known that The Sign of the Southern Cross is in no way, shape, or form a racist band! Not by a damn site. The fact that we fly The Rebel Flag proudly or adorn our possessions with its mark does not represent any discrimination on our part in any way. As I said, there are those who believe that just because we display the battle flag we harbor hate for people or ideas because they may not match our own. This is most certainly untrue. We have friends of many different creeds, colors, and orientations. We base our opinions of people on their individual behavior and actions.

Furthermore, we are not a separatist band. We do not support treason or a rising up of The Confederate States of America. It must be understood that our song 'The South is Rising' is a firm statement of frustration, chronicling our distaste for many of the southern stereotypes that make reverse discrimination against us prevalent in our society today. When I say 'The South is Rising' I mean that we are rising above the stereotypes and growing as a people while maintaining a beautiful and unique culture.

To us, The Rebel Flag represents heritage not hate. It also represents a rebelling against any outside influence that attempts to fold you into its collective through aggression and violence. It is about individualism and your natural right to be whoever you want to be. I say don’t let our pride scare you - let it enlighten you."


With regards to the above, maybe you could give a few examples of misconceptions or incidents that have come up because of people's ignorance.

"The first thing that comes to mind was an incident that came at the inception of this band. I was just cruising around Myspace, as you do, adding profiles to the band’s page to spread the word and get people to check out our music. We had just played a local show with these other local boys so I was scrolling through their comments and adding those who supported them (especially those who lived in our area) to show that there was a new band in town in attempt to get them to come out to our gigs. The adding was random and indiscriminant. Within a couple of hours I had an email in the inbox from this white woman who was friends with the aforementioned band and she flipped her shit on us. Her rant went something to the effect of 'How dare you add me?! Is this some kind of a joke? I have a half black child and you dare to add me?! As soon as you saw my pictures you should have just turned the other way you ignorant and hateful rednecks.' Needless to say I was at a loss for words because clearly, as I mentioned above, there isn’t a single song we’ve written or intention held that has anything to do with race - nor do we harbor feelings of racial hate or ignorance. Yet her brazen and furious response to our innocent attempt to bolster our musical standing in the community was based purely on the fact that we had a rebel flag in our artwork. In this woman’s mind, somehow, I am accused of going out of my way to find a person with an interracial child, taking the time to confirm that they do by trolling through their pictures, and sending a friend request to her as some sort of digital age, 21st century, burning cross in her front lawn. What the hell? And this woman is from the south! You can imagine the further past the Mason-Dixon line you get, the worse the accusations become. And when this happens, it’s never based on anything that we’ve actually said or done, let alone do they try to engage in a civilized debate of ideas if it were - it’s all just because of the rebel flag. Now tell me, what’s more ignorant - having an opinion based on the actions of the accused or a pure, knee jerk, reactionary assault based on nothing but a stereotype? The answer is - the latter. Moreover, just because someone may not say their hateful and ignorant feelings out-loud when they think about a group of people doesn’t exclude them from the mark of “racist.” Some people love to forget that. We say be who ever the hell you want to be and do whatever the hell you want to do but don’t do that if an aspect of that infringes on someone else. However, there are some who accuse us of contradicting ourselves because they say we’re, 'being ourselves in spite of the way other’s feel about it (in regards to The Rebel Flag).' But what they’re really accusing us of is being ourselves to spite the way other’s feel. And this is most certainly untrue. We have no secret agenda and we sure as hell make our opinions known, so when you break down all the flack that has come our way to the basic argument - their case holds no water."

In the center: Seth Uldricks

In some reviews you have been dismissed as being copycats. What's your comment on that?

"I think it’s a lot like the woman’s perception in my response above. It’s a knee jerk reaction. Fans of those bands are fiercely loyal so for the time being we’re just one of those groups that you either love or hate with not much middle ground to be found. But I think, at least some of the time, those reviewers are told that we’re copycats before they listen to the record and they pretty much have a review written in their head before they even hear a track. If someone told you that you could hear satanic messages when you play B.B. King’s 'The Thrill is Gone' backwards, what are you gonna hear? Satanic messages. However, more often than not, it’s an unfair assessment. I mean, it’s one thing to call a spade a spade, but quite another thing to call a card that just because it’s in the same deck. But to be honest, we have no qualms being compared to Pantera and the other bands you mentioned. If you’re going to be compared to someone, you might as well be compared to the best. However, it must be recognized that they are the contemporary product of roots that we all share. I’m talking about the classic forerunners like Led Zeppelin, Black Sabbath, and Slayer. Everything from bands like Boston and Kansas to Johnny Cash and the Hank Williams family. Moreover, The Sign of the Southern Cross brings our Carolina swagger to the table. What I’m saying is just like those before us who brought you that Texas swing, and NOLA sludge, our main influences are classic, soulful, and groovy jams combined with our environment - in this case, the sweet Appalachian Mountains of the American South. The power of those influences are an overwhelming combination. I’m well aware of how I sound. It’s not like I’m blind to the whole thing. And I would be full of shit if I said that we were not massively influenced by Pantera (et all), as would any modern metal musician. But I think many people are blinded by the immediate comparisons - especially to Phil Anselmo. I mean hell, I sound like the dude even when I talk. We’re both southern men with deep voices and a taste for heavy ass classic music. If you listen to our song 'Dead Skies' at the beginning where there’s a talking part - that’s pretty much how I sound in everyday conversations. I can’t help how I sound. On top of all that, it seems that the reviewers in question seem to forget what band’s like Pantera started out sounding like and what they eventually became. It won’t take much listening to find that we’ve made this our own. And, as many new musicians find as they emerge on a larger scene, it takes some time to shed those obvious influences. The Sign of the Southern Cross is still growing, and will continue to mature."


