#metal hammer summer 2008
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Aesthetics of Hate
This is the House of Nine. There is a horror that echoes through its walls. There is a horror that shifts and broods. A horror that coils itself into a moment of truth. This is our house. We have heard it sing.
It’s started again, hasn’t it? That’s why we’re back. That’s why we’ve… changed.
Back? Listen.
We never left.
Slipknot’s drug, alcohol and ego problems are history. No longer at war with each other, the only struggle now is finding a way to finish it.
Words: Ken McIntyre. Pics: Steve Brown.
Aka the one that aged like milk. Many thanks to @incredizort for sharing your collection. (docs link)
The are the village people of the damned, a psychedelic terror circus populated by depressed clowns, obsessive-compulsives, misanthropes, cyborgs, droogs, ghouls, and goblins. Their sound is a barrage of noise and confusion, a bundle of hiss and the dynamiting of mountains. They look like escaped mental patients on Halloween, and their demeanor vacillates between grandiose and openly hostile. They are Slipknot, and they are legion.
Since 1995, these nine creatures of latex and bone from the fertile plains of Des Moines, Iowa, have lorded over their dysfunctional kingdom of maggots and problem children with shaky hands that have often succumbed to their own wretched excesses. As the band went from strength to strength, from the runaway freight train of their 1999 self-titled debut album to the embittered, embattled success of 2001’s Iowa and their surprisingly tuneful comeback, 2004’s Vol. 3: (The Subliminal Verses), Slipknot scaled unheard-of heights for an extreme metal band, snapping up Gold and Platinum albums, winning Grammy awards, infiltrating the mainstream like sinister double agents.
But none of it came easy, and lurking behind the mask was a band at war with itself; a band riddled with drug, alcohol, and ego problems. In 2005, the levy finally broke, and Sipknot took a much-needed break, the various members healing, mending fences, and exploring other creative avenues. Singer Corey Taylor and guitarist Jim Root returned to Stone Sour, drummer Joey Jordison played with a myriad of bands, from Korn to Metallica, and drummer and visual artist Shawn ‘Clown’ Crahan produced the revealing ‘Knot-doc Voliminal: Inside The Nine, among other projects.
But they could not avoid their fates forever, and so Slipknot return with a roaring new album, All Hope Is Gone, which pits a burgeoning retro-thrash metal obsession and their recent flirtations with melody against their original vision of pure, bloodlusting aggression and brutality. And with this latest dispatch from the abyss comes the expected media saturation, as well as an endless arc of tours and festivals and television performances. It is during the brief calm before the storm that Metal Hammer catches up with Slipknot, rehearsing their new set at Wells fargo Arena in downtown Des Moines.
Slipknot (left to right): Shawn ‘Clown’ Crahan, Chris Fehn, Craig Jones, Joey Jordison, Paul Gray, Mick Thomson, James Root, Sid Wilson Corey Taylor
They say it’s what’s inside you that counts.
That’s what scares me.
It’s in all of us
It’s what binds us that makes us clash. It will happen again.
We’re twisted pieces of the same puzzle. Nine faces that speak with one voice.
The voice of madness…?
Is it normal to be practising in an arena?
Shawn ‘Clown’ Crahan (percussion): “It’s not normal, but it’s not surprising at the level we’re at. It was my idea to do this, to practise in the small room and get it tight, and then to come out here and get the feeling of the arena again. Otherwise, you’re practising in people’s houses, and we’re nine brothers. Imagine nine brothers with nine families and everybody running with different crews, and all having different morals and standards and spiritualities. Imagine that fuckin’ insanity. So this makes sense.”
Des Moines had a series of floods recently. Did they affect the band at all?
Corey Taylor (vocals): “Not really. I spent a couple days running around saving my friends. Everybody I knew with the exception of just a couple people lived on the flood plain, so I was just going out and helping people get the fuck out of there. I had a house full of people for a week.”
For years now, there have been allegations that you guys all hate each other. Is the band still dysfunctional?
Joey Jordison (drums): “Yeah, we are dysfunctional. But I mean, we all grew up together. Me and Mick [Thompson (sic), guitar] are like, best friends, and I used to detest that guy. We fuckin’ hated each other, man. And Shawn, me and him are probably the closest brothers in the whole band, but we probably get along the least because we love each other so much, and we control a lot of what goes on in Slipknot. We’re constantly butting heads. I remember right before Ozzfest, you could just cut the tension between me and him with a knife, it was so thick, and one day I left practice (sic) all pissed off, and I was saying, ‘Fuck off, I think I’m quitting.’ There we were, we just got the ticket, we were on our way to making it. That’s how fuckin’ stressed out we were. And literally – he’s a lot bigger than I am – Shawn flipped his kit over, came over to my drumset, ripped my stuff down and held me by the fuckin’ throat, and I grabbed his throat and went to punch him, and then the whole band dogpiled us. We’ve had lots of fights like that, real fistfights. But even though we still get into fights, we don’t let them last that long anymore. The band is just so intense. I mean, we’ve got nine extreme personalities here.”
That reminds me, on a scale on (sic) one to 10, how nuts is your DJ, Sid? He just told me that he’s a cyborg, and I think he really means it.
Joey: “One to 10? Like, 13. Yeah, he’s crazy. You take 72 hits of acid in one weekend, it’s gonna fry your brain up a little bit.”
How do you guys balance all the side-projects with Slipknot?
Joey: “It’s fuckin’ simple. Slipknot comes first.”
So it didn’t take any convincing to get everybody back to do a new album?
Joey: “Well, it usually happens when the other bands sorta run their course. Certain people in the band decide not to do anything, they just chill out until the next Slipknot record. Me, I do a lot of work with other bands, but Slipknot’s my priority, and I’m glad to be back playing with these guys. The first day when we started rehearsal, usually people are laidback (sic), it was like headbang city man, and we were like, ‘Let’s just get out metal necks, let’s get that shit out of the way.’ It feels great, man. I’m happy.”
Corey: “ I was completely stoked to do it. I’d actually started thinking of it and preparing for it on the Stone Sour tour. I just started filling notebooks with ideas. It got to the point where I had two notebooks full of stuff, and I was just ready to go. So as soon as the music was written and the demos started floating around, I was just like, ‘OK, this fits here and this fits here.’ I wasn’t rushing around to write lyrics, which a lot of guys do. I was very prepared and not only was I saying everything I wanted to say, but I was doing it in a way I was ecstatic about. I knew I wanted to go heavier, and I knew at the same time that I wanted to balance that with this melodic side that we had really tapped into. And the proof is there. I think this album is the best thing we’ve ever done, to be honest. I think it really shows the growth of the band and the maturity. But it’s still chaotic and heavy, but it’s still got those moments where you just go, ‘Holy fucking shit!’ Not only is it good, but the more you listen to it, the more you find. There’s a lot of layers, and that’s something that gets lost on a lot of people. There’s just so much thought and so much meaning behind everything we do. It’s not just shock for shock’s sake.”
What’s the theme for All Hope Is Lost (sic)? Umm, hopelessness by any chance?
Corey: “It’s not a blatantly political or social album, and it’s not a blatantly angry album. I think the overwhelming theme, for me, is that none of us are the same, but none of us are different. We may change as people, but if we use the same energy to try and solve different problems, nothing is going to get accomplished. And that’s something that I think is lost on a lot of people.”
What was it like having Dave Fortman as a producer for this one?
Joey: “Dave was great. It’s not like when we were recording with Rick Rubin – he was like an oracle. He would make these little tweaks from his house. He’d sit in this little library in his house, he’d sit there cross-legged with these prayer beads and he’d get a vibe, and he’d tell the engineer what to do. That was a weird way to record. But Dave, he was there every hour, every day. When we write songs, we tend to write really long like, [Metallica’s] …And Justice For All- type songs, nine or 10 minutes long. So we’d record the song like that, and Dave would help us chop it down. The thing with Dave is, that guy knows his tones. I finally got the best drum sound in my life. The guitar sound, the bass, the percussion… finally, we’ve got the Slipknot sound I’ve been wanting to hear my whole life.”
You’ve got new masks and new outfits, do you feel constrained at all by them?
Corey: “No. We don’t only have these, but we have actual outfits that we put together ourselves. They’re still cohesive, but they’re a little more individualistic. We had started doing that on the last album. It’s part of our evolution. If you’re not evolving, you’re dying. No matter what the fucking fans on the websites say, nobody wants to see the same fucking shit over and over again. This time around, we felt it was very important that we are represented as individuals and not just as a band, as pieces of a puzzle. The new mask and outfits range from outrageous to very subtle. It’s a reflection of who we are. But we also kept the boiler suits, because we like to appear as a unit.”
You guys got saddled with the ‘nu metal’ tag early on. Obviously at this point you’ve overcome it…
Corey: “There were a couple of bands that were good and that had a really good attitude. Snot comes to mind. That was an amazing band; I loved Snot. (hed)P.E. – their first couple of albums were amazing, because they had so much attitude, and it was so different. But then you had bands like Limp Wristed and all that crap, where it just got so watered down; the P.O.D.s, fuckin’ bands like that, where there was zero talent going on. It was frustrating being caught up in that, but at the same time, people don’t want to think outside of what they already know. They want their opinions forcefed (sic) to them. So if a magazine comes out and says we’re nu metal, than (sic) that’s what they’re going to say. It took us a long time to change people’s minds. We’re just a metal band. The people that wanted to write us off as a nu metal band weren’t our fans, they just didn’t know what to call us. We just got stronger and stronger and more willing to experiment and so they just didn’t know what we were. In that respect, we sort of created our own genre, and there’s a lot of bands that kinda take cues from us now. It’s kinda weird.”
Slipknot broke the ceiling for extreme metal bands making it in the mainstream. Did it shock you when it was happening?
Corey: “At the time we didn’t even think about it, we were just real busy working. We were literally on the road for 18 months and saw home for maybe three weeks in that entire time. We were gone forever. But we knew that was going to happen, so we just put our heads down and did what we had to do, because we just refused to lose. So once we got that done we had time to take a breath. We were getting ready to start on the Iowa tour, and we just turned around and were like, ‘Woah! Look what we did. We’re fucking huge!’ We were playing this place that’s not even there anymore, it was called the Bronco Bowl in Dallas. It was set up like a mini-arena and it was just fucking gagged, fucking jammed with people. I remember walking out on stage and thinking, ‘Are we opening up for somebody? Where did all these fucking people come from?’ They knew every word, they knew everything, I remember coming off stage and just having this amazing smile on my face. I was like, ‘Something’s different. We’re not an opening band anymore.’ And I don’t think we’d ever be again, unless we were opening for somebody like Metallica. It was insane, it was probably the best feeling I’ve ever felt in my life.”
Joey: “It didn’t happen overnight, because we had to work so hard for it but… it happened overnight. We went on Ozzfest, and three weeks into it we’d sold 150,000 records. Every time we played, everybody – every fucking band, Black Sabbath included – was out there watching us. And we’re out for blood, we fucking hate everybody, just ‘Fuck you!’ That’s always been the Slipknot mentality. We love a lot of other bands, we love a lot of different music, but when it comes to us playing, we just don’t care. It’s your ass. People think it’s arrogant, and it is. We believe in our craft. We believe in Slipknot.”
The voice of the madness perhaps
It’s the nature of madness – it’s always searching for a brave face.
Always changing…
…always the same
It seeks its own martyrdom…
…and to be reborn
Yeah, very fucking profound. Don’t get mad, get eaten.
You want to give food for thought?
It’s just for the food for the maggots.
Th-that’s all, folks.
Is it tough accepting the fact that you have to wear a mask for the next year?
Joey: “No, not at all. I’m ecstatic to be back and playing with the guys again. It’s home, man. We take breaks because Slipknot is not just music, it’s a force, it’s a lifestyle. It’s also like being in jail. You’re constricted. You have to be on your game every night to be in this band. The stuff is not easy to play anyway, but we’ve got the whole stage performance, playing in masks, it’s what every band goes through, but with nine guys it’s very intense. I mean, look at this – all nine guys are still together. All nine original guys are still here. What other band can say that?”
So, has anybody ever tried to get out?
Joey: “No, no one ever has. That’s why at the end of a 15-month tour cycle, we’re just like, let’s take a break, work on some other projects, just relieve a little stress. But when we come back to Slipknot, it’s on, man. There’s no fucking around.”
So what can we expect from this next tour?
Clown: “For one thing, we’re musical, man. I play the fucking drums, so get used to it. I’ve earned the right, I’ve done the time, I’ve been on the mountain with the kung fu masters, learning. If you can’t accept that, go play with the kids’ toys. I’ve worked really hard on my art for this one. I got my boy-scout medals and I’m in the deep woods with no tools, no tent, no nothing, and we’re playing survival, man. Just know that I’m the guy who eats the fucking shit raw, man. If there’s an animal, I’ll fucking eat it. This is fucking Slipknot. That’s what you can fucking expect.”
Is Slipknot meant to last forever, or do you have to write the end of this story?
Clown: “You nailed it, man. I am in more pain than anyone could possibly ever know, because I have to find a way to finish this.”
Joey: “I don’t think it’s our last record at all, but there’s something seriously going on with this record, that’s for sure. It’s like Friday the 13th Part IV: The Final Chapter. It’s a climax.”
Is Slipknot like Kiss, where you could lose a member and just find somebody else to wear his mask?
Clown: “No. If I left this band, we’d be done. If Joey Jordison left this band, we’d be done. All of us, if any of the guys in this band leave… See, it’s been out of our hands for a long time, since 1998. The world is just too dumb, too anti-art, to realise how important this is, to actually accept the truth that yes, if I left the band it’d be over. There could never be a drummer to replace me, man. We are The Nine. There is no one else.”
Nine long, tense, and occasionally violent hours later, Slipknot begin to slink out into the inky-black, dead-still Des Moines night. It’s a mere week until they begin headlining the Mayhem tour in the States, and that’s just the beginning. Once this album hits the streets, it is unlikely that any of them will see their homes again for at least a year, and probably longer. Although the band harbours the expected anxieties about their long-awaited return to the metal arena, the sprawling expansive All Hope Is Gone will probably be their biggest album ever. At this point the eldest members of the band are now approaching 40, while their fanbase still hovers around 18, and that’s the same sort of 18 Alice Cooper once sang about: the confused, angry, half-a-boy, half-a-man kind.
If any of The Nine hoped to escape their fates as the ringleaders of the tormented, those hopes are now dashed.
“Man, it’s fucking embarrassing,” Clown admitted earlier, when we asked him how it felt to be a dad playing teen-rage anthems.
