At any rate, I, too, think Melana Chasmata might be the most deficient post-Celtic Frost reunion album I have been involved in. I have made uncounted such statements within the band during the extended time we were working on the album, and there exists a long string of very unambiguous mails to this effect, addressed to the band’s management and to our partners at Century Media.
Melana Chasmata was an exceedingly difficult and complex album to make, and that is never a good sign. There were reasons for these difficulties, and they were far from superficial, on more than just one level. In the end, I couldn’t have worked on this album for even one more day, even though I seriously pondered at least a remix, if not far more drastic revisions. But I eventually felt I needed to wrap it up and thus also conclude the entire emotional landscape attached to it.
Frankly, I personally am utterly puzzled by the extremely favourable opinions the album has garnered from most in our audience as well as from reviewers, record company, management, and fellow band members. My own stance is far, far more critical, and I have so far been unable to listen to the album as a whole. The faint light on the horizon, for me, is that I felt the same way about To Mega Therion in late 1985. Only a few years down the road did I begin to digest that album and its production, eventually enabling me to think of it as one of Celtic Frost’s most significant albums.
The difference perhaps is that To Mega Therion encapsulated what many were feeling but did not yet know how to say, where Melana Chasmata encapsulates what many are saying, but not what they are feeling.
Back in 1990, Celtic Frost released Vanity/Nemesis. This album was tasked with redeeming the fans’ respect after the affair that was Cold Lake . Straddling the gap that existed between that album and the style of inventive proto-death metal that had made Celtic Frost worth hearing, Vanity/Nemesis was a rather mediocre album. It was reasonably competent and it attempted to blend in with its contemporary milieu, but the album was artificial and uncomfortable to listen to.
In many ways, Melana Chasmata is the linear descendant of that album. First, this is an album with an astute grasp on the market it is attempting to exploit: like Triptykon’s debut, production is crystal-clear, uniform, and decidedly modern. Tom Warrior’s vocals have continued their changing form begun on Monotheist and now share the monotonous, ranting tone more in common with nu-speed metal bands such as Pantera. Riffs, as well, have “progressed” in a similar fashion. Although Eparistera Daimones‘ riffs were minimal, single string sequences, some intriguing melodies arose. For the most part, these are missing on Melana Chasmata, at least on the traditional metal tracks.
Where this album genuinely attempts an artistic statement is during attempts to merge noir-electronic music with the aesthetics of metal instrumentation as was introduced on Warrior’s last two albums. These tracks are worthwhile in that melodies are allowed to develop in a subtle, restrained manner before the climax of the tracks strike, in contrast to the uniform faux-aggression of the rest of the album. Greater tonal variation as evidenced by clean vocals, mildly pentatonic clean guitar sequences, and melodies confirm Warrior’s avowed interest in artists such as Gary Numan. (For a similar, contemporary album in spirit, one might point to the comeback album from Amebix , which also attempted to merge post-90s metal with popular, but slightly “outside” music). These tracks, while superior to the other fare, ultimately lack in the same core way as the others: there is no great resolution, or purpose inherent in them.
For those who hoped that Eparistera Daimones would be but a stepping-stone back to a more traditional Celtic Frost type of composition, they will be disappointed. If death/black metal is one’s primary interest, Melana Chasmata will almost undoubtedly not be worth listening to. However, for those who will admit to being Warrior fanboys (such as the author) or those who are interested in the other aspects of music on this album, it may be worth investigating, if only for curiosity.
Ex-Celtic Frost guitarist and compose Tom G. Warrior releases the second album of his Triptykon project, Melana Chasmata (“dark valleys”) on April 14 in Europe and April 15 in the USA through Century Media Records/Prowling Death Records Ltd.
This follows up on the first Triptykon album, Eparistera Daimones, which introduced the modern speed metal (think Pantera or a more artistic and slower Meshuggah) style mixed with Gothic and doom metal elements that so far has characterized the band.
