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SATYRICON Frontman Questions Whether AC/DC Is Still 'Relevant'

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Vocalist Sigurd “Satyr” Wongraven of Norwegian black metallers SATYRICON was interviewed on the latest installment of “The MetalSucks Podcast”. You can now listen to the chat below (starting at the 21:38 mark). A few excerpts follow (transcribed by BLABBERMOUTH.NET).

On his relationship with drummer Frost (real name: Kjetil-Vidar Haraldstad), who has been the only other permanent member of SATYRICON since 1993:

Satyr: “I think the mutual respect would be the most obvious thing that comes to my mind. And I think the fact there’s an incredibly strong friendship, but it’s not a friendship based on seeing each other on a regular basis. It is a professional relationship with a strong personal friendship that does not need to be nurtured in a social way. I think that’s a couple of things that seem to me as pretty obvious as to why we’ve been doing this so long and so well together.”

On whether he feels like his relationship with Frost is “like a marriage” and whether he hopes to continue working with the drummer well into the future:

Satyr: “I certainly hope to be working with him in some capacity always. I really like his drumming, I like his attitude toward music and I think he’s a really interesting person. So, yeah, I also like working with other people and people that I haven’t worked with before and collaborating with other musicians makes me a better one. But I would always want to do something with Frost as long as I play music.”

On whether he thinks SATYRICON‘s longevity is attributed to the fact the band has constantly updated its sound:

Satyr: “I think about literally the word ‘relevant.’ AC/DC has been going on for a really long time and they used to be one of my favorite bands. I still think even on their new record, there’s one or two good songs, but it’s more or less the same all the time. I don’t know; it works. I think it’s nice to listen to it because it’s really good, but is it relevant? I don’t know. When a lot of people show up apparently, it’s relevant. It’s an open question, but most lovers of more marginalized art and really underground stuff will argue that art is not a necessity like fresh air and water that we can drink and food and medicine. Those are things that we can’t do without, but we can do without art, but then a lot of people are going to argue, what kind of life would that be? It’s also interesting how people, especially in hard times, they turn to art. If no one is trying to do anything interesting and move things forward, then what is there for us to enjoy? That’s the way I see it.”

On whether he feels any kind of pressure in his home country of Norway, where SATYRICON debuted at No. 1 in 2013 with their self-titled album:

Satyr: “The only thing important to me about it was that I know that when it comes to some of these commercial mechanisms, there are some outlets that are not going to even consider making what we do available, when you hit No. 1, they have to, whether they think this or that. So that’s a mechanism that obviously I appreciate with it. Other than that, from a metal fan point of view, it feels good to know that there are a lot of people out there like me who like music like that and rather have that dominate the airways rather than boring commercial pop music, R&B, whatever it may be. But I still don’t have a mansion. [Laughs]”

On how his 2015 brain tumor diagnosis changed his life:

Satyr: “It’s the lack of predictability [that] is kind of interesting. Today, I had sort of a pre-appointment conversation with my doctor on the phone and I told him that the reason I’m going to see him is because in the last couple of days — I’m okay today — I’ve been in terrible shape, but it’s funny because I’ve been doing so much press lately that I’ve said to them all ‘Thanks for asking. I’m doing really good. I haven’t felt bad in a long, long time. Obviously I have to look after myself and keep track of this and all of that and make sure I’m being monitored, but I’m fine.’ I think I did my last interview a few days ago, I started feeling really, really bad. That whole night and following day was really awful. I remember e-mailing the guys saying, ‘Okay, I’m better now. I don’t think I’ll be coming to rehearsals tomorrow either. I’m okay.’ That’s the weird part of being around me because I’m as strong as I’ve always been and I really live a normal life. I look after SATYRICON, I have a wine production business on the side that is fun and I have two sons, a lot of stuff to look after, and I’m doing all of it, but sometimes, out of the blue, this stuff can make me really, really sick. And when it does, it’s not uncomfortable; it takes over the entire situation. It paralyzes me. Maybe one could say that it’s tougher mentally than physically to deal with it.”

On the band’s approach to live shows and whether SATYRICON prefers to pick and choose where they play, or if they are interested in building an audience in new territories:

Satyr: “A little bit of both. A little bit of both. If we jump straight to North America, if we didn’t have any of the visa complications that we’ve had with Frost, then we would have been visiting America on a regular basis. But, we would have been visiting only cities where you can expect to meet with a pretty serious, extreme metal music following. That has been the hard part for me about touring America, is that when you play places where there are actually a lot of fans; I’m not talking about attendance, I’m talking about people who understand this type of music, because I enjoy meeting fans after the show, who listen to the same music as I do and understand the same music. But I don’t necessarily enjoy it if we play a show and someone tells me, ‘I loved your show, man. That was pretty cool shit there.’ Something stupid like that. That makes me understand that, ‘Okay, you don’t get it.’ That makes me feel stupid because that makes me feel like an entertainer. I acknowledge that playing live, unlike making records, it’s much more about entertainment, but I don’t want it to be solely about entertainment, there has to be some purpose here. I don’t want to play in Oklahoma City, if you want to put it like that.”

SATYRICON‘s new studio album, “Deep Calleth Upon Deep”, was released September 22 via Napalm Records. The disc was recorded in Oslo, Norway and Vancouver, Canada, during early 2017 and mixed together with revered studio guru Mike Fraser, who previously worked on SATYRICON‘s 2006 album, “Now, Diabolical”.


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SATYRICON Frontman Questions Whether AC/DC Is Still ‘Relevant’
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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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