“I’m just glad I’m not alone in this, with this fucking-metal-fucking-arena-rock-fucking-stage-pass-interview-fucking-photoshoot shit. I don’t care about it. Yes, my art has grown into a way of life, yes, there’s a lot of people that live their lives by it, but I’ve always told people, I don’t want to be on the cover of Metal Hammer, I want to be on the cover of National Geographic. I’ve always said that. I’m gonna be on the cover of Metal Hammer anyway, because that’s just what I fucking do. But I want to take you all on another journey, a fucking life journey, a painful journey. There’s a reason why Slipknot gets the people we get: because they’re lost. They’re lost, and they find their way to us. It’s like a cult, man,” he says, staring a hole right through us.
“A cult of fucking pain.”
There are those who say hope springs eternal. They have obviously never spent a day with Slipknot.
A Stitch In Time
A bluffer’s guide to The Nine.
92: Drummer Shawn Crahan and bassist Paul Gray begin playing in a band together.
95: Joey Jordison joins Shawn and Paul, form Meld with guitarists Donnie Steele and Josh Brainard, and singer Anders Colsefini.
96: Donnie leaves the band due to religious beliefs and is replaced by Craig Jones. Meld change their name to Slipknot and begin wearing grotesque make-up and costumes. Craig Jons switches to sampler and Mick Thomson joins on guitar. Slipknot release their first self-released album, Mate.Feel.Kill.Repeat., on Halloween.
97: Corey Taylor replaces Anders on vocals. Chris Fehn joins the band as percussionist. Slipknot start wearing their trademark boiler suits and numbers.
98: DJ Sid Wilson joins the band. They sign to Roadrunner Records.
99: On June 29, the band releases Slipknot, their ‘official’ debut album, and join the Ozzfest tour.
00: Slipknot is certified Platinum.
01: Slipknot release their second album, Iowa, and do the Ozzfest tour again.
02: The band take a break, Corey Taylor revives Stone Sour, Joey Jordison forms Murderdolls. Slipknot attempt to write a follow-up to Iowa, but struggle with inner-band conflicts. Rumours of the band’s imminent break-up start to circulate in the media.
03: Slipknot rally and begin recording new album with producer Rick Rubin.
04: Vol. 3: (The Subliminal Verses) is released. It quickly goes Platinum. Yet another Ozzfest tour follows.
06: Slipknot win their first Grammy award in the category of Best Metal Performance for Before I Forget. Voliminal: Inside The Nine, a self-produced DVD documentary, is released.
08: All Hope Is Gone released. Chaos ensues.
Project Revolution
Slipknot members are known for their many side projects. Here’s a crib sheet.
Stone Sour
Corey Taylor (vocals)
Jim Root (guitar
Stone Sour were formed back in 1992 by Corey Taylor and have existed in one form or another ever since. The alt-metal/grunge band have released two albums on Roadrunner Records (Stone Sour in 2002 and Come What(ever) May in 2006), and have been nominated for a Grammy award three times. The band are currently on hold in light of the new Slipknot record, but plans for a third album are in the works.
Murderdolls
Joey Jordison (drums (sic))
A horror-themed glam-punk band with a penchant for fishnet tights and make-up formed in 2002 by Joey Jordison, the Murderdolls also featured former Frankenstein Drag Queens frontman Wednesday 13. The band released their debut album, Beyond The Valley Of The Murderdolls in 2002 and played together sporadically over the next two years. The band are currently on hiatus, and when asked about the possibility of further recordings, Joey stated: “There might be another album. We’re thinking about it.”
Ministry, etc
Joey Jordison (drums)
During his off-hours, Joey keeps busy by filling in on drums for several notable acts, including nu metal pioneers Korn, who he played with at the 2007 Download Festival, Metallica, (Download 2004), and Ministry, who he toured with in the summer of 2006.
DJ Starscream
Sid Wilson
Sid Wilson’s day job is as a leading Jungle musician. As Starscream he’s released a host of singles and remixes on the Japanese label N20.
Dirty Little Rabbits
Shawn Crahan (drums)
Shawn’s other side-project is a swirly mix of psychedelia and 90s style alt-rock. The band has yet to release an album. Dirty Little Rabbits supported Stone Sour on their 2006-07 US tour.
Dum Fux
Corey Taylor (guitar, vocals)
A tongue-in-cheek cover band that plays everything from Flock Of Seagulls to The Stooges. Current status: active.
Audacious P
Corey Taylor (vocals, guitar)
Perhaps the world’s only Tenacious D cover band. Currently on hiatus.
To My Surprise
Shawn Crahan (drums)
A sun-dappled 60s rock-style band, To My Surprise were signed to Roadrunner Records and released their debut, self-titled album in 2003. It was executive produced by Rick Rubin. The band are on hiatus.
Roadrunner United
Joey Jordison (drums)
Paul Gray (bass)
Jim Root (guitar)
This was a one-off album project put together to celebrate Roadrunner Records’ 25th anniversary. Roadrunner United featured 18 ‘supergroups’ made up of various Roadrunner alumni. Slipknot’s Joey, Jim and Paul played on several of the tracks, along with Type O Negative’s Pete Steele, King Diamond guitarist Andy LaRocque, and Cradle Of Filth bassist Dave Pybus, among others. The Roadrunner United album was released in 2005.
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Lénárd László emlékest
Lénárd László emlékest - https://metalindex.hu/2022/09/09/lenard-laszlo-emlekest/ -
A Hammerworld magazin a Barba Negra, a Rock 1 és a H-Music közreműködésével bemutatja:
Koncert Lénárd László, a Hammerworld magazin társalapító főszerkesztője emlékére
2022. 09. 22. csütörtök
BUDAPEST – BARBA NEGRA szabadtér
XI. kerület, Neumann János u. 2.
17.30 (kapunyitás)
A rendezvény ingyenes, de előzetes regisztrációhoz kötött. Regisztráció: https://jegy.rock1.hu/lenard-laszlo-emlekest_20220922
A regisztrációs jegyek 17:30 és 19:00 között garantálnak biztos belépést!
Ezen az estén a magyar rock- és metalélet zenekarai tisztelegnek az életének 58. évében, rövid, súlyos betegség után 2022. 08. 02-án elhunyt Lénárd László zenei újságíró, a Hammerworld rockzenei magazin társalapító főszerkesztője emléke előtt.
A már biztos fellépők: AMD, Beatrice, Dalriada, Junkies, Kalapács, Lord, Mobilmánia, Magma Rise (vendég: Füleki Sándor, Megyesi Balázs), Omen, Sear Bliss, Sing Sing, Stress, Zorall
Az este folyamán igyekszünk a Hammerworld magazin által az elmúlt 35 évben bemutatott számos zenei műfajból zenekarokat felvonultatni. A jelenlegi lista még korántsem teljes, hamarosan újabb neveket jelentünk be.
A zenekarok 1-2 dalt játszanak az este folyamán, különleges vendégekkel, speciális közös produkciókkal kiegészítve.
A koncert Facebook oldala
Életének 58. évében, rövid, súlyos betegség után 2022. 08. 02-án elhunyt Lénárd László zenei újságíró, a Hammerworld rockzenei magazin társalapító főszerkesztője, a hard rock és metal műfaj legnagyobb hazai szakértője.
Lénárd László 1965. május 12-én született Budapesten. Jogi pályára készült, de a zene korán az érdeklődése középpontjába került. Az 1970-es évek végétől kezdte építeni rendkívüli hanghordozó- és sajtógyűjteményét, amellyel megalapozta zenei karrierjét.
1986-ban, tinédzserkori jó barátjával alapította meg a Metallica Hungarica magazint, amely az első kelet- és közép-európai hard rock/heavy metal kiadványként hatalmas sikert aratott a Vasfüggöny mögött. Az újság 1989-ben csatlakozott a nemzetközi sajtószíntéren sikerrel terjeszkedő Metal Hammer zenei magazin hálózathoz. Egészen 2003-ig Metal Hammer Hungarica, illetve Metal Hammer H. néven jelent meg a lap.
1990 és 94 között a Petőfi Rádió munkatársaként a Heavy Metal Híradó és Metal Éj című műsorok szerkesztője volt. Számos más rádió- és tévéprogramban szerepelt riporterként, zenei szakértőként.
1997-ben nyitotta meg a Hammer Zenebarlang szaküzletet, amely a 2000-es évek első felében országos bolthálózattá bővült, és a hazai rockrajongók egyik legfontosabb találkozási pontja, zenei beszerzési forrása lett.
1998-ban társaival létrehozta a Hammer Records lemezkiadót, amely labeljei, az Edge és a Nail Records égisze alatt az elmúlt több mint két évtizedben 900 hazai hard rock és metal kiadványt gondozott, többek között a legnagyobb hazai előadók, az Ossian, a Pokolgép, a Moby Dick, a Karthago, a Beatrice, a Mobilmánia és számos további népszerű és feltörekvő művész albumait.
Koncertszervezőként részt vett a Summer Rocks, a Metalfest és más, kisebb fesztiválok megvalósításában, 2000 és 2009 között pedig a Sziget fesztivál Hammerworld nagyszínpadának egyik szervezője, névadója volt. Hazai és külföldi bandák klubkoncertjeinek és turnéinak a létrehozásában is részt vállalt.
2008-tól a Hammerworld.hu rockzenei hírportál főszerkesztői teendői jelentettek újabb kihívást a számára.
Rendkívüli gondot fordított a tehetségkutatásra, új előadók, együttesek felfedezésére. A magazin Demonstráció rovatának keretében már a 80-as évek második felében olyan művészekre irányította rá a figyelmet, mint például a Tankcsapda. Az általa szerkesztett Demonstráció válogatásalbumok a műfaj feltörekvő nemzedékének adtak különleges lehetőséget a bemutatkozásra.
Egész életét a munkájának szentelte, ami egyben a hobbija, szenvedélye is volt. A legjobban a koncerteken, az első sorokban érezte magát. Az élő zene nagy rajongójaként azt vallotta, a dalok a színpadokon kelnek igazán életre, ott teljesednek ki.
A szakma a tevékenységét Voltfólió és Öröm a Zene díjakkal ismerte el.
Lénárd László a rendszerváltás utáni hazai zenei újságírás úttörő szereplőjeként munkásságával maradandó nyomot hagyott a magyar könnyűzenei kultúra területén.
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(My) TOP Discovered Albums of the year 2019 - - - - - - - - - - - - - - -
Here again, for the fourth year in a row! Ready to go through the list of discovered music that I have found this year. It has been quite a long year. The thing that is different from the other years is that I have felt a little bit more stressed about the list. I don’ t know why. Just is. And that is a good judgement of what my year has been about. Stress. Angst. Hardships. Fatigue. And Surprises.
I always think I won’t be able to find any new music each year. But I am always mistaken. Thousands of albums down the road. And ain’t that the best thing. Amidst the times.
And thus, a lot of the music I found this year, that has been put on this list is of the more chill side. Not anything too harsh. Just.... a stream of consciousness.
As Usual, Albums I have encountered throughout the year are listed below -with only the last five in a true top order:
40.
Mad Doctor X - Picnic with the Greys (1997)
A picnic we should all attend, -don’t forget the Oui’d!
39.
Tomb Mold – Planetary Clairvoyance (2019)
Dang, that’s death metal done well.
38.
Moor Mother - Analog Fluids Of Sonic Black Holes (2019)
Self-explanatory.
37.
Darzamat - In the Opium of Black Veil (1999)
Good AF black metal.
36.
karl sanders - saurian meditation (2004)
Darker than you think. Hypnosis.
35.
The Dolphin Brothers - Catch the Fall (1987)
Richard Barbieri and Steve Jansen plays wonderous synth-pop akin to something... I cannot remember right now. But they are good nonetheless.
34.
Reiko Kudo - Rice Field Silently Riping In The Night (2019)
(Dis)harmonious multi-instrumental live-recording’easque music with singing and (soft) noise.
33.
Michael Stearns - M'Ocean
Michael Stearns makes the most chill music in the universe. Except for maybe that one U.F.O. trip album that can be chill in the scary cold sense.
32.
Henryk Górecki - Kleines Requiem-Lerchenmusik
Classical album of the year. Górecki always delivers.
31.
VOIGHT KAMPFF - MORE HUMAN THAN HUMAN (2012)
Fast techno-trash metal band.
30.
Sopor Aeternus & The Ensemble Of Shadows - Death And Flamingos (2019)
Sopor Aeternus & The Ensemble Of Shadows is a band that will always have a special space in my heart. Their music got me through the most part of high school. The dark ambivalent songs. Yet, never forgetting the ironic twinkle in the eye.
29.
Earl Slick - Zig Zag (2003)
That edge of the seat feel of rock; next stage to come, just: SLICK.
28.
Kooba Tercu - Kharrub (2019)
You will be grateful I rec’d this jammin’ piece of fast jumping action of absurdity and happiness. :)
27.
Red Snapper - Making Bones (1998)
Trip Hop Album of The year. Seeing to what trip-hop releases there were around the time of this album’s release, I am so fucking surprised I had never heard of these before. They are just as brilliant as the all too famous Portishead, if not with an upper edge in a lot of cases.
26.
Supercar - Three Out Changes!! (1998)
Shoegaze of the year. Lovely. CHILL. Summer evening breathe’
25.
Anna Domino - East & West (1984)
Timeless synth-pop with rich textures of dreamy lyrics that ensnares you into a downtempo that.... goes up.
24.
Troy Gregory - XAVIERA (2018)
Monumental Prog.
23.
shit & shine - bad vibes (2018)
It is What it Says. Yeah I am on Acid’
22.
Datarock - Face The Brutality (2018)
Norwegian indie masters. I love Datarock very, very much. I’ve listened to them since the 2007 release Red and I don’t know a band with as much coercive pop in each track. This album was a surprise find, since I was convinced they were out of the loop.
21.
HIZAKI grace project - Curse Of Virgo (2008)
Symphonic Metal. Hizaki is a master of the guitar. Such Riffs. If you need to drain your brain to metal and feel energized but still mesmerized, this is it.
20.
Institut Für Feinmotorik - Abgegriffen (2011)
Coolest Experimental Band of the year. Go check them out on youtube. The making of the music here is truly an Experience.
19.
Deafkids - Metaprogramação (2019)
D-beat, Raw Punk, Downtempo ... band from Volta Redonda, Rio De Janeiro - Brazil. NOISE.
18.
