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LIFE OF AGONY's MINA CAPUTO Says She Is 'Right Person' To Front STONE TEMPLE PILOTS: 'I Would Blow Their Minds'

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LIFE OF AGONY singer Mina Caputo (formerly known as Keith Caputo), who came out as transgender in 2011, says that she is the “right person” to front STONE TEMPLE PILOTS following the death of the latter band’s original vocalist, Scott Weiland, and the departure of Weiland‘s replacement, LINKIN PARK‘s Chester Bennington.

Bennington joined STP in May 2013 after the famed alt-rock group fired Weiland, who helped found the band in 1985. Chester and STP released the five-song “High Rise” EP in October of that year. It included the singles “Out Of Time” and “Black Heart”.

Two months after Weiland‘s December 2015 death, and three months after Bennington ended his two-year tenure with STP, the remaining members announced they would hold auditions to fill the role of STONE TEMPLE PILOTS singer. The band has not announced who will be joining the group as their new vocalist.

Asked by Alternative Nation if she would like to be the new singer of STONE TEMPLE PILOTS, Mina said: “Absolutely. I feel like I know the DeLeo brothers and Eric Kretz. But I’m much more closer to rock ‘n’ roll than a lot of people — I was born with a LED ZEPPELIN record in my hand, y’know? And that being said, the STONE TEMPLE PILOTS — to me — have always been like the modern-day LED ZEPPELIN. And I really always felt like I understood Scott‘s melodic sensibility. I always understood his masculine/femininity. I just feel like it’s so meant to be. I feel like I’m the right person for the right equation, because not only would I do my damndest to honor the STONE TEMPLE PILOTS catalog — which is extremely Biblical to me — but more so than ever, I would love, love, love to create new music with the STONE TEMPLE PILOTS. With the DeLeo brothers. They are pretty much my top favorite of all musicians of all time. And I just feel like lyrically, melodically, the shit I’ve been through, that I would be able to deliver really.”

He continued: “I honestly don’t think they really know the true essence and limitlessness of who I am as an individual, or a vocalist, or a front person. I think the only really good way for them to judge would be to actually get me in the room with them, or doing something new with them — to show them. Because I definitely have the sensibility. I know what they’re looking for. I know what they want. I’ve watched many, many interviews with Dean and Robert, talking about kind of singer they want. And I’m the person. I know I am. And I know as far as loyalty… and if they wanted to do a lounge version of ‘Plush’, or a bossa nova version of ‘Big Bang Baby’, or a Spanish version of ‘Where The River Goes’ or ‘Trippin’ On A Hole In A Paper Heart’, I know they’re looking for that singer that if they present like a jazz version of, let’s just say, ‘Dead & Bloated’, they need a vocalist that can ‘chameleon’ their way vocally, lyrically, melodically into a new song or this already-existing song that they would want to do, and make it into this different kind of version. Because that’s the kind of band that they are — they have no limits. And the songwriting ability, they’re some of my favorite songwriters. Robert DeLeo is one of my favorite bass players, one of my favorite songwriters. Only because I know what I would put into that project too, and I know my own personal love of music and what music means to me, and what the STONE TEMPLE PILOTS music means to me. Everything that they were and everything that they contributed to rock ‘n’ roll… I would lose my mind if I got a call to just be like, ‘Hey, come on and come down. Maybe we’ll jam on something new.'”

Mina added: “I think a lot of great people might be getting lost with the way that they’re doing it. Because I haven’t heard anything about anything — since they put that whole thing up. And I actually went that route. Just because I’m in the business or didn’t think I should get any kind of special treatment because I’m in somewhat of a successful act or whatever, I went through the rings like everybody else, and then I didn’t hear anything. I spoke to Eric a year ago, and I haven’t really spoken to Eric since. God knows what they were going through — or went through.

Scott… we can never use that word ‘replace,’ because nobody ever, ever, ever could replace that man. And if I ever did get the gig, even if it was for one night and they did a special event with all different singers and I was singing one song, you can never replace Scott Weiland. That’s not the idea of it. It’s just honoring Scott‘s energy, it’s honoring Scott‘s contribution to rock ‘n’ roll and creativity itself. I just feel like because I’ve been listening to them my entire life, and I know their catalog inside and out, I know even the way Scott shaped his lips to sing. I’m a singer. I grew up singing classical music, doing classical training. I understand — I can hear the vibrations coming out of his mouth. So I feel like I would be pretty, pretty, pretty good.

“I think I would blow their minds — just like when I auditioned for THE DOORS. I blew their minds — Ray Manzarek stepped on his piano and was, like, ‘Oh my God! Robby, do you hear this kid’s baritone?’ That’s how that audition started — I kid you not. I was working on ‘A Fondness For Hometown Scars’ in L.A. — a solo effort in 2007. Around that time, that is when Ian [Astbury] left THE DOORS, and they were looking for a new singer. And I auditioned. Management loved me, the band loved me… but it’s very political. And the manager was also managing the dude from FUEL [Brett Scallions] who eventually got the gig. And I had my manager at the time talking to them, ‘If you love him’ — Keith at the time — ‘give him the fucking gig! You’re going to give it to someone just because you’re…’ and I also understand that, it’s a very political process, this business. And also, with Chester too — loved Chester, loved what he did for the PILOTS. But quite honestly, I think I could do a far better job of giving blood and guts, and that street, guttural wisdom. I loved what Chester did, but I believe in myself way more. Nothing against Chester, because I love him and I love LINKIN PARK. But if you don’t believe in yourself more than anybody else, what’s the point in doing what you’ve got to do? I’m not coming from a presumptuous corner, because that’s not me at all. I’m just very secure and very confident in my abilities, and I know when I touch them right. I feel I’m a very underrated, very under-the-radar kind of vocalist. Almost as if people can’t handle the light that comes from me, so they keep me under. And I felt like this business has been doing that to me for most of my career.”


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Source: Blabbermouth NEW
LIFE OF AGONY’s MINA CAPUTO Says She Is ‘Right Person’ To Front STONE TEMPLE PILOTS: ‘I Would Blow Their Minds’
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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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