Which of the southern metalbands has meant the most to you, and why?

"Wow, that’s tough. For me that’s like asking what part of your home’s foundation means the most to you. Really, the entire NOLA scene means the most to me; not only because of the amazing music that comes out of there but they are what inspired me to really embrace the idea of meshing your music with your environment. Each band is so uniquely of New Orleans that it made me want to do the same for Appalachia."


Also, I heard rumours going around that you were using a drum machine on your album. Can you please confirm to everyone out there that this isn't the case?

"It’s definitely not true. Mr. Brett Wilson, at the young age of 18, recorded every lick of what you hear. However, we’re not rich by any means. None of us are living high on the hog, so unless you’re someone like Metallica with tons of money to throw around, you use what’s called sound replacement on your drum recordings so you can actually hear what’s going on. Sound replacement software finds the individual hits of every piece of your drum kit and replaces it with a prerecorded sound of your choosing. Working with EQ’s is a very complicated science, especially in metal, because you’re constantly battling the high frequencies of the symbols and guitar with the low frequencies of the drums and bass. We recorded the drums and mixed the tracks in a back woods shack that was converted into a make-shift studio. We still wanted a natural and raw sound, so we mixed half of the original drum tracks with half digital sound replacement so it could cut through the thick guitars and vocals. Pick up just about any modern metal album and they do the exact same thing. That’s why you hear stuff on albums these days where every snare hit in a blast beat or drum roll sounds exactly the same every time. The drums sound phenomenal but that just doesn’t happen in real life. Not even the gods of drumming could pull that off naturally. I understand the argument some purists have against digital anything in music recording - but if you have the money to get that long and expensive process of natural drum recording going for us, give it to me and I’ll oblige. Now, it is true that I recorded the drums on our second demo (“Written in Stone”) back in 2007 with an electric kit and keyboard. I write about 95% of our material so in the studio I record the guitars as well, but when it came time to put out another demo all of our members were scattered across two states, so I took it upon myself to get it done. And I don’t own the equipment to pull that off with real drums. So to reiterate, the drums on '…of Mountains and Moonshine' are all Mr. Brett Wilson with some help from digital sound replacement. It’s not a new concept, and it’s certainly not enough to warrant rumors of drum machine use."


I guess the bandname is taken from the Sabbath song?

"In part. That is a small, albeit obvious, aspect of our name. However, the emphasis is on the 'Southern Cross' part. This is another name for The Rebel Flag. The Sabbath part of it is just our way of paying homage to the mighty Black Sabbath. But the true meaning of our name represents our firm statement that wherever you see us, you’ll find our southern pride.


What made you come with the album title "...of Mountains and Moonshine"?

"Because we are of mountains and moonshine. Just like our name bares the truth of our resolve, so does our album name, and so do my lyrics. Everyday I wake up and get to see the majesty and epic qualities of the Great Smokey Mountains. We were born of it. It’s in our blood. It has a very existential effect on not only our music but our attitudes. It is awe inspiring. And moonshine is another name for homemade liquor. Saying that word not only congers up images of the outlaw days of moonshine runners, but it’s a reminder that down here we have our own way of doing things - our own way of life. Now, we’re not the first or only people who can lay claim to mountains and moonshine, but these here are our mountains and the white lightening we drink comes from our land (land rejuvenated by the ashes of our forefathers and their forefathers). It’s almost like a sacrament. Both elements are undeniably a part of who we are. A while back, someone called our music folk metal. I’m not entirely sure if that’s accurate, but I like the way that sounds."


When will you guys get your asses over to Europe and tour?

"As soon as possible my friend. The second we get an opportunity we’re gonna take it. It would be a real honor to get that chance. And, because metal is so much bigger in Europe and there aren’t as many hang ups about The Rebel Flag, it would be an amazing breath of fresh air. I love Europe. I got to study abroad there back in college. It would be great to get to return there with my music."


Anything else you'd like to add?

"I whole heartedly appreciate the opportunity to chat with you and I thank you for helping us spread the word about our music. It’s a real honor and rarity to get to do exactly what your passion is for a living, and no words could express how grateful I am for this chance. This band is my life, and though our journey may ebb and flow, when I die at least I’ll be able to say I tried and left something behind. Thanks again."

Jacek Yerka's Mind Fields #2

Some more delicious food for thought by surrealist master Jacek Yerka.

Jacek Yerka's Mind Fields #1

"Painter of fantasy worlds", surprisingly unknown Polish surrealist Jacek Yerka, has indeed got some cool works in his portfolio. Do your eyes, as well as your mind, a favor and check his stuff out!

And, as always, the devil is in the details.

To be continued...

To Oktoberfest!

The 176st Oktoberfest is taking place as of writing, and the Munich streets are by the second getting increasingly paved with puke from brainless tourists and other amateur swillers.

The media reported this morning - one week after a severly intoxicated Australian dude was deathly rammed by a commuter train - that a piss drunk Englishman was found dead in a hotel yard after falling when trying to urinate from a window on the sixth floor.

