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METALLICA's JAMES HETFIELD On 'Hardwired' Lyrics: 'It Is Not SHAKESPEARE, I Know That'

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The four members of METALLICA were recently interviewed by the band’s official fan magazine So What! about their forthcoming album, “Hardwired… To Self-Destruct”, due for release on the group’s own Blackened Recordings on November 18. A few excerpts follow.

On the musical direction of “Hardwired… To Self-Destruct”:

Robert Trujillo (bass): “To me, it’s a very relentless album. It might not be a super-dynamic album, I mean like ‘Death Magnetic’, a lot of these songs, very dynamic. I don’t necessarily feel this is supposed to be that. I think this is supposed to be where we are now and what we’ve been experiencing in a positive way. And there’s gonna be plenty more journeys!”

Lars Ulrich (drums): “This record is still very fresh to me, but I must admit that the times I’ve heard it, there’s something about the intensity and the ‘continuous slap in the face.’ It has this relentlessness. It just keeps going and going, kkkk, just keeps going!”

Robert Trujillo: “You got the old school energy, you’ve got a little bit of the ‘Black Album’ energy, you’ve got all this going on and you get on the floor and start hammering the ideas out, and it grows. I feel when you perform something on that floor, I’m not even saying live in front of a crowd, I’m just saying here at [METALLICA‘s headquarters in San Rafael, California], a lot of that is like performing, we’re physically getting involved. And there is a groove that is very necessary. And I think this album, though it’s heavy and it’s in your face, there’s a lot of groove in there and that makes me really happy.”

On the songwriting process for “Hardwired… To Self-Destruct”:

Kirk Hammett (guitar): “At the outset, I think the idea was to make an album that was similar in approach to [METALLICA‘s 1983 debut] ‘Kill ‘Em All’, and that was an album that was pretty much driven by Lars and James [Hetfield, guitar/vocals], with a little help from [former guitarist] [Dave] Mustaine. So the concept was for those two to spearhead that whole creative process again in much the same way as ‘Kill ‘Em All’ was done. And I’m totally fine with that.”

James Hetfield (guitar, vocals): “I would say that we’re out for the best songs, and wherever the material comes from is where it comes from. We’re not trying to be ‘exclusive,’ it’s ‘Here’s what’s best for the band. These are the best riffs we have. These are the best parts and we’re gonna put ’em together.’ My pet peeve [was] always [that] the songs are too long. I want to play more songs live. I don’t want the set to get longer. Let’s make the songs shorter so we can play more songs.”

Lars Ulrich: “The biggest difference between the bulk of the songwriting on this record and the bulk of the songwriting on the last record is that we were more on our own this time. [On ‘Death Magnetic’], [producer] Rick [Rubin] would come every couple weeks and continue to challenge us to ‘go crazier.’ He used a word, the word ‘ridiculous.’ I remember he would often sit there and go, ‘Make it more ridiculous.’ That was the word. I’d never associated the word ‘ridiculous’ with music, and I remember him sitting right on that couch [points at studio couch – Ed.] going, ‘Make it more ridiculous.’ And then we’d go in and we’d fucking turn it upside down, put it on its head, all that stuff, and three and six and nine and then some of that stuff. And I would say on this record we almost did the opposite of that. We made it less ridiculous as we went along. We started tightening it a little bit, cutting extra parts out, shortening, making it slightly more linear and making it less ‘ridiculous.’ I can tell you that the analogy that I just came up with, with going more ‘ridiculous’ on ‘Death Magnetic’ and less ridiculous on ‘Hardwired…To Self-Destruct’, I’ve never said that to anybody before.”

On his approach to guitar solos on “Hardwired… To Self-Destruct”:

Kirk Hammett: “I thought it would be great if I didn’t work on the guitar solos beforehand. It’s a pretty bold and challenging thing because I like to be well prepared when it comes to anything that has to do with music and my guitar playing. Showing up well prepared was my M.O. This time around, I just said to myself [that] in the past, a lot of the stuff that ended up on those albums was what I first played, the very first thing. My subconscious has a feel for what is the most appropriate thing, [so] let the music flow, the creativity flow, the feelings flow, [and] have my subconscious dictate what needs to be done for the music. I put 100 percent of that concept into the approach of doing these solos.”

On the fan reaction to the first couple of songs from “Hardwired… To Self-Destruct”:

James Hetfield: “I truly don’t give a fuck. I really don’t. I’ve embraced the idiocy of the Internet, and the freedom you have to say whatever you want all the time. At some point, you get so desensitized to it that it makes no sense. Just do what you love. How can you go wrong? It always goes back to, ‘Why are we doing this? Because we love doing it, and we want to write some music that we like to listen to.’ Simple as that. If you like the music, then listen with us.”

On the lyrical themes covered on “Hardwired… To Self-Destruct”:

James Hetfield: “‘Hardwired’ is so simple, it is not Shakespeare, I know that. But gosh, are humans really doing the right thing? You know. And in the history of time, we’re a little blip. And are we gonna be gone? Are we phasing ourselves out with electronics? Are we becoming this? Are we gonna self-destruct because of our egos and all of the stuff that makes humans human? That whole sentence ‘hardwired to self-destruct’ came from a friend of mine that was just throwing it out there as a struggling addict. Is that what it’s like for us? Is our default just to die? Earlier than we’re supposed to. Wreck. Destroy our lives; are we hardwired to self-destruct? And that just caught my ear. ‘Moth Into Flame’ is pretty literal. These days everyone [has] an obsession with being famous. Being popular. Whether it’s your Facebook account or walking around the street, watching someone doing selfies of themselves as they’re walking down the street. Like what? What are you doing?”

Read more excerpts from the interviews at Metallica.com.

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Source: Blabbermouth NEW
METALLICA’s JAMES HETFIELD On ‘Hardwired’ Lyrics: ‘It Is Not SHAKESPEARE, I Know That’
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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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