METAL ARMY caught up with metal legend REX BROWN a while back when he was doing press for his new band KILL DEVIL HILL. Rex spoke passionately about his new project, his history in metal, his involvement with bands like PANTERA and DOWN and a lot more. Rex also discussed his book Official Truth 101 Proof: The Inside Story of Pantera (DaCapo Press) which was yet to be published at the time of this interview. Many of the stories he told in the interview can be found in the book as well.
Metal Army caught up with Woody Weatherman, the guitarist for C.O.C on the eve of their just released new album. We talked about the reunion of the 1980′s lineup, the new album, writing and recording, the history of the band and if they will ever reunite with Pepper Keenan who is busy with DOWN these days.
MAA: How did the original trio of C.O.C. reform and what led to making new music?
WW: It’s kind of a funny story. I’ve told it a time or two. Mike and I had been jamming and writing music and all that. Mike and Reed had also been jamming in a side project together called RIGHTEOUS FOOL. Pepper actually sort of rounded us all up initially. He wanted to do some festival dates as a four piece. Pepper called us all up and rattled all of our cages. Me, Mike and Reed started jamming and he was gonna come up from New Orleans. I guess the time kind of flew and out paths became a little discombobulated there. Those things never happened. But the three of us kept on jamming and we were like ‘We’ve already got started on this, let’s keep going with this!’ We were having such a good time so we decided to keep on rocking. Before we knew it we had an album written and we were out in L.A. Recording it. Then we set up a couple of shows back in the Summer of 2010 and had a great time. The funny thing was that Pepper sort of spearheaded it, which is cool.
MAA: How long did the writing process take for the new album?
WW: It would have gone a heck of a lot quicker. The actually recording of it, we really laid it down in two weeks and about the same amount of time mixed. But in between recording it and mixing it we did an entire summer of touring. We started recording it last March out at DAVE GROHL’s joint out in L.A. After we got it all on tape we spent some of the summer on the road doing shows to break it up. We finished mixing it this past fall over a few weeks. The writing of it went really quick. The only thing that made it seem like a long time was that we had so many shows in between. We were trying to play live and really gel the new stuff together. Because there is nothing like trying to making the new songs work better playing them in a live show.
Power Trio!
MAA: There are obvious influences of punk, doom and thrash, but I hear some psychedelic parts and even some soul parts in there. Is that where you guys are at these day?
WW: We’ve got a lot of influences you know. I was joking to Mike and Reed like ‘When did we become a prog, death, doom, soul and every other adjective you can think of band?’ (laughs) None of it is on purpose. It truly is how we write. I know a lot of bands might say that. We’ve never approached this like we need to do this kind of record or we need to do this, we need to do that. Even if we started off that way in the back of our minds thinking that, it never works out that way.
MAA: Once again John Custer was behind the boards. What does he bring to the table that keeps C.O.C. coming back to him?
WW: I think he’s a quality control guy. At this point in the game because we have done so many records and worked with him through the years, he really let’s us do our thing. He doesn’t try to manipulate the music, like tries to change the direction. But he let’s you do want you do best. He let’s you do your thing. Then he tells you what really doesn’t work and how to make what does work sound better. He’s just really great a getting tones, bass, guitar and drum wise. That’s where he shines, polishing up the music and getting all the right tones in the studio. But he’s not into changing the music. He’s never has been one of those other guys.
Reed Mullen and Mike Dean on stage, opening for CLUTCH in 2011.
MAA: It’s not slight to anyone else that has played drums in the band, but what does it mean to have Reed back in the band?
WW: There is no doubt. That was the lynch-pin in whole thing was actually getting Mullen back. That is what made it happen. It’s the original guys. What can you say? It’s what makes it click. Like I was mentioning about the writing process, whenever you write a riff with a drummer who plays the right drumbeat you want to hear behind you without telling him, that makes all the difference in the world. That’s the way it happened on this one. Of course we’ve had some excellent guys fill in behind the kit when he wasn’t with us. We’ve had Jimmy Bower (DOWN/EYEHATEGOD) or Stanton Moore from GALACTIC and they are great drummers. But there is nothing like having Mullen behind the kit. He is the real key to the C.O.C. thing, man.
MAA: Is the record being self-titled a statement in any way?
