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LAMB OF GOD's RANDY BLYTHE Says He Was 'Almost Killed' In Road Accident Over The Weekend

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Randy Blythe says that he was “almost killed” over the weekend by an allegedly distracted truck driver who “plowed into” the trailer of the chase vehicle the LAMB OF GOD frontman and his friends were traveling in.

According to Blythe, the accident took place on Saturday, July 9 when he and his companions had parked on the side of a two-lane country road in Oklahoma.

In a series of Instagram posts, Randy addressed the driver of the truck directly when recalling details of the incident. He wrote: “I watched as you plowed into our chase vehicle’s trailer — I saw your truck hit it and fly into the air. Like a slow-motion horror movie scene, you sprouted deadly wings and flew high into the air towards us before crashing onto the road a few feet away. You had hit another truck before you even crashed into our trailer.

“We were in the middle of nowhere, on wide-open road, with a clear view for miles. How did you not see us? How fast were you going to run into two vehicles and still fly into the air like that?

“We were stopped and completely off the road, the other truck behind us that you hit was going maybe 3 mph, maximum. We were all aware of each other — somehow, you were not.”

You can read the rest of Blythe‘s posts below.

LAMB OF GOD is continuing to play shows in support of its latest album, “VII: Sturm Und Drang”, which was released in July 2015 via Epic in the U.S. and Nuclear Blast Entertainment in all territories outside of North America. The CD was once again produced and mixed by Josh Wilbur with engineering by Wilbur, Nick Rowe and Kyle McAulay, and was recorded at NRG Recording Studios in North Hollywood, California and Suburban Soul Studios in Torrance, California.

LAMB OF GOD‘s third album, “Ashes Of The Wake”, which came out in 2004 via Epic, was officially certified gold in February by the RIAA (Recording Industry Association of America) for sales in excess of a 500,000 copies.

Photo #1 in a series. We are all ok- BUT if you are driving & looking at this: PUT DOWN THE GODDAMNED PHONE AND DRIVE, ASSHOLE. 7.9.2016 "PAY ATTENTION #1" Oklahoma. Listen to me, little girl: this is what you almost died in yesterday. This is what you almost killed me, my 2 friends, our dog, & another driver with. This is what you almost killed your 3 friends with. This is what you almost killed YOURSELF with. I sat parked on the side of the two-lane country road & I watched as you plowed into our chase vehicle's trailer- I saw your truck hit it & fly into the air. Like a slow-motion horror movie scene, you sprouted deadly wings & flew high into the air towards us before crashing onto the road a few feet away. You had hit another truck before you even crashed into our trailer. We were in the middle of nowhere, on wide-open road, with a clear view for miles. How did you not see us? How fast were you going to run into 2 vehicles & still fly into the air like that? We were stopped, & completely off the road, the other truck behind us that you hit was going maybe 3 mph, maximum. We were all aware of each other- somehow, you were not. #leica #leicacamerausa #youmeanda63 #bloody66 #putdownthefuckingphoneanddriveyouasssholes

A photo posted by D. Randall Blythe (@drandallblythe) on Jul 10, 2016 at 5:31pm PDT

7.9.2016 "PAY ATTENTION #2" Oklahoma. After you landed on your side, Rob & Kim & myself jumped out of our vehicles & ran the 15 feet towards your truck- it was smoking & we heard you all screaming inside. As we ran to the truck a person climbed out of the passenger side window, then another, then another, then another & you all flopped onto the road, filthy & covered in blood. It was a real-life horror movie- I prayed as I moved towards you: "Please God don't let anyone be dead!" You, the driver, kept yelling "My brakes went out, my brakes went out"- this is bullshit. The skid marks tell us a different story, but even if they had, you must have been going 80 mph according to the other driver you rear ended before you even hit Kim's trailer. Why? You were so quick to deny blame, screeching your head off before the rest of your friends were even out of your mangled truck- you are a child; a child driving a huge, deadly weapon. By the way, that's you going into shock on our trailer while the EMTs work on you & your other friend- I watched it happen. If Kim hadn't been behind me & Rob with that trailer, we would have joined you. Or worse. #leica #leicacamerausa #youmeanda63 #bloody66 #putdownthefuckingphoneanddrive