It's good to hear those Anglo-Saxons are staying true to their reputation. I mean, who can you trust these days but a decent, strapping young lad like this dude? Just look at that cute little tattoo he has on his chest. Absolutely charming.



This fake Rammstein clip has absolutely nothing to do with the above incidents. It's funny, though. Not very super extra very super funny, but a bit.




For further cheap thrills on the same topic, I recommed the film Beerfest from 2006. It's college style and utterly stupid, and will bring about many a good laughter.




Prost!

More Provocations

When I was in Siena, Italy, probably one of the the most beautiful cities in the world, a couple of months ago an art (?) museum projected thought-provoking proverbs on the opposite facade all night...

New Rammstein Record - New Provocations

Grand industrial metallers/rockers Rammstein's back with new provocations on "Liebe ist für Alle da" (English title: "There is Love For Everyone"), due out in October. The first single off of the album is "Pussy", allegedly a satirical take on sex tourism.

I guess the below promo pic gives us a hint of what its Jonas Åkerlund-directed video will be like. Click to enlarge!

Sod Off, Max Cavalera!

Now, this is what "world metal" should sound like.

The piece is originally by Spanish "hip-hop-flamenco" collective Ojos de Brujo, here arranged by and performed together with forward-thinking French metallers Hacride. The recording is taken from the Frenchmen's 2007 album "Amoeba", and the YouTube comment "WTF this the most fuckin awesome shit that i ever heard" pretty much says it all.

Sod off, Max Cavalera!

Cowboys From Hell

You've seen it before, the Job For a Cowboy logo. These guys are pretty damn good at marketing themselves, and have made a death metal (not deathcore!) career in no time. Here's a quickie with guitarist Bobby Thompson in order to further promote their sophomore effort "Ruination".

Bobby

Since the release of your debut album "Genesis" in 2007 your career has sky rocketed. What's the recipe?

Bobby: "Constant touring I think was the key for us after the release of 'Genesis.' It really helped us get our music out there, and play in front of a lot of different audiences."


When did you have to pinch yourselves to check that the success actually was real?

"We still feel like we're a shitty local band. I don't think it will ever feel like the success is actually real."


What would you say is your biggest achievement so far?

"For me personally playing Wacken was definitely one of our biggest achievements. It was an honor to be a part of that festival."


What do you want to achieve with "Ruination"?

"I don't know, I guess just to keep trying to get our music out to the public and grow as musicians."


Although it should be clear even to my half-deaf grandma by now that Job For a Cowboy has nothing to do with the "core" suffix whatsoever, evil voices saying you're a bunch of young trendfags surfing the metalcore wave can still be heard. What do you have to say about that?

"Well, creatively we wanted to move away from the 'core genre. Not out of any disrespect to the scene or anything just because that's what we wanted to do musically, and we're really happy with the outcome."


There are plenty of good death metal bands out there today, what can Job For a Cowboy add to the scene as a whole?

"I think we, like many other bands, just bring a different style and flavor to the death metal scene. We're still young and we're still growing as musicians and hope to be a part of the scene for a while."


By the way, what's up with the somewhat odd bandname? Is it just a way to stand out?

"It started as a joke and just stuck. There isn't really a story to it."

"Unfurling a Darkened Gospel" video

Important Information From the PBC

Lately someone - namely Partei Bibeltreuer Christen (Party of Bible-Abiding Christians) - blessed with an exquisite sense of humour and equally exquisite marketing skills has put up these colorful, highly informational posters all around Munich. I personally think it's a quite nifty contribution to the cityscape.

"Without God everything brakes down - Jesus makes everything new"

"Hands away from occultism: satanism, fortune telling, horoscope, sorcery, magic, esotericism. 'The one who does such is abomination to the Lord'"

"Solidarity and friendship with Israel. 'I want to bless the ones who bless you...' says God, the Lord."

"Jesus says: 'I come soon!' Therefore, no fear for poverty, genetic engineering, death, war, disease, drugs, unemployment."

Used By the Industry

I discovered the other day that the Nuclear Blast webshop qoutes my review on the latest Suffocation outing "Blood Oath" in order to try and sell a few extra copies.

Although the translation is a bit half-assed, and a line like this always reads better in the original language, I thought it was cool someone actually paid attention to what I wrote.

Nuclear:

"Suffocation have just handed in a new grinding-manual that will give all their clones inferiority complexes."

Swedish original:

"Suffocation överlämnar härmed en ny dos instruktionsboksmangel som kommer ge samtliga kloner mindervärdeskomplex."

...och så några liverecensioner

Det händer att jag går och tittar när fräsiga orkestrar kommer till stan. För att kunna slinka in gratis och för att Sweden Rock Magazine ska få något att lägga upp på sin hemsida händer det ibland att jag också skriver om dem.

