There's no beating about the bush here, so I'm gonna come right out and say that I've seen better shows from this band, in this city.
And yes, that includes the legendary, one of a kind Town Hall show this year - but it also includes the 2008 shows at Vector, and the 2005 show at the Supertop (and, if I'm being nostalgic, the 1998 gig at the Town Hall).
I'm a big Foo Fighters fan - have been since the start - but there was just something a bit off about last night's show at Western Springs. Don't get me wrong - it had its moments, but past Foos gigs have set a high bar that this one failed to hit. Maybe that's why I'm a little negative about it. Anyway, here goes.
Firstly, stadium shows suck. I am not a fan. When there is that much distance between you and the band, it's not quite the same. It's always better to be close to the action, and the setting just didn't lend itself to that. Perhaps a circular stage a la Metallica or Muse might have been a winner. And yes they had big screens, but so does Lady fucking Gaga. If I want to watch shit on a big screen, I've got Foo's DVDs that I can stick on the TV at home.
The other big stadium problem is sound. The bass was muddy and way too strong in the mix. Maybe that is a necessity of playing such a large venue - but at other points in the stadium it sounded really treble-heavy. Or maybe they could just learn a trick or two from Roger Waters - the Dark Side of the Moon gig at North Harbour Stadium a few years ago had a very good sound set-up.
Anyway, grumble number 2 was the setlist. This is more a criticism of the band than the gig itself, but it bothers me when bands play the same setlist every night across a tour. The only real change the Foos made across this tour was to replace Bridge Burning with All My Life as the opening song - and I reckon the former was actually the better choice (although the latter is a brilliant track). But if other big name acts like Pearl Jam and Metallica can play setlists that vary quite heavily from night to night - why can't the Foos? To be blunt, I'd like to see the Foos playing less of the singles (some of which, like Learn to Fly and Wheels are just weak and MOR and not good), and more album cuts like Low, Hey Johnny Park!, and Exhausted. The covers are a good touch - but they've got such an enormous repertoire that it would be good to see them vary that up too - throw in Darling Nikki, or Band on the Run.
Grumble number three was the jamming. Don't get me wrong - I love it when bands fool around with songs and in most cases I will be disappointed when bands don't jam, at least for a little bit. But I thought the Foos were a bit off target with their extended sections for two reasons. Firstly, they overdid it - at one point it seemed like they were rumbling into extended instrumental sections on almost every song. Definitely a case for 'less is more'. Secondly, they were jamming the same songs in the same ways that I've heard before - like the outro to My Hero or the bridge in Stacked Actors. It would be more of a novelty for them to play Stacked Actors straight - it is, after all, possibly the best song they've written.
But equally, the Foos deserve credit for being one of the few bands that can play a whole lot of new stuff, without fans getting restless. Rope and Arlandria both got a great reception (and deservedly so). And I really enjoyed White Limo. Although I do wish they'd played more songs off their first (and best) album - and not Big Me either, what about I'll Stick Around or Wattershed or Good Grief.
I'm sure many people enjoyed the gig immensely, but for me it was in the category of 'could do better'. What did you think?
Tuesday, December 13, 2011
Thursday, December 1, 2011
The First XI of 20XI
As much as I don't really see a lot of point in dividing music into calendar years (arbitrary 365 day period!), the truth is that very little new music gets released between the end of November and the start of February. So there is a certain logic to year-end lists, even if you subscribe to the theory that January 1 is just another day. And on that note, I am proud to present my favourite 11 albums of 2011...
11. DJ Shadow - The Less You Know, The Better
When I listen to DJ Shadow these days, it tends to not be the studio albums as much as some of his live mixes - Funky Skunk, and Los Angeles 10/31/09 in particular, but also Live! In Tune and on Time. It's those live mixes (particularly the first two mentioned) that really showcase Shadow's eclectic taste, masterful turntable skills, and his ear for a good groove. What I enjoy about The Less You Know, The Better is that it captures that same groove and varied musical palate that is such a highlight of his live mixes. There are nods to hip-hop, electro, rock, turntablism, drum and bass, soul, funk - and yet it all comes together as a coherent, interesting whole. A great reason to put the headphones on and groove out.
10. Black Country Communion - 2
Certainly the best supergroup album of the year, although that isn't necessarily saying much. 2 is a huge step up from their debut, and it's great to hear this band really evolve their own unique sound - equal parts classic rock, hard rock and blues. A couple of things really shine about this record, in my opinion. The first is Glenn Hughes' vocals - powerful, genuine and a real highlight. The second is the quality of the songwriting - accessible yet never simplistic, with plenty of detail and some nice twists. That four such quality individual talents can put together an interesting, balanced rock record which is undoubtedly more than the sum of its parts should tell you everything you need to know.
9. Machine Head - Unto the Locust
Although I'm pretty new to this band, it's not hard to appreciate the quality of Unto the Locust. It starts with the aggressive, unpredictable and unrelenting I Am Hell (Sonata in C#) and pretty much goes from there. The dynamic balance between full-on thrash and quieter, acoustically-driven sections keeps things interesting throughout in a way that harkens back to the likes of Master of Puppets. Top-notch metal songwriting and musicianship - I am really looking forward to catching MH at Soundwave early next year.
8. Beastie Boys - The Hot Sauce Committee, Part 2
As unlikely as it sounds, three old white guys have produced one of the year's best hip-hop albums. Hot Sauce Committee Part 2 is a brash, bouncy romp which mixes the irreverent party attitude of old-school Beastie with plenty of fresh, contemporary beats. Consistently enjoyable and consistently fun.
Check out my personal favourite track, Here's A Little Something For Ya:
7. Graveyard - Hisingen Blues
I was hooked on this record - and this band - from the opening 10 seconds of Ain't Fit to Live Here. It literally sounds like these guys were on a roadtrip in 1971, cranking plenty of Cream and Steppenwolf in the van, when they accidentally drove into a timewarp that brought them into the present day. But a one-trick pony they are not - whilst there is plenty of hard-rock boogie, there are also some fantastic slow-building tracks (Uncomfortably Numb and The Siren). A very exciting upcoming band, these lads from Sweden - watch this space.
6. Foo Fighters - Wasting Light
This is the closest thing to a standout album that the Foos have produced since their self-titled debut. The quality of the first five songs, in particular, is just mind-bogglingly good. In fact, the insanely good opening quintet of Burning Bridges, Rope, Dear Rosemary, White Limo and Arlandria might just be the best run of songs on any Foos record. The only downside of this is that it sets the bar high for the album's second half - in this case, unreachably high. I mean, the rest is still really good, it's just not the rock revelation that the first half is.
