Necessary Functions Of The Mind- An Interview With Cake’s Vincent DiFiore

April 6, 2012

As they approach their twentieth anniversary, CAKE’s adherence to their original guiding principles has only grown stronger. Formed in the early nineties as a somewhat antagonistic answer to grunge, which they saw as just another form of big, dumb American rock, CAKE’s democratic processes, defiant self-reliance, and lucid yet ever-inventive music has made them a nation-state unto themselves, with no obvious peers, belonging to no school.

By maintaining their ideals while continuing to challenge themselves artistically and professionally, CAKE has managed to not only survive, but to thrive. We still exist,” explains original founding member John McCrea, “because we’ve always stayed outside of current trends. We’ve watched them inflate and deflate. We’ve never been invited to the party, so we’ve never had to leave the party whether the police arrived or not. It’s a sad and beautiful world.”

The following interview was conducted via phone on 4/5/12.

 

The Vince DiFiore Interview

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Bad Bad Daddy- An Interview With Slug Of Atmosphere.

February 6, 2012

Atmosphere returns with their 7th official studio album and the newest addition to their unparalleled body of work. The Family Sign comes from a place well refined and firmly planted, from a universal perspective. It’s about being okay with losing friends and strengthening your bonds with others, celebrating the person who’s been the most positive in your life, your kids, your homies, leaving the people you need to behind, and bringing the ones you love with you. It’s about your family, your time and the time you have with them. It’s about living and dying. It’s the truth about family, that it comes from loyalty as much as biology. It’s about breaking down your perceptions of family and really appreciating the people who’ve made you who you are and continue doing so.

The Family Sign is Atmosphere’s most personal and intimate album yet; it involves and engages the listener like never before. Slug’s signature voice weaves in and out of Ant’s ASR-born production, Nate Collis’ bluesy guitar riffs and the sound of Erick Anderson’s unmistakable keys giving The Family Sign a fresh, unique edge without sacrificing Atmosphere’s signature sound.

The Slug Interview

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Sarcophagic Frenzy… Sure, Why Not? An Interview With Cannibal Corpses Rob Barrett

January 21, 2012

Death- Pronunciation: /dɛθ/ noun [mass noun] The action or fact of dying or being killed; the end of the life of a person or organism. Origin: Old English dēath, of Germanic origin; related to Dutch dood and German Tod, also to die.
Metal- Pronunciation: /ˈmɛt(ə)l/ noun [mass noun] A solid material which is typically hard, shiny, malleable, fusible, and ductile, with good electrical and thermal conductivity. Origin: Middle English: from Old French metal or Latin metallum, from Greek metallon ‘mine, quarry, or metal’
 
Cannibal- Pronunciation: /ˈkanɪb(ə)l/ noun A person who eats the flesh of other human beings. Origin: mid 16th century: from Spanish Canibales (plural), variant (recorded by Columbus) of Caribes, the name of a West Indian people reputed to eat humans.
 
Corpse- Pronunciation: /kɔːps/noun A dead body, especially of a human being rather than an animal. Origin: Middle English (denoting the living body of a person or animal): alteration of corse by association with Latin corpus, a change which also took place in French (Old French cors becoming corps).

 The Rob Barrett Interview (more…)
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Don’t Call It A Comeback- An Interview With Corrosion Of Conformity’s Reed Mullin

January 20, 2012

In the summer of 2010, the founding members of the pioneering underground metal band Corrosion of Conformity—bassist/vocalist Mike Dean, drummer/vocalist Reed Mullin and guitarist Woody Weatherman—gathered at Weatherman’s farm in the Virginia hill and began jamming together as a three piece for the first time since the mid-1980s.

This was the classic COC lineup behind 1985’s Animosity, the album that Decibel magazine recently called “a crucial stylistic lynchpin in the bridge between metal and punk” that “irrevocably reshaped crossover’s sonic possibilities.” The trio re‐learned songs from that album and 1987’s Technocracy, but this was not just an exercise in nostalgia. They soon began writing new material. “It was a little strange at first but pretty quickly it felt like we hadn’t missed a beat,” says Dean.