Lamb of God 5p
Backstage Werk, München, 6 Juli 2009

Till tonerna av LAMB OF GODs egen version av METALLICAs ”Blackened” – medleyt ”The Passing/In Your Words” som öppnar senaste plattan ”Wrath”, och alltså också aftonens gig – rusar jag in på Backstage Werk. Det här är en av ett mycket litet antal konserter jag varit försenad till (säg den spelning som börjar på utsatt tid!). Precis lagom till att låten kommer igång, eller snarare briserar av för-alltid-ung thrashenergi, hinner jag inta min vanliga, audiovisuellt optimerade plats bakom mixerbordet. Det första som slår en är inte vilken vild rifforgie bandet inlett – det hade jag väntat mig, och mer därtill – utan att mickdomptör Randy Blythe lagt sig till med en tvättäkta, halvmeterlång hårdrockarman. Den gamle mäskpunkaren verkar ju tidigare ha abonnerat på misslyckade frisyrer, men ser nu efter över ett decennium i branschen äntligen ut som vad han är: en bra sångare i ett bra, PANTERA-infusionerat SLAYER, alternativt Virginias svar på THE HAUNTED.
Överraskningsmoment nummer två är negativt: ljudet. Trots min strategiska position skallrar det och sprakar som om stärkarna regnskadats. Jag inbillar mig att de fått sig en omgång av den Jurassic Park-lika väderlek som verkar råda i den Alp-nära stan under sommarhalvåret, och typiskt nog också idag.
Inte så jag klagar. Ruffigheten ger bandets på de tre senaste skivorna ack så kliniska sound en hård spark i solar plexus, och verkar ha mycket mer gemensamt med den snudd på överdrivet fläskiga ”wall of guitars” som kännetecknar utmärkta ”As the Palaces Burn” från 2003. Vad som kan verka sterilt och klent på skiva blir live desto mer kaotiskt och – just det – levande. Ungefär som det ska vara, med andra ord.
Den organiska grötbröten tar dock tidigt ut sin rätt, frestar på hörselförmågan, och förvandlar många av bandets många fippligare stunder till en grumlig sörja. Jag köttar in Apotekets Musikproppar så långt att trumhinnorna är på väg att brista i hopp om att det ska balansera frekvenserna något – men icke.
Kliniskt spelar annars bröderna Adler, på trummor och gitarr. Willie, lillebrorsan, strängbändaren, ser för övrigt ut att vara lokalens tröttaste, och lyser med sin frånvaro på närvaro, så att säga. Fansen, ett antal hundratal, är däremot på alerten. De håller igång friskt och får ta åt sig äran för att denna måndagsafton blir så uppsluppen som den ändå blir. Klimax nås under dubbeln ”Redneck” (svängigare riff får man leta efter!) och ”Black Label” (svängigare rytm får man leta efter!), då hela stället kokar.
Och sen… tar det slut. Precis när det kommit igång på allvar. Inte ens ett extranummer en gång. Klockan är inte mer än strax efter halv elva. En oerhört snöplig ände på en kväll som trots vissa skavanker hade kunnat bli riktigt lyckad. Guds lamm lunkar – som headliner – av scenen efter bara drygt 50 minuter, med femhundra kids som bokstavligen gapar efter mer. Det duger fan inte.


Burst 6p
Feierwerk/Hansa 39, München, 5 mars 2009

”Hittills har vi spelat i München fyra gånger och varje konsert har varit en total katastrof” hälsar BURSTs gaphals Linus Jägerskog oss välkomna.
Också femte spelningen börjar svajigt. ”(We Watched) The Silver Rain” – som mycket väl kan vara den mäktigaste biten värmlänningarna författat till dags dato – som långsamt, långsamt byggs upp får ingen vidare respons, och dess suggestiva intro känns som en halv evighet. Publiken som förmodligen väntat sig en sedvanlig hardcoremetallisk urladdning verkar inte alls med på noterna. Själv befarar jag att bandet tagit sig vatten över huvudet som valt ett sådant udda exordium. Att byta plats på den och ”I Hold Vertigo”, som avslutar setet, hade med facit i hand passat avsevärt bättre. I tillägg är ljudet i lokalen inledningsvis ganska tamt. BURST känns nakna och trevande. Inte heller har man någon vidare dos dist att skyla missförståndet med.
Efter hand kommer dock spelningen igång. Med tanke på hur komplex bandets progressiva tonkonst faktiskt är gör man överlag bra ifrån sig. Tack vare sin höga, kollektiva, spelskicklighet som möjliggör en hel del aktivitet på scen, och Jägerskogs jävlaranamma är BURST inte bara grymma att lyssna på utan även att titta på.
Låtmaterialet skulle annars kunna tala för sig självt. Härvidlag har gruppen samlat på sig så många progghits att det måste vara direkt plågsamt att plocka ut nummer för att fylla en alldeles för kort trekvart på i rampljuset. Ikväll har lejonparten hämtats från senaste släppet ”Lazarus Bird” (8p i SRM) och samtliga stycken (minus det inledande) flyter mycket bra.
Tyvärr slirar körsången. Sittande (!) gitarristen Robert Reinholdz gnolar både klent och falskt. Detta torde vara BURSTs verkliga akilleshäl, om än den enda.