And yeah, White Limo is still the best music video of the year, maybe ever:
5. Megadeth - TH1RT3EN
It's an absolute delight to hear Dave Mustaine pushing the boundaries with brutal, snarling, pedal-to-the-metal tracks like Never Dead and Sudden Death, even after 12 albums, career-threatening injuries, and almost 30 years. TH1RT3EN is another reminder that Megadeth are the only Big Four band that have managed to be consistently interesting, innovative and relevant. A great balance between technicality (Sudden Death, Never Dead), infectiousness (Public Enemy No. 1 and Whose Life (Is It Anyway)) and straight-up honesty (13).
Also, props for an excellent video involving gangster monkeys.
4. Mastodon - The Hunter
The Hunter eschews the prog-metal extremities of its predecessor, Crack the Skye, in favour of a much more direct approach. And in doing so managed to produce such utter gems as the foreboding Black Tongue, the catchy Curl of the Burl, the ritalin-deprived Blasteroid, and the brutal Spectrelight - all insanely good tracks.
If I had one criticism of this album, it would be that it meanders a little through the middle, and if it were up to me (which it is, thanks to the wonders of modern technology), I'd insert the two hard-rocking bonus tracks The Ruiner and Deathbound somewhere in the middle. But in saying that, it's still a fine metal album by a great band.
And whilst we're on the topic of great videos of 2011, we have Mastodon's hilarious Adult Swim-produced video for Deathbound. Don't watch this if you have any issues with the concept of a puppet apocalypse.
3. Symphony X - Iconoclast
When I was first introduced to Symphony X a few years ago, I initially concluded that they were a bit like Dream Theater but not as good. Anyway, fastforward to 2011, and Symphony X have rather turned the tables by releasing a double album which (at least in my opinion) pretty much crushes Dream Theater's latest effort. With 12 tracks spanning 83 minutes (and a Matrix-like concept about machines conquering the planet), it's certainly not an easy listen, but progressive metal never really is. The pairing of lead guitarist Michael Romeo and singer Russell Allen is probably the best and most enjoyable in metal, following the dissolution of Nevermore, and both are highlights throughout this epic effort.
And for the record, there's a single disc version floating around as well, but make sure you get the double.
2. Soundgarden - Live on I-5
You can debate all you like whether it's legitimate to include live records on lists like this (my opinion: live albums are OK, singles collections/b-side collections/greatest hits are not), but in my opinion this is a damn fine live album. Stunning performances of most of the best Soundgarden tracks (not just singles), and a couple of very well-executed covers make for a live album that is pretty much outstanding from start to finish.
Also, totally off topic, but I realised the other day that most of The Day I Tried to Live is in 15/4 time.
Anyway, amongst the many highlights:
AND THE WINNER IS...
1. Rose Hill Drive - Americana
I always thought RHD had it in them to make a genuinely great album. Americana is that album - or, if we are lucky, the first of many. One of the most crazy, clever and unabashedly fun rock albums you could hope to hear - and for me personally this album reminds why I love music so much. It gets stuck in my head, it makes me smile, and I just can't stop listening to it. But for all its accessibility and sheer rock-out-ness, it's also detailed and clever. Anyway, stop listening to me gush about it and just go get it (digital is your best bet as the physical release is a little tricky to track down). DO IT!
These two videos should give you some sort of idea just what you're in for...
Anyway, coming up next, a discussion of some of the albums this year that DIDN'T make this list. For various reasons, ranging from almost-but-not-quite to sheer godawfulness.
11. DJ Shadow - The Less You Know, The Better
10. Black Country Communion - 2
Certainly the best supergroup album of the year, although that isn't necessarily saying much. 2 is a huge step up from their debut, and it's great to hear this band really evolve their own unique sound - equal parts classic rock, hard rock and blues. A couple of things really shine about this record, in my opinion. The first is Glenn Hughes' vocals - powerful, genuine and a real highlight. The second is the quality of the songwriting - accessible yet never simplistic, with plenty of detail and some nice twists. That four such quality individual talents can put together an interesting, balanced rock record which is undoubtedly more than the sum of its parts should tell you everything you need to know.
9. Machine Head - Unto the Locust
Although I'm pretty new to this band, it's not hard to appreciate the quality of Unto the Locust. It starts with the aggressive, unpredictable and unrelenting I Am Hell (Sonata in C#) and pretty much goes from there. The dynamic balance between full-on thrash and quieter, acoustically-driven sections keeps things interesting throughout in a way that harkens back to the likes of Master of Puppets. Top-notch metal songwriting and musicianship - I am really looking forward to catching MH at Soundwave early next year.
8. Beastie Boys - The Hot Sauce Committee, Part 2
As unlikely as it sounds, three old white guys have produced one of the year's best hip-hop albums. Hot Sauce Committee Part 2 is a brash, bouncy romp which mixes the irreverent party attitude of old-school Beastie with plenty of fresh, contemporary beats. Consistently enjoyable and consistently fun.
Check out my personal favourite track, Here's A Little Something For Ya:
7. Graveyard - Hisingen Blues
I was hooked on this record - and this band - from the opening 10 seconds of Ain't Fit to Live Here. It literally sounds like these guys were on a roadtrip in 1971, cranking plenty of Cream and Steppenwolf in the van, when they accidentally drove into a timewarp that brought them into the present day. But a one-trick pony they are not - whilst there is plenty of hard-rock boogie, there are also some fantastic slow-building tracks (Uncomfortably Numb and The Siren). A very exciting upcoming band, these lads from Sweden - watch this space.
6. Foo Fighters - Wasting Light
This is the closest thing to a standout album that the Foos have produced since their self-titled debut. The quality of the first five songs, in particular, is just mind-bogglingly good. In fact, the insanely good opening quintet of Burning Bridges, Rope, Dear Rosemary, White Limo and Arlandria might just be the best run of songs on any Foos record. The only downside of this is that it sets the bar high for the album's second half - in this case, unreachably high. I mean, the rest is still really good, it's just not the rock revelation that the first half is.
And yeah, White Limo is still the best music video of the year, maybe ever:
5. Megadeth - TH1RT3EN
It's an absolute delight to hear Dave Mustaine pushing the boundaries with brutal, snarling, pedal-to-the-metal tracks like Never Dead and Sudden Death, even after 12 albums, career-threatening injuries, and almost 30 years. TH1RT3EN is another reminder that Megadeth are the only Big Four band that have managed to be consistently interesting, innovative and relevant. A great balance between technicality (Sudden Death, Never Dead), infectiousness (Public Enemy No. 1 and Whose Life (Is It Anyway)) and straight-up honesty (13).
