moj drug metalika

Sveti Lemi Velikopićenik.

Odakle ti ovo?!?

(podržavam odluku da se topić pretvori u all-purpose metal thread)

Li, nisam im'o pojma da je bio mjetalac!

Pa jes. Čuj i Lady Gaga je mjetalka. A bogami je i Mira Škorić :)

Da reklamiram još malo Fear of God. Kakav genijalan album. Ne mogu da verujem da mi je promakao u vreme kad je izdat.

The Lazarus Pit: Fear of God’s Within the Veil

By: Jeff Treppel Posted in: featured, lazarus pit, listen On: Friday, May 25th, 2012

Welcome to The Lazarus Pit, a biweekly look at should-be classic metal records that don’t get nearly enough love; stuff that’s essential listening that you’ve probably never heard of; stuff that we’re too lazy to track down the band members to do a Hall Of Fame for.  This week, we contract a severe case of deiphobia with Fear of God and their classic Within the Veil (Warner Bros.).
Dawn Crosby was one of those damaged souls, an artist who was always going to burn out, not fade away.  She sang like a woman possessed – and in a way she was.  She grew up a victim of emotional and sexual abuse, had a drinking problem (that would ultimately be her undoing), and could not keep a band lineup together (partly due to personality clashes, partly due to a mercurial temperament, and partly due to a habit of starting relationships with her bandmates while already in relationships with another bandmate).  Still, for all her faults, she was one hell of a frontwoman, pouring all those roiling emotions into her performances.  Crosby had a chameleon’s grasp of persona, able to slip effortlessly from a childlike whisper to a snarl to Tom G Warrior breathy moans.  It was the force of her personality that pulled Fear of God out of the underground, and that same personality that destroyed it.

Fear of God started as a thrash-era outfit known as Détente, featuring future Fear Factory/Slipknot/KoRn producer Ross Robinson.  They put out one LP, Recognize No Authority, before that lineup imploded and, after some shuffling that included Raven drummer Rob “Wacko” Hunter (you know, the one with the football helmet and shoulder pads), the band coalesced around Crosby and guitarist Mike Carlino, who would become the main songwriter.  Picked up by a Warners A&R person who was impressed with some of the demos they had been cutting, they went into the studio, changed their name due to a conflict with another group, and emerged with Within the Veil.
Featuring songs written over the course of three years, Within the Veil picked up on the zeitgeist of heavy music at the time, covering everything from thrash to the burgeoning alternative scene.  Sometimes Fear of God sounded like Concrete Blonde, like with “Betrayed”‘s Southern Gothic.  Sometimes they sounded like Testament, like on “All That Remains.”  “Emily” thuds like a distaff Celtic Frost.  “Wasted Life” would qualify as a ballad, but there’s nothing particularly ballad-like about the subject matter.  It successfully bridges the gap between the headbangers and the artsy set, with Andy Wallace mixing it expertly to bring out the darkness within.
Within the Veil wasn’t a big success, but Warners wasn’t ready to give up on the band.  Unfortunately, Crosby was, and after the backing musicians recorded a follow-up, she dissolved the lineup without laying down her vocals.  After a few years and a lot more member turnover (including a European tour backed by the members of Wrathchild America), Fear of God resurfaced in 1994, on Pavement, with the disappointing Toxic Voodoo.  Two years later, Crosby was dead of liver failure.  She left behind one truly great album, and a legacy that would lay the track for fatal femme bands like My Ruin and Kittie.  A tragic end for one of the great frontwomen of metal.
- See more at: http://www.decibelmagazine.com/featured/the-lazarus-pit-fear-of-gods-within-the-veil/#sthash.WIekkost.dpuf

Usudi se da budeš 'Roadie for a day' i obezbedi sebi lud provod na koncertu Metall All Stars
04.11.2014. | 202 | 0