Sepultura 7p
Backstage, München, 15 februari 2009

Räkna aldrig ut en fallen hjälte.
Senast – i Göteborg våren 2007 – jag såg det senaste decenniet tämligen unisont sågade SEPULTURA var inte speciellt kul. Brassarna liknade då ett sömnigt coverband som med råge passerat sitt bäste före-datum, vars enda behållning låg i ett visst nostalgivärde, varför man då också koncentrerade setet runt gamla hits. Ett halvår dessförinnan hade Igor Cavalera aviserat sitt avhopp, och en tid senare helt okände och många år yngre Jean Dolabella tagit dennes plats. Under giget uppträdde nyförvärvet som en oerfaren, nästan valpig, prao-elev bakom pukorna hos en hop föredettingar.
Men då var då och nu är nu, visar det sig på Backstage i München. Tack och lov, bör tilläggas. Den här gången har låtlistan delats i runda slängar 50/50 med Max Cavaleras frånfälle som skiljepunkt – en måttstock SEPULTURA sannolikt alltid kommer att få dras med. Fräschare bitar som ”Forceful Behavior”, ”Sadistic Values” och ”Convicted in Life” står sig bra, faktiskt överraskande bra, mot sedan länge etablerade örhängen som ”Dead Embryonic Cells”, ”Mass Hypnosis” och – ikväll synnerligen uppsluppna – ”Troops of Doom”.
Orsaken är lättspårad. Tvenne år efter fiaskot i Göteborg har Dolabella vuxit färdigt – och bandet pånyttfötts med honom. Snubben – också han ursprungligen från Belo Horizonte – är lika säker som avslappnad i sin roll som den förmodligen viktigaste kuggen i ett väloljat groovethrashmaskineri, med färdigheter rent av värdiga sin föregångare. Klart som korvspad att SEPULTURA svänger igen. Batteristens självförtroende accentueras av ett fritt ”Kaiowas”-baserat jam där, sedan det excellerats färdigt, numer ende gitarristen Andreas Kisser med sällan skådad iver står och stampar livet ur en stackars katt. Eller om det är en wah-wah-pedal, jag svävar lite på den punkten.
Å andra sidan har Derrick Green aldrig varit någon större publikdomptör, och djungeltrumman borde Max fått ha i fred, för tvåmetersbjässens bankande ter sig både tafatt och krystat. En diafragma lika kraftfull som hans axelparti väger dock upp minusen, och –smittosamt glad i hågen aftonen till ära – överraskar han åtminstone mig med att ledigt haspla ur sig både en och fem fraser på fläckfri tyska mellan låtarna.
I och med den med facit i hand mycket lyckade rekryteringen till trumpallen tycks SEPULTURA ha genomgått en smärre renässans. Av den förra, blaserade, upplagan märks intet. Istället kan man för första gången på väldigt, väldigt, väääldigt länge skönja beröringspunkter, om än så enstaka, med det glödheta thrash-jehu som äger scenen i den 17 år gamla ”Under Siege”-VHS:n. Det är inte bara glädjande, utan också berörande på en rad andra sätt. Skönast är nog – förutsatt att de fortsätter så här – att alla som dömt ut bandet kommer få äta upp vad de sagt. Själv har jag alltid, antagligen av ren feghet, hållit mig reserverad på den punkten, och proklamerade i en analys av färska konceptplattan ”A-Lex” i senaste SRM (#58) att SEPULTURA ”klarar sig utan bröderna som en gång startade bandet.” Efter kvällen på Backstage är jag beredd att kila in ett ”bra” i den meningen.

Devin Townsend in Sweden Rock Mag #63: An Appetizer

In the upcoming issue of Sweden Rock Magazine, #63 that is, due out in a few days, there will be a three-page-article about no other than Mr. Devin Townsend, and I’m the one to blame. It deals mainly with his former drug abuse, and how this affected him musically (read: Strapping Young Lad) as well as personally, and his new four-album-project that has worked for him as a purgation from his “old” life.

During the interview we had to end our conversation earlier than (at least what I had) planned, due to Devin’s hectic schedule. Therefore, I e-mailed him a handfull of questions. Unfortunately, I received his answers past deadline, why I decided to put them here. See it as an appetizer!

Old Dev

Was cutting off your hair a part of the “cleaning” of yourself?

Devin: “I guess in a certain, obvious way... But more than anything, it was stinky, painful, and hard to get a bank loan with... (Hi, I'm Bozo the clown, can I borrow 40k?) I was postponing the inevitable for so long... It was just time, more than anything else.”

What’s your opinion on drugs today? Are you anti, pro, neutral...?

“I guess I'm somewhere between neutral and anti, my experiences with halluncinogens were interesting to me, but anything after the first experience was gluttony to me. All I needed to know about drugs I learned in the first minute. I'm anti in the sense that it is so connected to crime and innocent people are caught in that, but I think drug laws are pretty much to blame for a lot of the crime. I don't know too much about the specifics of that, though.”

Do you still feel any need to take them?

“No, never.”

I’ve heard you started to meditate. Was that a part of the cleaning process?

“I think it's just been happening slowly over time. I'm still very poor at it though, but I'm trying to commit myself to it. It's not really part of any process, it just seems to make sense now.”

Is your new record “Ki” meant to meditate to?

“No, it's nice... But it's still got issues... It's conscious of them though, so I think you can chill to it... But a meditative record is still to come.”

And last, how do you do today?

“Fine, thank you!“

New Dev

Homage to Misery Index

Misery Index, ladies and gentlemen.

Everytime I listen to this band I feel a bit richer. Everytime I read their lyrics it's like I wanna quit my dayjob and do something that actually matters. From their stunning 2003 full-length debut "Retaliation" to their latest effort, the just as stunning "Traitors" (2008), including all of their EP's and split releases, which is quite a few, I just can't get enough of this awesome grind/death outfit.


Absolutely brilliant vid.

Lyrics to "American Idolatry"

Burn, burn, Hollywood, burn...

Fetishized model-whores, images, airbrushed hardcore
Harlots, Hiltons, egoistic, wanton waifs
Plastic, paramours, skank pawns of culture war
Fake tits, facelifts
300 years of "enlightenment" comes to this?