Also, props for an excellent video involving gangster monkeys.
4. Mastodon - The Hunter
The Hunter eschews the prog-metal extremities of its predecessor, Crack the Skye, in favour of a much more direct approach. And in doing so managed to produce such utter gems as the foreboding Black Tongue, the catchy Curl of the Burl, the ritalin-deprived Blasteroid, and the brutal Spectrelight - all insanely good tracks.
If I had one criticism of this album, it would be that it meanders a little through the middle, and if it were up to me (which it is, thanks to the wonders of modern technology), I'd insert the two hard-rocking bonus tracks The Ruiner and Deathbound somewhere in the middle. But in saying that, it's still a fine metal album by a great band.
And whilst we're on the topic of great videos of 2011, we have Mastodon's hilarious Adult Swim-produced video for Deathbound. Don't watch this if you have any issues with the concept of a puppet apocalypse.
3. Symphony X - Iconoclast
When I was first introduced to Symphony X a few years ago, I initially concluded that they were a bit like Dream Theater but not as good. Anyway, fastforward to 2011, and Symphony X have rather turned the tables by releasing a double album which (at least in my opinion) pretty much crushes Dream Theater's latest effort. With 12 tracks spanning 83 minutes (and a Matrix-like concept about machines conquering the planet), it's certainly not an easy listen, but progressive metal never really is. The pairing of lead guitarist Michael Romeo and singer Russell Allen is probably the best and most enjoyable in metal, following the dissolution of Nevermore, and both are highlights throughout this epic effort.
And for the record, there's a single disc version floating around as well, but make sure you get the double.
2. Soundgarden - Live on I-5
You can debate all you like whether it's legitimate to include live records on lists like this (my opinion: live albums are OK, singles collections/b-side collections/greatest hits are not), but in my opinion this is a damn fine live album. Stunning performances of most of the best Soundgarden tracks (not just singles), and a couple of very well-executed covers make for a live album that is pretty much outstanding from start to finish.
Also, totally off topic, but I realised the other day that most of The Day I Tried to Live is in 15/4 time.
Anyway, amongst the many highlights:
AND THE WINNER IS...
1. Rose Hill Drive - Americana
I always thought RHD had it in them to make a genuinely great album. Americana is that album - or, if we are lucky, the first of many. One of the most crazy, clever and unabashedly fun rock albums you could hope to hear - and for me personally this album reminds why I love music so much. It gets stuck in my head, it makes me smile, and I just can't stop listening to it. But for all its accessibility and sheer rock-out-ness, it's also detailed and clever. Anyway, stop listening to me gush about it and just go get it (digital is your best bet as the physical release is a little tricky to track down). DO IT!
These two videos should give you some sort of idea just what you're in for...
Anyway, coming up next, a discussion of some of the albums this year that DIDN'T make this list. For various reasons, ranging from almost-but-not-quite to sheer godawfulness.
Wednesday, November 2, 2011
Listmania #5: Seemed like a good idea at the time...
Inspired by a certain poorly-received collaboration involving a certain metal band and a certain former Velvet Underground member, I had a think about some other situations where artists have tried something slightly or drastically different, to varying degrees of success/failure...
1. Lou Reed and Metallica - Lulu
Old rock dude meets not-quite-so-old metal dudes
Originality: 1/5
Execution: 0/5
So, a couple of big name artists collaborating isn't that original. Nor do Lou Reed and Metallica really constitute an 'odd couple' pairing. The only thing that is a little different and original here is that the album itself has some funny concept thing going on that I didn't really have the patience to delve into too deeply. At times Metallica deliver some decent grooves but the glaring problem is that the collaboration just doesn't work on any level, and this should have been obvious from their duet on Sweet Jane last year. Something about Hetfield and Reed's vocal styles just grates when they're alongside each other. Anyway, there's been enough negatives about this and I don't really dig negative-for-the-hell-of-it. Chuck Klosterman wrote, "If the Red Hot Chili Peppers acoustically covered the 12 worst Primus songs for Starbucks, it would still be (slightly) better than this" and that more or less covers it.
2. Rage Against the Machine - Renegades
Revolutionary rockers do an album of other people's songs
Originality: 2/5
Execution: 4/5
Covers albums are also not that original. But Rage were always the sort to carve their own path, and so they get a couple of stars for originality, and having the guts to completely reinvent Bob Dylan's Maggie's Farm.
Renegades is a strong album, and the covers of Bruce Springsteen's The Ghost of Tom Joad, Afrika Bambaataa's Renegades of Funk, and Cypress Hill's How Could I Just Kill A Man are amongst the highlights.
3. The Flaming Lips - Zaireeka
Parking lot experiments lead to 'synchronous' album
Originality: 4.5/5
Execution: not rated
So, the Flaming Lips are no strangers to trying weird and wonderful things, but this was one of their first really crazy things (as opposed to just regular crazy stuff i.e. their 'normal' discography). Inspired by a whole lot of fooling around with cassette tapes played on multiple cars at the same time in parking lots, the Lips released an album that spanned 4 CDs, designed to be played on 4 separate stereos at the same time. This might sound crazy but you'd be amazed to learn that it actually pales into insignificance compared to some of their more recent adventures...
4. Public Enemy vs. Anthrax - Bring tha Noise
You can blame this for rap metal but it actually was a good idea at the time...
Originality: 4/5
Execution: 5/5
Cross-genre collaborations are nothing weird now, but take yourself back to 1991 and the concept of a bunch of bogan white dudes collaborating with a very politically motivated black hip-hop group was pretty groundbreaking. Not to mention the fact they subsequently went on tour together (with what I'm guessing were particularly awkward crowds). While this unfortunately gave birth to a bunch of really shitty rap metal bands, you can't blame these guys for having lame imitators. This track sits comfortably alongside the best material from both of these groups, which is pretty rare for collaborations of this ilk.
5. Korn - The Path of Totality
Fad band from 90's attempts to cash in on current dance fad
Originality: 2/5
Execution: I don't want to find out
In the 90's Korn did the whole angsty teen nu-metal thing. It had its moments at the time but they haven't really changed a lot and Jonathan Davis doing teen angst at age 40 is rather lame. But now they're doing a dubstep album with various collaborators (some of which, like Noisia, are actually quite credible... for now) and this pretty much screams 'tryhard attempt to be relevant'. Dance/rock crossovers haven't been anything particularly unusual since the Spawn soundtrack in the mid-90's and tend to date as badly as electronic music in general, so I don't this one is going to score highly on any fronts.
And the winner is...
