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GOJIRA Frontman Hopes METALLICA Fans 'Will Take Away Something Cool And Original And Refreshing' From Seeing His Band

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Guitarist/vocalist Joseph Duplantier of French progressive metallers GOJIRA was interviewed on the June 9-11 edition of Full Metal Jackie‘s nationally syndicated radio show. You can now listen to the chat using the Podbean widget below. A couple of excerpts follow.

Full Metal Jackie: You built Silver Cord studio [in Brooklyn, New York] and recorded [the new GOJIRA album] “Magma” there. And now it’s available for other bands to use, yes?

Joseph: “That’s correct, yes. It’s a great place. It’s a place that we built around that album, the ‘Magma’ album. We knew the kind of vibe we wanted, the kind of room for drums, ’cause, like all musicians in metal know, that’s the key, really, to a good album is to have the proper room to record drums. So we kind of built the whole studio around that, so it’s definitely a rock/metal studio. But it has, like, this ’70s vibe and stuff. I knew from the start if I was gonna do this, I would have to have to work with other bands sometimes and try to find clients for the studio to be able to pay the rent and stuff. So I’m doing it. It’s a bit of a pain. It’s difficult, because between tours, I have to take care of the studio a lot, but I’m getting to a point where it’s really, really cool now and we have a lounge area and we have two different control rooms, a live room. I have a few people helping me, and it’s really cool.”

Full Metal Jackie: “Magma” opened the door for GOJIRA to incorporate different musical ideas and try different techniques. Why was this album the time for you to change the definition of what your band does?

Joseph: “It’s something that’s a bit hard to define or to explain. It’s like when you need to go to the bathroom. It’s just time. It’s just time. You’re just going. [Laughs] We never sat down around a table and decided, ‘Okay, it’s time to do new stuff or to change or to calm down on the music.’ It was just like a completely natural, organic thing. And we still argue a lot in the band; we bring up ideas and sometimes the rest of the band doesn’t like them. So there’s always this common ground that we have to find between all of us, and ‘Magma’ is the common ground between the four of us at that particular time. So that’s what it is — it’s like being spontaneous and being natural and trying to find the common ground in the band. And we’re lucky enough to have that same desire — to be more mellow, I guess, and more melodic too, and more emotional. We’ve always been very emotional, you know, but this time more than ever.”

Full Metal Jackie: Joe, you took chances with “Magma”, which paid off, of course; the album was very well received. How has that reaction made playing so much of it on tour even more rewarding?

Joseph: “It’s so incredible what’s happening right now. The two last tours we did, the two last headline tours — the one in the States we did in October, I guess, and the one we just did in Europe — were both incredible. We played venues that we played before opening for bigger bands, and all of a sudden we were headlining these venues and more people are into the band. And that’s probably thanks to a few of the songs on ‘Magma’, like ‘Stranded’ and ‘Silvera’ and ‘Low Lands’, even ‘The Shooting Star’. They’re kind of challenging, but way easier to understand than the intense death metal we were playing before that, and I’m really glad it worked out. At first, a part of me was a bit concerned, like, ‘Our fans are gonna be so disappointed, because they want that crazy, technical energy, in-your-face kind of thing.’ But at the same time, I was, like, ‘If they’re disappointed, it doesn’t matter. The only thing we have to do is stay true to ourselves.’ So we were a little tense when it came out, and few comments were, like, ‘Ugh, oh my God.’ But then, now something is really taking shape — we’re feeling more and more comfortable with the new songs, and I’m not scared to sing anymore onstage, I go for it. And it’s great. It’s really great. It’s a journey.”

Full Metal Jackie: GOJIRA lyrics have always reflected spirituality, which isn’t the typical message of most metal bands. What makes metal a good vehicle for transcendent ideas?

Joseph: “Hmm, I don’t know. For me, it just makes sense. There’s something super free about metal. You know, the whole gore, satanic imagery that you see in metal a lot of times is, in a way, like science fiction. There is science-fiction aspects to metal. The music is really like ‘Back To The Future’. Metalheads like to try things that are a bit alien to more traditional genres, and I think, for me, it means also imagination, spirituality, trying to invent worlds through music, and I like all of that. I like the freedom that I feel when I listen to metal. You can say anything you want, you can swear, you can talk about the most horrible thing. There’s no limits when you listen to metal, and to me that is what it does — it makes me wanna talk about whatever I want to talk [about], and spirituality is… I guess you could do that with any kind of vehicle, you know? It could be through cinema, it could be through different genres of music, but for me it’s metal. And there’s no rules, really. I love metal, I love talking about spiritual stuff, so, for us, it’s how it is.”

