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TOBIAS FORGE On Why ‘Nameless Ghouls’ Won’t Play On GHOST’s Next Album: ‘If I’m Not Asking Everyone, Then I Don’t Want To Ask Anyone’

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GHOST vocalist Tobias Forge recently spoke with Mark Strigl of the “Talking Metal” podcast. The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On whether to expect additional GHOST songs featuring vocals by Papa Nihil, who is credited on the group’s two newly released tracks “Kiss The Go-Goat” and “Mary On A Cross”: Tobias: “I don’t know, actually, what the clergy has in the vaults. I just know that this found and released, and the next project is making a new record. That is in the now and in the future, so that’s going to be something completely different.” On how far along he is in the writing process for that next album: Tobias: “At this point, essentially, as of right now, I only have one song demoed that you can listen to from start to finish, because I’ve been touring so much. I just went into the studio this summer to basically get my rocks off a little. I just needed to record something in order to feel like I’ve started. That song was based out of three ideas that I had. That’s usually what it takes for me to go into a studio and start hammering it out. I have maybe 50 to 60 ideas lying around, which means that if I just invest two or three days on piling together three ideas a time… it’s almost mathematical. If you take that, split it into threes and there you have it — that’s how many songs I can basically get out of that. As soon as I start working on material, it usually goes pretty fast. However, this time around, I’ve been very adamant about folding quite a lot of time for the pre-production — being in a smaller studio from Monday to Friday just making songs. I’m going to do that from January until May. It’s five months of writing. I guess five months might seem excessive, but I’m also trying to combine… This is essentially going to happen very near to my home. I’ve been either touring or recording out of nine years in a row. I have two kids and I have a wife, so I need to spend time with them. This writing is essentially going to be in Stockholm, very near to my home, so I also have to pace it out with breaks. It’s actually back to quite normal working hours — Monday through Friday, 9 o’clock to 5 o’clock — but I have a record in mind that needs to be of a certain… I have very high hopes for this record. I have very high demands on this record, and I want to give [it] time, because one thing that I haven’t really had [while] making the other records — none of the other records, really — was time, except for the first record, because most of it was actually written between 2006 and 2008, when I had all the time in the world. The actual recording of the record is basically June 1 until the end of the summer. It feels good to be able to sort of clear out time to really sit with the material, make sure it’s good and make sure that it’s balanced. Obviously, we’re in a different era now where making this record will be very different from making the last record in terms of outside disturbance.” On whether any of the Nameless Ghouls in GHOST‘s current touring lineup will participate in the recording process: Tobias: “No, actually not, and that is for a few very simple reasons. I have never in the history of GHOST ever had… There was never any demands or expectancies for the people touring to play on the records for several reasons. One is that I’ve always had a favorite drummer that I always wanted to play on the records who’s never been in the band. He’s never been in the touring band. He and I work very well together. He’s perfect for the studio requirements — he does that really well — and I have a favorite keyboard player, who is extremely good at translating the things that I want him to play. During the writing, I always play everything anyways, so if you start involving people — which I have done from time to time, just to be nice, basically, just because I wanted to give them an incentive — you end up in a situation where you have to tell them to exactly replicate what I just did, just symbolically. In my efforts to try to be nice to people, that has also turned out to be not so cool. I’ve learned a lot from that. Besides, if I’m not going to ask everyone to do their part, then what’s the point? I don’t to segregate people. I don’t want to favor people. If I’m not asking everyone, then I don’t want to ask anyone. Basically, all of the people that are in my band are doing other things — they have solo careers; they have other bands — so I want to give them time off, or time away from GHOST to do their things, because I know, come 2021, when the new record comes out and there’s this 18 months of touring coming up, they will come back having gotten their rocks off. They will be ready to do my thing, whereas a lot of other bands where you have that demands, where you have people in the studio and half the band just sits around waiting for the record to be done, you end up having a lot of maybe not-so-good feelings when you start a tour, so the touring becomes way more heavy because you’re already tired of each other and you’re already at odds about this, that or the other. You just fuel a lot of potential negativity into touring. I am very determined to make records — I don’t need necessarily other people to make those records, except for the ones that I choose myself — and I am a very determined tour artist, and I want the tours to be very good as well. That’s the short answer. [Laughs]” On GHOST‘s broad appeal: Tobias: “I think that there is a little bit for anyone in there. I think that just because the music and also the style and presentation is embracive of essentially 50 years — possibly even more — of rock n’ roll, I think that as long as it reaches out to those people, it has the tendency to strike a chord within all these different clienteles. Which is fantastic, I think. I love that. In the beginning of our tours in 2011 and ’12, when we started touring America and started headlining a lot, I was actually a little bit worried because of the mixture of people, because — and this was naively thought of from my end, I guess — I thought, when I saw the diversity in the crowd, I was happy, but I was afraid that one group of people might repel the other. The hardcore metal, vest-wearing, kick-ass metal fans, that they would be deterred by the fact that, ‘Shit, the hipsters are here’… We were always adamant — me and my agent — that we were going to play all-ages shows, which we’ve been trying to do to the best of our ability. As soon as kids started appearing at the shows, we’ve always been very informative to the crowd, like, ‘You can’t fuckin’ slam around a whole lot. You can’t stage-dive.’ You have to be mindful — there are people out there who are very frail. You’re not at a CRO-MAGS show. That was also a public relations message that I was a little bit worried about. I’m sure there were probably a few metalheads out there that felt like, ‘Oh, man — GHOST ain’t fuckin’ metal anymore because I can’t fuckin’ dive foot-first into the crowd.’ Sure, okay, fine — if that doesn’t make us metal, I’m all fine with that. You can’t fucking head-butt a 10-year-old. That’s not cool. If that is not metal, then okay — fuck you… But a lot of these people come back, and they seem to be enjoying it together, which is very heartwarming to see, because I really, really want GHOST to be a very embracive, non-segregating band that essentially welcomes everyone who are open to the idea of openness. That’s the point — we want you to be happy together.” GHOST continues to tour in support of its Grammy-nominated 2018 album, “Prequelle”. A “limited deluxe collector’s edition” of the album, “Prequelle Exalted”, which was released on September 27. Among other collectibles, it includes a seven-inch single featuring two previously unreleased songs, the aforementioned “Kiss The Go-Goat” and “Mary On A Cross”.

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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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