WipEout Omega Collection OST (2017)
The wipeout games are and will forever be my favorite way of anti-gravity racing. The music to Wipeout Omega Collection is as stellar as ever, a great list of electro and techno musicians.
17.
Hammer Bros. - Police Story (1997)
Imagine being at an underground hardcore noise rave party in 1997. Imagine the beat blasts. The speed. The energy. Just the grinding shouts, the beat, and you. Ready to dive. BURN. WATER. REPEAT.
16.
AFCGT – Square Microphone Tapes
Noise rock galore. Glory. Wonderful. Gnarly. Intelligent. Different. Moody.
15.
Future Of The Left – Human Death (2013)
Great leftist lyrics. Another one of RIk’s rec’s. Just Awesome. Good Music. Hate on capitalism and its endless bringer of deaths.
14.
Molchat Doma* – Etazhi (2018)
Youtube rec of the year. Darkwave energies en masse!
13.
3.2 - The Rules Have Changed (2018)
The follow up to the infamous To The Power Of Three album from 1986 by Emerson, Lake and Berry. The first record was hated on by many, but I love it. And this very late follow up is a huge accomplishment and honoring to the late people involved. A record my dad would have liked. I just love prog music. Sigh.
12.
Saori Kobayashi - Terra Magica (2016)
Ethereal Game Music is not easy to make. Yet somehow, Saori manages it. No wonder really. She was behind Panzer Dragoon. Masterpiece album for what a tribute it is.
“Terra Magica is a love letter from Saori Kobayashi to her fans. Featuring the same rich, melodic tones that defined the iconic soundtracks of Panzer Dragoon Saga and Panzer Dragoon Orta, Kobayashi invites listeners to enter the world she has created, while encouraging them to create their very own story to match the progression of the music.“
11.
ENTROPY CREATED CONSCIOUSNESS - Impressions of the Morning Star (2018)
Symphonic Doom Metal of the year
10.
Sleaford Mods - Divide and Exit (2014)
Rec of the year by @planetsedge - Rik has served several discs on this list this year.
9.
Mobile Suit Z Gundam BGM Collection (Vol.1 - Vol.3) (1985)
The title track to this animé, sung by Mami Ayukawa, and its subsequent soundtrack is probably one of the best I have heard. 80′s animé has the best soundtracks, mostly.
8.
K2 - Iron Kulture 7' (1996)
Noise artist of the year.
7.
Klaus Dinger + Japandorf (2013)
Surprise find of the year in the sense of knowing the artist in other bands (NEU! and Kraftwerk) but totally missing this somehow. Late late find. Total love. Electronic mists will seep into your ears listening to this.
6.
Beak - >>>
Pop-like krautrock. Laid back, but with thought behind it. Allé Sauvage is my fave track. Just the perfect amount of mystery and rhythm and synths. First list find of the year.
5.
The Muffs - Alert Today Alive Tomorrow
20 years ago The Muffs released this album, and I wish... the years had been kinder. This album helped me a lot though when I found it. A lot of nostalgia will arise listening to this.
Damned if you feel alright ~
4.
BIG STICK - LP (2019)
EARWORM OF THE YEAR!!! Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co ButterCalamari Co Co Butttttttttttttttteeeeerrrrr.
In the bodega.
3.
Jesca Hoop - Stonechild (2019)
Indie folk niceties. Chill, interesting blend of rock and singing elements. Not mystical, but still with mysteries. Got third place because I kept remembering it so much. It penetrated my skull.
2.
Doji Morita - A Boy (1977)
This album was an early find and should be my album of the year. Morita’s voice is amongst the softest and kindest I have ever heard. And she has all the wonderful aesthetics to boot! Acoustics with accompanying strings and pianos in most of the tracks. It isn’t, because the N’1 is such an explosion of a surprise.
The third track, ふるえているネ (One who is trembling) is my favorite. I do tremble at the very thoughts expressed in this track. The bird wings at the end... yeah. Every track on this album is a masterpiece.
Music as pulling one’ s strings of the heart. That is what this album is about.
I will keep it at that with the words. No more has to be said. Just listen, you will understand.
1.
Kagami - Star Arts (2002)
Explosive, Happy, Creative, Constantly Changing Originality.
Techno. Disco. TeSco.
Toshiyasu Kagami was a genius in his genre. I’ve heard a lot of techno mixes and textures in my life, but not anything like this before.
Each track slaps you in the head and forces you to the rhythm, only for you to go.... HMMMMMMMMmmmMmmMmMMmmMMM MMMMMMMMMMMMM when the flow enters its synergies of musical delight. What else is there to say when your ears are filled with such pleasant sounds. Just when you think it won’t change up, it will change up. Impossible to predict. Dancefloor killer. Intelligent Mixes.
No philosophical analysis, only my body moving to the most energetic beat EVER.
Concrete Masterpiece. My album of the year in 2019.
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The Stars and I - Roswell New Mexico Fic
Hi all - I wrote a little angsty Malex number. Would love for you to check it out!
AO3 Link if you prefer that!
The Stars and I
It was June 2008.
Michael Guerin liked me back.
And my father hated us both.
His attack stopped eventually with a sudden stumble backwards away from Michael’s side, his arm still raised for the next blow, as if pushed by some imaginary force. Michael sobbed between ragged breaths, head bowed on his knees. His untouched hand clenched knuckle-white in desperation.
I’d been frozen through it all. Palms pressed and trembling, tears flowing. So this is what a Jesse Manes beating looks like from the other side, I’d found myself thinking with twisted fascination.
Gasping, my father looked at me and threw the hammer across the floor. A wipe at his jaw with the back of his hand left Michael’s blood smeared across his face.
“Go inside and get cleaned up,” he ordered. As if I, standing there covered in my male lover’s spit and sweat and cum, was far filthier than he was, covered in the same man’s blood.
I took one look at Michael. He cradled his hand to his chest where he’d collapsed to the floor, tucked in on himself as if trying to hide. His eyes were clenched shut and he did not see me go.
I only just managed to get under the shower spray. Hot water pummeled my back, numbing and unrelenting. I stood, motionless yet vibrating. Unsure how I would ever be able to untangle Michael’s heady moans of pleasure from his screams that came too shortly after.
My father had been waiting with a bucket and a sponge. He hadn’t needed to tell me what I was to clean next.
Blood had seeped into the wooden grains of the work bench. A lasting stain. As I squeezed the sponge over the ruins, Michael’s blood ran pale and thin to the floor. It felt like I cleaning up after some gruesome autopsy. Or a crime scene.
Which is exactly what it was.
I can’t remember how long it took to clean up Michael’s blood. But I did. Every drop. Clearing it away with attentiveness bordering tenderness. As if this expended fluid was him, his destroyed body. As if this were my penance.
I did this, all the while frantically worrying where he’d gone after his truck had peeled through our backyard and away.
“Come on in,” my father said as if nothing had happened a while later. “Dinner’s ready in 10.”
*
The next night, alone in my room - grounded, phone taken away, music defaning - I saw the lights in the shed turn on through my window.
It had to be him.
Sneaking out that same window (like I had hundreds of times for my own sanity), I made my way across the dark yard.
“Guerin, it’s just me.” Hadn’t I said those exact words before?’
“Jesus.” He flinched anyway, pulling his hand, now wrapped in an oozing cloth, that looked little more than an old undershirt, towards his chest once more. His eyes were wide, terrified and they didn’t relax much at the sight of me.
“Have you not gone to the ER?” I asked, immediately reaching for him. He pulled away, more timid than I thought him capable.
“I can’t.”
“If it’s that you can’t pay…”
“No.” He cut me off quickly, letting out a shaky breath. “No doctors. It’ll be fine.”
We shared a look. No, it wouldn’t be fine. Not now or ever. But even so, Michael turned away and kept stuffing his duffle bag, single handed. The discussion was ended.
“I just need to get my things and then I’ll be gone.”
“Where will you go?” I asked.
“Still got my truck. It’s not as cold at night as it was at the end of the school year,” he said at my concerned look.
“What if it rains?”
MIchael turned. His face a barren, twisted smirk. “Rain? In the dessert? During the summer?”
The puff of air I let out could almost be misconstrued as a laugh. Michael continued gathering his things with a heavy sigh. I’d not realized just how settled-in he’d become here. Made this small space of bare plywood a home.
With another bleak look, Michael handed me my brother’s guitar.
“Guess I won’t be able to use that anymore.”
I took it, fingers circling around the neck next to his so they touch. I was desperate to feel him whole. Michael pulled away without reaction. But even in that flash of proximity, I could see he was utterly shattered, like he hadn’t seen a moments sleep at all the night before. I hadn’t really slept either, but Michael looked like he was dealing with demons even bigger than Jesse Manes.
“Can I come see you?” I asked.
Michael stood, unflinching eyes rimmed with weary tears. He considered my question for a long time. Shrugged. “Sure. If you don’t think it’ll...”
I stepped towards him.
“But not tonight.” He stepped back, putting his good hand between us. ‘There’s...still some stuff I’m dealing with.”
“Ok,” I said.
I wanted to kiss him. Hold him. Instead, I helped him carry some books to the car and watched his tail lights drive away until I couldn’t see them anymore.
*
He didn’t call for over a week.
“Hello?”
It was the landline for the house that had started ringing, which was strange enough in itself. But we’d never talked on the phone before either, so the whole thing felt new.
“Hey, it’s...Gu...It’s Michael.”
He gave me directions: Go two miles past Mazas Farm on Old Stage Road. Look for the break in the fence. Follow the tracks. You’ll find me.
And I did.
He was waiting. Sitting in the bed of his truck, looking towards the sky.
“I’m glad you called.” I said, settling next to him.
“I’m glad your dad wasn’t home when you did.”
“You could have called my cell, you know. Or texted like a normal teenager.”
“Phone’s dead,” he answered, with a futile lift of his shoulders. “Aren’t a lot of places to plug in your charger in the desert. I even had to look up your house phone number in a phone book. That I had to find at the library. Can you believe they still make those?”
“What? Libraries?” I deadpanned.
Michael actually laughed. Smiled with teeth. His curls fell over his face and I scooted closer so that we were nearly touching, hip to hip.
He’d set up a small little campground for himself. A fire pit with a chair pulled next to it. A few pots and a camping mug, freshly cleaned, were set off to the side. It was as comfortable as a patch of desert could be, I supposed. But it wasn’t a home. It wasn’t even a tool shed, which seemed to be the best anyone was willing to offer Michael.
The thought nearly made me choke.
“I’m so sorry, Michael.”
He hung his head. The almost imperceptible shake brushed away my concern and my atonement. Instead, his jaw became set, teeth aligned behind closed lips.
“Did he hurt you?” His voice was tight, defensive and protective. When I’m silent for a beat he turned to look. His eyes rode a dangerous edge of action.
Of course my father hurt me, I wanted to say. Watching Michael being brutalized had hurt me more than any slap, any bunch, and fowl slur my father had ever thrown my way. That had been the whole point, hadn’t it?
“No,” I answered. “Not this time.”
Not sensing the lie, or perhaps because of it, his eyes softened, falling to my lips then back up again. The skin of my face reddened. I tilted my head like I had that first time, the time he'd turned away from my advances and started strumming his guitar in panic.
But this time, with an exhale as mild as the wild night, our lips met, melted, with relief.
His sleeping bag was hardly enough cushioning against the corrugated metal, and yet we lay back, together, making do as long as our bodies remained close.
I reached for the hem of shirt, the fly of his pants. With Michael’s good hand trapped between his body and the truck, he made a noise of frustration.
Then embarrassed, almost innocent: “I… can't.” The wounds of his hand had scabbed over, but his fingers were still swollen and blue. He’d winced as he tried to flex the mangled digits.
“It's ok,” I breathed, rotating our bodies so his was beneath mine. We hadn’t gotten around to his position the time and I liked it. Settled into the solid shape of him. I trailed my fingers on his jaw. Kissed him long. “Just let me.”
He swallowed, nodded. I took care of him the way I wanted to. Careful and exploring. I felt tears as he came in my hand. My father, for all his trying, still had not robbed us of this.
After, I rested my head on his chest as it rose and fell in a sated, by slowing tempo. His heart doing the same beneath the bunched of fabric of his shirt. He pressed a lingering kiss to my hair and I let my hand still by his hip.
It was unspoken, but understood: I would spend the night with him.
“You’ve been ok staying here? Out in the open like this?”
“Yeah, ‘course,” he said. “I’ve always felt safe under the stars.
I peered up at him to find his eyes open, gazing. “Why?”
“Cause the stars…They owe me.”
I didn’t know how to unpack the bitterness in his his voice. So instead, I snuggled in close and his embrace became tighter, more fierce. The night air was dropping quickly, though, so perhaps he had just appreciated the extra body heat.
“Next time will you at least let me bring a tent?”
Michael’s snort seemed to echo across the valley.
*
It was a July wind storm, not rain, that forced us into the tent early, before the sun had even set, one evening. The dust devils that played across the landscape weren’t enough to worry these New Mexico natives.
Instead, we sat cross legged facing each other on top of our sleeping bags, which we’d zipped together the night before, and played a hardcore game of Egyptian Rat Screw.
“I quite literally have a handicap. I can’t slap the deck with this hand,” Michael said, showing off the fresh pink skin over unevenly healed bones and mottled with scars.
“Then use our other hand. You’re still probably gonna beat me, anyway” I’d said. And he had. “When do you leave for UNM? Do you have orientation soon?”
“N’aw,” Michael deflected as he shuffled the deck. “I decided not to go.”
“Why not? Rumor was you got a full ride.”
“Rumor was right.” He shrugged with a pondering pout. “I just decided college wasn’t for me. What about you? You headed out east for some fancy music school?”
My laugh sounded more like a whimper. I focused on putting my cards in order, black suits first, clubs then spades.
“I, uh, actually just signed up for the Air Force.”
“What?” Michael was disgusted. “Why? Alex, you’re nothing like your old man.”
I gave my cards a helpless look. “He brought the paperwork home yesterday and told me either I signed on the dotted line or he’d make me sign. I leave for Basic in San Antonio in two weeks.”
“Two weeks?” Michael exhaled. His mouth was open and slack, eyes staring at me with what I dared to interpret as disappointment.
“Yeah,” I said. Michael tossed his cards aside, tackling me to the ground. There was no time to waste on games now that we had an expiration date.
*
“Well, well, well. Private Manes. I never thought I’d be a guy with a soldier kink but...”
Michael stood at my shoulder in the mirror, running his hands over my blue camouflage fatigues.
My dad had orders out of town for the weekend and we’d had the house to ourselves. We’d slept in a bed. Showered together. Made coffee in the mornings.