Full Metal Jackie: GOJIRA is going to be touring with METALLICA this summer and that tour is going to introduce GOJIRA to lots of people who don’t know the band. What’s the biggest thing you hope people take away from seeing you for the first time?

Joseph: “I hope they will see an original band. I hope they will see something they’ve never seen before; it could be subtle. And the energy and our sound, I hope they will take away something cool and original and refreshing, ’cause I know METALLICA draws a huge crowd. They have the old-school metalheads, they have the new fans, and then there’s almost like random people that don’t know anything about metal but they know METALLICA, they know a few hit songs. And I hope that these people will be, like, ‘Oh, wow! What is this?’ Maybe they never went to a death metal show and they’re just here for the big hits. I hope these people will experience something original. We’re not able to bring the full production and all that, so we’re a bit limited, so it really comes down to the songs. So we’re just gonna try to play really well.”

To see a full list of stations carrying Full Metal Jackie‘s program and when it airs, go to FullMetalJackieRadio.com.

Full Metal Jackie also hosts “Whiplash”, which airs every Sunday night from 9:00 p.m. to 11:00 p.m. on the Los Angeles radio station 95.5 KLOS. The show can be heard on the KLOS web site at 955klos.com or you can listen in on the KLOS channel on iHeartRadio.


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Source: Blabbermouth NEW
GOJIRA Frontman Hopes METALLICA Fans ‘Will Take Away Something Cool And Original And Refreshing’ From Seeing His Band
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CD Reviews

Ministry – HOPIUMFORTHEMASSES

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As we near the collapse of mankind and the imminent doom of our political system, a perfect stage has been set for the outspoken rebels to flood the airwaves with dissident upheaval bathed in musical bliss. With the end looming, no greater landscape could welcome the reemergence of the enigmatic Al Jourgensen and company with their latest release, HOPIUMFORTHEMASSES, via Nuclear Blast Records. Scheduled for a March 1st 2024 release, Uncle Al, along with guitarist Cesar Soto, Paul D’Amour, formerly of TOOL, on bass, John Bechdel on keys, Roy Mayorga (ex-STONE SOUR) on drums, and newly added guitarist Monte Pittman, form the current incarnation of the long-lived Ministry.

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This album is an open-book commentary on our American society at large, bathed in slow-burn angst and distortion injected with punk rock/thrash riffs and samples galore.

Within the opening seconds of track one, a female voice proclaims, “What was once forbidden becomes fringe, and what was once fringe becomes mainstream.” Soon Al’s vocals take over with a distorted and effect heavy declaration of “horny little boys filled with hormones and hate, waging war on women ‘’cause they can’t get a date,” thus laying the groundwork for the entire album. As “B.D.E.” (Big Dick Energy) continues, a heavy yet simplistic guitar riff drives the song forward while increasing the energy level and tempo. Al’s vocals continue with his immediate, recognizable attitude and tone, stating, “No one can justify the toxic behavior.”

“Goddamn White Trash” is perhaps the most accessible and rythematic song on the release. It has hints of the Psalm 69 days of the band. Chants of “USA, USA” ring out along side screeching guitar noise reminiscent of Mike Scaccia’s playing style.

Track three is titled “Just Stop Oil,” and it dives into yet another realm of political advocacy. Jourgensen delivers, “Dehumanization at a cellular level. Policy set by the corporate devils, There must be resistance, we cannot be silenced, There is the existence of possible violence” in a growled whisper.

On the track “Aryan Embarrassment,”  we are treated to a none-more-fitting guest appearance from what I believe is activist and Dead Kennedys front man Jello Biafra, who delivers a rap-style series of vocal lines backed by a driving rhythm. Jello wails, “How on Earth did all this happen? Plagues of militantly stupid” Followed by “Scamming on the punk scene.  Oi, oi, oi. Ain’t proud of you boys at all.”

Another standout track is “New Religion” which starts with a classic industrial riff and buries itself in the repetitive, slow-burn heaviness that has become the Ministry standard as of late. Followed by “It’s Not Pretty,” which opens as a haunting acoustic piece that I imagine being set in a post apocalyptic landscape with the reverberating lyrics “It’s not pretty. This is the end of the world to me. This is the end of society.”

