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PHILIP ANSELMO Denies Being Racist: 'Anyone Who Truly Knows Me Knows That It's Utterly Ridiculous'

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Former PANTERA frontman Philip Anselmo has once again denied being racist after a video surfaced of him earlier in the year giving the right-arm salute and yelling a white-supremacist slogan at a California concert.

Anselmo performed the PANTERA classic “Walk” at the January 22 “Dimebash” event at the Lucky Strike Live in Hollywood, California in honor of late PANTERA guitarist “Dimebag” Darrell Abbott. As he left the stage, he made a Nazi-style salute. He appeared to say “white power” as he made the gesture, but he later claimed he was referring to drinking white wine as part of an “inside joke.”

Now in his first interview about the incident, Anselmo apologized for his actions but dismissed as “utterly ridiculous” any suggestion that he is racist.

“First and foremost, I do take full accountability,” he told Decibel for the magazine’s cover story in the December 2016 issue. “I’m not deflecting at all. What I did was insulting, absolutely, and abhorrent, because it did truly upset people, and it hurts my heart that anyone would think that I’m the dreaded ‘R’ word — a racist. Anyone who truly knows me knows that it’s utterly ridiculous. But if I did offend my Jewish friends, people I work with, my associates, other people in bands . .. if I were to upset people in that particular way — that’s why I apologized. That apology is there — and no, you won’t get another one ever again.”

Anselmo added that it is “kinda funny” that he is being accused of being a racist “considering I’ve got a Mexican drummer and a half-black guitar player,” referring to his SUPERJOINT and ILLEGALS bandmate José Manuel Gonzalez and SUPERJOINT guitarist Kevin Bond, respectively.

The singer went on to explain what happened that fateful night. “First and foremost, I was absolutely smashed drunk,” he said. “No excuse, but I was. It was late and my mood was mixed because of the situation in general. We were honoring my dead, murdered guitar player and it’s still something that a piece of me has not come to grips with. I know people are reading this in black and white, but it makes my heart ache as I say it. Now, [from] the second I stepped on that stage until the bitter end of that night, there were a couple of kids with an absolute agenda constantly, all night long, calling me the dreaded ‘R’ word. ‘Racist, racist, racist,’ over and over and over-in between songs, during songs, during my stage banter. And I marked it: At 4:35 in the video, you can see my attention slowly beginning to get irked and agitated. By 5:10, you can see me actually eyeballing these people and engaging. They were 70 feet away from me screaming this shit. I even invited them up onstage and dared them to call me that to my fuckin’ face, and I said I would knock them out cold. You can check the video for yourself. Can you hear the kids? No, you can’t. But I most certainly did. And I’ve talked with people who were there who can corroborate because they were standing right next to them.”

He added: “Should I have done it? Hell fucking no. Would I take it back? Absolutely. But my sense of humor is dark and my temper is and always has been volatile, so I reacted. I reacted in an ignorant way. I own it. But do I believe in it? That’s ridiculous.”

Ultimately, Anselmo claims he yelled “White power!” and threw the Nazi salute because he was joking about drinking white wine backstage and because he was reacting to the audience members up front who he says were taunting him. “The white wine thing was a running joke backstage after — get this — kissing Doug Pinnick [of KING’S X] on the lips,” he said. “And he says to me, ‘Whoa — you taste good!’ Because I was drinking a bottle of white wine. I even joked about it with him — ‘white power,’ hahaha. The funny thing about that is that particular room was for certain artists only. Other certain people who were part of the Dimebash were not allowed back there. I guess they felt slighted or in quotation marks — ‘offended.’ So, there was a running gag there, and it carried on even after the incident. What went down onstage was an extension of that, but also a firm reaction to these motherfuckers [up front], who, that’s exactly what they wanted.”

This was not the first time Anselmo made comments from the stage that were perceived as racist. At a March 1995 PANTERA concert at Montreal’s Verdun Auditorium, Anselmo babbled forth in a stream-of-consciousness rant, uttering statements that included “rap music advocates the killing of white people.” The Montreal Gazette reported on the incident, causing an international flurry and resulting in Anselmo releasing an open apology.

“People say I have a history of racism,” Anselmo told Decibel. “When I was in PANTERA, I was completely and utterly confused when, in the ’90s, the T-shirt started circulating that said, ‘Stop Black-On-Black Crime.’ Today, as a damn-near-50-year-old man, living in 2016 where America is divided so completely, I understand it and I support that sentiment completely. But as a young man in my 20s, I didn’t understand it and I did speak out vehemently against it, because, to me, it basically said, ‘Stop black-on-black crime, but everyone else is fair game.’ That’s how I took it. And anybody could get that misconception. So, there’s your mighty racist history right there. I took offense to a T-shirt.”

You can read Anselmo‘s entire interview with Decibel in the December 2016 issue of the magazine. Copies can be purchased at Store.DecibelMagazine.com.

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PHILIP ANSELMO Denies Being Racist: ‘Anyone Who Truly Knows Me Knows That It’s Utterly Ridiculous’
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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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