The album will clock in at 67 minutes of music and will feature an HR Giger cover. Century Media has planned several special releases including a box set and a single on vinyl to commemorate the album. The band has recorded additional music to be released as an EP or mini album later in 2014 or early in 2015.
Back in August, we revealed that Triptykon had begun finalizing their second record. We can now report that the band has announced further information concerning the album.
Entitled Melana Chasmata, the second Triptykon opus will be released on April 14th via Prowling Death Records and distributed through Century Media. Song titles and descriptions for Melana Chasmata suggest it to be in a similar vein to the Monotheist/Eparistera Daimones era, with allusions to Crowleyan occultism and personal reflection.
We have been working on Melana Chasmata for some three years, in various shapes and forms. It’s not an easy album by any means, and to me personally it reflects an extremely complex gestation period, musically, spiritually, and, due to certain circumstances in my life, emotionally. At the same time, the album unquestionably reflects the continuity I was longing for so much during Celtic Frost’s period of self-destruction and demise. Hearing Triptykon creating such utter darkness again while exploring the potential of these new songs has been incredibly invigorating and inspiring.
Additionally, the band announced initial dates for the album’s touring season. The band will once again be participating in the Roadburn Festival, which was host to the event Triptykon curated in 2010, launching their first worldwide tour.
Doom/death metal band Triptykon have announced that they have begun working on their next album with a presumed release date sometime in 2014. As of now the new album is still untitled for the public, but a few song titles have been released which fit into the occult theme established by the band’s debut album. Describing the music as epic and diverse, it seems to suggest that the album will have more variation than the relatively straightforward Eparistera Daimones, which suffered from a linear composition that made its songs less interesting than they otherwise could be.
Straddling the boundary between classic metal and modern compositional technique, Triptykon continued the sound that was debuted on Celtic Frost’sMonotheist. Our review found that there were a few intriguing elements present, although subjugated to simplistic verse-chorus repetition. Because of this, the morbid atmosphere that was omnipresent in Hellhammer and early Celtic Frost was lost.
Founder of the band Tom Gabriel Fischer is known for his often unorthodox incorporation of external influences in his music, which have produced some of the best extreme metal albums in the early days of Celtic Frost. If he is able to create an album that successfully merges the underground spirit with focused influences from other spheres, it will assuredly be superior to almost all contemporary releases. However, if concessions are made to modern stylings, it could result in a diluted product, as plagued the releases since Celtic Frost‘s reformation. We strongly hope for the former over the latter.
Eric Syre lives underground metal. He has been active for many years and is highly regarded. An insatiable artist, he expands into different media, fields and instrumental abilities as it suits him. And now, he has a new band called Beast Within.
The biography roughly describes this band, but a better summary is this: if you can imagine newer Celtic Frost/Triptykon covering older Celtic Frost with a doom/stoner metal groove, you can imagine where Beast Within are going.
We were able to catch up with Mr. Syre for a quick Q&A:
You have a unique lyrical concept with Beast Within that’s about the self escaping society. Can you tell me more?
We are still developing the whole concept as we haven’t completed the lyrics for all the songs we have written. There’s definitely a Nietzschean, Satanist, occult and nihilistic thread in what we’re writing, especially in the two songs we already released. We stand for the emanation of the true “Self”, buried deep inside each man and woman by centuries of decadence, slavery and blindness imposed by a false moral, political and religious elite (not the “self” individualistic values praised by our contemporary consumerist society).
You’re a well-known figure in the black metal underground. Can you give us a brief biography of yourself and the band?
I’ve been actively involved in the whole Metal scene for the last 20 years. I started playing in bands in 1992. Thesyre has been my longest running band (1995). I’ve also been the lead vocalist/lyricist in Decayed Remains, bassist in Soulseasons, actual live drummer with Akitsa and I am now the lead vocalist in Beast Within. I also had a myriad of projects including Unlife, Golem, Supernova and did a few recordings on my own as Eric Syre. I am also doing freelance artwork for other bands.