“Cult of Suffering” strays from the format of the balance of the album and could be firmly placed on an Alabama 3 album, and it may feel at home on a Surgical Meth Machine release.

Rounding out the album is a little ditty called “Ricky’s Hand.” This is a synth pop throwback to the early days of Ministry and leaves us longtime fans eager to hear the longtime teased rerecording of some of the very early Ministry material. This track has a Devo, Information Society, and even Depeche Mode feel to it and is a perfect bookend to a solid release from an iconic band.

Ministry will be on tour throughout the summer with Rob Zombie, Alice Cooper and Helmet.

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Concert Reviews

Bloodywood: Concert Review Pittsburgh, PA

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In a realm of modern music overflowing with musical genres, there are few bands that possess a unique sonic force that defies categorization while leaving listeners spellbound and yearning for more. One such band is Bloodywood. They are a musical force that blends cultural heritage with a relentless fusion of metal, hip-hop, and traditional Indian rhythms.

As a band, they are carving a distinctive path and leaving an indelible mark on the modern musical landscape. Their raw energy, cultural fusion, and a fearless spirit of rebellion is a testament to the transformative power of music, transcending boundaries and uniting people from all corners of the globe. With their infectious energy and thought-provoking lyrics, the band has built an ardent following, igniting a revolution that stretches far beyond the realm of music or the shores of any country.

Born in the vibrant streets of New Delhi, India, in 2016, Bloodywood showcases their unwavering commitment to pushing boundaries, both musically and socially, as they fearlessly tackle pressing issues and ignite conversations.

The sonic odyssey of Bloodywood graced the stage of the Roxian Theater in McKees Rocks, Pennsylvania, which is nestled in the shadow of Pittsburgh only a short distance down the Ohio River from the infamous Steel City.

The show opened with a blast of energy from the British duo WARGASM, whose stage presence was undeniable. Sam Matlock, Milkie Way, and company tore through an unadulterated set of nu-metal tracks tinged with punk and electronica that included “Super Fiend”, “D.R.I.L.D.O”, and “Rage All Over”. They followed up with the video sensation “Fukstar” and wound down the set with some crowd surfing and a cover of N*E*R*D’s “Lapdance” and closed out the set with the track “Spit”.

After a brief break in the mayhem, Vended made the stage rumble to life. Their agro-metal induced a great deal of similarity to early Slipknot, and that is not surprising given that frontman Griffen Taylor is the son of Slipknot’s Corey Taylor and Simon Crahan is the son of percussionist Shawn ‘Clown’ Crahan. The band sounded tight and featured competent song composition; however, the vocalist needed to learn how to work the stage. It was as if his shoes were nailed to the floor at center stage.

As stage lighting flickered to life, the crowd prepared to be immersed in a symphony of cultural fusion, electrifying riffs, and unapologetic lyrics. We all knew that we were about to experience something quite special. As the sonic saga began, drummer Vishesh Singh sat behind his kit, awash in blue and purple lights, as the anticipation grew more intense. The intro track for “Gaddaar” echoed throughout the theater before the bombastic bass, gnarly guitar riffs, and the thump of the drums shook the walls as the entire band burst onto the stage to metaphorically say, “Ladies and gentlemen, welcome to an electrifying evening filled with raw energy enshrined in a mesmerizing tapestry of sound that defies conventions.”

The crowd began losing themselves in the pounding intensity, their bodies moving in sync with each thunderous beat as Sarthak Pahwa wailed away on his dhol. The band seamlessly migrates from the thunderous “”Gaddaar” to “BSDK.exe” from their most recent release Rakshak that couples a more hip-hop vibe on the verses with a crushing guitar rhythm from Karan Katiyar throughout the rest of the track.

Adorned in their fusion of metal attire and traditional Indian clothing, twin vocalists Jayant Bhadula (vocals and growls) and Raoul Kerr (rap vocals) commanded a powerful presence as they ran through “Aaj” with its hypnotic flute licks and downright brutal lead vocals. The five minute long song pushed the audience into heightened frenzy before slapping them across the chin with “Dana Dan”. Which had Raoul Kerr rapping/screaming “I put a fist through the face of a rapist and yeah, I taped this. For the viewing pleasure of the nameless faces he disgraces.”