WW: As opposed to being really any kind of statement, it was just kind of time to do one. This year, 2012, we are around as a band for thirty years. Especially with getting Mullen back it seems more like the original band. It was the right time. It may or may not be our definitive work. I don’t want to say that any record is our best work because I think we are always improving. I’m sure our next record will be even better. It was time to do a self-titled. It was going to happen eventually, so why not now? (laughs)
MAA: From the bands earliest time the voice of the band was very socially conscious, political and anti-establishment. Why do those themes seem to still ring true today and appear on the album?
WW: At any time you could almost say that about the world. There is always some effed up shit going on in the world! (laughs) Everything in the world seems to be coming to a head. Everybody today is talking about these internet censorship and piracy bills like this SOPA. It’s pretty scary stuff. Big Brother is out there and has his hands around our neck. There are a couple of references in the lyrics on the album that alludes to it. We never try to get too exact and obvious with out meanings, but it is all in there. They are there and we leave them open to interpretation. Mike Dean does a great jobs with his lyrics. Reed does as well. He sings a few songs on the record too that are great.
Woody, ripping it up live in 2011.
MAA: You have always had a distinct and soulful lead guitar style. Who were your influences that made you pick up the guitar?
WW: I would say probably the two standouts from my early years are BILLY GIBBONS of ZZ TOP and of course CARLOS SANTANA. I was a big SANTANA freak growing up as a kid in the 70s. And of course (TONY) IOMMI. Everybody says IOMMI, but you got throw him in there. (laughs)
MAA: Will we see a reunion of the lineup with Pepper eventually?
WW: Yeah! Obviously nobody knows the future but, you know Pepper is our buddy and we are gonna jam with him in New Orleans on St. Patty’s day. I’ve already talked to him. Maybe he will do a song or two, I don’t know. When the time is right, we all want to. But I believe we will get back together at some point. I think we have some more to offer as a four piece. We’ll see what time brings us.
MAA: Do you think there is a misconception about Pepper’s involvement with the band?
WW: Really what happened was we had a bunch more touring set up for In the Arms of God, which came out in 2005. And that hurricane (Editors note: Hurricane Katrina) really messed us up. We had a whole European tour booked to open for MOTORHEAD and all these plans that just dissolved after that. We just never got the ball back going. And the DOWN guys were all in New Orleans. The all live there. They got busy again and C.O.C. just fell by the wayside a little bit for a while. It was definitely not any kind of personal stuff involved in any way.
MAA: Manchild zine writer Brian Walsby did a phenomenal history/graphic novel of the band. What are your lasting memories of the history of the band?
WW: There have been a million labels applied to us through the years. Some of them were just made up, like crossover!
MAA: That is all D.R.I.’s fault!
WW: (laughs) Yup, D.R.I. took that over. We’ve always been doing the same thing. It is just a matter of how we’ve been able interpret it through our recordings and live shows. Just learning how to play better over the years on our instruments. (laughs) Just learning tricks to do and recording techniques. I think it has changed how we sound and how we improved. We’ve always have the same goal and it’s just a matter of how we do it has changed a little bit.
MAA: Thanks for your time Woody!
WW: Cool man! Thanks a lot brother! Look for us on tour!
In this day and age of every possible type of permutation of metals original design there is certainly a style to fit every taste. With new sub-genres popping up all the time it is hard to keep track, even for a guy who’s job is to keep track. At the same time I feel like there will always be a place for bands that represent the original idea of blues based rock and metal if it is executed well. There is no escaping good songwriting and a heartfelt delivery when given the chance to bring it back. California’s KYNG is such a band, being the torch bearer for the riffs and the grooves that can be eternal if you play em right.