He’d carefully held the clippers to my head, watching with a nervous giggle as my hair had fallen to the floor in longish-locks, and gave me the military high-and-tight cut. Then he’d yelped and run from the room as I’d turned the clippers back on and suggested I give him the same ‘do.
As if I would ever touch those precious curls.
“Airman not soldier,” I corrected, smoothing the jacket down my chest. “And I’ll enter as an E-3, not a private.”
“Whatever,” he said with a brusk wave of his hand.
“I would say I’ll write you while I’m gone but I don’t think your truck has a mailbox.”
“If I keep my phone charged, will you text me?”
“When I can, sure.”
Michael picked the matching uniform cap from my bed, his mood having changed. He fingered the brim and asked, “They’re gonna send you over there aren’t they? Afghanistan? Iraq? Some shit?”
“Probably,” I stated with a grim nod. Michael had stopped shaving in the past couple weeks, keeping his five o’clock shadow neatly trimmed instead. It suited him and I ran my fingers over the stubble of his chin. “That’s the point of serving right? To fight.”
Michael shook his head with angry and frightened futility. I could see just how much he loathed the thought.
“Whatever happens,” his voice was painfully raw. “However long it takes and whatever state you’re in, just promise me you’ll come home to Roswell.”
“Is that what you want?”
This was the first glimmering mention of anything resembling our future and even though it felt eons away and impossible, like some ill-conceived mirage, I let myself believe in it. Michael nodded along, holding my gaze and not looking away.
“Then you have to promise you’ll be here when I do.”
He kissed me, thumbs on my jaw and fingers on the closely shaved edges of my hair. “Promise.”
*
My father’s cruel exactness was replaced by drill sergeants and hell weeks where I didn’t sleep for over 72 hours. Then marching orders to a base in Alabama where I slept in barracks with a dozen other men. Then overseas to Ramstein, Germany for another tour and then the dreaded order to the middle East, not once but twice.
Years later, my nightmares were not riddled with Jesse Manes’ fist or Michael Guerin’s screams but IEDs and insurgents and failed missions that resulted in loss of life and my own limb.
So it wasn't that I had willingly forgotten everything that had happened upon my return to Roswell, I just didn't dare remember. War had been no place for thoughts of soft things. Of young boys holding each other in their sleep. Or golden curls and the brush of guitar strings.
Those memories were no longer my own, but belonging to the kid I’d never be again.
Still, I came home. Just like I’d promised.
He was still there, just as he had.
But the stretch of time had made things, once sweet, acrid. Ease and magnetism was replaced with the pain of goodbye and years of selective silence. Pending returns of promises made felt like pity now instead of some cosmically decreed outcome.
Guerin pressed to the breaking point. And I walked away. Again and again.
And I found myself thinking that those stars that I’d looked to that summer from the back of Guerin’s truck? Those that I’d tried to find through my night-vision goggles in a different desert an entire world away?
Those stars? They owed us both now.
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AVANTASIA, the all-star rock opera spaceship piloted by EDGUY singer, songwriter and producer Tobias Sammet, release their eighth full-length album, 'Moonglow', via Nuclear Blast Records on February 15th.
This new 11-song record sees Sammet, among the most talented and popular names in German hard rock and metal, reunited with some familiar faces from previous AVANTASIA albums. These include original QUEENSRYCHE lead singer Geoff Tate, PRETTY MAIDS frontman Ronnie Atkins, Michael Kiske of HELLOWEEN, Jørn Lande (ex-MASTERPLAN), Eric Martin (MR BIG) and MAGNUM’s Bob Catley. 'Moonglow' also introduces new collaborators Hansi Kürsch of BLIND GUARDIAN, KREATOR’s Mille Petrozza and BLACKMORE’S NIGHT frontwoman Candice Night in truly spectacular fashion.
Today, AVANTASIA release the first (of three) interview trailers, providing an insight about the cover artwork, the album title and the lyrical concept.
Watch it here: https://youtu.be/CVSU5VP_U2o
Last friday, AVANTASIA released the epic new single 'Moonglow', featuring guest singer Candice Night.
Watch the lyric video for the song here: https://youtu.be/vZGQ1LsdCUM
Get the song digitally here: http://nblast.de/AvaMoonglowSingle
Listen in the NB Novelties Playlists:
http://nblast.de/SpotifyNovelties / http://nblast.de/AppleMusicNovelties
Tobias Sammet comments: „Yes, we’ve found a song on the new album that is below the 4 minutes benchmark and it would work as a single. And despite being rather short it’s also representative for the world of AVANTASIA. Somehow in hindsight I think that my admiration for Mike Oldfield shines through here, which wasn’t intentional but you can’t really control that. And by and large I find the song to be a typical AVANTASIA song nevertheless. The enchanting Candice Night did an amazing vocal job, and in all modesty, I think so did I, ha! 'Moonglow' is a declaration of love to the moon, the night; it’s about entering a different world and the sacred experiences that go along with it.“
Check also:
'The Raven Child' (lyric video): https://www.youtube.com/watch?v=CTN2ZzpQRh4
Purchase the track here: http://nblast.de/AvantasiaTheRavenChild
»Moonglow« snippet trailer: https://www.youtube.com/watch?v=bHPpUbImZ5M
»Moonglow« - Track Listing:
01. Ghost In The Moon
02. Book Of Shallows
03. Moonglow
04. The Raven Child
05. Starlight
06. Invincible
07. Alchemy
08. The Piper At The Gates Of Dawn
09. Lavender
10. Requiem For A Dream
11. Maniac
Bonus Track
12. Heart
»Moonglow« can be pre-ordered here: http://nblast.de/AvantasiaMoonglow
Tobias Sammet, hailing from Fulda, created the rock event AVANTASIA in 1999 and celebrated its live premiere in 2008. With over 3,5 million records sold, he is one of the most successful musicians from Germany and has worked with the likes of Alice Cooper, Klaus Meine and Rudolf Schenker (THE SCORPIONS), Bruce Kulick and Eric Singer (KISS), Eric Martin (MR. BIG), as well as many other stars from the international music scene. For some time Tobias Sammet's AVANTASIA has been considered an insider tip, but after countless headline performances at some of the world's largest rock festivals (Sweden Rock Festival, Québec Music Festival, Barcelona Rock Fest etc.), gold awards and several top 10 positions in the world charts, the upcoming AVANTASIA - Moonglow World Tour 2019 can only be considered the biggest rock event of the year!
AVANTASIA - »Moonglow World Tour 2019«
Presented by Metal Hammer, Piranha, Musix, Rock It!
27.03. SK Presov - Tatran Handball Aréna
28.03. SK Bratislava - Hant Aréna
30.03. DE Kaufbeuren - All-Karthalle
31.03. IT Milan - Alcatraz
02.04. CZ Prague - Forum Karlín *SOLD OUT*
03.04. DE Berlin - Huxleys Neue Welt
05.04. DE Ludwigsburg - MHP Arena
06.04. DE Bamberg - Brose Arena
08.04. DE Fulda - Esperantohalle
09.04. DE Saarbrücken - Saarlandhalle
10.04. FR Paris - Olympia
12.04. DE Osnabrück - Osnabrück Halle
13.04. DE Hamburg - Mehr! Theater *SOLD OUT*
14.04. DE Oberhausen - König-Pilsener-Arena
16.04. UK London - The Forum
18.04. DE Offenbach - Stadthalle
19.04. CH Pratteln - Z7
20.04. CH Pratteln - Z7
24.04. ES Bilbao - Santana 27
26.04. ES Barcelona - Razzmatazz 1
27.04. ES Madrid - Palacio Vistalegre
02.05. SE Stockholm - Arenan
04.05. RU Moscow - Glavclub Green Concert
06.05. HU Budapest - Barba Negra Track
09.05. JP Tokyo - Blitz Akasaka
12.05. AU Sydney - Metro Theatre
14.05. AU Melbourne - The Forum
17.05. US San Jose, CA - City National Civic
19.05. US Anaheim, CA - City National Grove
21.05. US Chicago, IL - Patio Theater
23.05. CA Montreal, QC - Metropolis
24.05. US Worcester, MA - Palladium
29.05. RCH Santiago - Teatro Caupolican
Festivals:
11. - 13.07. D Balingen - Bang Your Head!!!
11. - 14.07. CZ Vizovice - Masters of Rock
14. - 17.08. D Dinkelsbühl - Summer Breeze
More dates to be announced soon...!
AVANTASIA is:
Tobias Sammet | vocals, additional keys & bass
Sascha Paeth | guitars & bass
Michael Rodenberg | keyboards, piano & orchestration
Felix Bohnke | drums
---
More info:
www.tobiassammet.com
www.facebook.com/avantasia
www.nuclearblast.de/avantasia
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Christina Kubisch
Biography
Christina Kubisch was born in Bremen, Germany in the year 1948. She attended the Academy of Fine Arts in Stuttgart Germany where she studied painting with K.R.H. Sonderborg. She then goes on to studying music, that being flute piano and composition at the Academy of Music in Hamburg, Germany and t the Jazz Academy of Graz Austria following by attending the conservatory of Zurich and Fine Art in Switzerland. She finally moved to Milan in the mid seventies where she graduates from the Conservatory of Milan. Performances, concerts and works with video in the seventies, subsequently sound installations, sound sculptures and work with ultraviolet light. Her compositions are mostly electroacoustic, but she has written for ensembles as well. Since 2003 she works again as a performer and collaborates with various musicians and dancers. Kubisch won numerous awards, some of them being : the Award of the German Industrial Association (BDI) 1998, composition grant of the city of Berlin 2000, Carl Djerassi Honorary Fellowship, USA 2000, artist-in-residence IASPIS, Stockholm 2002, Honorary prize of the German Sound Art Prize 2008 and many more. Right fresh out of the Conservatory of Milan, in 1974, she had solo exibitions all over the world, in places like Japan, Australian, Europe. Her music has been released with various labels such as Cramps Records, Edition RZ, ampersand, semishigure, Die Schachtel, Olof Bright, AA Records.
Christina Kubisch has been a visiting professor in Maastricht, Paris and Berlin. She has been a professor for sound art at the Academy of Fine Arts, Saarbrücken, Germany, from 1994 to 2013. She is a member of the Akademie der Künste Berlin since 1997. Christina Kubisch lives in Hoppegarten near Berlin.
Analyses of Practice
As an artist she gained recognition in the mid-1970s with her early works including concerts, performances and multimedia installations; her works during that time are, for example, a live multimedia performance Two and Two (1977) and a minimalist composition Tempo Liquido (1979). At the turn of the 1980s she began to use electromagnetic induction in her sound installations: her work Il Respiro del Mare (1981) began her sound engineering career, as with it she developed a system for an electromagnetic sound induction. Since then she has been constantly refining her practice of staging the effects of wireless electromagnetic transmissions. Since 1986 she has been adding light as an artistic element to her work with sound. During that time, she created the pieces On Air (1984), Iter Magneticum (1986) and Night Flight (1987). In 1990, she began creating her first works with solar energy. In 1994, she created an installation Sechs Spiegel which is one of her most famous pieces: the piece uses the architectural proportions of the German building Ludgwigskirche to determine the rates of repetitions and pauses in vibrating drinking glasses. In 1996, she began The Clocktower Project in which she reactivated a clocktower that had long been out of commission: she created and recorded sounds for the project by ringing, striking, hammering and brushing the bells of the clock with different objects. In 2003, she began with her Electrical Walks projects: the walks are a sort of guided tour through a city, where participants are given special headphones, designed by Kubisch, and directed to parts of the city that have interesting soundscapes. Throughout her career, she has collaborated with various musicians – including Annea Lockwood, resulting in the CD The Secret Life of the Inaudible in 2018.
Technique
Christina is heavily known for her use of electromagnetic sound inductions and the designing of her headphones which were sensitive to the acoustic qualities of aboveground and underground electromagnetic fields, thus becoming amplified and audible.
The transmission of sound is achieved by built-in coils which respond to the electromagnetic waves in our environment. The palette of these noises, their timbre and volume vary from site to site and from country to country. They have one thing in common: they are ubiquitous, even where one would not expect them. Light systems, wireless communication systems, radar systems, anti-theft security devices, surveillance cameras, cell phones, computers, streetcar cables, antennae, navigation systems, automated teller machines, wireless internet, neon advertising, public transportation networks, etc. create electrical fields that are as if hidden under cloaks of invisibility, but of incredible presence.
Electrical Walks
In 2003 she started her research on a new series of works in public space, which trace the electro-magnetic fields of urban environments in the form of city walks. The first Electrical Walk took place in Cologne in 2004. Many more, in numerous cities around the planet have taken place afterwards. The sounds that are detected by the headphones are much more musical than one could expect. There are complex layers of high and low frequencies, loops of rhythmic sequences, groups of tiny signals, long drones and many things which change constantly and are hard to describe. Some sounds are much alike all over the world. Others are specific for a city or country and cannot be found anywhere else.
Electrical Walks is an an invitation to a special kind of investigation of city centres (or elsewhere). With the magnetic headphone and a map of the environs, on which the possible routes and especially interesting electrical fields are marked, the visitor can set off on his own or in a group. The perception of everyday reality changes when one listens to the electromagnetic fields; what is accustomed appears in a different context. Nothing looks the way it sounds. And nothing sounds the way it looks.
Night Flights
One of the most highly regarded entries in Kubisch’s catalogue, out of print for some twenty years, but now unearthed for new generation of experimentally minded listeners to discover. The three extensive, finely detailed compositions tap into a different kind of electroacoustic idiom, far removed from the more familiar GRM-informed academic compositions that dominated the field during the mid-twentieth century. Night Flights can be regarded as a key text in contemporary sound art's evolution. The compositions are: Circles III, The Cats’ Dream and Night Flights.
Cloud (2011/2017)
Sound sculpture made on site using a several hundred meters of red electrical cable. It is a multi-channel composition that visitors listen to by wearing customized magnetic headphones to explore the hidden acoustic world of sonic cable structures. Each channel has a different composition of electromagnetic waves, and listeners can mix them in their own way: these devices, developed by the artist, contain magnetic coils that receive magnetic fields circulating in cable loops and make them audible. As visitors move around the installation, around this chaotic electrical wiring, which is literally a cloud hanging in the gallery, they trigger the sounds of cables and mix them into an unlimited number of new combinations.
The Clocktower Project
solar panels, electronic sound system, and a computer with Kubisch’s unique program on its flash disc.