Up next was the more mellow and chill track “Jee Veerey” that featured more of Karan Katiyar’s enigmatic flute playing along with a more melodic yet still intense vocal delivery from Jayant Bhadula as he sang in his native tongue.

The track “Zanjeero Se” was followed by “Machi Bhasad (Expect a Riot)” which truly showcased the rhythmic prowess of drummer Vishesh Singh and dhol master Sarthak Pahwa. It was so enthralling to watch Sarthak perform on such a simplistic instrument and to make it so vibrant and energetic. His playing transports Bloodywood’s music to a completely different level.

As the set reached its crescendo, it was obvious that the sweat-drenched band had poured their hearts and souls into every note. Wrapping up their set was the sing-along inducing “Ari Ari” that left the crowd breathless and drenched in the passion that radiated from the stage.

But… There is more. As an encore, the band jumps back in to the opening track “Gaddaar” thus cranking up the mosh-pit’s intensity to eleven, causing every person down front to expel every ounce of remaining energy from their bodies.

It was incredibly refreshing to see a band that, in some magical way is able to unite people regardless of age, background, or nationality. To see people connected by their love of the music and a band. The shared experience created an atmosphere of camaraderie and acceptance, where strangers become friends, and barriers dissolve in the face of the music.

Unfortunately, this was the last stop on Bloodywood’s North American tour, save some festival dates. Hopefully, they will be returning to the states soon. If you have the opportunity to see them live, do not sleep on it. I promise you will not be disappointed.

In the meantime you can get more info at: www.bloodywood.net/

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CD Reviews

Cattle Decapitation Terrasite Album Review

JJ Ulizio

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Terrasite by Cattle Decapitation

Today, 05/12/2023, saw the release of the 8th studio album from San Diego’s own Cattle Decapitation. The follow up to 2019s Death Atlas, Terrasite shows how a band can grow and evolve while staying true to their roots. Starting as a grind band in the late 90s and with relentless touring and continual releases this album shows them further building upon elements of their previous albums.

The album has great production. The copy I used primarily for my review is the vinyl version which is 45 RPM and it sounds great. In particular, I think the drum production is particularly well executed. A lot of times with death metal the kick drum is either too “bassy” so it’s difficult to hear or it’s the other way and you can hear all the hits without the bass tone. This album is a great balance of the two. You can hear clearly how fast drummer, Dave McGraw, is going without losing the “thump”. The blast beats alone will rattle the brain. The guitars are grimy and dirty with some blistering leads. The bass rattles while still having a solid low end. You can really hear it in songs like “Solastalgia” which has a small bass lead in it which I didn’t see coming and was pulled off great.

The vocals, I feel compelled to say that Travis Ryan has to be one of the most underrated and versatile vocalists in metal. Highs that make the ears bleed, lows that are gurgling, wet and gross sounding. Harsh singing reminiscent of 80s thrash bands, and clean singing that are almost, but not quite, reminiscent of the late Peter Steele from Type O Negative.

Lyrically they stay on brand ranging from the end of humanity, apocalyptic themes, and mistreating humans the same way humans mistreat animals. Very dark and grotesque subject matter. When asked about the lyrics to this album Ryan states “I wanted to do the 180° opposite of Death Atlas – I wanted this to take place in the daylight. I’ve always found daytime horror to be really unsettling so I wanted to make sure what was going on on the cover took place in the light of day, which also finds its place within the lyrics.”

Tracks like “A Photic Doom” showcase traditional style death metal guitar riffing, with elements of tech death and slam. “Dead End Residents” leans into some of the darker ends of thrash metal and is reminiscent of bands like Slayer. “Scourge of the Offspring” shows an impressive command of melody without sacrificing the grime that covers the album while almost coming off as anthemic.

The album closes with the ten minute epic “Just Another Body” which begins with a piano melody that would be at home in a late 70s era horror movie while building into something that’s not quite death, not quite thrash, and not quite grind. Ryan uses the full range of his voice while there are symphonics layered in the background to keep the melody from being lost while still playing with grind based riffs and blast beats.

Overall if you’re looking for a strong contender for death metal album of the year I will highly recommend this. As of this writing I haven’t been able to stop listening to it for three days now. The album currently available on all the usual streaming platforms and physical copies can be purchased here. (www.indiemerch.com/cattledecap)

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