(Voltaire is laughing, and Rousseau is puking!)

The joke is on us all
Their faces dissolve into thin air
They are trite and listless
They are empty vessels
They are ink and pixels... yet they walk the earth as gods

Practitioner professionals of sloth, so fucking worthless
This worshiped parasite-celeprosy, let's start the fire
And melt those plastic faces into dust
The carrion of leisure-class fueled waste
This narcissistic venerated filth
The icons of a clueless populace
The idols of a nation in decline

Lyrics to "Ruling Class Canceled"

Class is canceled!

Counter-hegemonics
Multitudes in swarm
On nations at the center
who watch their world deform

This global insurrection was given birth by the ruling class!

And the children of empire, whose world this is to take
Open up the seventh seal and watch the west decay!

Apocalyptic riders, above black horse's hooves
Have come to reap their harvest, to taste their labor's fruits

O' begotten Caesar!
You can't deny what is theirs...
And quickly you forget
Just how YOUR west was won...

...then lost

Oh, and on stage, they're fucking even better.

Who Owns the Water?

For the lack of regular posts here; judging by its reviews and the below trailer, this one at least seems to be pretty "must-see."

"Irena Salina's award-winning documentary investigation into what experts label the most important political and environmental issue of the 21st Century - The World Water Crisis.

Salina builds a case against the growing privatization of the world's dwindling fresh water supply with an unflinching focus on politics, pollution, human rights, and the emergence of a domineering world water cartel.

Interviews with scientists and activists intelligently reveal the rapidly building crisis, at both the global and human scale, and the film introduces many of the governmental and corporate culprits behind the water grab, while begging the question 'CAN ANYONE REALLY OWN WATER?'

Beyond identifying the problem, "Flow" also gives viewers a look at the people and institutions providing practical solutions to the water crisis and those developing new technologies, which are fast becoming blueprints for a successful global and economic turnaround."

[www.flowthefilm.com]

¡Viva la Revolución!

Plaza de la Revolución, Havana

In Cuba, where I spent two weeks in March, things are just as different as you might think. Life is hard, rough and dirty. And then you die. Without ever having had the possibility of freedom of speech, indulge in a BigMac, or leaving this small island 110% controled by its communist regime (or "The Revolution" as they call it) since 50 years. As a tourist, it's one delicate destination; culturally, weather-wise, and, above all, politically. As a citizen... not quite as delicate.

There are literally no commercial ads to been seen in Cuba (which, to me, born and bred in the West, was as breath-taking as relieving). What they do got plenty of is propaganda. In fact, you see huge posters of Fidel & Co with hilarious qoutes on it pretty much everywhere you turn your head.

"Fatherland or Death"

"Che - Always Present!"

"Anyone who Gives Refuge to a Terrorist Is a Terrorist"

"With Fidel - Revolution"

"We Want You to Be as El Che (quote Fidel)"

"The People Make the Revolutions. No Doubt that the Cienfuego Citizens Are Strong (quotes Fidel)"

"Faithful to Our History"

"Liberty to the Truth"

"Free Press, Run Away Batista!"

"Cuba Is and Will Always Be an Eternal Baraguá - Until Victory Always"

"50th Anniversary of the Cuban Revolution"

Ernesto "Che" Guevara Memorial Ground, Santa Clara

Parched with Thirst Am I...

"In 1984, Tankard signed to Noise Records after narrowly missing out on signing with Steamhammer during a gig where guitarist Andy Bulgaropulous made the mistake of wearing a blue sweatshirt with a deer on the front creating the wrong image and causing Steamhammer to retract their offer of a contract."

If the cover of their latest offering "Thirst" isn't enough to convince you, that Wikipedia-qoute should say it all; it's damn difficult not to fancy the self-proclaimed "Kings of Beer."

Let's Make the World Bankrupt

Interested in getting a deeper insight in how the world economy and the global banking systems work, and just how sick it all is? Then seeing "Let's Make Money" is a must.

Synopsis of the film:

"It is as if filmmaker Erwin Wagenhofer, known from his commended film 'We Feed the World', had known it all along: he made a documentary about the financial system that is adrift, the degeneration that has affected a liberalised global market without rules. A few months later, the system collapsed. For his film, Wagenhofer travelled all over the world, to provide the spectator with insight from all possible angles into a financial system that is perhaps best described as a global bubble: from the cotton plantations in Burkina Faso to a businessman's car in Singapore's 'emerging market', from the tram in Vienna (nowadays owned by American investors) to the massive hotels and apartment complexes shooting up like mushrooms at the Costa del Sol. The film introduces specialists, scientists and people in the field. It is striking to see how people who for many years have made good money in the world of investment banking, hedge funds and private equity funds, are the first to admit that a system has developed that is not only completely useless, but undermines society in general and developing countries and the 'small man' in the Western world in particular." [Source]

A review posted at IMDB, which I am keen on to consent with:

"Wagenhofer has done it again. This one is better than all of Michael Moore's films combined because it leaves the audience feeling informed, but not manipulated. The prevailing thought after seeing this film is 'what can I do to make it better?' This documentary combines interviews with key people directly involved in strong-arming governments, hiding the owners of trusts whose money has damaged millions of lives, enslaved people in India and Africa and supported laws that allow financial institutions (in London, for example) to operate unregulated in order to maximize profits for a few as they they destroy the lives of many, with outstanding camera work and very clever use of visual and auditory iconography throughout. Just watch it!"