The other musicians of Beast Within followed a path similar to mine. Past bands and projects includes (among others) Utlagr, Blackwind and The Vault.
I guess you can say we’re semi-veterans of the scene.
How would you describe the musical direction of this new entity?
We’ve all been raised on the classics of the 80s and Celtic Frost is a common ground for all of us. It was important for us to keep things minimal and oldschool. We’re not trying to reinvent the wheel but it’s very important to have our own sound. The groove you refer to has a lot to do with the simplicity of the music and its underlying rock vibe. We’re aiming for something heavy, dark, groovy and catchy at the same time.
Do you think that being from a French-culture area of Canada has influenced your songwriting or outlook?
Being French-Canadians always had an influence on us, willingly or not. We’re isolated in the eastern part of Canada and to be honest, it’s almost like we’re living in a different country. We never had the same cultural reaction to the lyrics of the bands we listened to in the early years. We always had to translate, filter and in some ways interpret everything in order to understand what was expressed. I guess we probably got a lot more into it for this reason; It required some form of personal involvement which maybe wasn’t as mandatory for English-speaking fans, for example. The same could be said about the lyrics we wrote. Even if it’s important for us to stay true to our culture, it’s hard to get recognized with lyrics in French worldwide. The whole isolation factor also pushed the pioneers of our scene to have an original sound and a different approach. Voivod got noticed quite early for that very reason, I think. The Quebec scene never got over-saturated with bands and so far I can still claim that quality over quantity is a constant over here.
You mention that you derive influences from Celtic Frost and Pentagram. Why these two?
Celtic Frost inspired us the most with Beast Within. Pentagram is a common interest within the band. Both bands have a strong, recognizable style based on simplicity, catchiness and both are quite effective with the memorability of their songwriting. If we can take cues from those influential bands and eventually establish a characteristic sound for Beast Within, our job will be done. As craftsmen of the genre as a whole, we’re there to deliver dark and heavy music the way we think is the best. Time shall tell if we do it right…
I bet you will. Look for this band to shake up the complacent post-underground scene.
Swedish melodic death metal band turned melodic speed metal band At the Gates finished recording its latest album At War With Reality and plans release on October 27th in Europe and October 28th in North America via Century Media Records.
Vocalist Tomas Lindberg issued the following statement:
We are very excited to finally have finished this new album. An album that we’ve been working on for over a year now. It’s by far the most challenging record that we have made, but it’s an honest album and I think that you will feel that it is faithful to the legacy of AT THE GATES.
We have, through the process of creating it, been true to ourselves and our art. From hearing the first demos that Anders presented to the band last summer, through the extensive stages of songwriting, pre-production, rehearsals, recording and mixing, we now finally got the finished album in our hands.
We are very happy to have managed to produce an album that we feel is truly ‘us’. Something we can all stand behind one hundred percent. I can’t wait ’til you all get to hear it!
Recorded with Fredrik Nordström at Studio Fredman and mixed by Jens Bogren at Fascination Street Studios, At War With Reality shows the return of the classic At the Gates lineup with their first new material since best-selling but fan-disappointing Slaughter of the Soul, which showed the band drifting toward Metallica Ride the Lightning era speed metal given the melodic Swedish metal treatment.