Girls! Girls! Girls!: Essential metal for feminists

According to Ian Christie, author of the exhaustive Sound of the Beast: The Complete Headbanging History of Heavy Metal, “It’s hard to trace explicit references to feminism or women’s issues—heavy metal tends to view that as too politically correct.”
a view of the actual printed sidebar, thanks to Anon Remora's (see below) myspace page!
That said, if you’re into honoring hessian loyalties and equal rights, there’s a deep, if lesser-known, lady-metal discography, as well as a growing contingent of female-led, even – gasp! – blatantly feminist metal. Many of the following musicians have nothing to do with feminism per se—some have pointedly denied any association—but all are owed gratitude and a good listen for, intentionally or not, forging the way.
Leading the charge with her blond mohawk and band of Plasmatics, vocalist Wendy O. Williams began her career in 1978 as the high priestess of punk and morphed into metal through the ’80s, along the way releasing eight studio albums, getting banned in London, and earning a Grammy nomination. The Plasmatics’ legendary live shows were radical protests against the banality of consumerist culture, featuring Williams sledgehammering TVs, blowing up cars, and chainsawing guitars.
The first all-girl metal band was arguably the punk-inspired Girlschool, touring mates of Motorhead throughout the late ‘70s and ‘80s. There was also Vixen, a hair-metal band to rival Poison, the requisitely named Bitch, and New York’s Meanstreak, who refused to wear sexy outfits on stage. Hollywood quintet Phantom Blue resented being packaged as metal “lite,” a common complaint among female metalists, when their sound was actually much heavier. As the now-defunct band says on their website,“We…are just as hard hitting and aggressive as any guy band out there, we just don’t have dicks!!!”
If you want to hear some of the first women to front mixed-gender bands, check out any of the 11 albums by Sabina Classen

Doro Pesch
and German thrash band Holy Moses, or the similarly prolific, Xena-esque Doro Pesch, originally of Warlock. Hellion’s Ann Boleyn eventually founded the record label New Renaissance Records (releasing one of Sepultura’s early albums), and Jo Bench pounded the bass in the war-obsessed Bolt Thrower. The thrashy Détente and Fear of God, both led by the late Dawn Crosby, lyrically addressed issues like emotional and sexual abuse from an activist stand point.
Death metal boasts a huge community of growling women, perhaps most famously Arch Enemy’s stunningly powerful Angela Gossow. Puerto Rico’s Matriarch, Greece’s Astarte, and Pittsburg’s Derketa (named for the goddess of death of a blood drinking cult) are a mere sampling of the black/death/doom bands dominated by the ladies.
Currently, the San Francisco Bay Area supports a strong scene of mixed-gender melodic death metal and doom bands, including Saros [ed. note, currently on hiatus, check out Vastum], Laudanum, Ludicra, and Hammers of Misfortune. Though none of Laudanum’s lyrics have a feminist bent, Becky Hawk, the lone female member, expressed a common sentiment, “I am a female bashing the drums and growling vocals in the male-dominated genre of doom metal. My statement is through my actions.” Ludicra’s vocalist Laurie Sue Shanaman echoed her colleague’s feelings: “If it encourages other women to play…and embrace heavier music, then that’s something I would always feel very good about.”
To find true, self-identified “feminist metal,” go to Portland, Oregon, where the slow, oceanic doom of Anon Remora leads the