6. The Flaming Lips - 7 Skies H3
24 hour song encased in human skull
Originality: 5/5
Execution: I don't have the time to find out
So here is the deal: the Flaming Lips have produced a 24-hour song, which will have a physical release limited to 13 copies, each on a USB drive encased inside a chrome-covered (actual) human skull. You can stream it online too, if you happen to have a spare day.
I've come to the conclusion that there are only two logical explanations for this:
1. Oklahoma (the Lips' home town) is more boring than you or I could possibly imagine, and/or
2. Wayne Coyne and co. were visited by aliens and given some absurdly hallucinogenic time-warping drugs.
Either way, there certainly aren't many acts around that would come up with this sort of thing.
1. Lou Reed and Metallica - Lulu
Old rock dude meets not-quite-so-old metal dudes
Originality: 1/5
Execution: 0/5
So, a couple of big name artists collaborating isn't that original. Nor do Lou Reed and Metallica really constitute an 'odd couple' pairing. The only thing that is a little different and original here is that the album itself has some funny concept thing going on that I didn't really have the patience to delve into too deeply. At times Metallica deliver some decent grooves but the glaring problem is that the collaboration just doesn't work on any level, and this should have been obvious from their duet on Sweet Jane last year. Something about Hetfield and Reed's vocal styles just grates when they're alongside each other. Anyway, there's been enough negatives about this and I don't really dig negative-for-the-hell-of-it. Chuck Klosterman wrote, "If the Red Hot Chili Peppers acoustically covered the 12 worst Primus songs for Starbucks, it would still be (slightly) better than this" and that more or less covers it.
2. Rage Against the Machine - Renegades
Revolutionary rockers do an album of other people's songs
Originality: 2/5
Execution: 4/5
Covers albums are also not that original. But Rage were always the sort to carve their own path, and so they get a couple of stars for originality, and having the guts to completely reinvent Bob Dylan's Maggie's Farm.
Renegades is a strong album, and the covers of Bruce Springsteen's The Ghost of Tom Joad, Afrika Bambaataa's Renegades of Funk, and Cypress Hill's How Could I Just Kill A Man are amongst the highlights.
3. The Flaming Lips - Zaireeka
Parking lot experiments lead to 'synchronous' album
Originality: 4.5/5
Execution: not rated
So, the Flaming Lips are no strangers to trying weird and wonderful things, but this was one of their first really crazy things (as opposed to just regular crazy stuff i.e. their 'normal' discography). Inspired by a whole lot of fooling around with cassette tapes played on multiple cars at the same time in parking lots, the Lips released an album that spanned 4 CDs, designed to be played on 4 separate stereos at the same time. This might sound crazy but you'd be amazed to learn that it actually pales into insignificance compared to some of their more recent adventures...
4. Public Enemy vs. Anthrax - Bring tha Noise
You can blame this for rap metal but it actually was a good idea at the time...
Originality: 4/5
Execution: 5/5
Cross-genre collaborations are nothing weird now, but take yourself back to 1991 and the concept of a bunch of bogan white dudes collaborating with a very politically motivated black hip-hop group was pretty groundbreaking. Not to mention the fact they subsequently went on tour together (with what I'm guessing were particularly awkward crowds). While this unfortunately gave birth to a bunch of really shitty rap metal bands, you can't blame these guys for having lame imitators. This track sits comfortably alongside the best material from both of these groups, which is pretty rare for collaborations of this ilk.
5. Korn - The Path of Totality
Fad band from 90's attempts to cash in on current dance fad
Originality: 2/5
Execution: I don't want to find out
In the 90's Korn did the whole angsty teen nu-metal thing. It had its moments at the time but they haven't really changed a lot and Jonathan Davis doing teen angst at age 40 is rather lame. But now they're doing a dubstep album with various collaborators (some of which, like Noisia, are actually quite credible... for now) and this pretty much screams 'tryhard attempt to be relevant'. Dance/rock crossovers haven't been anything particularly unusual since the Spawn soundtrack in the mid-90's and tend to date as badly as electronic music in general, so I don't this one is going to score highly on any fronts.
And the winner is...
6. The Flaming Lips - 7 Skies H3
24 hour song encased in human skull
Originality: 5/5
Execution: I don't have the time to find out
So here is the deal: the Flaming Lips have produced a 24-hour song, which will have a physical release limited to 13 copies, each on a USB drive encased inside a chrome-covered (actual) human skull. You can stream it online too, if you happen to have a spare day.
I've come to the conclusion that there are only two logical explanations for this:
1. Oklahoma (the Lips' home town) is more boring than you or I could possibly imagine, and/or
2. Wayne Coyne and co. were visited by aliens and given some absurdly hallucinogenic time-warping drugs.
Either way, there certainly aren't many acts around that would come up with this sort of thing.
Megadeth - TH1RT3EN review
Megadeth's recent albums have bucked the general trend for 80's metal bands to increasingly suck as time goes on. In fact, Megadeth's career in general has - despite the countless well-documented dramas of both the band and Dave Mustaine - been remarkably consistent. Across their 12 albums up to this point, I personally count only one dud and one mediocre effort. And even on those two albums (Risk and The World Needs a Hero, respectively), there are still some genuinely decent moments. As for the rest, well it ranges from good (Countdown to Extinction) to outstanding (Rust in Peace, Endgame).
In contrast to their Big 4 contemporaries, this streak is practically unmatched. There's no St. Anger, no Stomp 442, no Undisputed Attitude. There's certainly no Lulu (and unfortunately, the less said about that, the better). Even if one widens the net to include the great NWOBHM bands like Iron Maiden, well the 'Deth certainly never had a Blaze Bayley phase.
And the good news is that album number 13, entitled TH1RT3EN, certainly holds its own amongst the wider Megadeth discography. In fact, one of TH1RT3EN's most notable traits is that it borrows tricks from Megadeth's earlier work while still pushing bravely ahead at times.
The instant, hooky catchiness of Public Enemy No. 1 is strongly reminiscent of some of the Countdown-era material (most notably Symphony of Destruction), whilst the punkish energy of Whose Life (Is It Anyways?) feels even more old-school - we're talking Peace Sells here, people. But this shouldn't in any way be taken as a suggestion the 'Deth are reliving past glories because both tracks sound distinctly 2011.
Admittedly some of the tracks recall certain eras because they are actually from said eras. Millenium of the Blind and New World Order both trace their origins back to the 1990's. There has been some criticism (admittedly mostly on internet forums) of the band for recycling these tracks but personally I have no issue with it. It's not uncommon for songs - or more correctly song ideas - to be floating around for indeterminate periods of time before finally being finished. Both these songs were demoed but never got to anything resembling a final product. Maybe they don't normally float around for quite that long, but still, it's no big deal. And a time signature geek like me is never going to get annoyed at a track like New World Order which dips into 7/4 time in the verse.