"Money is Debt - Debt is Money - Money is Debt - Debt is Money - Money is Debt - Debt is Money - Money is Debt..."

And the mantra continues to echo in the infinite...

Quote of Today

"You know, one of the hardest parts of my job is to connect Iraq to the war on terror."

- Guess who?
CBS News, Washington DC, 6 September, 2006

Nya recensioner

Yours Truly har svängt ihop två nya liverecensioner till Sweden Rock Magazines hemsida. För att läsa, klicka på länkfan eller sänk blicken en och en halv centimeter.

Morbid Angel 7p
Kataklysm 7p

Backstage, München, 12 december 2008

K-o-m-p-e-t-e-n-s. Så stavas honnörsordet fredagen den 12 december på trivsamma konsertkomplexet Backstage i München. Hos KATAKLYSM märks det såväl i det visuella framförandet som i de väldiga ljudmassorna man åstadkommer – trots enbart en gitarrist lyckas man alltid med att vara fläskiga på scen. Riktigt hur man bär sig åt förstår jag inte. I bandets grooviga, semimelodiska döds återfinns en ansenlig dos slingor och andra flergitarrpartier, där normalt sett minst tolv strängar skulle krävas för att få det att låta ordentligt. Normalt sett. Med 17 års rutin i ryggen är visan en annan. Kvartetten har full koll på både instrument, ljud och publik från start till mål. Värsta öset kommer i setets slut, medelst blytunga ”In Shadows & Dust” och ”Crippled and Broken”. Efteråt verkar alla i lokalen, runt 500, nöjda med bandets insats, inklusive Quebec-karlarna själva. På growlaren Maurizio Iaconos läppar spelar ett brett smil, men gladast är underskattade trummisen Max Duhamel som ger några svettiga fans i de främre leden tidiga julklappar i form av crashcymbaler. KATAKLYSM kan rakryggade gå av scenen och belåtet varva ner med ett gäng kalla från det utmärka lokala bryggeriet Augustiner.
Geografiskt och kulturellt är Tyskland och Sverige inte så värst olika, även om nyansskillnader så gott som alltid finns. En sådan kan skönjas i sammansättningen av besökare på hårdrockskonserter, och ikväll är den extra tydlig. Jag ser besökare i de flesta åldrar och, även om männen fortfarande dominerar till antalet, är oväntat många av kvinnligt kön. En som emellertid skulle kunna tas för att tillhöra en mer androgyn människovariant är ingen annan än MORBID ANGELs publikdomptör David Vincent, som annars tillsammans med kaosgnisslaren Trey Azagthoth är så säker i sin roll att det nästan stör. Vincent – under andra former hade jag tagit honom för en högskoleutbildad konferencier, eller något åt det hållet – påminner inte bara via sin karaktäristiska lack- och läderutstyrsel och sitt stylade, korpsvartfärgade hår, utan också sitt kroppsspråk, mycket om en sleazerockare där han trippar runt på scenen och åmar sig med att ”rocka loss.” Efter så många år i branschen borde människan inte bara ha lärt sig att bemästra vilda fans utan också att headbanga som folk, kan det tyckas. Fast har man å andra sidan lagt ner omsorg på att fixa frillan kanske man inte vill förstöra den i första taget. Vad vet jag.
Dödsstilen hålls dock av den till det yttre klart hårdare Destructhor – eller Thor Anders Myhren som före detta ZYKLON-gitarristen kallas i myndighetssammanhang – och pålitlige trotjänaren Pete Sandoval på trummor. Bägge gör precis vad de ska, och spelmässigt manglar ett av extremfackets allra mest respekterade band ond brutal metal i 75 minuter utan att vika en tum. Låtlistan innefattar bland annat minst halva milstolpen ”Altars of Madness” och min – fast långt ifrån bara min, verkar det som – favorit ”Where the Slime Live.” Ganska förutsägbart med andra ord, utan att det på något sätt skulle vara negativt. Tack och lov sviker ej heller ljudet, och den här typen av musik får för en gångs skull komma till sin fulla rätt i ett livesammanhang. Programenlig är också musikhistoriens tyngsta ögonblick, ”God of Emptiness,” som rivs av strax innan lysrören i taket tänds och portarna till utgången slås upp. På vägen ut ekar frasen ”bow to me faithfully, bow to me splendidly” i huvudet, och jag bugar mig i vördnad för både MORBID ANGEL och KATAKLYSM.


