Scott Ian--I'm The Man

 First things first, this clearly is not a record review.  No sir, this is (mostly) a book review, specifically a review of Scott Ian's "I'm The Man: The Story Of That Guy From Anthrax".  I say mostly because, as with most everything I type and you hopefully read, a chunk of this is about myself and my relationship with music or, in this case, musicians.  This book has been a long time coming for me.  I was with Anthrax at the beginning and, despite a long hiatus (more on that later), I still find them more than deserving of a place in the Big Four.  Think of them as the Sammy Davis Jr. of the, ahem, thrash pack.  But don't mistake their outward goofiness for a lack of ambition or heaviness.  "Fistful Of Metal" hinted at it, "Spreading the Disease" put the building blocks in place, and "Among The Living" perfected their sound and made them worthy of being carved into the Mt. Rushmore of thrash (I'm working on it).  "Persistence Of Time" might get a mention in a bit.  At the center of all this was, and still is, Scott Ian. 
  I was ridiculously excited for this book (and ridiculously disappointed that it took Amazon a full week post street date to get it to me).  I had read Dave Mustaine's autobiography and was shocked by his openness and candor.  Scott Ian had already proved himself an adept storyteller and funny to boot.  That said, this book isn't high literature.  Unfortunately, it's also not written with much of Scott's voice easily recognizable.  Maybe he didn't want it to sound too much like his talking tour but that kind of off the cuff storytelling would have been welcomed by my eyes.  Still, it's an easy, quick, and insightful read.  And it's shocking to learn how a band that seemed so important and, despite the diminutive size of most members, larger than life could struggle so mightily with record labels and just making ends meet.  And that's the meat of the book that I took rather personally.
  Here's where I mention "Persistence Of Time".  I like that album.  I don't love that album.  Dark and moody Anthrax works for me in small doses but over the course of that full length, my attention wanders.  To compound matters, by the late 80's and early 90's (when "Persistence" came out), my tastes were expanding.  Yes, here is where it becomes about me, friends.  Metal had given way to indie rock as cardigan sweaters and flannels replaced my black t-shirts and jeans.  The metal bands I had liked were in the midst of producing some of their worst albums whilst the Superchunks, Built To Spills, and Dinosaur Jrs were producing some of their finest.  It wasn't until recently that i discovered there was some groovy metal coming out of the mid-90's but it's probably for the best that I didn't know it then as 25 year old me probably would have shrugged it off anyway.  All this is to lead you, dear reader, to the crux of what struck me hard about halfway through Ian's book (and halfway through Anthrax's career).  I, as a fan, am allowed to make sudden and whimsical turns.  I'm allowed to branch out, find new and completely different sounds to fill my ears.  I can do whatever the fuck I want!  All the while, guys like Scott Ian are busy fighting for their lives. 
  Sure, every aging band is faced with the times a-changing and the youth nipping at their heals.  Some bands, and some scenes, age gracefully and have the room to incorporate influences from without.  Metal bands…not so much.  We metal fans can be a bit narrow minded when it comes to what is and what is not metal. Heck, me and my friends initially rejected the acoustic guitar that opens Metallica's "Ride The Lightning."  Tough crowd, right.  Anyway, the aging metal bands in the early 90's all lost me for a time.  Metallica shoved me away with the "Black Album", Megadeth lost me with the horrible "Sweating Bullets", Slayer, God bless 'em, didn't give a shit that I left them for a bit, and Anthrax lost me when they kicked Joey out of the band.  Holy shit I could write an entire other piece just on my (and it turns out, Scott's) complicated relationship with one Joey Belladonna.  Let's just say we have both made our peace with him and are both stoked he is back in the band. 
  So, Joey was out and  John Bush joined the band, the band put out "Sound Of White Noise" and it did pretty well (without me).  BUT, it did not do as well as the label predicted and petered out at 700,000 copies sold.  Anthrax were not going to be the next Metallica.  Then came "Stomp 442", the record that sold a mere 100,000 copies and was the topic of the passage that really hit me in the gut.  Let's just throw some quotes out there from the man himself: "It was hard to believe that all those fans of "Sound Of White Noise" were listening to Soundgarden, Alice In Chains, and Nirvana and wanted nothing to do with Anthrax anymore."  "Far worse--our audience didn't seem to care about us either, anymore."  And the one that really stuck out for me: "Nobody had our backs.  Nobody wanted to book us, nobody wanted to promote us.  We weren't selling tickets.  Those tours for "Stomp 442" lost money.  The world totally changed, and to this day I don't have an answer for where 600,000 people went."  UGH!  Scott, I'm sorry!  I left because, unlike you, I could.  I often tell the story of my roommate Bruce, upon hearing me listening to Low in my bedroom one night, asking me what 16 year old Ross would think of this musical choice.  I could only honestly answer that he'd think me a pussy.  But I wasn't 16 year old me anymore.  And I wasn't in a band beholden to piling riffs upon riffs with double bass pounding underneath.  I was gone, Scott, but you guys weren't completely forgotten.  That's probably not much in the way of consolation.  Me still occasionally putting "Among The Living" on, while I'm sure cool, wasn't putting any money into your pockets.  Again, all I can say is sorry.  I feel like a heel.  But...
  Now it's safe to say 16 year old me has reared his adorable can't grow a beard face once again.  If it wasn't made abundantly clear in the few other things I've written, the almighty riff has been restored to its rightful place (coming from my speakers, that is).  Lo and behold, the old guys have been kicking up some decent dust lately as well.  I bought (with actual money) "We've Come For You All" and it got some fair rotation driving my Jetta around the streets of Oakland.  Better yet, I got to see the first tour with Joey back in the band (something that was apparently way more rad for me than the band) and waited and waited and waited for "Worship Music" to become a real live boy.  Maybe I don't love it as much as I hoped (it's kind of too much "Persistence" and not enough "Among", perhaps a product of not being written for Joey specifically) but it gives me reason to be excited for the next.  All I can say is that I am happy that Scott is a stubborn motherfucker and that he and his band mates were waiting for me when I decided to come on back. 
   Added bonus:  the book tells the story of the first time Scott met Lemmy, all laid out in graphic novel form.  Also, Neil Turbin.  What a tool.  Hey, if you slogged through this nonsense, you can surely get through Scott's book.  We're all survivors!