As good as some of these tracks are, the highlights for me personally are Sudden Death and Never Dead. Both are brilliant examples of the urgent, unrelenting power and aggression and refined technicality (dueling guitar solos ftw!) that has characterised some of Megadeth's best recent tracks (think Blackmail the Universe and Sleepwalker). And both also showcase the ability of the current Megadeth line-up, which in my opinion is probably one of the best, if not the best, in the band's history. Shawn Drover is an absolute powerhouse and core to the current 'Deth sound, whilst Chris Broderick provides a phenomenal dual guitar attack with Mustaine. Not to mention that having long-time bassist Dave Ellefson back in the fold is a huge advantage - the man is one of metal's great bassists.
There's one minor factor that holds me back from rating this album in the same league as latter-day gems like Endgame. The album was put together in a pretty short window between tours and in places it feels a little rushed; it doesn't have quite the same end-to-end consistency as Megadeth's very best work, and loses a little focus towards the end of the album. It just nags at me a bit that given a little more time, this album could have been genuine 5-star material.
But perhaps that's a small and unfair quibble. Overall, TH1RT3EN has a lot of very good moments and some genuinely excellent ones. Title track 13 is a gem of a closer - clearly an honest and candid contemplation from a somewhat weary-sounding Mustaine of the band's challenges over 13 albums and almost 30 years, and whether he feels up to continuing given recent label issues with Roadrunner and his own back and neck problems.
Let's hope he does. TH1RT3EN continues a fantastic run for Megadeth - like the three albums before it, it's easily in the running for most ass-kicking metal album of the year. It shouldn't take much more than the few opening bars of Sudden Death to convince any listener that there's still plenty of gas in Megadeth's tank. Long live the 'Deth!
In contrast to their Big 4 contemporaries, this streak is practically unmatched. There's no St. Anger, no Stomp 442, no Undisputed Attitude. There's certainly no Lulu (and unfortunately, the less said about that, the better). Even if one widens the net to include the great NWOBHM bands like Iron Maiden, well the 'Deth certainly never had a Blaze Bayley phase.
And the good news is that album number 13, entitled TH1RT3EN, certainly holds its own amongst the wider Megadeth discography. In fact, one of TH1RT3EN's most notable traits is that it borrows tricks from Megadeth's earlier work while still pushing bravely ahead at times.
The instant, hooky catchiness of Public Enemy No. 1 is strongly reminiscent of some of the Countdown-era material (most notably Symphony of Destruction), whilst the punkish energy of Whose Life (Is It Anyways?) feels even more old-school - we're talking Peace Sells here, people. But this shouldn't in any way be taken as a suggestion the 'Deth are reliving past glories because both tracks sound distinctly 2011.
Admittedly some of the tracks recall certain eras because they are actually from said eras. Millenium of the Blind and New World Order both trace their origins back to the 1990's. There has been some criticism (admittedly mostly on internet forums) of the band for recycling these tracks but personally I have no issue with it. It's not uncommon for songs - or more correctly song ideas - to be floating around for indeterminate periods of time before finally being finished. Both these songs were demoed but never got to anything resembling a final product. Maybe they don't normally float around for quite that long, but still, it's no big deal. And a time signature geek like me is never going to get annoyed at a track like New World Order which dips into 7/4 time in the verse.
As good as some of these tracks are, the highlights for me personally are Sudden Death and Never Dead. Both are brilliant examples of the urgent, unrelenting power and aggression and refined technicality (dueling guitar solos ftw!) that has characterised some of Megadeth's best recent tracks (think Blackmail the Universe and Sleepwalker). And both also showcase the ability of the current Megadeth line-up, which in my opinion is probably one of the best, if not the best, in the band's history. Shawn Drover is an absolute powerhouse and core to the current 'Deth sound, whilst Chris Broderick provides a phenomenal dual guitar attack with Mustaine. Not to mention that having long-time bassist Dave Ellefson back in the fold is a huge advantage - the man is one of metal's great bassists.
There's one minor factor that holds me back from rating this album in the same league as latter-day gems like Endgame. The album was put together in a pretty short window between tours and in places it feels a little rushed; it doesn't have quite the same end-to-end consistency as Megadeth's very best work, and loses a little focus towards the end of the album. It just nags at me a bit that given a little more time, this album could have been genuine 5-star material.
But perhaps that's a small and unfair quibble. Overall, TH1RT3EN has a lot of very good moments and some genuinely excellent ones. Title track 13 is a gem of a closer - clearly an honest and candid contemplation from a somewhat weary-sounding Mustaine of the band's challenges over 13 albums and almost 30 years, and whether he feels up to continuing given recent label issues with Roadrunner and his own back and neck problems.
Let's hope he does. TH1RT3EN continues a fantastic run for Megadeth - like the three albums before it, it's easily in the running for most ass-kicking metal album of the year. It shouldn't take much more than the few opening bars of Sudden Death to convince any listener that there's still plenty of gas in Megadeth's tank. Long live the 'Deth!
Thursday, October 27, 2011
Megadeth - Thirteen of the Best
I'm just a teensy-weensy bit excited about the new Megadeth album, TH1RT3EN, coming out next week. A perfect opportunity, therefore, to put together a list of my (current) favourite 13 Megadeth songs. So here goes, in no particular order.
1. Hangar 18 (from 1990's Rust in Peace)
Alien conspiracy theories, insane trade-off solos between Dave Mustaine and Marty Friedman, and just general all-around awesomeness on what must surely be one of Megadeth's most legendary tracks. It even inspired a (somewhat inferior) sequel - Return to Hangar.
2. Trust (from 1997's Cryptic Writings)
Right, so Cryptic Writings was not Megadeth's most widely-loved album, but I personally think it's their most under-rated. Yes, it's a bit slower and more produced, but there are some genuinely well-crafted songs here, and Trust might be the best example - it continues to be a staple of their live set too. Great main riff and it builds nicely towards the solo at 3:45.
3. Dialectic Chaos / This Day We Fight! (from 2009's Endgame)
Yes, it's probably cheating to count these two as one, but the way they segue together to open what I consider to be one of Megadeth's finest albums makes them somewhat inseparable (incidentally, they've always performed them together live as well). Dialectic Chaos was the first instrumental Megadeth track since the 1980's, and it's fast-paced shredding is a great way of saying 'here we fucking go!' as an album opener. Then it's straight into the buzzing main riff of This Day We Fight!, an aggressive, intense, high tempo thrash-metal classic. But it also features some clever touches - like the way it threatens to descend into a full-on battle march straight after the closing chorus line of 'this day we fight!'.