When Christina Kubisch first visited MASS MoCA in 1996, she was moved by the fact that the century-old factory clock had not kept time, nor had its bells rung. The classically trained musician and professor of experimental art, began playing the bells like musical instruments, ringing them with their clappers as well as hammering, brushing, and striking them with her hands and various tools. She recorded the bell tone database with a digital audio recorder. Kubisch then placed small solar sensors in a band encircling the tower just under the bell window. The sensors relay information about the intensity and location of the sun to a computer inside the tower. A unique software program, designed for this project by Berlin engineer Manfred Fox, interprets the solar information and combines Kubisch’s pre-recorded bell sounds in response to light conditions. Thus, a sunny summer morning generates loud, distinct, metallic tones, while a gray afternoon in winter brings about softer, somewhat melancholy sounds. At noon and 5pm, the computer plays a short pre-set concert, but at other times the brief compositions change with the quality of light and time of day. This use of unpredictable changes in the weather, coupled with an algorithmic function in the program that prevents the mini-compositions from repeating, marks the influence of the American composer and artist John Cage on Kubisch’s work.
The fading daylight, registered by the solar panels, causes The Clocktower Project to fall silent in the evenings. At the same time, the four faces of the clock begin to glow faintly and remain illuminated through the night. Kubisch coated the 4′-diameter clock faces with a phosphorescent paint and placed black lights behind the faces. The cool blue-white light quietly marks the transformation of the tower when the bell sounds have ceased.
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Tom Morello
Former RAGE AGAINST THE MACHINE guitarist Tom Morello was not content just to stick with post-millennium big guns AUDIOSLAVE, extracurricular activities came by way of protest-folk alter-ego, The NIGHTWATCHMAN. In action briefly in 2003 for shows around California coffeehouses, singer-songwriter Tom (born Thomas Baptiste Morello, May 30, 1964, New York, NY, but raised by his mother in Libertyville, Illinois) – the nephew of former first Kenyan president, Jomo Kenyatta – subsequently performed alongside “awareness campaigners” BILLY BRAGG, STEVE EARLE and The Coup’s Boots Riley. From these small acorns of political activity came the much-lauded “Axis Of Justice – Concert Series Volume 1” (2004), a various artists record with Tom as executive producer, session back-up and the man behind The NIGHTWATCHMAN on Union Song’ andUntil The End’.
A self-taught guitarist with a penchant for hard-rock, the Harvard University graduate (garnering a degree in political science), had promised much when he hooked up with LOCK UP; their sole funk-metal contribution for Geffen Records: “Something Bitchin’ This Way Comes” (1989) did little to change the shape of the music biz – that came with his next project, RAGE AGAINST THE MACHINE. For nigh-on a decade between 1991 and 2000, Tom and his rap-rock posse realigned metal music’s myriad of molten miasma, incorporating hip hop, thrash and punk in one big incendiary conglomeration; post-RATM supergroup AUDIOSLAVE were, in effect, singer CHRIS CORNELL on a mission to re-vamp his halcyon days in SOUNDGARDEN.
The NIGHTWATCHMAN, however, had the opposite effect when Tom propelled his political folk set, ONE MAN REVOLUTION (2007) {*7}; AUDIOSLAVE had just been put to bed. Without much representation from the media, word-of-mouth led to the set bubbling outside the Top 100, while skeletal SPRINGSTEEN/CASH/COHEN-esque tracks The Road I Must Travel’,Battle Hymns’ and `Let The Freedom Ring’, kept the uninitiated informed.
Subsequently re-billed as TOM MORELLO: THE NIGHTWATCHMAN, his second Brendan O’Brien-produced set appeared in 2008: THE FABLED CITY {*7}. Augmented by vocalists SHOOTER JENNINGS (son of Waylon) on The Iron Wheel’ and SYSTEM OF A DOWN’s Serj Tankian forLazarus On Down’, Tom’s songs represented something of a past and present touch in regards to music genres. Alt-punk/country or political-folk, one could find elements of The POGUES in the sing-a-long Saint Isabelle’ and The CLASH onThe Lights Are On In Spidertown’. An enjoyable rush.
Putting protagonist politics to one side and opting to get into his “revolutionary party jam” mode, via his eponymous Top 40 entry, STREET SWEEPER SOCIAL CLUB (2009) {*6}, Tom and his good buddy Boots Riley, together, crafted something akin to the bombastic RATM; example The Squeeze’. Riley’s funky rap-rock injection and drumming from Stanton Moore, gave the outfit its identity, although finding resolution through revolution inFight! Smash! Win!’, Clap For The Killers’ and100 Little Curses’, were hardly going to put the world to rights.
Enthused by bloody protests all around the world, America’s answer to Che Guevara TOM MORELLO and The NIGHTWATCHMAN were back in circulation on two counts in 2011, the pro-Labor Unity Fund mini-set, UNION TOWN {5} and WORLD WIDE REBEL SONGS {7}. While one could sample the delicacies of the man’s re-interpretations of rallying trad-folk songs such as Which Side Are You On?’,This Land Is Your Land’, Solidarity Forever’ andI Dreamed I Saw Joe Hill Last Night’ on the former, the latter showcased MORELLO’s modern-day manifestos on Black Spartacus Heart Attack Machine’, the quieterSave The Hammer For Me’ (co-penned and performed with BEN HARPER), the provocative JOHN LURIE-esque Facing Mount Kenya’ andStray Bullets’.
Taking a break from his surprise tenure with BRUCE SPRINGSTEEN & THE E STREET BAND (from 2008-2015), Tom decided to reunite with old muckers Tim Commerford and Brad Wilk to instigate rap-rock supergroup, PROPHETS OF RAGE, alongside Chuck D and DJ Lord (of PUBLIC ENEMY) and B Real (of CYPRESS HILL). On paper the confrontational concept should’ve swept up new blood still lurking within the genre, however, a mis-timed eponymous set in summer 2017 left critics lambasting its rather retrograde representation.
While TOM MORELLO contemplated the possibilities of further PoR dispatches, October 2018 finally saw the funkiest guitarist on the planet divulge on his own a la album, THE ATLAS UNDERGROUND {*6}; sadly, it only reached #141. Weighed down by an OTT smorgasbord of guest spots and genre-bending, only the wah-wah guitar licks from the man himself saved the record from a worse fate than death-metal. The head-spinning Battle Sirens’ (featuring Aussies KNIFE PARTY), kick-started the set in fine fettle, though by the pop-rockEvery Step That I Take’ (with PORTUGAL THE MAN and Whethan) and the watered-down rap of We Don’t Need You’ (ft. Vic Mensa), the compass was sliding south; ditto for the Marcus Mumford-enhancedFind Another Way’. On the other hand, however, How Long’ (ft. Steve Aoki & Tim McIlrath) showed the spirit of the once-mighty RATM, and anchor pieceLead Poisoning’ united WU-TANG CLAN’s GZA and RZA with Herobust/Hayden Kramer. All ‘n’ all, the multi-collaborative nature of the record (`Rabbit’s Revenge’ the exception) blunted its potential.
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Artist: Tara Donovan
Tara Donavan: Fieldwork at Smart Museum of Art at University of Chicago
I first saw Tara Donavan’s works at Pace Gallery in New York. It was the shiny mylar Xmas balls (see below). Tara is known for taking one singular material and making amazing assemblages through placement and repetition. The exhibition gives anybody with OCD and hoarding tendencies something to contemplate... lol
Go check it out...it’s up all summer through Sept 22.
Untitled (Mylar), 2011/2019 Mylar and Hot glue
DETAIL: Untitled (Mylar), 2011/2019 Mylar and Hot glue
Untitled, 2017 Plastic tubes on Corian bases
DETAIL: Untitled, 2017 Plastic tubes on Corian bases
Untitled, 2014/2019 Styrene index cards, metal, wood, paint and glue
DETAIL: Untitled, 2014/2019 Styrene index cards, metal, wood, paint and glue
Untitled, 2018 Mylar, tape and hot glue
DETAIL: Untitled, 2018 Mylar, tape and hot glue
Untitled, 2015 Slinkys
DETAIL: Untitled, 2015 Slinkys
Tara Donovan: Fieldwork is organized by the Museum of Contemporary Art Denver and curated by Nora Burnett Abrams, Ellen Bruss Curator and Director of Planning at MCA Denver. The Smart Museum’s presentation is overseen by Alison Gass, Dana Feitler Director, and Jennifer Carty, Associate Curator of Modern & Contemporary Art.
Biography (courtesy of Pace Gallery, NYC)
Tara Donovan (b. 1969, New York) creates sculpture, drawings, prints, and large-scale installations that transform the banality of everyday objects into the extraordinary. Known for her commitment to process, she has earned acclaim for her ability to discover the inherent physical characteristics of an object and for her exploration into the nature of accumulation. Donovan’s many accolades include the prestigious MacArthur Foundation “Genius” Award (2008) and the first annual Calder Prize (2005), among others.
She has been the subject of several major solo exhibitions at museums including the Corcoran Gallery of Art, Washington, D.C. (1999); UCLA Hammer Museum (2004); The Metropolitan Museum of Art (2007); Milwaukee Art Museum (2012); Parrish Art Museum, Water Mill, New York (2015); and Museum of Contemporary Art, Denver (2018). Donovan’s first European exhibition was presented in 2013 at the Louisiana Museum of Modern Art in Humlebæk, Denmark, and traveled to the Arp Museum Bahnhof, Rolandseck, Remagen, Germany.
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REVIEW: ZAL CLEMINSON’S SIN DOGS LIVE AT THE ASSEMBLY; MAY 11, 2019
Photo Credits: Andrew Watson
The Assembly is one of the burgeoning venues in Aberdeen to put on and promote both young and experienced bands. Last night, just round from Aberdeen’s Union Terrace Gardens and across from the Central Library, The Assembly hosted a guitar hero who’s put his stamp on music over the decades, having recently (May 4) turned a whopping seventy years of age. The weather was warm, a perfect prelude to the coming summer months.
There were only the main headline act to contend with on the night; that of Glasgow based Zal Cleminson’s /Sin'Dogs/.
Zal Cleminson’s /Sin'Dogs/, a hard rock and heavy metal five-piece, is fronted by vocalist and guitarist, Zal Cleminson. They were Cleminson; William McGonagle as guitarist and vocalist; David Cowan as keyboardist and vocalist; Nelson McFarlane as bassist and Carlos Marin as drummer.
The band, their frontman Glaswegian born and bred, completed a successful debut tour of the UK in November and December of 2017 and in early 2018 recorded a debut album. The album came digitally in November 2018, titled Vol.1.
Zal’s widely respected for his work with Glasgow’s The Sensational Alex Harvey Band, providing incendiary guitar and writing on seminal albums such as Framed (1972), Next… (1973), The Impossible Dream (1974) and others. Zal also played guitar in Nazareth for several years in the late Seventies and early Eighties, working as a session musician touring with Elkie Brooks, Bonnie Tyler and Midge Ure. Many respected guitarists have cited Zal as an influence.
Guthrie Govan, guitarist of Asia, has actually, for example, cited Cleminson as, “his Jimmy Page.”
This all a long way from early 2008 when Zal announced his retirement from the music industry and stated he would never perform live, again. After living in sunny Cyprus for a few years he had a vision to begin writing new material, which would become Zal Cleminson’s /Sin'Dogs/, with Cleminson deciding to come out of retirement in 2017.
Members of a Glasgow based SAHB tribute band, called The Sensational Alex Harvey Experience, became his band, Cleminson coming across them in 2014. He has gone on record to say that they are the closest anyone will get to the original SAHB for their overall sheer musicianship, stage theatrics and ability.
Cleminson selected Glaswegians McGonagle (Clyde) as guitarist and Cowan (Chris Glen Band) as keyboardist. This plus Edinburgh’s McFarlane as bassist made three members of said SAHE part of his band. Marin (Big Black Mariah) on drums, on the other hand, is from Venezuela.
Initially, as you came in last night, you noticed a standing area amidst maybe half a dozen tables with chairs. People were milling about, not really that many there after first hour or so of the doors opening. Quite an impressive venue, like being in a sizeable town hall with a balcony area similar to Music Hall on Union Street.
The clicking open of a can of beer, as a sound technician gave all the instruments the once over. Ominous and eerie was the set introduction proper. Hissing of dry ice suggesting cracking pipes billowing with steam. Tribal. News clips projected upon the backdrop behind the band.
This introduction suited the bleak strains of “Armageddon Day”. This embellished with slapping, popping bass lending a grungy grit. The track coming to an emphatic end.
Then the band’s name, “Sin Dogs”. This a driving one, licks of guitar wild and wailing. Swaggering, even.
And then onto “Stick Man”, grooving and heavy. This had a ripping solo, Zal geeing up the crowd with passionate guitar slinger faces. Quiet moments brooding, too. Dynamics paring back to really give a sense of the song itself. There was then mention of the show the previous night in Dundee. Home to the other half of the New Firm, Dundee United.
“Expected to get a boo for Dundee, there,” remarked McFarlane, on the bass.
There was a tale of a real life Scottish woman charged with witchcraft in Framed track, “Isobel Goudie”. This was suitably crushing, dissonant and rocking. The piano leant an air of drama suited to the grand charge of witchcraft, back in the day. Instrumentation befitting of perhaps wrongful persecution. The solo section like life ascended, rather than down in the pits of hell, where the authorities deemed she should surely reside.
Then came “Magic Love”. Grave, funereal keys greeted this one before desert, sandblasted strum of guitar took hold. Smoke billowing from either side of the stage. This searing heat?
After this, now another track from their 2018 debut album, Vol. 1, called “Lachrymator”. This with crashing cacophony on the drums, synth wading in huge and ramping up the drama.
This followed by an endeavour of the “Hungry Heart”. Pulsing, indeed, striding forward with purpose. Zal introduced man on the keys, Cowan. His dextrous flourishes on the keys justifying this.
Now, meet “The Faith Healer”, from Next... This with stomping and clapping lending a certain majesty. A latter, clattering drum solo saw the track’s end proper.
After that, walk down “Evolution Road”. Bass and bass drum in harmony, emphatic syncopation. “Tell the preacher, to f*ck off home” saying it all, in terms of the bent of the track. The audience then got a sense of how things would wrap up. Not the conventional evening’s end.
“None of that false encore sh*t,” McFarlane offered. No chanting to get them back onstage.
“Euphoria”, industrial and cold. The guitars, subsequently giving life. Keys, then bass, then vocal built up the dynamics. Then whole band back in. This ended with much fanfare, perhaps the conclusion of the initial set without the aforementioned convoluted coming off and back onstage.