Unholy Alliance: Chapter III:
Slayer 9p
Trivium 6p
Amon Amarth 7p
Mastodon 5p

Zenith, München, 18 november 2008

”’Exotisch’ säger dom, det betyder ’bra’ på tyska.” Campingägarens utsago rörande utlänningars påstådda fascination för Vägverkets älgskyltar i familjekomedin ”Sunes sommar” kan med fördel appliceras på AMON AMARTH. Det är egentligen inte konstigt varför ett magasin som brittiska Terrorizer skriver spaltmeter om ett band som besitter ett framgångskoncept som dessutom skulle kunna dra till sig extra många icke-skandinaviska öron och ögon: kvalitet genom mångårig drill, kryddad med den exotism det fornnordiska temat medför. Sålunda är vikingarna från Tumba minst lika populära i Tyskland som på hemmaplan, vilket accentueras av att man även här fått byta plats med MASTODON i spelordningen. Säkre Johan ”Hagbard” Hegg skördar bifall från en annars tisdagsseg skara åskådare, där en hel del torshammare och allehanda asa-attiraljer skönjs. Ljudet i rymliga plåtladan Zenith – i paritet med Arenan i Stockholm – är dessvärre inte lika vänligt inställt, och flertaliga stycken från senaste ”Twilight of the Thunder God” dränks helt i brummet.
Årets Unholy Alliance-turné, den tredje allt som allt, kan på papperet mycket väl vara den starkaste hittills. Därför är det inte utan att man blir lite besviken på en sådan etablerad begivenhet som MASTODON, som alltså öppnar. Förutsättningarna talar starkt emot Atlanta-männen. Decimerade, utan hospitaliserade gitarristen Bill Kelliher, och med en ynka halvtimme till förfogande, med start redan 18.15, går man en tuff uppgift till mötes: att ruska liv i de relativt fåtaliga besökare som hunnit ta sig hit efter jobb, skola, eller vad det nu kan vara. MASTODONs försök ger skral utdelning, men är inte desto mindre så tappert som man kan förvänta sig av detta klassband.
TRIVIUM lyckas snäppet bättre tack vare tilltagande publiktillströmning och, framför allt, en av aftonens starkast lysande enskilda stjärnor i Matt Heafy, som med sina fjuniga mustascher på håll liknar Kirk Hammett. Dock utan att kunna matcha den mäktiga AMON AMARTH-maskinen i fråga om respons. Det är obegripligt att åskådarna står så oberörda som de ändå gör av ledargestaltens ivriga påhejande. Gruppens många klyschor och vid det här laget tämligen välkända hitlåtar ger viss effekt, medan de storvulna kompositionerna från aktuella ”Shogun” möter ljummet mottagande.
Liksom de två föregående akterna har också de unga floridaborna ljudet emot sig. Den tjocka grötbröten framställer trist nog TRIVUM, AMON AMARTH och MASTODON som just förband, snarare än essentiella beståndsdelar i ett fläskigt, hårt och väl sammansatt metalpaket.
Inte otippat låter SLAYERs karaktäristiska, råa mellanregistersound årtionden av teknisk utveckling bättre. Överraskar desto mer gör den nu 27-åriga kvartettens form. Så här taggad har jag inte sett bandet på flera år. Och ett 85 minuter långt pärlband av de vassaste thrash metal-bitarna som skrivits kan rimligtvis inte slå fel! Dessa – av vilka jag nedan bara måste nämna en handfull – exekveras med precision framför en gigantisk ljusvägg, där videosnuttar och logotyper från karriären spelas upp. Under ”Jihad” (föreställningens svagaste nummer, om man nu ska utse ett sådant) fladdrar provocerande bilder på Usama bin Laden och ”Busken” förbi. Väldigt klatschigt, även fast den praktfulla fonden skyms till minst en tredjedel av den feta Marshall-muren man alltid envisas med att släpa med sig.
Fastän det ikväll inte betyder ett skvatt börjar åren ta ut sin rätt på L.A.-bandet. Särskilt Tom Araya – som nyligen hintat om ett slut på SLAYER-sagan inom en överskådlig framtid – ser ut att ha åldrats för var gång jag går och kollar in världens ondaste tvåtaktsmanglare. Nu kikar en mer än begynnande morfarsmage fram under hans helsvarta t-shirt. Araya är heller inte alls lika aktiv i sin frontmansroll som Heafy, även om hans röst märkligt nog fortfarande håller god vigör. Faktum är att han knappt yttrar ett enda ord mellan låtarna. Kvällens SLAYER-hjälte heter istället Dave Lombardo. Ingen skugga över Paul Bostaph, men Lombardos återkomst i bandet har uppenbarligen inneburit en rejäl vitamininjektion. Jag ser dock inte mycket av honom – bara en försynt keps skymtar bakom ett upphöjt trumset inkilat mellan staplarna av högtalarlådor. Men jag hör desto mer. Inget snack om att snubben kan bemästra sina skinn. Allt – allt! – sitter som en smäck, och hans passionerade smiskande är centralt för SLAYERs kolossala insats i afton.
Ungefär i setets mitt, lagom till ”South of Heaven”, händer något – de stela bayrarna vaknar! Hela konserten tar en ny vändning och stämningen är med ens på topp, även om det är så dags nu. När glöden hos de fyra på scen väl smittat av sig på det tröga tusentalet nedanför den är det inte längre bara imponerande att se SLAYER som fött på nytt riva av färska ”Psychopathy Red” och personliga höjdpunkterna ”Dittohead”, ”War Ensemble” och ”Seasons in the Abyss” – det är till på köpet riktigt jävla kul!
Den revitaliserade thrashmastodonten defilerar till slut hem kvällen med lejonparten av ”Reign in Blood”-skivan (alltså ej hela som var fallet i Stockholm) – från ett av de bästa musikstyckena någonsin, ”Angel of Death”, via bland annat ”Altar of Sacrifice” och ”Jesus Saves”, snabbspolar man förbi ett par spår och rundar av med det lika klassiska som utsökta medleyt på ”Postmortem” och ett, ähum, annat av de bästa styckena någonsin, ”Raining Blood.” Mer än så behöver väl inte sägas?