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Late QUEEN Frontman FREDDIE MERCURY Awarded English Heritage Blue Plaque

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English Heritage celebrated the life and career of Freddie Mercury today (September 1) with a blue plaque at the singer and songwriter’s first home in England, a modest, inter-war terrace house in Feltham, West London. Freddie‘s parents bought the house in 1964 after the family left Zanzibar for the U.K. and Freddie was still living there when he first met his future QUEEN bandmates, Brian May and Roger Taylor. Other musicians to be honored with English Heritage Blue Plaques include Freddie‘s idol, Jimi Hendrix, John Lennon and Wolfgang Amadeus Mozart.

Freddie Mercury‘s sister, Kashmira Cooke, unveiled the English Heritage Blue Plaque and said: “Mum and I are so proud and pleased that English Heritage is honoring our Freddie with a Blue Plaque, and that he will be amongst other famous names for ever. Secretly he would have been very proud and pleased too.”

Freddie‘s parents, Jer and Bomi Bulsara, chose Feltham as Jer already had a sister living in the area and the family moved into number 22 Gladstone Avenue in autumn 1964. Seventeen-year-old Freddie took an A-level in art at Isleworth Polytechnic followed by a Diploma in Graphic Art and Design at Ealing College of Art, supporting himself with a variety of jobs, including washing dishes in the kitchens at nearby Heathrow Airport. It was while studying at Ealing that Freddie met future QUEEN guitarist Brian May and drummer Roger Taylor.

Kashmira recalls how while living on Gladstone Avenue, her brother was always sketching for his college art work — sometimes calling on her to model for him — or tapping his fingers and humming as if thinking of his next song. A natural musician, Gladstone Avenue was where Freddie really began to explore his musical talent, listening to the likes of CREAM and his hero, Jimi Hendrix, in his bedroom at the back of the house; there is a 1968 photograph of Freddie in his bedroom posing in the manner of Hendrix with a borrowed Fender Stratocaster. Kashmira also remembers how he loved watching Tom & Jerry cartoons and collecting cuttings of Andy Capp comic strips from the daily newspaper and how he spent hours grooming his hair — much to her annoyance as the house had only one bathroom.

Dr. Brian May said: “It is a pleasant duty to help install this little reminder on Freddie‘s parents’ house in Feltham. It was here that I first visited Freddie soon after we had met through a mutual friend. We spent most of the day appreciating and analyzing in intimate detail the way that Jimi Hendrix had put his recordings together in the studio — listening to Hendrix on vinyl played on Freddie‘s Dansette record player — which had stereo speakers on opposite sides of the box! Feltham was the childhood neighborhood for both of us but we never knew it until we met in the cause of music.”

Sir Peter Bazalgette, English Heritage Blue Plaques Panel Member, said: “Before Freddie became Freddie Mercury, this small house was where he lived and took the first steps towards stardom. English Heritage‘s blue plaques celebrate the great men and women whose achievements endure and Freddie Mercury — singer, songwriter and producer — was certainly one of our greatest musical talents. He was truly a champion.”

Attending the unveiling, the Rt Hon Karen Bradley MP, Secretary of State for Culture, said: “Freddie Mercury is a global icon whose music touched the lives of millions of people around the world. I am delighted that one of Britain’s most influential musicians will be recognized through the Blue Plaque Scheme — a small but important reminder to people of the impact he had both in London and well beyond.”

Freddie Mercury‘s charisma, unfailing talent and commanding stage presence established him as one of our all-time greatest musicians; when Mercury performed audiences were captivated. English Heritage is delighted to commemorate his life and legacy with a blue plaque in a year that would not only have seen his 70th birthday but one that also sadly marks the 25th anniversary of his death, on November 24, 1991.

This year marks the 150th anniversary of the English Heritage London Blue Plaques scheme. It is generously supported by David Pearl, the Blue Plaques Club, and members of the public.

Freddie Mercury’s blue plaque unveiled

Listen to Brian May’s memories of Freddie Mercury – and see his Queen bandmate’s blue plaque (http://eht.to/.n) unveiled!

Posted by English Heritage on Thursday, September 1, 2016


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Late QUEEN Frontman FREDDIE MERCURY Awarded English Heritage Blue Plaque
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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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