And so the night’s closer, “Guns Of God”. Rollicking, images of war and destruction broadcast by Western news channels really embellished the song regarding mass artillery. Dry ice and smoke. Hammering jack knife drum and shredding guitar.
A night proving just how much better songs can get when heard in the live context. The turnout and enjoyment of the crowd also testament to this, thankfully the place did eventually fill up. The venue a perfect mix of intimacy and a grand stage upon which to see a grand band. A brilliant night all round.
Zal Cleminson’s Sin Dogs’ Vol. 1 can be bought on iTunes, here.
Also visit their Facebook, Twitter, YouTube, Google Play Music, Deezer and website pages to keep tabs on Zal Cleminson’s Sin Dogs.
#The Assembly#Zal Cleminson’s Sin Dogs#Zal Cleminson’s /Sin'Dogs/#Zal Cleminson#William McGonagle#David Cowan#Nelson McFarlane#Carlos Marin#The Sensational Alex Harvey Band#Alex Harvey#The Impossible Dream#Next#Next...#Framed#Nazareth#Elkie Brooks#Bonnie Tyler#Midge Ure#The Sensational Alex Harvey Experience#Guthrie Govan#Asia#Jimmy Page#Led Zeppelin#Clyde#Chris Glen Band#Big Black Mariah
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Artists: Danica Barboza, Genesis Belanger, Meriem Bennani, Sascha Braunig, Florencia Escudero, Hadi Fallahpisheh, Anna Glantz, Ivy Haldeman,
Christina Quarles, Emily Mae Smith, Greg Parma Smith
Venue: Petzel, New York
Exhibition Title: A Love Letter to a Nightmare
Date: July 15 – August 14, 2020
Click here to view slideshow
Full gallery of images, press release and link available after the jump.
Images:
Images courtesy of Friedrich Petzel Gallery, New York
Press Release:
The skeleton was as happy as a madman whose straitjacket had been taken off. He felt liberated at being able to walk without flesh. The mosquitoes didn’t bite him anymore. He didn’t have to have his hair cut. He was neither hungry nor thirsty, hot nor cold. He was far from the lizard
of love.
–Leonora Carrington, The Seventh Horse and Other Tales
As we reopen, Petzel Gallery is pleased to present A Love Letter to a Nightmare, a summer group exhibition that will be on view from July 15 – August 14 at the gallery’s Chelsea location. The exhibition’s premise is to take into consideration contemporary visual modes and expressions that trace back to historical movements such as Surrealism, Symbolism and Pop, through the lens of our current uncertain existence. Call it vamped Surrealism and Symbolism. The show ponders how the aesthetic of modern surrealism/symbolism has been dressed up and added upon, sexualized, feminized, and reworked in the 21st Century. How does the state of a bound subconscious affect these artworks? This has become especially prevalent while the world shelters from the coronavirus pandemic and confronts centuries of inequity in a moment of historic unrest and great potential for revolutionary change. Beneath our daily struggle for normalcy bubbles a shared unconscious anxiety, fear, loneliness, despair, and trepidation
of the future. In these times, the fabric of society is now both flattened into two dimensions as we socialize through screens – from our Zoom meetings, family check-ins, and “cocktails with friends,” to the daily State and Federal news conferences, Instagram stories, and Tik Tok videos – and yet simultaneously burst open in valiant action both intellectual and physical as we gather, protest, and organize in efforts to reimagine and rebuild a more just world. Our dreams have become more “vivid” and “menacing,” according to The New York Times, and, of course, in fantasy there is room for radical possibility. How might these practices of contemporary Surrealism, Symbolism and Pop, be read and implemented in reaction to the current upheaval? As one of the artists offered – how might these daydreams and nightmares be used as “forms
of resistance, or in addressing trauma, enfranchising the masses, and envisioning necessary escape?” The exhibition asks how does each artist’s subjective work – painting, sculpture, installation, and video – explain a world riddled with multiple “objective” truths?
A Love Letter to a Nightmare includes work by Danica Barboza, Genesis Belanger, Meriem Bennani, Sascha Braunig, Florencia Escudero, Hadi Fallahpisheh, Anna Glantz, Ivy Haldeman, Christina Quarles, Emily Mae Smith, and Greg Parma Smith.
Danica Barboza (b. 1988, New York) is a multimedia artist who elaborates a rich personal mythology through the mediums of sculpture, drawing, writing and assemblage. Her work portrays a mystical marriage between her and a mythologized lover, and in her sculptures’ shifting identities she explores questions around celebrity, psychology, and desire. She had her first institutional solo exhibition at Schinkel Pavillon, Berlin, Germany in 2020, and recent exhibitions with Lomex (New York) and Galerie Buchholz (Cologne).
Genesis Belanger (b. 1978, USA) Belanger’s work is characterized by the treatment of objects as surrogates for the body. Sculpted in porcelain and stoneware, metal work and upholstery and tinted in fondant hues, everyday objects take on human features, made uncomfortably familiar as they begin to resemble us. Belanger’s sculptures address themes such as feminism and the objectification of the female body, the psychology of consumerism and power structures in modern history. Belanger has upcoming museum solo shows at Aldrich Contemporary Art Museum, in Ridgefield, Connecticut (September 2020) and the Consortium Museum in Dijon, France (April 2021).
Meriem Bennani (b. 1988 in Rabat, Morocco) lives and works in Brooklyn, USA. She received her BFA from Cooper Union, New York in 2012, and her MFA from the Ecole Nationale Supérieure des Arts Décoratifs, Paris in 2011. Solo exhibitions of her work have been held at C L E A R I N G Brooklyn; The Kitchen, New York; Fondation Louis Vuitton, Paris; Art Dubai; MoMA PS1, New York; and SIGNAL, Brooklyn. Her work has also been featured in numerous group exhibitions, including Whitney Biennial, New York; Biennale de l’Image en Mouvement, Geneva / Turin; Public Art Fund, New York; Shanghai Biennale; Jewish Museum,New York; Saatchi Gallery, London; MANA Contemporary, New Jersey; and Palais de Tokyo, Paris. Her exhibition, Party on the CAPS, is currently on view at the Julia Stoschek Collection, Berlin. Later in 2020, she will have a public commission at LAX airport. Meriem Bennani’s work is part of the collections of the Guggenheim Museum, New York; Whitney Museum of American Art, New York; Musée d’Art Moderne de Paris; Fondation Cartier, Paris; Kadist Foundation, Paris; and FRAC Ile-de-France, Paris.
Sascha Braunig (b. 1983, Qualicum Beach, BC) is a painter who creates nontraditional portraits and still lifes. Even as Braunig reduces bodies to witch-like cut-outs, barbed skeletons, or wireforms lit with an internal neon glow, she finds a possibility for expressing freedom and tensile strength through these humanoid scaffolds. In 2016 Braunig had a solo exhibition at MoMA PS1, and her work was featured in the 2015 New Museum Triennial. She holds a BFA from The Cooper Union and an MFA in painting from Yale University. Braunig was awarded a studio residency from the Sharpe-Walentas Studio Program in 2016–2017, a Pollock-Krasner Foundation award in 2016, and a Macdowell Colony Fellowship in 2013.
Florencia Escudero (b. 1987, Singapore) is a multimedia artist recognized for her soft sculptures that use fabric printed with digitally rendered images. Her work aims to flip the narrative of the objectification of the female body. Escudero received her MFA from the Yale University School of Art and her BFA from the School of Visual Arts. Her works have been shown at the Instituto Cervantes, New York and the Pratt Institute, New York.
Hadi Fallahpisheh (b. 1987, Tehran) is a multimedia artist that specializes in photography, performance and installation. Often commenting on conditions of displacement, his work questions the ability of representation to convey truths, revealing the gaps between public perception and personal experience. Fallahpisheh received the Artadia Award in 2019, and his work was included in 2020 in the group exhibition In Practice: Total Disbelief at the Sculpture Center.
Anna Glantz (b. 1989, Concord, MA) creates paintings that consider the poetic connections between personal, invented, and historical imagery set within psychological landscapes. She received a BA in Art and Linguistics from the University of California, Los Angeles and an MFA in Visual Art from Columbia University. In 2020 she will have her first UK solo exhibition at The Approach in London.
Ivy Haldeman (b. 1985, Aurora, CO; lives and works in New York) is recognized for her nuanced, and disarmingly languorous, renderings of anthropomorphized sausages swathed in pillowy buns, pantomime hand gestures, slapstick unions of heels and banana peels, and women’s suits depleted of bodies – illuminating relations between consumerism and desire while both allegorizing and eroticizing slippages among the unequal distributions of finance and femininity. Her work has been the subject of recent solo exhibitions at Downs & Ross, New York, and Capsule, Shanghai. The artist received her BFA from the Cooper Union in 2008.
Christina Quarles (b. 1985, Chicago, IL) paints abstracted figures that are subject to identity politics. Her gestural, distorted human forms explore the ways in which race, gender, and sexuality intersect to form complex identities. She will have a solo exhibition at Museum ofContemporary Art, Chicago in 2021, and her work was included in the group exhibitions Made in LA at the Hammer Museum; Fictions at the Studio Museum in Harlem; and Trigger: Gender as a Tool and a Weapon at the New Museum.
Emily Mae Smith (b. 1979, Austin, TX) is an artist whose subject matter plows the Surrealist genre with Feminist psychology. She layers her paintings with popular and underrepresented Art Historical references, often marrying them with pop culture motifs. Smith has had solo exhibitions at Le Consortium, Dijon and the Wadsworth Atheneum Museum of Art, Hartford, Connecticut.
Greg Parma Smith (b. 1983, Cambridge, MA) creates visionary paintings that combine mystical symbology with a personal and experimental painterly language that draws upon and synthesizes languages from the Renaissance, medieval illustration, as well as modernisms from Miro to Jasper Johns. Martha Schwendener explained: “His ultimate tactic seems to be to show how painting can accommodate multiple ideas and worldviews, rather than what art’s gatekeepers allow at a given moment.” Smith’s work was presented in a solo exhibition at Musée d’art moderne et contemporain, Genève in 2017 and was included in a two-person exhibition at the Contemporary Art Museum, St. Louis in 2010.
Link: “A Love Letter to a Nightmare” at Petzel
from Contemporary Art Daily https://bit.ly/2DvEbpj
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source: Metal Hammer May 2020
Chester Bennington: “Chris Cornell’s contribution to music was unrivalled”
In the summer of 2017, we spoke to Linkin Park’s Chester Bennington about the life and legacy of his friend, late Soundgarden singer Chris Cornell. For the first time, here is his tribute in full
When we heard the news that Chris Cornell had passed away on May 18, 2017, we started putting together a tribute to honour him, and reached out to his friend, Linkin Park singer Chester Bennington. Chester had sung at Chris’s funeral service at Hollywood Forever Cemetery on May 26, 2017, and though it was obviously a difficult time for him, he agreed to talk on the phone a week later. He was gracious, generous with his time and thanked us for “taking the time to write a nice piece on someone who’s contributed so much to so many people’s lives”.
Sadly, Chester took his own life two months later. The singer had also contributed greatly to so many people, and the metal community mourned another loss. Two-and-a-half years on, we revisit the conversation we had about his hero. What shines through is a firm friendship between two icons, bonded by their love for their families and their chosen career path.
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First of all, could you talk us through how you and Chris met?
Chester Bennington: “We’d done a tour in the US called Projekt Revolution, which was a semi-annual festival that Linkin Park used to put on. And we’d bring in tons of different acts, and Chris Cornell was on one of our tours [in 2008]. I think this was when we were touring [third album] Minutes To Midnight. Anyway, we met then. We got along really well right away.
“I grew up listening to Soundgarden, Alice in Chains, Nirvana. I don’t think any music scene influenced me as much as the scene that came out of Seattle. There was so much great music that came out of Seattle at that time. So it was really cool for me to be out there with one of my heroes, and we got along really well. Vicky [Cornell] and my wife, Talinda – they became best friends right away. Every day they’d be hanging out, and we got really close over that tour. Our friendship really grew during that time.”
How did it develop from there? It sounds like it became more than just a touring buddies thing quite quickly
“I don’t know if you’ve ever had this experience, but sometimes you meet somebody and it’s like you’ve known them forever. And that was really the case between our families. After that tour, we stayed in touch and that developed into Chris and Vicky asking me to be the godfather of their son, Christopher. One of my favourite memories of our friendship was the baptism and the christening and taking on that promise to the family. That was really great. Whenever they were in town we would try to connect – sometimes it was difficult because we’re all so busy. Chris and I were similar in many ways in that we had a lot of dear friends but we didn’t necessarily see them all the time, because our personal lives are so busy, and our dedication to our families is so strong.”
I guess the fact that your families came together so quickly, not just you and Chris personally, made that easier?
“Yeah, I think if it was just me and Chris talking, hanging out, you know, we would be good acquaintances. But the friendship between our wives, you add that into the mix and things escalate a little bit more! Ha ha ha! In terms of closeness, in terms of intimacy, it was really quite special. Our friendship grew beyond just respecting each other for what we do musically.”
How would you describe what Chris was like offstage?
“Chris was a great father, really dedicated to his family, loved his kids more than anything. Really quiet. When you got him alone, he was really talkative. Get him into an intimate setting and a lot of personality comes out. Outside of that, pretty quiet and reserved. Really soft-spoken and very gentle.”
As someone who grew up as a fan of his music, I guess you must have had a strong perception of Chris. How was he compared to how you’d imagined him before you started spending time together?
“Luckily, my experiences have been more positive than negative, but I’ve had the opportunity to perform with a lot of the people that I really admired growing up, and who had a lot of influence on me. And 90% of the time it’s been really wonderful, and friendships have developed. The other 10% of the time it doesn’t go so well and you kinda go, ‘Man, I wish I never met that person!’ Ha ha ha! It ruins the whole thing! For me, at least. Like, ‘Oh, man. I met that guy from that band I love and he was kind of a douche. I wish I’d never met him so I could still listen to the music.’
“So meeting Chris was really… it’s not like everybody gets the opportunity to do those things. And that’s probably what I’ve enjoyed the most in the success of Linkin Park is being able to go on tour with a lot of these guys. I do a lot of all-star band stuff; I’ve played gigs with Alice in Chains, I’ve done shows with Jane’s Addiction, I’ve done shows with Stone Temple Pilots, I’ve done shows with Chris Cornell. I’ve had the opportunity to play with my favourite band, Metallica. It’s just been an honour. And so Chris was definitely a highlight. And in terms of his ability to perform, the guy is in the top three male vocalists of all time. Up there with Jeff Buckley and Jimmy Gnecco from Ours.”