4. Devil's Island (from 1986's Peace Sells... But Who's Buying?)
The opening tap-solo creates exactly the sort of menace you expect from a song about a prisoner on death row, in this case on the eponymous Devil's Island. But then in classic old-school Megadeth fashion the mood changes swiftly and dramatically - to a lurching bass riff, and into a punkish main verse and chorus before the words "Final judgment!" introduce a characteristically stand-offish Mustaine guitar solo. The live version below is particularly manic.
5. Blackmail the Universe (from 2004's The System Has Failed)
This was actually the song that really re-introduced me to Megadeth a few years ago. I'd dabbled with Rust in Peace previously - but then I heard this track (actually the live version from That One Night) and I was immediately hooked by its stomping, savage intro. Lyrically the track deals with a hypothetical shooting down of Air Force One by terrorists - which was somewhat topical given the timing - but interestingly the track itself (or at least the musical portion of it) actually dates back to well before 9/11.
6. Take No Prisoners (from 1990's Rust in Peace)
Sounds exactly like the title suggests. It never garnered the same degree of attention as the two legendary tracks that precede it on Rust in Peace but it's an incredible unrelenting powerhouse of a track nevertheless. The highlight is probably a typically sneering Mustaine reversing the famous Kennedy quote: "Don't ask what you can do for your country, ask what your country can do for you".
7. Peace Sells (from 1986's Peace Sells... But Who's Buying?)
Starts with one of the most distinctive basslines of all-time, and continues with one of Dave's best (and most sarcastic) lyrical efforts. Given Megadeth's tendency in their early days to aim primarily for all-out shred and aggression, it's a phenomenally catchy and well-constructed song.
8. Sudden Death (from the 2010 video game Guitar Hero Warriors of Rock)
Speaking of all-out shred and aggression... it's obvious from the resoundingly sinister opening chords of this track that we're not in Kansas any more. A huge personal favourite of mine, mainly because it's so very, very kick-ass - building incredibly well towards an amazing solo section courtesy of messrs. Mustaine and Broderick (surely Megadeth's best guitarist since Marty Friedman, if not better). It's also due to appear as TH1RT3EN's opening track, albeit apparently with a few changes, so I'll be interested to see how that version turns out.
9. Almost Honest (from 1997's Cryptic Writings)
Another tight, groovy number from Cryptic Writings. What works really well on this track is the dynamic shift between verse and chorus; it's something Megadeth don't do a lot because the 'plan A' approach often tends to be 'sonic assault for 100% of the song'. Like Trust, it's catchy, infectious and memorable.
10. Sleepwalker (from 2007's United Abominations)
Another entry in a long series of bonecrushing album openers, Sleepwalker initially threatens to do something different with acoustic guitars and synthesisers, which serves to make the opening riff even more savage when it drops. Lyrically one of the band's darker numbers, although it's actually the drumming I really enjoy on this song.
11. Sweating Bullets (from 1992's Countdown to Extinction)
Considering the band had so many well-documented drug issues around this period of time, it shouldn't really come as any surprise that crazy old Dave writing a song about crazy schizophrenics would be such a resounding success. Seeing this performed live is really something to behold when the whole crowd gets in on the singalong.
12. Dread and the Fugitive Mind (from 2001's The World Needs a Hero)
The World Needs A Hero isn't their strongest album, but Megadeth have consistently shown that even on their weaker albums they'll still produce a few individual gems. The album as a whole is a bit lost between attempting to shift back to thrash metal or continuing the more hard-rock style of the albums that immediately preceded it. Dread and the Fugitive Mind is one of the few tracks where they strike a really effective balance - it's got the tight, catchy songwriting of much of Cryptic Writings but balances that with a nice, thrashy bridge section.
13. Holy Wars... The Punishment Due (from 1990's Rust in Peace)
One of Megadeth's bona-fide classics, and justifiably so. It's more like two songs in one - with Holy Wars inspired by one of the band's trips to Ireland during the late 1980's, and The Punishment Due being inspired by The Punisher, from Marvel Comics. And in between there is a very cool acoustic section and a bunch of clever tempo and dynamic shifts. Awesome stuff.
1. Hangar 18 (from 1990's Rust in Peace)
Alien conspiracy theories, insane trade-off solos between Dave Mustaine and Marty Friedman, and just general all-around awesomeness on what must surely be one of Megadeth's most legendary tracks. It even inspired a (somewhat inferior) sequel - Return to Hangar.
2. Trust (from 1997's Cryptic Writings)
Right, so Cryptic Writings was not Megadeth's most widely-loved album, but I personally think it's their most under-rated. Yes, it's a bit slower and more produced, but there are some genuinely well-crafted songs here, and Trust might be the best example - it continues to be a staple of their live set too. Great main riff and it builds nicely towards the solo at 3:45.
3. Dialectic Chaos / This Day We Fight! (from 2009's Endgame)
Yes, it's probably cheating to count these two as one, but the way they segue together to open what I consider to be one of Megadeth's finest albums makes them somewhat inseparable (incidentally, they've always performed them together live as well). Dialectic Chaos was the first instrumental Megadeth track since the 1980's, and it's fast-paced shredding is a great way of saying 'here we fucking go!' as an album opener. Then it's straight into the buzzing main riff of This Day We Fight!, an aggressive, intense, high tempo thrash-metal classic. But it also features some clever touches - like the way it threatens to descend into a full-on battle march straight after the closing chorus line of 'this day we fight!'.
4. Devil's Island (from 1986's Peace Sells... But Who's Buying?)
The opening tap-solo creates exactly the sort of menace you expect from a song about a prisoner on death row, in this case on the eponymous Devil's Island. But then in classic old-school Megadeth fashion the mood changes swiftly and dramatically - to a lurching bass riff, and into a punkish main verse and chorus before the words "Final judgment!" introduce a characteristically stand-offish Mustaine guitar solo. The live version below is particularly manic.
5. Blackmail the Universe (from 2004's The System Has Failed)
This was actually the song that really re-introduced me to Megadeth a few years ago. I'd dabbled with Rust in Peace previously - but then I heard this track (actually the live version from That One Night) and I was immediately hooked by its stomping, savage intro. Lyrically the track deals with a hypothetical shooting down of Air Force One by terrorists - which was somewhat topical given the timing - but interestingly the track itself (or at least the musical portion of it) actually dates back to well before 9/11.