Wizard Rifle--Here In The Deadlights

  Ok, let's, as I do, start with some context and background.  Some things you know (old.  metal.).  Building on that, let's just say I am and have always been a metal defender.  Back in the day that used to involve defending the genre against those that found it to be non-musical or dumb or what have you.  Now, in the mid aughts, I find I have to defend it against hipsters who want to ironically mine it for it's symbolism and dual guitar harmonies and the like.  In either case, the "others" only have a book-by-the-cover knowledge and clearly it is my duty to educate and/or repudiate.  I'll, to this day, offer to play Slayer's "Behind The Crooked Cross" and talk about how it swings.  In fact, I'll wait for you to queue it up on Spotify right now and give it a "spin".  See!!!!  Anyway, recently I'd seen some updates on my Facebook page from Wizard Rifle.  I, however, had no idea why I'd liked their page to begin with.  My assumption was they played in the area a few years ago and I had written up the show for another online thing I once wrote for.  The name gave me pause as wizards are kind of the hipster go to when infiltrating metal.  Can I digress here and say I don't like classic metal imagery outside of metal?  I don't read fantasy novels nor do I like horror movies much.  But, when this imagery is combined with the all mighty riff, well, then I love it all and want to find the shirt that will make my girlfriend's eyes roll the furthest into her head.  Eight breasted snake woman?  I'll wear that with pride (And I do. And she hates it.  And that makes me love it more).
  Right.  Wizard Rifle.  Compounding my weariness was the fact that they were from Portland.  How can I believe the authenticity of anything from that town?  That didn't stop me from checking out their new record, "Here In The Deadlights" (see what they did there?).  Guess what, nerds, it crushes.  And I'll tell you what, when something rips as aggressively as this, you can forgive the name and the city from which it originates.  Maybe one of you knows these guys and thinks they are total posers but my ears alone think otherwise.  I want to compare them to Oozing Wound, not so much in sound but in the fact that both play as hard as possible.  Sonically, maybe San Francisco's Black Cobra make a more appropriate comparison.  Wizard Rifle play metal riffs with a punk rock ferocity and urgency.  Maybe I'll throw in some Danava here as well, but instead of pot smoking in a van these guys are all speeded up in their folks' Toyota Camry wreaking havok on the suburbs. 
  The beauty here is that these kids also know how to not overstay their welcome.  The album clocks in at 32 minutes.  There are only 5 songs in those 32 minutes so, within the album, things get stretched out but there are enough riffs on this thing to fill 3 albums.  But, before you succumb to riff overload, the album is over and done.  Filler be damned.  I can see this band expanding their sound in the future (the 8 plus minute "Psychodynamo" winds its way through post rock's chiming guitars through frenetic punk seamlessly) to fill up a longer album.  For the here and now, though, I'm digging the 32 minutes of pure manic energy.  If you wanna dig it too, check out this here bandcamp page and for fuck's sake order the vinyl while it's still available.