From the very first track “Falling Down” the band makes clear its intent to pay homage to its heroes. A power trio not just in the style of all of the great proto-metal and classic rock bands, but in the rawness an d power of sound. Despite the vintage mindset the album is certainly heavy enough for modern fans of bands like DOWN, COC, CLUTCH, QUEENS OF THE STONE AGE, THE SWORD, BRAND NEW SIN, PRIESTESS, MONSTRO, TOTIMOSHI and the like. Lead singer and guitarist Eddie Veliz has an amazing bluesy wail and a fine range. He can carry the weight of some of these tracks on his voice along. Bassist Tony Castañeda also chips in some vocals and on occasion the band can pull off some harmonies like QUEEN or YES. Drummer Pepe Clarke Magaña just kills hits huge sounding drum kit with that good old natural sound you the way it used to be. “Pushing and Pulling” rages like a brake-less freight train with plenty of boogie and sick fills to boot. The title track comes next and has plenty of fuzzed out bass and gargantuan riffs a la KYUSS at their best. Veliz again delivers the goods vocally. The melodies and the solos are right from the pages of all the greats. Now its one thing to distill your influences and quite another to be able to make compelling original songs with those tools. KYNG does this really well. “Takes Its Toll” goes from a somber blues to a heavy rock strut easily. “Trails In Veins” is another jamming track with some impressive melodic components to it. It definitely has the sound of a modern hit. “I Don’t Believe” is a cool little ditty with a headbanging riff to it. “Bleed Easy” rocks out at maximum over drive while “Down On Me” lays back in the pocket a little more like an alt country metal tune. “Porcelain” is a slow burn epic that sounds like DOWN covering “Love, Hate, Love” by ALICE IN CHAINS. Castañeda chips in another cool bass line here in the style of Geezer Butler or Mike Dean. “Between the Blame” begins with some fine A cappella singing and builds up into a cool rocking march of a beat. The last track also has some of the best lead playing on the album which ducks in and out of the song without taking over or fouling up good riffs. The breakdown of the song goes down right proggy right before the climactic ending. “The Roses” is another epic song that rages just barely in control after a quiet start. This is a definitely one of the best new bands I have heard this year.
KYNG: Standing on the shoulders of giants. Photo by Katherine Guerreo.
Yet another brilliant album cover by John Dyer Baizley.
Hailing from the same fertile ground in Savannah, Georgia that sprung modern southern metal stalwarts like BARONESS and KYLESA, BLACK TUSK is back with their fourth album in five years. In perfect fashion they have crafted another strong album of anthemic venomous cuts that range from crust punk to sludge in attitude and character. The band has always had an explosive mix of elements to work with, but on Set The Dial they have synthesized this in to some terrific songs. Produced by superstar knob twirler Jack Endino (SOUNDGARDEN, HIGH ON FIRE, SKELETONWITCH, THE ACCÜSED, NIVANA) the band is poised to break through to some new ground with their brand of high octane music. Once again BARONESS front man and acclaimed artist John Dyer Baizley created the distinctive album art to match the music.
The rollicking urgency of the opening instrumental “Brewing the Storm” sets the tone for the entire album. Counting off with the lyric “Six! Six! Six!”, “Bring Me Darkness” is a great musical battle-cry. Thunderous drumming and buzz-saw chords chop away at the listeners ears. The bands’ three-headed vocal attack really works well here, with each member contrasting the other. The jamming boogie of “Ender of All” furthers this idea. Guitarist Andrew Fidler, bassist Jonathan Athon and drummer James May hang their hats on a “tight but loose” feel where everything is in sync, but still sounds raw and awesome. “Mass Devotion” has some tremendous riffs and stomping hardcore beats galore. “Carved In Stone” definitely sounds like a slice of early Phillip Cope led KYLESA, but manages to add new flavors over the raging din. “Set The Dial To Your Doom” is fittingly the best song on here with wah-pedal drenched accents and more crushing drums. The song is also has the most developed lyrics on the album. “Resistor” is another bruiser of the track. The immovable groove of the song calls to mind the best work of DOWN. Fidler just piles riff upon swampy riff. The entire track is a sludge masterpiece, even when the acoustic guitar coda comes in for a great contrast. “This Time is Divine” is an uptempo jam. The production of tracks like this allows the raw energy of the band to really shine. This is especially true of the bass and drum sounds which are large, live and natural like I like them. “Growing Horns” and “Crosses and Thunder” finish up the album in grandiose fashion. BLACK TUSK is not the most original band ever, but they are fine songwriters and have the right mix of emotion and groove for today’s discerning metal heads.
BLACK TUSK keeps it pretty gangsta and also down with the king!
It isn’t every day where we talk Serbian stoner rock here at Metal Army America, but this indeed seems to be our subject here with Sky Is High, the full length debut of Novi Sad’s Concete Sun.