pegasus of doom
way, along with the brilliantly-named Order of the Gash, Cull, Sei Hexa, and the grungy Sick Sister. Jacqui Beast, bassist of both Cull and Anon Remora (it’s an incestuous circle, with one guitarist wielding her axe in four of the above bands), described how a strong female presence is becoming a visible and viable part of the larger community: “There are far more women than I’ve ever seen anywhere in a scene based on music of heaviness.”  Songs like Anon Remora’s “Homometalsexuals” might be described as Riot Grrl philosophy melded with metal; as Anon Remora vocalist Ayla Holland said, “Our band is pioneering in…attempting to encourage a more queer/lady/dork metal scene that is not full of total creepy misogynist straight dudes.” Meanwhile, Cull’s self-description on the band’s MySpace page further lays out a mission statement of unmachoing while maintaining sonic devastation: “We are nerds, and sissies, and we will brutalize you with the loud metal, yes.”
A little farther north in Olympia, Washington, the all-male Wolves in the Throne Room is taking black metal — traditionally associated with Scandinavian church burning and the European fascist Right — and adding an eco-feminist twist. Spawned from the radical ecological scene, Wolves’ Aaron expressed remorse about the disconnect within metal, for as aggressive, powerful and all about chaos as it is, it’s taken so long to unite with women’s and environmental movements. “It is unfortunate,” he wrote, “that the music which speaks so clearly to our intuitive, wild selves rarely acknowledges the connection between patriarchy and the destruction of the natural world.”
Look for festivals specifically devoted to women playing the heavy stuff, such as Flight of the Valkyries in St. Paul, Minnesota, and support the maidens of metal! Buy albums, see shows, encourage female musicians and the burgeoning feminist values from within the scene. For without a doubt, with all the bullshit we have triumphed over and continue to slog through, women are totally fucking brutal.
**Major thanks to DeAnne Cuellar, a fan of the article who collected videos of many of the aforementioned bands on her blog, Krak My Apple. You really must now go there and check it out.**

High Spirits – “The Last Night”

Location: Chicago
Subgenre: Traditional Metal
The guy behind High Spirits, Chicago resident Chris Black, is also the guy behind Superchrist and Dawnbringer. Those are three pretty great bands; in fact, Dawnbringer released our second-favorite metal album of 2012 (and for that matter, our sixth-favorite metal album of 2010), and High Spirits’ last release, the 2013 EP, was featured in our metal column, the Black Market, last April. Each of Black’s musical iterations has its own identity, but each is also a lovingly crafted extension of a bygone era of metal (mostly circa the early to mid ’80s): Superchrist belong to the same rugged, drunken New Wave Of British Heavy Metal school that produced Saxon and Motörhead; Dawnbringer combine the melodic, anthemic, and progressive tendencies of Iron Maiden circa Piece Of Mind and Powerslave with those same tendencies as manifested in the music of Swedish black metal pioneers Bathory during that band’s viking period. And High Spirits are Black’s feelgood metal band, the one that would have scored a drag-race scene in a slob comedy circa 1983. Here Black, finds his influence at the exact point before feelgood metal became a joke, before Poison and Warrant ruined it for everyone, when bands like Kix and Ratt were considered (and in fact were) every bit as unassailably great as Judas Priest and AC/DC. And every detail is spot on: the thin instrumental tones, the simple yet timeless song structures, the high-pitched melodic vocal attack. But while Black is an obsessive historian and sonic perfectionist, he’s also a hell of a songwriter: His songs are focused, engaging, and insanely catchy. “The Last Night” appears on High Spirits’ forthcoming LP, You Are Here; it was performed and recorded entirely by Black, and it’s so, so great.

Metal as the Second Romantic Renaissance
By
invisibleoranges
Published: November 19, 2014Tags: aquilus, dwilhelm, features, opeth, prog, romantic, ulver

Metal is changing. We all know it. The only question is who’s going to embrace the change and who’s going to pine for the old days.
In fact, the change is already well underway; the last few years have been nothing short of revolutionary for metal artists. Simply put, the word metal doesn’t mean what it used to. And that’s a very, very good thing.
Let’s be clear about something up front: metal critics say all the time that this or that metal band has “pushed the envelope” or changed the way they think about the genre. But it’s not always true. And when it is, they usually seem to stop talking about the larger implications just when things start to get interesting.
But before we go any further, can we reflect on where the word metal comes from? Musical historian Ian Christe says that the genre is all about mood: “weighted as with metal.” Considering its namesake comes from a heavy, structural material – we use it in architecture and automobiles, – you’ll forgive Mr. Christe for suggesting that the genre should be defined by atmosphere and emotional resonance.
Because he’s right. Moreover, his definition feels like an indictment of a genre that seems to have been defined by artifice for far too long.
“Liberated from the Shackles of Metal”
If you’ve listened to Opeth’s most recent effort, Pale Communion, you probably know that it’s going to be ruling the coming conversations about metal’s increasingly amorphous identity. While promoting previous album Heritage, Opeth frontman Mikael Åkerfeldt famously told Terrorizer Magazine that he felt “liberated from the shackles of metal.”