PROXY SLOW SUICIDE b/w LAWLESS

These Canadians are going above and beyond my expectations and ruling it with their new 7” that has a couple serious crushers on it.  This EP shows some definite development from the band, Proxy already has a strong Blitz influence but on this record it goes to the next level.  Side on this the song “Slow Suicide,” which is a little more poppy than what I was expecting but was still super catchy and driving.  Side B of this record has the song “Lawless,” which is on their demo and they defiantly perfected it; It sounds like Motorhead on Oi with a touch of GBH, it happens to be an amazing combination.  This band is only getting better and better so I am looking forward to see what they come out with next…

Listen to it here...

http://proxy1.bandcamp.com/album/slow-suicide-b-w-lawless

Bongripper--Miserable

 


  So this is where my journey has lead me.  Sort of right back to where it started but with all kinds of tweaks along the way.  When I started, I mean when the decisions were all mine, I was first and foremost a metalhead.  But it's been 31 years since "Kill 'Em All" and I have done some wondering.  I turned my back on metal in the mid 90's (really not a bad time to turn) and focused on the burgeoning indie rock scene and then just started looking in all directions when that scene forgot how to rock.  I found that slow and repetitive was something I enjoyed.  Ironically, bands like Low and Acetone pulled me in (not very rocking, sure) but then I found all those weird 70's German bands cranking out long, robotoc jams.  Instant gratification was no longer a prerequisite.  When I finally came back around to my roots and sought out some new metal, I discovered there were bands playing heavy ass music much in the same vein.  For example, Bongripper.  Yes, I have finally gotten to the point.
  "Miserable" is their latest.  It is 3 songs.  3 songs that take up 4 sides of vinyl.  Any Yes fan out there is probably intrigued.  But this record is most definitely not Yes in that there aren't hundreds of parts in each song (and not a solo to be found).  Bongripper are more than content to take a riff, a slow, plodding riff, and play it until your head is forced to bob in rhythm.   Album opener, "Endless" (aptly named) somehow even out Sleeps Sleep.  Just a dirty doom riff played over and over, gradually feeling heavier each time around.  The surprise comes from the second track, "Descent", which chugs along at double normal Bongripper time, proof that this band is not a one trick pony.  That is, until it hits the brakes and comes crashing in amongst a swell of noise. 
  There are more pony tricks on the finale, "Into Ruin", which of course is broken up into both sides of the second LP.  This is Bongripper channeling their inner Earth.  New'ish Earth.  The kind of Americana version of Earth.  This is not surprising as clearly there is a debt owed to not only Earth but Sunn0))) and Sleep.  The beauty is that Bongripper have found their own niche within the genre and, on "Into Ruin", find a way to throw some (almost) thrash into the middle before, once again, bringing things home on some bone crushing doom.   Repetition may be key but "Miserable" is not without some twists and turns.   I know Pelican and, to a lesser extent, Russian Circles supposedly have the Chicago instrumental post-metal market to themselves but I don't think either come close to the heaviness of Bongripper.  And, dare I say, the band has matured since their earliest work, refining their sound, cutting away the fat, and leaving just the meat.  The heavy heavy meat.  "Miserable" is the sound of a band at the height of its powers.
  Oh, if you can get it on vinyl, do.  I have had discussions about digital ruining double albums because you hear them as one hour plus slog rather than broken up into sides.  This album deserves to be attended to, flipped, cleaned, each side getting its own loving care.  I know as of this typing they have re-pressed them.  Go here for to get yourself one.  It's worth it.

Vomitor - Bleedin' Dublin

I'd love to go to Australia one day but would also be terrified. Mainly because of crocodiles, flying hybrid fox/bat looking things, and giant house spiders. However, I think if I had money I'd visit to see Vomitor play live. In a world of bullshit genre labeling to sell records, Vomitor surpasses their given genre styles (death/thrash metal). They have a solid, raw quality to their songs, even when it comes to their full-lengths. You can tell they have quality musicianship but don't waste time or money in the recording studio over-producing tracks. It's an old metal sound of bands from the 80s, but is still new and stands out amongst others. I recently picked up their second pressing of the live cassette, Bleedin' Dublin. That raw sound comes through on the cassette and makes you wish you were there experiencing the ferocity happening before you. It's 12 tracks of raw, live face-fucking. ADDED BONUS: It comes with some Putrid art on the cover.