The band recorded this in-studio statement:
Simultaneously, the band have announced an international tour for 2015. Dates are as follows:
AT THE GATES + support:
20.11.2014 – Tampere (Finland) – Klubi
21.11.2014 – Jyväskylä (Finland) – Lutako
22.11.2014 – Helsinki (Finland) – Nosturi
AT THE GATES, GRAVE, MORBUS CHRON:
27.11.2014 – Göteborg (Sweden) – Trägårn
28.11.2014 – Stockholm (Sweden) – Arenan
29.11.2014 – Malmö (Sweden) – KB
AT THE GATES, TRIPTYKON, MORBUS CHRON:
04.12.2014 – London (UK) – Forum
05.12.2014 – Manchester (UK) – Academy 2
06.12.2014 – Glasgow (UK) – Garage
07.12.2014 – Birmingham (UK) – Academy
08.12.2014 – Cardiff (UK) – Solus
10.12.2014 – Essen (Germany) – Turock
11.12.2014 – Hamburg (Germany) – Markthalle
12.12.2014 – Eindhoven (The Netherlands) – Eindhoven Metal Meeting
13.12.2014 – Leipzig (Germany) – Conne Island
14.12.2014 – Wien (Austria) – Arena
16.12.2014 – Aarau (Switzerland) – Kiff
17.12.2014 – Munich (Germany – Backstage Werk
18.12.2014 – Antwerpen (Belgium) – Trix
19.12.2014 – Cologne (Germany) – Essigfabrik
20.12.2014 – Berlin (Germany) – Postbahnhof
AT THE GATES – live 2015:
08.01.2015 – Istanbul (Turkey) – Jolly Joker
09.01.2015 – Athens (Greece) – Stage Volume 1
10.01.2015 – Thessaloniki (Greece) – Principal Club
31.01.2015 – Dublin (Ireland) – Academy
26.02.2015 – Oslo (Norway) – Vulkan Arena
29.05.2015 – Johannesburg (South Africa) – TBA
30.05.2015 – Cape Town (South Africa) – TBA
Black metal band reformed as nu-metal powerhouse Mayhem released their latest album Esoteric Warfare on June 6, 2014. Much like late-career albums from Triptykon and Massacra, the latest Mayhem shows that as a metal band ages the probability of it becoming Pantera or Southern Fried rock approaches one.
Although the album communicates little to no artistry or depth, it offers a strong example of how to successfully appeal to one’s commercial audience by being both digestible and using lots of hard and heavy sounds the audience recognizes as dangerous… if they came in any other form than a commercial product. Esoteric Warfare creates a blueprint for success by appropriating nu-metal’s populist simplification of the speed metal style of mono-dimensional lower-string muted riffing and sprinkling it with the pixie dust of commercial black metal aesthetics..
The band thus builds its appeal entirely from catchy central riffs which are so reduced in complexity that one is capable of comprehending them on first listen. The rest is garnish: the introductions, acoustic breaks, spoken word sections, black metal fireworks, seemingly random caesuras and even some death metal technique that randomly flares in the midst of the thudding rhythmic hook. This album belongs more to the exoteric, or easily and equally grasped at first contact, than the esoteric like older black metal, which deepened in revelation the more the listener devoted his or her consciousness to exploring it.
With the latest generation, the rock-metal hybrid that industry has always wanted rears its ugly head here. The new innovation is this tendency to break up the monotony with garnish, which allows the monotonic lower register riffs to drone on with strategic breaks to remind the listener that the entirety of an album does not necessarily need to sound indistinguishable however much the band may be seemingly trying to lead it in that direction. Complete sonic pointlessness does not dissolve, but rather mutates into a more friendly and funky exterior, thus allowing the listener an escape from a complete degradation of metal as an art form into a complete degradation of jazz as an art form. Whether that constitutes progress will be left to the view of the reader.
What are Sadistic Metal Reviews? We enforce the reality the metal community runs in fear from: music can be judged objectively, but most people “prefer” junk. They want their music to make them look cool to their nitwit social groups, so they deliberately select moron music. Falses, don’t entry!
Triptykon – Melana Chasmata
You do not hire the Navy SEALs to remove your fire ant infestation. Similarly, there is no point telling Tom G. Warrior to “make an album like all those other ones.” It’s the wrong tool for the job. This album is atrocious because it relies on very familiar and predictable ideas with no density, and then Warrior tries to shoehorn some depth into it but achieves on oil on water effect, like someone trying to layer Beethoven over Pantera. The result just dumb and painful. Run like hell.