And yes, Opeth in 2014 is still a metal band, even without the death vocals. They’re also a keen reminder that bands like Led Zeppelin, Blue Öyster Cult, and AC/DC were once considered metal.
But somewhere along the line, a funny thing happened: the word metal began to be equated almost exclusively with aggressive vocals, down-tuned guitars, and drums that sound like power tools. It’s enough to make one ask, “Aren’t we meant to feel metal, rather than simply be overpowered by it?”
Opeth have answered that question pretty definitively, but they’re hardly the first to tip their hat to metal’s blues and psychedelic roots. Ghost (now Ghost B.C.) have managed to channel vintage Blue Öyster Cult with great success.
And remember Ulver? They’ve been moving the genre’s goal post farther and farther down the field since 1998. These days they call themselves an “experimental musical collective” instead of a metal band. But their music is every bit as intense and grandiose as it ever was. In fact, if metal is meant to spark awe and even dread in the listener, Ulver are still very much a metal band.
The metal community seems to have finally reached some threshold where the right number of metal bands – and more importantly, the right bands – have decided to think differently about metal. Opeth were certainly not the first, but their global reach was precisely the right kind of publicity at precisely the right moment to begin a meaningful dialogue.
Metal as Romantic Music
In Europe, back in the second half of the 18th Century, the world of music, literature, and the visual arts entered an era known as Romanticism; it was a push to deconstruct and dismantle the safe and familiar musical conventions of the tradition-heavy Classical period.
Sound familiar?
Most musical scholars name Beethoven as a driving force behind this change, giving particular credit to his powerful third symphony. Beethoven answered only to his apparently endless imagination, rather than to the restrictive rules of Classical music. Johann Sebastian Bach, on the other hand, championed strict musical obeyance. He held fast to Baroque sensibilities until his death in 1750—some 20 years before Beethoven’s birth.
Beethoven instead chose not to stand in the shadow of giants; instead, he helped throw out the rulebook.
The response he got was confusion and mixed reviews from critics – at least at first. In his review of Beethoven’s opera Fidelio in 1815, Amadeus Wendt said of the piece: “…the impression made by this music is all too shocking and oppressive… We wish to concede, as well, that the music of this opera strains the nerves of many with a gentle nature.”
In other words, Beethoven’s music was less a road map through musical theory and more a guide to the very center of the human psyche. And history has rewarded his efforts; the name Beethoven is now known to a significant portion of the world’s population. His music was still recognizably Classical, but it introduced a host of new compositional techniques that shook the entire creative world.
And you know what? The same thing is happening to metal. Right now. And it’s not just a single band or album that’s leading the charge, either; Deafheaven, and Ihsahn, as well as less prominent artists like Aquilus, have also become what I’ll affectionately call “musically uninhibited.”
But if we turn the clocks back even farther, we can plainly see that metal has been in a state of flux since the early 90’s; our own Dan Lawrence recently explored the considerable impact of Amorphis’ Tales from the Thousand Lakes and Tiamat’s Wildhoney on a genre that had only just begun to flex its creative muscles.
So where does this leave us? On one hand, I like that the word metal is changing over time. On the other hand, I like to believe that genre labels are becoming unnecessary altogether. They’ve always been limiting and reductionist, as when we describe the music of Aquilus as “black metal” and ignore the Classical, folk, and ambient influences that inform the masterful Griseus in equal measure.
We still call Beethoven’s music “Classical” even though it belongs to an era with a different name. Maybe our musical vocabulary is still catching up to our ambition.