Interestingly enough, Sky Is High doesn’t try to emulate late 80s Bay Area thrash-isms, nor does it take cultural Serb influences and attempt to meld them into some folk/pagan metal melting pot. Nope, instead Concrete Sun offer us some sun-baked, traditional riff-focused stoner rock in the vein of Blind-era COC and early Down.
The results? Pretty fuckin’ good, actually, due to the impressive guitar skills of Mijatovic Bojan and Zivkovic Budimir, both of whom dig deep into their bag of classic rock ‘n metal tricks to unleash riffs which sound legitimately inspired by the elders gods of doom ‘n gloom. Indeed, while opener “Just A Beginning” kicks things off in massive, booty shaking groove, “Euphoria” settles into a solid, gritty doom vibe reminiscent of a hyper-aggressive Trouble, filtered through Kyuss and Hermano’s worst, filthy nightmare.
The band’s singer Cerovina Strahinja also possesses a gritty, charismatic scream which serves his band well, leading the charge here on Sky Is High via an impeccable knack for driving verses and big time choruses. All in all, the Concrete Sun machine fires on all cylinders, releasing one HELL of a debut; an LP which stands as super impressive by anyone’s standards, foreign or domestic. Concrete Sun kill it, doing their countrymen proud by digging their heels and going toe-to-toe with us Yanks at our own dirty doom game. Get down with this one.
DOWN is finally ready to deliver a new effort to the masses. As you can see above, Kirk Windstein tweeted that they are going into the studio later this month and he recently gave an interview to Radio Metal explaining what kind of release the band is planning.
“We’re going to do four EPs, and they’ll all be different. We have many elements to our sound, so each one will have its own characteristics. Like, for example, this one we’re writing right now and are about to start recording will be really hard, with heavy DOWN stuff. Then we’ll have a mellow one, then a doom one — you know, slower and doomy stuff. A little bit of everything.”
I think this will be a cool package but, at the same time, I’m bummed that we won’t be receiving a full DOWN album experience any time soon.
I’ve never been more jealous of Louisiana… First of all, they played home to WWE Hell In A Cell this past Sunday (and I’m still waiting anxiously for Survivor Series to hit NYC). Second of all, the state is home to the #1 team in college football, the LSU Tigers, and my best friend who attended the university. Now DOWN has announced two special shows at Halloween at Southport Hall. This is going to be a truly epic experience and I’m quite jealous that I won’t get to be there… Here’s hoping something changes and I make it to Louisiana to witness the madness!
Unless you have been living under a rock or been in a coma like Captain America was for the last 70 years, one of the stories of 2011 has been the fallout from Mike Portnoy’s messy departure from DREAM THEATER. Still being played out in the media after splitting nearly a year ago, there has been no shortage of drama. We watched the very public dismay of Portnoy unfold as DREAM THEATER has opted to continue on without him, eventually settling on Mike Mangini as his replacement. As his former band prepares to release their next record soon, Mike has licked his wounds and released the first material from his new band ADRENALINE MOB in the form of a self released EP (Dear Tunecore, you totally suck ass!). The band is a super-group of name players who will have to live up to their legendary reputations even more in light of these circumstances. The potential for greatness is definitely there, but the band has a ways to go to get there.