Lacuna Coil – Broken Crown Halo
This isn’t even metal. It’s the same smarmy cheesy shit that they sing in lounges for drunk bluehairs in Vegas, but they shifted from open chords to power chords. There isn’t even any particular focus on riffs here, just some blithe chord progressions shifting in the background while the vocals take it. But even worse, the music is entirely predictable. This is different from being “basic” in that it’s not derived from simplicity, but a generic version of the same stuff everyone else does. But that “everyone else” aren’t metal bands, and these entryists are trying to sneak that moronic garbage in through the back door.
Aborted – The Necrotic Manifesto
People are not bands. Bands are (composed of) people, but are not people. Even a band with good people in it can end up making music as interesting as poured concrete. “Oooh, look how flat it is!” But that’s kind of the problem here: Aborted is flat. It’s straight-ahead pounding death metal/grind hybrid that tends to like one- and two-chord riffs that shape themselves around a basic rhythm. Songs tend toward straight-ahead structures as well. The whole thing feels mentally hasty, like they aimed for a simple goal and then did one take and called it good enough. The highly compressed production just makes it excruciating to hear.
Kill Devil Hill – Revolution Rise
Some bands you don’t want to be noticed listening to lest people think you’re an imbecile. Kill Devil Hill is warmed over 1980s Sunset Strip glam “metal” (i.e.: hard rock) with some alternative rock stylings and occasional Rob Zombie infusions. That’s it, and the style tells you the content. In addition to mind-numbing repetition, like all rock music this dunce material focuses on the vocalist and some imagined fantasy mystical “power” to very cheesy vocals emphasizing very obvious emotions. It’s like watching Shakespeare done by a troupe of brain injury patients. Even the attempts to be “edgy” by working in oddball found sounds and minor techno influences falls flat because the whole package is so blindingly obvious and equally as plainly designed for thumb-suckers.
Blood Eagle – Kill Your Tyrants
At least this has some balls, but metal needs both a warlike outlook and an interesting musical development. The latter is where Blood Eagle falls down: too much downstrumming, repetitive riff forms, repetitive song forms and reliance and skull-shakingly basic rhythms that involve a slamming conclusion makes this music no fun to listen to. It is like hearing a constant pounding with Pantera-style angry ranting in a death metal vocal over the top, but the plot rarely changes. When the band gives itself a little room for melody, as in the end of “Serpent Thoughts,” we see how much better this could have been. Instead it sounds like road rage stuck on repeat on a forgotten late night TV channel.
Eyehategod – Eyehategod
The New Orleans hit factory just keeps cranking them out. WAIT — that’s not what you want to hear about underground metal. Could the writer be implying that this trivial drivel is actually just pop music? Yes, yes he is. Eyehategod started out with a slow punk/grind mix that was boring but kind of aggressive. Then they made it with great production for Dopesick, which was a mildly interesting record. Since then, they’ve gotten closer to the hipster zone. Eyehategod makes me feel like I’ve stepped back into the early 1980s. Punk had just lost direction and every band was recycling old ideas or trying to be “different” with tricks that amounted to little more than stunts. The emptiness was staring us in the face, and no one was talking about it. This album is stereotypical hollow man hardcore with a bit of southern fried bullshit and a couple metal riffs. Why not just go listen to the failed albums by burnt-out and aged punk bands, because they at least have more consistent. This is just an odds ‘n’ ends drawer with a high production budget. You can sniff out the hollowness by how many times they hit you over the head with their image, working in every southern trailer failure term they can, and then performing their party act of ranting vocals over hard rock riffs. It breathes staleness and marketing like a home remortgaging plan.