Hurry up and get a copy of Bleedin' Dublin over at Electric Assault Records before they sell out: electricassaultrecords.bigcartel.com

HOLIER THAN THOU?

YOU CAN'T HAVE SLAUGHTER WITHOUT LAUGHTER

This is a band I always wanted to see in the early 2000’s but never got to, I actually picked up their first 7 inch because there was a skater on it and after hearing it was hooked; from the sound to the artwork this band has everything my senses want.  This new release was actually recorded in 05 while the band was still together, I don’t really know why it took so long to come out but it did not disappoint. If you have not heard this band it a must, they are the perfect combination of punk and thrash.  The latest release has some serious metal riffage along side with some driving punk beats.  This band has obvious Oxnard influences like RKL, Aggression, and Dr. Know but throws on some early era Metallica (obviously from the bands name) and DRI.  While having all these influences this band really does a good job of still being original and sounding very unique.  This is a must own record if you are into punk or thrash, the lyrics and sound of the vocals will not only keep these songs stuck in your head but also make you want to strangle the world while skating down the street.

Here is a link to the Six Weeks label for more info about getting the record, I would pot a link to it but I can't find it anywhere...

http://www.sixweeksrecords.com/html/news.html

Here is a link to listen to their record "The Hating of the Guts"

https://www.youtube.com/watch?v=_VdNVJkJVA0

Black Pus/Oozing Wound Split

  First, this is not me writing about the new Judas Priest.  Oh how I want to write about the new Judas Priest but I realize that's about as un-punk as can be (It's shockingly good.  Check it out.  Don't tell the guys I said that).  No, this is me talking about the comically 90's sitcom sounding Black Pus/Oozing Wound split.  "Young man, you are not going to see the (looks down at flyer)...Black Pus, Oozing Wound concert.  And you will not be going out dressed like that" (that being an acid washed sleeveless denim jacket and matching pants, giant white high tops, and probably at best a Motley Crue shirt.)  Anyway, I digress (as I do). 
  So, I have to admit this, cred points be damned.  I don't get Black Pus.  Listening to the two tunes, the short "Blood Will Run" and the much longer (14+ minutes) "Total Eclipse" (you tell me if it is a Bonnie Tyler cover), I feel like how I imagine my girlfriend feels when listening to Slayer.  See, I hear all kinds of melody in Slayer songs but I know her ears just can't find their way into the jumble of noise.  Black Pus is one dude,  Brian Chippendale, and most of what you are hearing is just drums and vocals.  Most of what I am hearing is noise.  I am not, however, dumb enough to think you are also only hearing noise.  I know there is a place for Black Pus, it's just not in my ears.
  That said, I really picked up this split for the 3 new Oozing Wound tunes and they do not disappoint.  These local kids caught my attention a bit before the release of their debut, "Retrash".  I can't say I was sold instantly but I can say once I got it, I dug it big time.  These guys are raw power personified.  And they know their way around a riff which is, unlike food, the real way to my heart.  Splits sometimes allow bands to explore (maybe Black Pus is way more melodic on their full lengths.  I'm just here to talk about this guy) and Oozing Wound stretch out their sound a tad here.  But this is not experimentation, this is refining and maybe bringing the grunge out front a little more.  "Ganja Gremlin", especially, has a "Bleach" era Nirvana vibe without that band's robotic plodding.    The second song,"Aging Punk", starts with a pummeling circular riff and halfway through devolves into a drunken stumble. The third, "All Things Must Pass", sounds like Electric Wizard if they were more into skating and hanging out in the 7-11 parking lot than whatever it is Electric Wizard are into (I imagine it involves cloaks and is rad).  Now might be a good time to tell you to check out Fudge Tunnel's "Hate Songs In E Minor" because if any of what I am describing sounds good to you this lost gem will be right up your alley.  And that's all she wrote.  Oh, Oozing Wound also have a single, "Drug Reference" out on the Adult Swim singles collection and a new full length on the way in October (that you can pre-order here.  And look, you can get the split and "Retrash" as well.)  You can thank me later.