The first song is a driving, blues based active rock/power-groove type of song named “Psychosane”. When I heard the main riff for the first time I immediately thought of PUYA, but the band is going for a BLACK LABEL SOCIETY/PANTERA/EXHORDER type of vibe. Lead singer Russell Allen of SYMPHONY X (who also produced) even channels Phil Anselmo and Kyle Thomas to an extent throughout most of the album and the results are mixed. Allen is a naturally great singer, but his attempts to butch it up here left me a little flat. The track itself is solid with a great guitar solo from the gifted Mike Orlando (SONIC STOMP). As you’d expect from any Portnoy recording the drums are powerful and have his patented slick fills and rolls. The second song “Believe Me” is a little tighter. Another boogie rock stomper, Allen uses his more trademark dynamic vocalizing and power to great effect this time. Orlando just shreds his face off on another couple of harmonized solos in the vein of DIMEBAG DARRELL. Orlando is one of the premier axe-men in the game today and this band could be a launching pad to even bigger things for him. He has preposterous dexterity, sick lead skills and a lyrical style in the tradition of all the gods of guitar. In addition to some terrific Portnoy double-kick work, bassist Paul DiLeo drops in some fine walking bass lines and fills. There is no questioning the talent of this group which also includes guitarist Rich Ward (STUCK MOJO/FOZZY). Lyrically and melodically it is the strongest track here also. “Hit The Wall” is the most realized song and has rock and thrash overtones. The fast driving beat is prime territory for the legendary drummer to get his metal ya-yas out. Allen kills the vocals here with an excellent performance displaying the full extent of his talents. After raging on overdrive for ¾ of the track, the song breaks down into a DOWN style sludge jam and it sounds pretty impressive. “Down To The Floor” continues the kitchen sink riff approach. There are some interesting spacey sound effects going on during the verse that will hook your ear. The major-key change in the chorus is a classic rock staple that screams early 1980′s to be sure. Another short Orlando lead calls to mind EDDIE VAN HALEN at his youngest and best. As the band has done live, the album closes with a cover of “The Mob Rules” as a tribute to RONNIE JAMES DIO. Allen certainly does a heartwarming DIO impression and the cover is note for note perfect. I suspect most of the originals are even more killer sounding in a live setting. I hope more time spent with the whole band writing together will make the full length album in 2012 worth the wait.
Once again I headed to the MAYHEM FESTIVAL stoked for a full day of metally goodness, rock n roll shenanigans, blazing temperatures and once again pissing in the eye of death and trying not to die of heatstroke. I had enough SPF 50 on my pasty body that I looked like a walking mayonnaise sandwich on Wonder bread in the cloudless, 100 degree day in Mansfield, MA. Yes, that is a gross image even to me. Sorry for that! Still, I was ready to rock and was determined to stay hydrated and covered up. Especially for the early part of the day at the side stages on the Comcast Center blacktop. That was my goal at least. This year I have grouped the reviews by stage, which is in contrast to the alternating stage method the festival uses. I have to say this was one of the better run shows I’ve ever been to, at least from the Mayhem staff point of view. The venue people and their behavior is another story entirely, but I digress.
Since I was busy conducting a bunch of band interviews I missed the “Jager band” DEADSEASON. All for the best since it was hot as Hades out there. RED FANG was the first up on this stage and I was worried they would have their work cut out for them. As a straight up old-school stoner rock on a side stage full of hardcore, tech death, sludge, deathcore, melodic metal and thrash influenced music I wondered if the growing masses would “get” what they do. Well they went over great with people moshing in the early afternoon heat and headbanging like mad. It’s tough to be a band that has to a lot of hype to live up to, but I’d say so far they have done a great job. This was my second time seeing them and they were even better this time playing baddass tracks like “Into The Eye” and “Sharks”. Although everyone was waiting to hear their “hit” “Prehistoric Dog” (likely due to its hilarious video) I much preferred the mini-epic “Good to Die”. Overall they were excellent and I am looking forward to catching them again. Next up on this stage was KINGDOM OF SORROW whom I saw last at last summers quasi-disastrous OZZFEST. Since Kirk Windstein was on the road with DOWN last summer he didn’t make that trek. This time around we were treated to the full compliment of the band which of course includes front man Jamey Jasta on vocals. Opening with “Behind The Blackest Tears” the band sounded great and Jamey as always was killer. He incited a ton of crowd surfers and moshers despite the oppressive conditions. Windstein sounded amazing on guitar and he occasionally chipped in some of his unmistakable vocals too. Strangely, during “Free The Fallen” the power to the stage went out. When the power came on a few minutes later the band went right into “Enlightened to Extinction” which was totally kickass. I think Jasta and Windstein really achieved a true marriage of their two styles, especially on album number two. “Monuments of Ash” helped Jasta keep the energy up high. Then for a nice surprise they played a track off of Jasta’s recently released solo album entitled “Mourn the Illusion” and it went over really well. For those wondering he sang his ass off and it was cool to hear this new facet of his game. They ended with “Lead the Ghosts Astray” and it was a fitting closer for the set.
Kirk Windstein and Jamey Jasta rip it up live with KINGDOM OF SORROW.