Day of Doom – The Gates of Hell
Metal bands should know by now to avoid the formula where the entire song is based around a vocal cadence, with guitars trying for a really basic pattern the vocals can play off of, and drums in perpetual fill mode. This means that the simplistic plodding patterns of vocals define everything else, which means everything else clusters around the lowest common denominator, and you end up with music whose sole (no pun intended) purposes is to make you tap your feet and wave your head to an undulating rhythm. This works great if you’re a sea anemone, but not so good for anything else. Day of Doom is one of those slow-strobing-strum bands that clearly intends for the whole audience to bounce at the same time in trope, but forgets that this is mindlessly boring when you’re not in a concert setting. It’s not that there’s anything wrong with these guys, but what they’re trying to do is wrong (as in unrealistic and stupid).
On Top – Top to Bottom
Mixed hardrock/punk, On Top has a clever name but otherwise is exactly as predictable as you might imagine. Lots of bouncy riffs, melodic choruses, angry vocals that specialize in repetitive tropes. If you derive a lot of value from doing the same thing others are doing at the same time, this might be your thing. It’s super-catchy like Biohazard or Pantera were, with plenty of syncopation in vocal rhythms to give them some kick, and songs even develop one level past pure circularity. It basically sounds like something you would expect the rebellious character to listen to in a movie as he drinks his whisky and drives fast. Other than this one-dimensionality, this is one of the few things in this review batch with any musicality. It’s just applied in such a way that people who aren’t drunk and sixteen will rapidly tire of.
Howls of Ebb – Vigils of the 3rd Eye
Howls of Ebb adopt an interesting strategy, which is to hide a Maudlin of the Well style quasi-prog in the midst of a dirty modern heavy metal band. At its core, this is heavy metal of the late 1980s variety, but this is carefully concealed under fast death metal riffs and whispered vocals which expand into dissonant chording and riff salads of the post-jazz-fusion era. The catchiness of the basic heavy metal riffing and the tendency to use tempo changes which fit in that model remain, but the weirdness accentuates it. If you can image Powermad adopting a bit of grunge and progressive metal, then slowing down half of its parts in a melodic jazzy style reminiscent of Absu crossed with Maudlin of the Well, you have the basic idea. The result is not only not bad but stands up to repeated listens. It will probably stay B-ranked in that its compositions make sense on a musical level but convey little else, and often the riff salads meander off-course enough to leave an impression but not a clear one. Still, this is more thoughtful than almost all of the metal at this commercial level and while it’s not underground, it’s much preferred to the usual tripe.
Personal Device – Microorganismos del Mal
First there was the faux 80s crossover thrash revival with party retro-thrash bands like Toxic Holocaust and Municipal Waste, then bands like Birth A.D. bounced back with actual thrash and reformed the genre. Now Personal Device take it a step both further and in a different direction by being a classic hardcore band that informs itself with early speed metal like the first Metallica and Nuclear Assault albums. The result is bouncy fast and precise punk like Ratos de Porao or even middle-period Bad Brains that is thoroughly enjoyable with riff breaks that resemble “The Four Horsemen” or maybe even “Live, Suffer, Die.” Their guitars are remarkably precise which creates an unusual sound for punk that by making it mechanistic makes it seem more inexorable than like protest music, and the result is a more testosterone-fueled and warlike approach. Mix that with the surging chord changes of speed metal and the fast repetitive chanted choruses from thrash, and you have a high-energy band. Its flaws are that experienced listeners may find this a bit too transparent, and that many of its rhythms are similar, but the band has administered its style with an editor’s red pen handy, cutting out any lesser parts, which gives it more staying power than all but a few albums in this stylistic range. This was a pleasant surprise to find in the review pile.
The second of May makes many of us uneasy because we remember the death of Jeff Hanneman, composer and architect of the Slayer approach to mythological alienation. The world isn’t the same without him, and many of us felt like we had lost a parent, since when adults refuse to grow up and speak honestly about life, children have to turn to other sources of information. Hanneman made sense of the modern world, no matter how apocalyptic the outlook ultimately turned out to be.
