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JUDAS PRIEST Bassist Pays Tribute To 'Brilliant' 'Painkiller' Producer CHRIS TSANGARIDES: 'It's A Great Loss To Metal'

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JUDAS PRIEST bassist Ian Hill was recently interviewed by Metal Shock Finland. The full conversation can be heard at this location. A few excerpts follow (as transcribed by BLABBERMOUTH.NET and Metal Shock Finland):

On the recent passing of Chris Tsangarides, who produced the band’s albums “Painkiller” and “Jugulator”:

Ian: “The first time we worked with Chris, he was [an] engineer at Morgan Studios in London. He worked on our second album in 1975 — ‘Sad Wings [Of Destiny]’. Of course, he was a fresh-faced young lad back then. He was full of life, and he was a funny man as well. He’d put on some accent and just sit down in the middle of the studio and say ‘produce, produce’ and stuff like that. Brilliant bloke, brilliant bloke. Obviously, he worked up in his own field and he ended up being a producer. He worked on ‘Painkiller’ with us, which was a big move for us because we’d been using Tom Allom up until then. At that point, I think we’d sort of reached the end of the road with Tom, so we thought we’d use someone else. Chris had been doing a lot of new metal, so we thought we’d give him a go and see how he’d fit in after all these years. There’s quite a gap there, some fifteen years or so, and he was just the same — a bit older, a bit bigger, but he was just the same. He did a tremendous job. ‘Painkiller’ is one of our landmark albums. And then after that, when we took on Ripper [Owens], he did ‘Jugulator’ as well, and [we] had a great time there down at Silvermere Studios.

“It’s a sad loss. He was so full of life. We hadn’t seen him for a long, long time — in this business, you’re in different places at different times — but it is sad, and it is a great loss to metal in particular and music in general.”

On the group’s new album, “Firepower”:

Ian: “You say it every time — ‘This is the best album we’ve ever done’ — but it is! [Laughs] It’s something we’ve always tried to do in the band — to step forward with each album and try and make things better, so we can justify when we say ‘This is the best album we’ve done,’ because it is, as far as we’re concerned. It’s absolutely tremendous.

“We went back to using producers on this album for the first time in a couple of albums. Tom Allom, who we’ve known from all these years ago, it’s a name that crops up every time we think about using a producer again. And Andy Sneap, who’s been doing all the new metal. He’s where Chris Tsangarides was all those years ago. He’s well up with the new recording techniques. So, we decided to approach them both to see if they’d work together, and fortunately for us they did — they got on like a house [on] fire.”

On tracking the album together as a band rather than recording each member’s parts separately:

Ian: “Funnily enough, you’d have thought Tom would’ve come up with that. but it wasn’t — it was Andy. He said, ‘It would be great if you could play together.’ He wanted us to play as a band. When we started out, we were all a bit wary about doing it like that. The trouble is when you’re doing it like that, you get your part right and somebody else hasn’t done it properly, so you have to do it again, so you’re there for ages — or you used to be at one time. But these days, you can always go back and do it again yourself. And we loved it. We played as a three- or a four-piece with a backing vocal and walked into the control room to see what we’d done, and we just sounded so real and fresh and awesome. You weren’t playing to click tracks; you were playing to something that’s already there. You were pulling it down together, the little lifts and drops in tempo, and everybody’s doing it together, and it just sounded so real. We did the entire album like.”

On what fans can expect from the album:

Ian: “Something that we’ve been known for over the years is our versatility, and there’s something there for everyone. There’s very, very heavy stuff — one of the heaviest songs we’ve ever done, ‘Lone Wolf’, and there’s production pieces — there’s ‘Rising From Ruins’, there’s ‘Traitors Gate’ and then there’s the softer songs as well. It really is a complete album, and we’re all completely over the moon with it.”

On JUDAS PRIEST not being voted into the Rock And Roll Hall Of Fame:

Ian: “[I’m] not surprised. It’s one of those things — I don’t think they like metal. You take BLACK SABBATH, one of the few metal bands who are in there, and it took eight nominations to get them inaugurated. If it takes us eight nominations, we probably won’t be around at the time anyway. These things are great — when it happens, it’s very flattering that you’re being recognized by your peers, but it’s not the end of the world when it doesn’t happen.”

On the impact of guitarist Richie Faulkner, who joined the band in 2011:

Ian: “K.K. [Downing] has been an immense part of the band since day one, so when he left, it was a big hit. But the band is bigger than the sum total of its parts, and we needed to carry on. The rest of us had no intention of knocking it on the head. And along comes Richie. What a great find he’s been. He’s been an inspiration since he joined. He’s brought new life back to the band, come up with fresh ideas that we probably wouldn’t have thought of ourselves, and he’s been a real asset.”

On whether “Firepower” will be the band’s final album:

Ian: “Well, we’re not planning on this one being the last, put it like that. We were never going to stop touring; we were just going try and get away from intensive touring. None of us are spring chickens anymore. But that didn’t happen. [Laughs] If you’re going do a tour, you have to do a tour — you can’t say, ‘We’ll play here and not there.’ But we are loving it. That’s one of the reasons we do this – it’s because we love it, and there’s no looking back now. We’ll just go until one of us drops, I suppose.”

“Firepower” will be released on March 9 via Epic. The cover artwork for the disc was created by the Chilean/Italian digital artist and photographer Claudio Bergamin.

The North American leg of the “Firepower” tour will kick off on March 13 in Wilkes Barre, Pennsylvania and will wrap on May 1 in San Antonio, Texas. Support on the trek will come from SAXON and BLACK STAR RIDERS.


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Source: Blabbermouth NEW
JUDAS PRIEST Bassist Pays Tribute To ‘Brilliant’ ‘Painkiller’ Producer CHRIS TSANGARIDES: ‘It’s A Great Loss To Metal’
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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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