A photo posted by D. Randall Blythe (@drandallblythe) on Jul 10, 2016 at 5:34pm PDT

7.9.2016 "PAY ATTENTION #3" Oklahoma. You stumbled around the road, moaning about your brakes as your friend in the white shirt with blood all over it wandered around in shock before he collapsed onto the highway- he was yelling to get him off the road, but I didn't want to touch him, scared that his neck might be broken. I ran out to make sure another car didn't run him over. We were afraid the truck would explode- gas was everywhere, & the vehicle was smoking, but still we moved among you, asking how many were in the truck, trying to get y'all off the road- we wouldn't watch a person die if we could prevent it- one of you told us it was just the four of you. Your other friend stumbled up to me, holding his hand & pleading for a bandage- there was a huge gash in it, blood was everywhere, I could see the white bone glistening beneath. I took my shirt off my back & gave it to him to stop the bleeding. We made y'all sit on our trailer you hit & we got water from our van for you. We called 911. The paramedics came quick. You can't imagine what you looked like climbing out of the smoking wreckage of your truck. #leica #leicacamerausa #youmeanda63 #bloody66 #putdownthefuckingphoneanddrive

A photo posted by D. Randall Blythe (@drandallblythe) on Jul 10, 2016 at 5:35pm PDT

7.9.2016 "PAY ATTENTION #4" Oklahoma. While the paramedics put first you, then your friend, then your other friend in neck braces & got you into the ambulances, I talked to the cops & the other driver you hit- you were going fast. Way too fast. I looked at the clear-as-day skid marks where you slammed on the brakes right before you hit our trailer. I looked at your crumpled truck- it was already covered in mud- you must have just gone four wheeling, but you had merely wiped a small hole in the back windshield to see out of- this doesn't cut it, little girl. All of your belongings were scattered on the side of the road, & the lady who had to clean it up found some disgusting things- even the cops were grossed out, & they've seen it all. You obviously don't take care of your vehicle, & you obviously don't pay attention to things. You are 24 years old- this is not a game. You are old enough to know better, & your lack of attention almost killed us all on a sunny afternoon in the Oklahoma countryside. #leica #leicacamerausa #youmeanda63 #bloody66 #putdownthefuckingphoneanddrive

A photo posted by D. Randall Blythe (@drandallblythe) on Jul 10, 2016 at 5:36pm PDT

7.9.2016 "PAY ATTENTION #5" Oklahoma. Soon the ambulances left, a tow truck pulled what was left of your vehicle away, the road was cleaned up. The other driver got his truck tire changed out & left, & we were left alone on the side of the road with a busted trailer hitch. Kim went & got a new one while me & Rob watched the trailer. All of us are ok- we didn't suffer a scratch, unlike you & your friends- y'all left bloody & on a stretcher. While we waited for Kim to get back, I kept thinking "Thank God they are still alive. Thank God we are still alive." I don't know why you hit us, but it sure as hell wasn't just your brakes going out. You were hauling ass. Little girl, were you drunk? Were you high? Were you looking at your cell phone? Were you just not paying attention? Let me tell you something, oh-little-girl-who-almost-killed-us, & pay good fucking attention to me now, because you OWE US that much- I have done ALL of those things. I was just like you once, careless & irresponsible, & I am so lucky I never wrecked- UNBELIEVABLY LUCKY. My luck ran strong, but I changed my ways before it RAN OUT. You were lucky today, too- you are alive, & so are we. You almost died yesterday, & you almost killed us, too. So pay attention to what I am trying to tell you- PAY ATTENTION TO ME, LITTLE GIRL. Do you understand what I am trying to say to you? You got a second chance, just like I did- I suggest you take it. #leica #leicacamerausa #youmeanda63 #bloody66 #putdownthefuckingphoneanddrive

A photo posted by D. Randall Blythe (@drandallblythe) on Jul 10, 2016 at 5:38pm PDT

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Source: Balbbermouth
LAMB OF GOD's RANDY BLYTHE Says He Was 'Almost Killed' In Road Accident Over The Weekend

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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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