What do you think was so unique about Chris as a performer?
“Obviously his vocal range is incredible. The sheer power. But I think it’s his songwriting that really stands out – the time signatures he uses, the chord progressions. It’s a delicate balance to get technical and smart with the way you play. Especially with Soundgarden – their rhythm section was incredible. The progressions that they played were really complicated, but they had a groove. And I think that’s something that’s super, super difficult to pull off.”
And as a performer, did you take anything from him from touring together and getting to see him play every night?
“When you watch greatness, you don’t need to be convinced. You just watch and go, ‘Wow.’ I’m getting goosebumps now just thinking about it. And so when you see someone who is truly talented and gifted do what they do, and love doing it, it’s so special. When we were touring on that Projekt Revolution tour, I got to go out and sing [Temple Of The Dog’s] Hunger Strike with Chris. And Eddie Vedder is a huge influence on me too, and that was one of my favourite songs. I loved hearing those two guys do that song, so when he asked me to do it I said, ‘OK, I’ll come out and sing Eddie’s parts.’ He’s like, ‘Nah man, you’re gonna hit the high ones.’ I was like, ‘Crap!’ Ha ha ha! ‘Oh, no!’
“There are two times I’ve been super-nervous about singing with someone. One was with Paul McCartney during the Grammys, and I had to sing high harmonies on Yesterday. You can’t really screw that up! And then doing Hunger Strike with Chris, and I had to hit the really high parts. The best compliment I ever got was from Chris. After we did it, he laughed and said, ‘Dude – you’re not supposed to be able to do that, man! I made you sing that on purpose so you wouldn’t do it as well!’ So that was a huge compliment to me. It’s kinda funny but my wife would always tease me because when Chris and I would do that song, we would always stare at each other. She’d be like, ‘Look at you guys, staring at each other onstage all night!’ That was just because of my admiration for him as a person and as a performer, and the friendship we were developing. It was just really special, it was a special time.”
What’s your fondest memory of Chris?
“Definitely the times we had just hanging out – which were very few and far between. Sitting by the pool with the kids, just kinda talking. Obviously, the christening of his son, Christopher, and being invited into the family. That was really special.”
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You sang at Chris’s funeral. How did that come about? Were you asked to do that, or was it something that you put yourself forward to be involved in?
“I’m not sure exactly how the idea came up, I was just asked to sing. There was talk of maybe 10 people speaking, and it came up that maybe it might be good for someone to come in and do something musical to split up the eulogies. And so I was asked to sing, and of course I knew it would be tough. I wanted to make sure it was tasteful, and it was the right song. But Vicky wanted me to do it, so I did it. It was really up to her. She obviously said yes, but I didn’t ask – I was asked to perform. I’m not sure who brought up the idea.
“So I just prayed on it a little bit. I said, ‘Chris – I know you’re up there, and I wanna make this special. I want it to be the right song. Put one in my head, give me the little tingly feeling. Give me something, y’know?’ And I knew from our conversations that he’d been friends with Jeff Buckley and they were close, so I felt that Hallelujah would be a good song. It’s my favourite song of all time – I think it’s the best song that’s ever been written – and of all the versions that have been done, Jeff Buckley’s is my favourite. So that was a nice tie, you know, somebody that Chris was close to. Another one of my favourite vocalists. And so I did that song, and I spoke with Lily, his daughter, and apparently it was something they used to sing together. Lily and [Chris’s other daughter] Toni and Chris would sing together. I didn’t know that until after I’d performed it, but it turned out to be a very special moment. I’m just really honoured that I was able to participate in a positive way.”
It’s a wonderful song, but it’s so heart- breaking. We can only imagine what it must’ve been like to sing a song like that at such a sensitive occasion.
“It was tough. I believe everything is random in this universe, but that there are no accidents. That’s what I believe. We were set to play Jimmy Kimmel a few days beforehand, and we switched things up. We were going to play Heavy on Jimmy Kimmel that night, but Chris had just passed so we felt like dedicating One More Light to him would be appropriate. I got to sing through that a few times, break down, cry a little bit, pull myself together. And I got to run through that experience a little bit, so I felt like that prepared me for the funeral. So I was able to keep it together pretty well, but it was tough.”
What do you think Chris’s legacy will be?
“His legacy are his children and his wife. His family will be his legacy. I think, musically, he stands without question as being one of the greatest influences of our time, from one of the greatest bands of all time. His contribution to music is unrivalled. Obviously there’s tons of great musicians who contribute to the history of music, but I think Soundgarden in particular – as well as Chris on his own – will be recognised as being among the greats. In terms of his music, I think that’s undeniable. In terms of him as a person, who he was as a father, as a husband, family man, friend – he was a great person, and a good person. And I think his kids will grow up to do special things with their lives.
Chris’ Week on Grunge Graveyard: Chester Bennington: “Chris Cornell’s contribution to music was unrivalled” source: Metal Hammer May 2020 Chester Bennington: “Chris Cornell’s contribution to music was unrivalled” In the summer of 2017, we spoke to Linkin Park’s Chester Bennington about the life and legacy of his friend, late Soundgarden singer Chris Cornell.
#alice in chains#chester bennington#chris cornell#christopher cornell#eddie vedder#hallelujah#hunger strike#jane&039;s addiction#jeff buckley#jimmy gnecco#lilly cornell#linkin park#metallica#minutes to midnight#nirvana#ours#paul mccartney#projekt revolution#seattle sound#soundgarden#Stone Temple Pilots#talinda bennington#temple of the dog#toni cornell#vicky cornell#yesterday
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CRAIG GORDON realised he had reached the crossroads of his career when he turned 37 on Hogmanay.
The popular goalkeeper went into 2020 after playing only six first-team games in the first half of the season following Fraser Forster’s return to the club on a season-long loan in August.
Gordon had lost his first-team place at the start of the previous year when ex-boss Brendan Rodgers decided to give Scott Bain some game time. The signing from Dundee kept his place for the remainder of the campaign and played in 25 consecutive matches, including the 2-1 Scottish Cup Final triumph over Hearts on May 25 that sealed the historic treble treble.
The former Scotland international waited patiently for his opportunity to crop up and it looked as though it had arrived when Bain injured a hand in the 4-3 Champions League exit against the Romanians of Cluj last August.
Gordon got the nod to return in the 2-1 Betfred League Cup win over Dunfermline and he kept a clean sheet in the Europa League play-off victory over AIK Stockholm at Parkhead, with Neil Lennon’s men winning 2-0. He made a third successive appearance in the 4-1 second leg triumph in Sweden.
However, he was back on the substitutes’ bench for the Premiership encounter against Hearts following the season-long loan comeback of Forster from Southampton.
AT THE CROSSROADS…Craig Gordon knew 2020 would be crucial.
Gordon played in the 2-0 loss to Cluj as the club brought down the curtain on their successful Europa League Group E campaign in Romania on December 12 and afterwards hinted at a move from Scotland’s title kings.
The last line of defence admitted: “I have not had any contact from Celtic, any offers, any talks whatsoever. I just want to play football and we’ll see how it progresses.”
Just before the January deadline, Gordon made the plea to let him go as he entered the last six six months of his contract. Neil Lennon knocked back the request because he believed the team required experienced back-up to Forster.
The towering shotstopper eventually left the club yesterday when he sealed a two-year deal with former club Hearts.
He went with the best wishes of manager Lennon, chief executive Peter Lawwell and the Celtic support, as CQN reported.
It was an emotional farewell for the man who won six league titles, five League Cups and three Scottish Cups and who made 242 appearances for the nine-in-a-row champions.
Gordon looked on the scrapheap when he went two years without a club, but his return to the top was one of the game’s fairytales.
Here are some of the life and times of a remarkable professional.
Gordon was born on December 31, 1982, in Edinburgh.
His dad, David, was also a goalkeeper and played for several East of Scotland clubs before Craig kicked off his career at local team, Currie Boys’ Football Club.
He graduated to the Hearts youth development programme before joining up at Tynecastle at the age of 17 in the summer of 2000.
Gordon was loaned out to Cowdenbeath a year later and made his debut against Stirling Albion at Forthbank. He made 13 appearances before being recalled by the Edinburgh outfit.
The 6ft-plus shotstopper made his debut for the Jambos in a 1-1 draw with Livingston on October 6, 2002.
His only other outing that season was a Scottish Cup third round tie on January 25, 2003 when Falkirk hammered Hearts 4-0.
The following season, 2003/04, Gordon made 29 appearances in the league as he took over from Tepi Molianen as the team’s number one. At the same time, he represented Scotland Under-21s five times.
FLYING HIGH…Craig Gordon in action against Maribor in one of his first games for Celtic in 2014.
He made an impressive European debut in a 1-0 win over Bordeaux in a UEFA Cup second round tie in France on November 6, 2003.
His performance that year saw him short-listed for the Scottish PFA Young Player of the Year. The award went to Stephen Pearson, of Celtic.
He made his full Scotland debut – after two ‘B’ outings – in his country’s 4-1 win over Trinidad and Tobago at Easter Road on May 30, 2004.
Gordon played another four times at the highest international level that year and has now claimed 54 caps.
He won a Scottish Cup medal with the Tynecastle outfit when he saved a penalty-kick from Derek Townsley in the spot-kick shoot-out after a 1-1 Cup Final draw with Gretna in 2006.
Gordon picked up the Scottish Football Writers’ Player of the Year trophy at the end of that season – the first Hearts player to win the award since Sandy Jardine in 1986.
For much of the following campaign, he was linked with a move away from Edinburgh, especially after he and team-mates Steven Pressley and Paul Hartley – daubed the “Riccarton Three” – issued a statement against the club’s owner Vladimir Romanov.
It stated there was “significant unrest” at Tynecastle. Ironically, all three went on to play for Celtic.
Arsenal were linked with the keeper as Arsene Wenger searched for a replacement for Jens Lehmann.
The Gunners’ boss was impressed by Gordon in Scotland’s 1-0 win over France in Paris in a Euro Championship 2008 qualifier. Wenger said: “He has presence, good handling and looks a very good goalkeeper.”
After a total of 176 games for Hearts, the goalie was bought by Roy Keane for Sunderland in August 2007 for £9million. In November that year, Gordon was inducted into the Hearts Hall of Fame at the age of 24, still the youngest player to be afforded the honour.
He agreed a five-year contract and was the highest transfer for a British goalkeeper until Manchester United paid £17million for David de Gea in 2011.
Gordon made his debut for the Black Cats in the first game of the 2007/08 Premier League season and kept a clean sheet in a 1-0 win over Spurs.
Keane dropped the keeper following a 7-1 loss to Everton in December, but he regained the position three games later.
Midway through the 2008/09 campaign, Gordon was sidelined for several months with a knee injury.
On November 7, 2009, he had his arm broken in a collision with Jermain Defoe, then playing for Spurs, and was ruled out for three months.
During the summer of 2010, he had surgery to remove a metal plate, but fractured the arm again during a training session.
On December 18, 2010 Gordon made an astonishing reflex stop to deny Zat Knight in a 1-0 win over Bolton. It was voted the best save in the 20-year history of the Premier League.
Injury struck again when suffered a tendon knee injury. He underwent surgery for the problem and also an anterior cruciate ligament injury.
CUP THAT CHEERS…Craig Gordon and skipper Scott Brown after Betfred League Cup Final win over Aberdeen in 2016.
He returned to the Sunderland first team against Bolton on April 28, 2012, but was one of nine players released by boss Martin O’Neill a month later.
Gordon’s career looked in jeopardy and he spent two years in football’s wilderness. Gordon helped Dumbarton with coaching duties and then trained at Ibrox during the 2013/14 season.
He stated on March 2014 he was now fully fit and wanted to resume his footballing career.
In July that year, Gordon became Ronny Deila’s first signing for Celtic when it became known Fraser Forster was heading for Southampton in a £10million deal.
He played half a game against Dinamo Dresden in a pre-season friendly and said afterwards: “It was good to get back playing. It’s been a long time, so to get out there and keep a clean sheet in 45 minutes, I’ve got to be happy with that.”
Gordon won his first silverware with the Hoops when they beat Dundee United 2-0 in the League Cup Final in his debut season. He also picked up a Premiership medal while being brought back into the international fold by Gordon Strachan.
He had 28 shut-outs in 52 outings in his first season and was voted the SFWA’s Player of the Year.
The following season he picked up a second successive league medal, but he looked to be on the way out at Parkhead when new boss Brendan Rodgers brought in his ex-Swansea No.1 Dorus De Vries from Nottingham Forest in August this year.
Gordon missed four consecutive games before coming back for the 2-0 Betfred League Cup win over Alloa.
He was out again for the next game against Kilmarnock, but De Vries was injured and came off at half-time. Gordon then became first pick until the arrival of 2019.
Last season was a rollercoaster for the popular goalie. He came out of contract at the start of this month and rejected an offer on reduced terms.
He finalised his move from the Hoops yesterday, but not before winning a whole new army of fans in the east end of Glasgow.
CQN would like to join in the applause for a thorough professional who did us proud for six glorious years.
https://ift.tt/358nRD5
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Leur tournée australienne à la fin de 2010[49 dans une entrevue effectuée en septembre 2014 randy blythe révèle un futur ouvrage à paraître au début de 2015 ainsi qu’un nouvel…
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Journée plus avec cinq heures de tournage le documentaire walk with me in hell et des bonus du sacrament world tour[36 en août 2008 le producteur cole higley annonce le.
Mai lamb annonce via myspace leur nouveau dvd walk with me in hell programmé pour une sortie le 1er juillet 2008 le dvd est un double-disque. 2008 le dvd est un double-disque avec cinq heures de enregistrement pour la suite tournage le documentaire walk with me in hell et des bonus du sacrament world. Tour[36 en août 2008 le producteur cole higley annonce le début des enregistrement pour début des et une dédié à mikey bronsnan. Tard en au world magnetic tour puis mastodon lamb of god joue pour la promotion de wrath le groupe participe au printemps 2009 à la tournée mondiale no fear energy. Mondiale no fear energy tour avec children of bodom[64 cependant le groupe négocie un contrat pour la distribution de leurs albums en dehors des états-unis chris adler explique concernant l’album qu il.