6. Take No Prisoners (from 1990's Rust in Peace)
Sounds exactly like the title suggests. It never garnered the same degree of attention as the two legendary tracks that precede it on Rust in Peace but it's an incredible unrelenting powerhouse of a track nevertheless. The highlight is probably a typically sneering Mustaine reversing the famous Kennedy quote: "Don't ask what you can do for your country, ask what your country can do for you".
7. Peace Sells (from 1986's Peace Sells... But Who's Buying?)
Starts with one of the most distinctive basslines of all-time, and continues with one of Dave's best (and most sarcastic) lyrical efforts. Given Megadeth's tendency in their early days to aim primarily for all-out shred and aggression, it's a phenomenally catchy and well-constructed song.
8. Sudden Death (from the 2010 video game Guitar Hero Warriors of Rock)
Speaking of all-out shred and aggression... it's obvious from the resoundingly sinister opening chords of this track that we're not in Kansas any more. A huge personal favourite of mine, mainly because it's so very, very kick-ass - building incredibly well towards an amazing solo section courtesy of messrs. Mustaine and Broderick (surely Megadeth's best guitarist since Marty Friedman, if not better). It's also due to appear as TH1RT3EN's opening track, albeit apparently with a few changes, so I'll be interested to see how that version turns out.
9. Almost Honest (from 1997's Cryptic Writings)
Another tight, groovy number from Cryptic Writings. What works really well on this track is the dynamic shift between verse and chorus; it's something Megadeth don't do a lot because the 'plan A' approach often tends to be 'sonic assault for 100% of the song'. Like Trust, it's catchy, infectious and memorable.
10. Sleepwalker (from 2007's United Abominations)
Another entry in a long series of bonecrushing album openers, Sleepwalker initially threatens to do something different with acoustic guitars and synthesisers, which serves to make the opening riff even more savage when it drops. Lyrically one of the band's darker numbers, although it's actually the drumming I really enjoy on this song.
11. Sweating Bullets (from 1992's Countdown to Extinction)
Considering the band had so many well-documented drug issues around this period of time, it shouldn't really come as any surprise that crazy old Dave writing a song about crazy schizophrenics would be such a resounding success. Seeing this performed live is really something to behold when the whole crowd gets in on the singalong.
12. Dread and the Fugitive Mind (from 2001's The World Needs a Hero)
The World Needs A Hero isn't their strongest album, but Megadeth have consistently shown that even on their weaker albums they'll still produce a few individual gems. The album as a whole is a bit lost between attempting to shift back to thrash metal or continuing the more hard-rock style of the albums that immediately preceded it. Dread and the Fugitive Mind is one of the few tracks where they strike a really effective balance - it's got the tight, catchy songwriting of much of Cryptic Writings but balances that with a nice, thrashy bridge section.
13. Holy Wars... The Punishment Due (from 1990's Rust in Peace)
One of Megadeth's bona-fide classics, and justifiably so. It's more like two songs in one - with Holy Wars inspired by one of the band's trips to Ireland during the late 1980's, and The Punishment Due being inspired by The Punisher, from Marvel Comics. And in between there is a very cool acoustic section and a bunch of clever tempo and dynamic shifts. Awesome stuff.
Monday, October 17, 2011
Megadeth TH1RT3EN album preview
So, Megadeth released another track (Whose Life (Is It Anyways?)) off their forthcoming thirteenth album, TH1RT3EN, via their facebook page this morning, available for a limited time only. Until the album comes out, of course. And this track has just served to remind me how excited I was getting about this album until I got distracted by Mastodon and Soundwave festival announcements and other such meritorious things.
Anyway, Whose Life has a punkish opening riff that recalls really old-school late 80's 'Deth before locking into a groovy chorus riff, with Shawn Drover's drum work sounding very solid throughout. Not totally sure I buy Dave doing teen-angst lyrics these days, admittedly, but the bridge section elevates a good song to 'very good' thanks to some nice solo duelling from messrs. Mustaine and Broderick.
Put this alongside the three other tracks that have been previewed so far - Sudden Death, Never Dead and Public Enemy No. 1 - and things are looking pretty damned promising.
Sudden Death was originally written for Guitar Hero: Warriors of Rock as the game's grand finale. I think I previously described it as a facemelting shredfest of a track, and I stand by that. It's completely insane.
The one thing I've always found slightly amusing is how the use of the original chorus as an outro (at around 4:30), has this vibe of 'alright guys, we pretty much killed it on that, let's just cruise on out' given the escalating waves of sonic assault leading up to it. Easily one of my top 5 Megadeth tracks of all time, and a menacing way to open an album.
Never Dead also popped up in a video game trailer (does anyone detect a theme here?) although the full track was subsequently also posted on youtube.
A sinister, eerie intro gives way to... BUZZSAW GUITARS! And a generous helping of double-kick too. A brutal, uncompromising track - and also a reminder that whilst Dave Mustaine might not be the most technically-gifted singer, it's impossible to imagine Megadeth with anyone else on vocals.
Whilst Sudden Death and Never Dead are definitely a combination of new-age Megadeth power with old-school Megadeth shredding, Public Enemy No. 1 has more of a Youthanasia-era vibe to it. It's more accessible, and emphasises the vocals more - which is a nice balance to the crushing guitar heaviness of some of the other tracks.
Although bassist Dave Ellefson has been back with the band since early 2010, this will be his first studio album with 'Deth since 2001's The World Needs A Hero. Personally I think this will add a lot - as good as recent albums United Abominations and Endgame were, Ellefson is one of metal's premier bassists and I think given his long history with the band he will bring a lot to the creative process as well.
The full tracklisting for the album - to be released 1/11/11 - is:
Some of the more observant Megadeth fans have noticed that three of these titles (plus Sudden Death, of course) are oddly familiar - Black Swan was a bonus track on some version of United Abominations, whilst demo's of Millennium of the Blind and New World Order were included on the remaster of Youthanasia.
And some of said observant Megadeth fans are getting all uppity about the alleged re-use of old songs. But perhaps said fans don't realise it's actually not uncommon for songs - or more correctly song ideas - to float around for years before the band actually turns them into a complete, finished product. Both the Youthanasia-era tracks were never more than demos and it's entirely likely the finished versions will sound quite different. I'm pretty interested to see how they do turn out.
Anyway, to sate your intrigue until November 1, there's a cool track by track preview with Dave 'Junior' Ellefson here. And a chat with drummer Shawn Drover here. And an interview with supremely talented guitarist Chris Broderick here.