Playing basically in their backyard since they are from just north of Boston, UNEARTH came out of the blocks like a killing machine of metal! They were pumped up and played a lot of songs off of their new album Darkness In The Light (Metal Blade). They got a heroes welcome from the crowd which was cool since I will say that Massachusetts always represents for their bands. Coming on stage to the strains of intro piece “Equinox” you could see how jacked up they were. “My Will Be Done” is always a great song live, but as the opener here it was even more effective. Vocalist Trevor Phipps is just a beast and terrific at working the crowd into a lather. Guitarists Ken Susi and Buz Osbourne were running and jumping all over the stage as always and soloing their asses off. They even made use of the stacks of gear flanking the sides of the stage to come out into the crowd a little more. “Sanctity of Brothers” was next and also killed. Behind the kit for the new album and this tour is Justin Foley (KILLSWITCH ENGAGE/BLOOD HAS BEEN SHED) and he was just awesome. He hit all the familiar beats and played with a bit more finesse than previous guys on the drum throne in this band. He was also sporting a dope beard as per usual! Next was the classic track “This Lying World” Phipps came out into the crowd to the railing to lead the charge on the song and it was down right inspiring watching him. He had openly addressed the crowd saying he wasn’t sure they were gonna be able to rage as much as usual with the heat, but gave them respect for beating his expectations. After this the band played a few new songs like “Watch It Burn” and “Eyes of Black” and these tracks meshed perfectly with the older material. When Susi jumped on the microphone to add some melodic singing it took me right back to the days of The Oncoming Storm. Bassist John “Slo” Maggard was solid as ever and also contributed fine backing vocals.Even though they eschewed some of their more well known singles on this day gems like “Endless” and the finale “The Great Dividers” more than made up for it. UNEARTH are collectively first rate showmen and performers and never disappoint live.
UNEARTH get the welcome that hometown heroes deserve.
Set List:
Equinox (intro)
My Will Be Done
Sanctity Of Brothers
This Lying World
Watch It Burn
Endless
Eyes Of Black
The Great Dividers
The last band on Jagermeister stage was IN FLAMES. Out of respect for them, MACHINE HEAD and TRIVIUM the three bands are in rotation for the main stage opening slot, followed by a headline stint each on the side stage. This modicum of fairness didn’t affect Gottenburg’s melo-death masters. Sounding as ferocious as they have at any point in their career they came on stage led by singer Andres Friden who let loose a demonic scream to announce their arrival. He held this scream for a full minute and the band arrived with lots of energy and fire. This woke up the crowd the honestly might have been flagging a bit by now. Opening with perhaps their most popular song of the latter half of their career “Cloud Connected” kicked things off with a bang. It was cool to hear thousands of people sing the chorus and the band was just going off like I hadn’t seen them do in a while. The rhythm section of drummer Daniel Svensson and bassist Peter Iwers just lock down the low end and they propel a majority of these songs. Another recent jam, “Alias” soon followed with the band sounding great. With Jesper Strombland now departed from the group, guitarist Niklas Engelin is a full fledged member and he is a terrific performer and player. Coupled with mainstay Bjorn Gelotte they form an impressive duo and handle all of the fretboard acrobatics for the band. There were fully on point and missed nothing you would expect. This proved handy with the classic “Pinball Map” from the Clayman album up next. The old-school fans in the crowd seemingly awoke for this song and sang along loudly. Friden sounded as good as ever here, disputing the notion that he has lost anything from a vocal standpoint. He is just in a different place now as a singer and prefers melody over screaming on the new material from Sounds of A Playground Fading (Century Media). Jumping forward to the present day with the current single “Deliver Us” again the entire crowd got into it which was cool. Then they took it way back with “Hive” from my favorite album Whoracle. The track sounded perfect and one gets the feeling the band will be doing a lot more of this type of thing when they headline, so do not miss them! Friden was lively between songs, telling jokes and generally looking really happy for the band to be back on the road in America. Another deep cut off of the new album,“Where the Dead Ships Dwell” was a nice, out of the box addition to the set. Closing with popular songs like “The Quiet Place” and the cathartic “Take This Life” the band wrapped a top notch showing that certainly was worthy of closing out the first part of the day.
IN FLAMES played a diverse set honoring their entire career.
Set List:
Cloud Connected
Alias
Pinball Map
Deliver Us
The Hive
Where The Dead Ships Dwell
The Quiet Place
Take This Life