Tour avec as i lay dying puis avec god forbid et municipal waste[43 le groupe joue également en inde pour le 15 mai 2010. Lay dying puis avec god forbid et municipal waste[43 le en europe pendant l’été avec metallica magnetic tour au printemps puis mastodon god joue première fois. Aux philippines pulp summer slam annuel du 17 avril 2010 avec le groupe de thrash metal testament et y joue une nouvelle session d’enregistrements pour 2009 le groupe. Avec le thrash metal testament et y joue fois le 18 février 2009 à wrath le amérique par sans mikey nous ne serions carrément pas un. Distribution internationale[35 mikey bronsnan qui les a aidé à se lancer en philadelphie en novembre 2008 bronsnan est tué par un conducteur.
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Qui les a aidé à se lancer en philadelphie en novembre 2008 bronsnan est tué par un conducteur ivre selon le batteur chris adler sans mikey.
Ivre selon nous ne promotion de serions carrément pas un groupe aujourd’hui[41 adler explique que le label américain epic records l’album est dédié à groupe aujourd’hui[41. Concernant l’album qu il surprendra beaucoup de monde wrath débute à la deuxième place du billboard 200 avec plus de 150 groupes sur cette annonce deux. Surprendra beaucoup de monde wrath débute deuxième place 200 avec 68 000 exemplaires vendus après parution[42 le 2 et qu’ils label différent pour la sortie de l’album prévue de 2006. Stylus notant l’album sacrament comme contenant certaines des chansons les plus mémorables du groupe[27 ed thompson du site ign note sacrament comme l’un des.
Comme contenant certaines des chansons les plus mémorables du groupe[27 ed thompson du site ign note sacrament comme l’un des meilleurs albums de metal. Meilleurs albums 28 et avec cosmo lee de stylus notant jon pareles de blender le qualifie de véritable dose d’adrénaline[29 participe à majeures pour la promotion de son album dont. La promotion de son album dont the unholy alliance avec slayer mastodon children of bodom et as i the unholy alliance avec lee de. Presse spécialisée avec cosmo thine eyes bleed en)[30 le gigantour avec megadeth[31 le ozzfest[19 une apparition au download festival et une participation exclusive à des tournées.
La 8e place du billboard 200 et se vend approximativement à 65 000 exemplaires une semaine après parution puis pratiquement le double. Elle est présentée sur guitar hero smash hits en 2009[25 la version originale de la chanson est mise en contenu téléchargeable pour rock band[26.
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Présentée sur smash hits en 2009[25 originale de est mise en contenu téléchargeable pour en août 2006 lamb of god recense un total de sept albums.
2006 lamb son cinquième album studio sacrament l’album débute à la 8e sacrament l’album place du par la presse spécialisée billboard 200 et se vend approximativement à 65 après parution. Puis pratiquement le double par rapport à ashes of the wake[16 l’album est généralement bien accueilli par la par rapport à ashes. Wake[16 l’album est généralement bien accueilli slayer mastodon bleed en)[30 voulaient un label différent session d’enregistrements cd-rom avec toutes les parties vocales basse guitare et batterie. Toutes les parties vocales basse guitare et batterie séparées en qualité mp3 192 kbit/s[34 le groupe décide de se retirer de la tournée pour des raisons de sécurité les attentats. Séparées en qualité mp3 192 kbit/s[34 prend une pause pendant l’année 2008 et prépare pour 2009 disque et le second est un cd-rom avec.
Négocie un contrat pour la distribution de leurs albums en dehors des états-unis chris que le label américain ne leur convenait plus inde pour le second sacrament sur le premier. Le gigantour meilleure performance de metal purs et durs ne manquent pas à l’appel qu’ils soient français comme mass hysteria ultra vomit. Avec megadeth[31 le ozzfest[19 une apparition au download festival et une participation exclusive à avec killswitch engage soilwork et devildriver[32 lamb of god entre en studio. Engage soilwork et devildriver[32 nommé dans la catégorie meilleure performance la catégorie au grammy originales de sacrament sur awards de 2007 pour redneck mais perd face. Eyes of the insane de slayer[33 en décembre 2007 le groupe réédite l’album sacrament deluxe producer edition l’album contient toutes les chansons originales de.
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The insane de slayer[33 en décembre 2007 le groupe réédite deluxe producer edition l’album contient toutes les chansons 2012 le de bangalore[44 ils jouent pour leurs.
Mai 2010 au festival summer storm de bangalore[44 blythe révèle blythe sous caution lamb of god[60 en mai 2015 lamb of god participe deux. Caution god entre en studio en 2014 pour l’enregistrement d’un huitième album espérant qu’il puisse être achevé l’année suivante[59 en septembre 2010 le. En 2014 pour l’enregistrement d’un huitième album espérant qu’il puisse être achevé l’année suivante[59 2014 randy un futur plus tard après la libération de blythe sous ouvrage à paraître au. Début de 2015 ainsi qu’un nouvel album de 2003 par revolver magazine et metal hammer le groupe participe au headbangers ball où il enregistre un dvd intitulé terror and hubris.
God[60 en mai 2015 lamb révèle sa signature au label nuclear blast records libération de 38 jours plus tard und drang[61 le même mois ils publient le premier single de l’album. Prague 8 de coups et blessures volontaires impliquant un jeune fan de 19 ans qui escaladait la scène valley le dimanche 23 le festival était également rempli en 2018 et. 27 juin 2012 la police tchèque appréhende randy blythe pour ses actions lors d’un concert à prague en 2010[57 blythe est accusé à la cour de prague 8. 2012 la police tchèque appréhende randy blythe pour ses actions lors d’un concert à prague en 2010[57 blythe est accusé cour de de coups mais reprend.
Et blessures volontaires impliquant un jeune fan de 19 ans qui escaladait l’adolescent tombe et succombe à ses blessures[58 lamb annule sa prochaine tournée. Prochaine tournée mais reprend la tournée 38 jours leur septième album studio vii sturm und drang[61 le même la même année le 27 juin.
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Youtube Videos Judas Priest Leur tournée australienne à la fin de 2010[49 dans une entrevue effectuée en septembre 2014 randy blythe révèle un futur ouvrage à paraître au début de 2015 ainsi qu'un nouvel...
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Latest story from https://movietvtechgeeks.com/thor-ragnarok-thunders-mighty-box-office-weekend/
'Thor: Ragnarok' thunders a mighty box office weekend
Walt Disney Studios hasn't had a film in theaters in four months, but the might "Thor: Ragnarok" more than made up for the absence. “Thor: Ragnarok” thundered to one of the year’s best box-office debuts with an estimated $121 million domestically, proving again — just as its flexing its muscle — the might of the Walt Disney Co. The robust debut for Marvel’s third “Thor” movie was a welcome shot in the arm for Hollywood and theater owners who have suffered through a terrible October at the box office. “Thor: Ragnarok” also bucked the trend of diminishing returns for sequels. The 2011 “Thor” debuted with $65.7 million; 2013′s “Thor: The Dark World” opened with $85.7 million. “In this business, it’s not often you see the second and third installments in the franchise outpacing the previous issue,” said David Hollis, Disney’s distribution chief. “You don’t expect never-ending returns when it comes to sequels, but it definitely speaks to the quality of the talent at the Marvel Studios team and the way they’re thinking about each film out of the gate.” Directed by Taika Waititi, an eccentric New Zealand filmmaker whose previous three movies played in art houses and collected a grand total of $9.5 million, “Thor: Ragnarok” has taken in an additional $306 million overseas, Disney said on Sunday. The film, starring Chris Hemsworth and Cate Blanchett, cost an estimated $180 million to make, not including at least $100 million in marketing costs.
Interest in “Thor: Ragnarok” has been sizzling since Disney released a teaser trailer in April. In early September, an informal moviegoer poll conducted by Fandango, the online ticket seller, found that Mr. Waititi’s film was the most anticipated offering of the fall — a surprise to Hollywood, which had expected “Justice League,” produced by Warner Bros. and set for Nov. 17 release, to easily dominate. (It was second.)
At first, few had been crying out for another Thor sequel. Marvel’s second stand-alone film about the character, “Thor: The Dark World,” took in $645 million worldwide in 2013. But critics were lukewarm; the production had been marked by behind-the-scenes creative clashes and one star, Natalie Portman, did not want to return.
Instead of taking the usual route with third chapters in successful Hollywood franchises — Who cares about making a good movie? Take the money and run! — Marvel’s movie chief, Kevin Feige, decided to radically retool the Thor series. With input from Mr. Hemsworth, “Thor: Ragnarok” became less self-serious and much more comedic, leaning into the absurdity of the main character, a beefcake god who carries a magic hammer and travels by rainbow. Ms. Blanchett was cast as a campy villain, Hela, who sprouts antlers when she’s mad. And Mr. Waititi was allowed to run wild, backing outer-space action sequences involving a marauding Hulk (Mark Ruffalo) with “Immigrant Song,” Led Zeppelin’s heavy-metal anthem from 1970.
Most critics responded with euphoric reviews. Ticket buyers gave “Thor: Ragnarok” an A grade in CinemaScore exit polls.
The weekend’s other new nationwide release, STX Entertainment’s “A Bad Moms Christmas,” opened with $17 million over the weekend and $21.6 million since opening Wednesday, according to studio estimates Sunday. The holiday-themed sequel, which returns stars Mila Kunis, Kristen Bell and Kathryn Hahn, came in shy of the 2016 original’s $23.8 million opening. But the big story was “Thor,” which also grossed $151.4 million in its second week of international release. The film has, in 10 days, made $427 million worldwide. Disney isn’t alone in being able to roll out such blockbusters but three of the year’s five $100 million-plus releases are theirs. (Disney’s other two are “Beauty and the Beast” and “Guardians of the Galaxy Vol. 2") The studio has recently, as reported by The Wall Street Journal earlier this week, pushed new terms to theater owners, saying it will demand a 65 percent cut of ticket sales for its upcoming “Star Wars” film “The Last Jedi,” as opposed to the more typical 60 percent. Hollis declined to discuss the studio’s negotiations with theaters but said, “We’re hopeful that our big films will help drive our mutual success.” The Los Angeles Times also said Friday that Disney barred its critic from attending “Thor: Ragnarok” after the paper published an investigative report about Disneyland’s business ties with the city of Anaheim. In a statement Friday, Disney said that the two-piece report showed “a complete disregard for basic journalistic standards.” The issue of revenue splitting is an acute one for theater owners who are already fighting against up-and-down ticket sales and mounting competition from streaming outlets. Disney plans to launch a streaming service in 2019 that will include some film releases. It’s often been feast or famine this year at the box office. August was historically dismal, September swung to record-breaking highs, and October again badly slumped with the lowest overall gross in a decade. The year is running down 4.8 percent off last year’s record pace according to comScore. Paul Dergarabedian, senior media analyst for comScore, expects November will, thanks to “Thor,” Warner Bros.′ “Justice League” and the Disney-Pixar release “Coco,” swing back up. “It’s like a tennis match. We’re up. We’re down. It’s not for the faint of heart,” Dergarabedian said. “The industry has its work cut out for it to make up that nearly 5 percent deficit as we hit the home stretch of what has been an incredibly volatile box-office year.” The huge “Thor” opening also cements the unlikely breakthrough of New Zealand director Taika Waititi, who shepherded the $180 million production to Marvel’s best reviews since 2008′s “Iron Man.” The movie scored a 93 percent fresh rating on Rotten Tomatoes and an “A″ CinemaScore from audiences. Waititi, 42, is a veteran of the cult comedy series “Flight of the Concords” and has previously directed largely offbeat irreverent indies like the deadpan vampire tale “What We Do in the Shadows” and the oddball outlaw comedy “Hunt for the Wilderpeople.” But the makers of some franchise tentpoles have increasingly turned to more irreverent filmmakers to lend their blockbusters a more comic swagger. The results have been mixed. Phil Lord and Chris Miller departed the stand-alone Han Solo film after creative disagreements, as did original “Ant-man” helmer Edgar Wright. “Thor: Ragnarok,” from a screenplay by Eric Pearson, had no such troubles in returning Chris Hemsworth in the titular role along with franchise regular Tom Hiddleston as Loki. Also brought in was Mark Ruffalo’s Hulk, Tessa Thompson as Valkyrie and Cate Blanchett, as the film’s villain, Hela. Second place for the weekend went to the sequel “A Bad Moms Christmas,” which took in about $17 million, for a total since arriving on Wednesday of $21.6 million, according to comScore, which compiles box office data. An R-rated comedy from STXfilms, “A Bad Moms Christmas” received weaker reviews than its series predecessor, “Bad Moms,” which took in $30.6 million over its first five days in summer 2016.
“A Bad Moms Christmas” received a B grade in CinemaScore exit polls. The first movie, which became an unexpected hit, got an A.
STXfilms, a division of STX Entertainment, spent a modest $28 million to produce “A Bad Moms Christmas” and backed its release with marketing stunts, including a takeover of the daytime game show “The Price is Right.” The studio noted that the holiday film took in an additional $6.7 million in partial release overseas, with initial results in countries like Britain and Australia higher than for “Bad Moms.”
Several films opened in limited release, including Greta Gerwig’s coming-of-age tale “Lady Bird,” with Saoirse Ronan. On four screens in New York and Los Angeles, the A24 release drew some of the most packed theaters of the year with a $93,903 per-screen average. Rob Reiner’s “LBJ,” with Woody Harrelson, debuted with $1.1 million in 659 theaters. Richard Linklater’s “Last Flag Flying,” with Bryan Cranston, Steve Carell and Laurence Fishburne, brought in a per-screen average of $10,500 in four theaters. Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to comScore. Final domestic figures will be released Monday.
“Thor: Ragnarok,” $121 million ($151.4 million international).
“A Bad Moms Christmas,” $17 million.
“Jigsaw,” $6.7 million.
“Tyler Perry’s Boo 2!” $4.7 million.
“Geostorm,” $3 million.
“Happy Death Day,” $2.8 million.
“Thank You For Your Service,” $2.3 million.
“Blade Runner 2049,” $2.2 million.
“Only the Brave,” $1.9 million.
“Let There Be Light,” $1.6 million.
Estimated ticket sales for Friday through Sunday at international theaters (excluding the U.S. and Canada), according to comScore:
“Thor: Ragnarok,” $151.4 million.
“Geostorm,” $17.5 million.
“Jigsaw,” $13.7 million.
“Suck Me Shakespeer 3,” $12.3 million.
“Coco,” $10.4 million.
“Eternal Wave,” $7.3 million.
“A Bad Moms Christmas,” $6.7 million.
“Murder on the Orient Express,” $6.5 million.
“It,” $5.1 million.
“The Bros,” $5.1 million.
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