By August COC had released the single “Your Tomorrow” on experimental metal label Southern Lord Records and went on to play shows from coast to coast—everything from the renowned Power of the Riff festival in Los Angeles (with a set that LA Music Blog called “incredible”) to an underground party in the band’s hometown of Raleigh, N.C. It’s been six years since the release of COC’s last album, In the Arms of God, with the lineup of Dean, Weatherman, longtime COC vocalist/guitarist Pepper Keenan, and guest drummer Stanton Moore of the jazz-funk band Galactic, one of the several drummers who filled in while Mullin recuperated from a drumming-related injury. Representing the more straightforward metal sound that characterized COC’s work with Keenan beginning with 1991’s Blind, In the Arms of God earned critical praise, with Billboard calling it a “riff-fueled set that ranks with [the band’s] best work.”

Following that release in early 2005, COC toured the U.S. and Canada with Motorhead, one of their biggest influences, and later teamed up with Clutch for a UK tour. But after Hurricane Katrina and the catastrophic flooding of New Orleans that August, COC canceled a scheduled trip to Europe so Keenan and Moore—both New Orleans residents—could go home to help rebuild. Meanwhile, Keenan got back together with the New Orleans-based metal supergroup Down, putting out one album in 2007 with another set for a 2012 release.

COC has plans to record again as a four-piece. But for now, the new “old” lineup is enjoying the return to their roots. “Mike, Woody and I essentially learned together how to play music and cultivated our own style and sound and unspoken language,” says Mullin. “I’ve known Woody since fifth grade and Mike Dean since 1982, and re-bonding with them musically has been the greatest thing that’s ever happened to me.”

The Reed Mullin Interview

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Doom & Gloom In The UK- An Interview With Ben Ward Of Orange Goblin

January 8, 2012

Heavy Metal is not just about music: it’s a way of life, a motivating mind-set, a positive force and an inspirational belief system. It’s the most exciting, life-affirming noise that exists on this planet of ours, and London’s indestructible masters of the furious form are Orange Goblin. Not just the UK’s reigning champions of balls-out, party-starting, booze-fuelled metal, but one of the very best live rock bands of all time, the mighty Goblin have been a permanent and universally admired fixture on the British metal circuit for the past 16 years. And now they’re back, with A Eulogy for the Damned, their seventh and best studio album. A thunderous tour-de-force of gargantuan riffs, subterranean rumble and electrifying energy, it is the album the band have been threatening to make since they first crawled, with crumpled beer cans in hand, from the grubby Soho shadows back in the mid-90s.

Inspired by the gods of hard rock, heavy metal, punk rock and underground extremity, from Sabbath, Motörhead and Thin Lizzy through to Celtic Frost, Danzig and Black Flag, Orange Goblin were initially seen as major contenders amid the mid-90s stoner rock explosion, but it soon became apparent that this band had much more up their collective wizard’s sleeve than red-eyed boogie and flapping flares. In fact, over the course of their roller coaster career, the band have proved themselves to be one of the most consistent and persistent forces in modern heavy music, amassing a catalogue of albums that rivals anything released during the same period. From the rambunctious, heads-down exuberance of their Frequencies From Planet Ten debut in 1997 through to the multi-genre bonfire of insanities that was 2007’s Healing Through Fire, Orange Goblin have always kicked arse, always written songs that hit home like a stage diver’s boot connecting with your forehead, always delivered the rampaging heavy metal goods while meaning every last riff, beat, solo and bellow.

But it is as a live band that Orange Goblin have founded their formidable reputation. Long renowned as skilled crowd-pleasers and party masters, the band have toured all over the world and shared stages with countless big names, including Alice Cooper, Black Sabbath, Sex Pistols, Down, Queens Of The Stone Age, Dio, Monster Magnet and many more. They have headlined sell-out shows at New York’s revered CBGB’s, Los Angeles’ notorious Troubadour and the legendary Underworld in Camden, London. They have also blown fields full of minds at such prestigious festivals as Sonisphere, Download, Hellfest, Bloodstock Open Air, Roadburn, Dynamo, Maryland Death Fest, and High Voltage. An Orange Goblin show is a guaranteed good time…all you need to do is get the beers in, prepare your neck muscles for maximum punishment and surrender to the sound of a grand heavy metal institution letting rip at full throttle.

A lean, mean hard rocking’ machine…the eight-legged tag team of frontman Ben Ward, bassist Martyn Millard, guitarist Joe Hoare and drummer Chris Turner have reached a new peak of creativity and one-two-fuck-you intensity on A Eulogy For The Damned. This is the album that deftly encapsulates everything that is exhilarating and admirable about this most dedicated and humble of British metal wrecking crews and that deserves to propel Orange Goblin to the front of the British metal queue.

The following inteview was conducted via phone on 1/17/12.

The Ben Ward Interview

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