Anyway, Whose Life has a punkish opening riff that recalls really old-school late 80's 'Deth before locking into a groovy chorus riff, with Shawn Drover's drum work sounding very solid throughout. Not totally sure I buy Dave doing teen-angst lyrics these days, admittedly, but the bridge section elevates a good song to 'very good' thanks to some nice solo duelling from messrs. Mustaine and Broderick.
Put this alongside the three other tracks that have been previewed so far - Sudden Death, Never Dead and Public Enemy No. 1 - and things are looking pretty damned promising.
Sudden Death was originally written for Guitar Hero: Warriors of Rock as the game's grand finale. I think I previously described it as a facemelting shredfest of a track, and I stand by that. It's completely insane.
The one thing I've always found slightly amusing is how the use of the original chorus as an outro (at around 4:30), has this vibe of 'alright guys, we pretty much killed it on that, let's just cruise on out' given the escalating waves of sonic assault leading up to it. Easily one of my top 5 Megadeth tracks of all time, and a menacing way to open an album.
Never Dead also popped up in a video game trailer (does anyone detect a theme here?) although the full track was subsequently also posted on youtube.
A sinister, eerie intro gives way to... BUZZSAW GUITARS! And a generous helping of double-kick too. A brutal, uncompromising track - and also a reminder that whilst Dave Mustaine might not be the most technically-gifted singer, it's impossible to imagine Megadeth with anyone else on vocals.
Whilst Sudden Death and Never Dead are definitely a combination of new-age Megadeth power with old-school Megadeth shredding, Public Enemy No. 1 has more of a Youthanasia-era vibe to it. It's more accessible, and emphasises the vocals more - which is a nice balance to the crushing guitar heaviness of some of the other tracks.
Although bassist Dave Ellefson has been back with the band since early 2010, this will be his first studio album with 'Deth since 2001's The World Needs A Hero. Personally I think this will add a lot - as good as recent albums United Abominations and Endgame were, Ellefson is one of metal's premier bassists and I think given his long history with the band he will bring a lot to the creative process as well.
The full tracklisting for the album - to be released 1/11/11 - is:
| 1 | Sudden Death | ||
| 2 | Public Enemy No. 1 | ||
| 3 | Whose Life (Is It Anyways?) | ||
| 4 | We the People | ||
| 5 | Guns, Drugs & Money | ||
| 6 | Never Dead | ||
| 7 | New World Order | ||
| 8 | Fast Lane | ||
| 9 | Black Swan | ||
| 10 | Wrecker | ||
| 11 | Millennium of the Blind | ||
| 12 | Deadly Nightshade | ||
| 13 | 13 |
Some of the more observant Megadeth fans have noticed that three of these titles (plus Sudden Death, of course) are oddly familiar - Black Swan was a bonus track on some version of United Abominations, whilst demo's of Millennium of the Blind and New World Order were included on the remaster of Youthanasia.
And some of said observant Megadeth fans are getting all uppity about the alleged re-use of old songs. But perhaps said fans don't realise it's actually not uncommon for songs - or more correctly song ideas - to float around for years before the band actually turns them into a complete, finished product. Both the Youthanasia-era tracks were never more than demos and it's entirely likely the finished versions will sound quite different. I'm pretty interested to see how they do turn out.
Anyway, to sate your intrigue until November 1, there's a cool track by track preview with Dave 'Junior' Ellefson here. And a chat with drummer Shawn Drover here. And an interview with supremely talented guitarist Chris Broderick here.
Saturday, October 8, 2011
Soundwave 2012 - the lineup
Aside from the fact I was totally wrong about Pearl Jam, it's pretty damned impressive. And that's even bearing in mind that the first band on that list that I'm actually genuinely excited about is the 7th one listed - Machine Head.
System of a Down are a decent enough band, but I don't think they're a top-of-the-bill headliner, at least not in the same vein as Faith No More, Nine Inch Nails and Iron Maiden in recent years. I'm not a huge Slipknot fan but I won't deny they have a pretty big folllowing. Then you have Limp Bizkit who have absolutely no business being higher than many of the bands on that list and uh, yeah the less said about that the better. Continuing the 90's nostalgia trip are Marilyn Manson (admittedly probably worth seeing) and Hole (almost certainly not).
And then you get into the really good stuff... promoter AJ Maddah called it the biggest metal lineup outside the Big 4 and I think that's pretty fair.
Machine Head: a recent and highly worthwhile discovery for me, The Blackening and Unto the Locust are both top albums.
Lamb of God: haven't heard a great deal, but suspect I might investigate them further - I was impressed by them when I saw them open for Metallica last year.
Trivium: same category as Machine Head, minus the opening for Metallica thing. Friends I trust in relation to these things swear by them, so that has to be worth something.
Alter Bridge: only heard one album but that's enough to know they'll be worth checking out.
And then of the rest, the ones I'm particularly interested in:
Devin Townsend Project: I am totally unfamiliar with but friends who know stuff rate them, so definitely worth a look.
Black Label Society: Should be pretty kickass actually... especially if they play Stillborn, fantastic track. I expect they're in the category of 'great fun after a few beers', but perhaps not to the same extent as:
Hellyeah: will be insanely good fun after a few beers. Both their albums are fun, ass-kicking hard rock records - nothing complex, nor do they need to be. Could be a highlight of the day, actually.
And finally, Mastodon. I mean, why the FUCK are they so low on the bill. Fantastic new album and a big fan base from their earlier (also excellent) albums. This is probably the band I'm most excited to see, and I think they'll go off at Soundwave. The interesting question is which stage they end up on - main stage (presumably mid-afternoon) or metal stage (presumably later on). They better not clash with anything else on that list, if they do, the 'anything else' will lose. There is a long list of songs I'd love to hear these guys play... Blood and Thunder, Spectrelight, Black Tongue, almost anything off Blood Mountain... actually I hope these guys play a sideshow either in Sydney or NZ because I'll be there.
In summary, this is a damned good festival lineup, and a reminder of how shit the Big Day Out has become. Soundwave is, unashamedly, a metal and punk festival - it knows its identity - and it delivers, every damn year. Meanwhile the Big Day Out seems pretty lost about what it is actually trying to be... having Kanye West as a headliner is just flat-out bizarre for what was historically an 'alternative rock' festival. Even worse, he will probably be the main headliner, above Soundgarden. And who remembers how shit it was when they gave Scribe a decent slot on the main stage (admittedly Kanye's got a bit more star power, but still).
Anyway, I digress. As usual Soundwave has done a phenomenal job of bringing together an incredible selection of great bands. Soundwave is awesome and it looks like I'll be off to Sydney in February again for more madness with McLeish. Chur bro.
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