We are fortunate to get a few words in with D.X. Ferris, author of the books Slayer’s Reign in Blood (33 1/3) and Slayer 66 2/3: The Jeff & Dave Years. A Metal Band Biography. Ferris has spent the last several years writing about Slayer and understands the importance of this historic act not just to metal, but to the society around us all. Read on for the inner truths of writing about Slayer on this day we commemorate Hanneman’s life.
You’ve written two books on Slayer. What’s your relationship to Slayer? When did it begin?
My life is very clearly divided into Before Slayer and Since Slayer. I tell the story in my first book: Over the years, I had edged toward metal. I thought Metallica was as hard & heavy as it got. Then I read a review of Hell Awaits, and the review talked it up like a thrash masterpiece. So bought it. The first time I played it, it started with that big three-minute slow intro. I thought I had bought a bad album based on a bad review. But then the track kicked into the thrash part, and it was the universe cracked and a new dimension opened. And almost 30 years later, here I am, talking about Slayer.
Over the ’90s, I wasn’t as into metal as I was and am, but Slayer always stayed with me. My college notebooks are filled with Slayer lyrics and pentagrams. After college, when I’d sit in meetings, I looked like I was taking notes, but half the time, I was sketching Slayer logos — that’s one of the reasons why the new paperback looks like it does.
And the older I get, the more the band means to me. I think it’s curious how people get old and forget about metal. When you’re younger, metal is great music for when you’re pissed off. But when you get older and you have to deal with questionable coworkers and pinhead middle managers, that’s when you really need angry music. Slayer is always here for you!
How did you become a writer?
Writing is my one rare ability. I have tried doing literally everything else I though I could do: being a businessman in a suit, bartending, entering a doctoral program for corporate communication. Writing just keeps dragging me back to it. I wrote for school newspapers. I used the school newspaper as an outlet for record reviews. And gradually parlayed those clips into paying gigs as a writer.
Are you a metal fan “in general,” a Slayer fan or a writer who found this topic intriguing?
I primarily identify as A Metal Guy. I love a lot of other music. In high school, I was deeply into hardcore and punk, too. But I had long hair and the metal outfit: denim and some leather. In the picture I sent, that’s my same Anthrax back-patch from high school. The last three albums I bought were Triptykon, Behemoth, and High School Musical 2. Hey, I have kids. I could have scored free promo copies, but those dudes deserve my money.
What do you think is Slayer’s cultural impact?
Great question. Early in the book, I say “This is Slayer’s world, and we’re just living in it.” Look around is: The Twilight series is a phenomenon. It’s about vampires. There are four vampire shows in primetime TV — well, three now that NBC canceled Dracula. Walking Dead is the most popular TV show with young audiences. Game of Thrones is the most popular HBO show since The Sopranos, and it is metal as hell. In fact, I write weekly Heavy Metal Reviews of it for a website called Diffuser.fm, where I evaluate how metal the episode was. Since the days of Hell Awaits, long hair, violence, the undead, and the supernatural have saturated society. And that’s just the fantasy aspect, not to mention the fact that we’ve been at war over a decade.
Can you trace all that directly to Slayer? Maybe not. But they sure were ahead of the curve.
Your first Slayer-themed book appears to be Slayer’s Reign in Blood (33 1/3). What can you tell us about this book, and how did you end up being the one to write it?
I was a fan of the series. Each book is by a different author, writing about a single classic album, from the Beach Boys to the Beastie Boys. And something about it just called me and made me think “Go write a Slayer book for it.” I would have liked to write the Beastie Boys one, but Dan LeRoy beat me to it. When I looked down the list, I saw there was no metal in the series. So I pitched Reign. I knew it was a stretch. But, one, I thought there should be some metal. Two, if you look at the people who made the record, the album is an intriguing nexus in the history of rock: It was produced by Rick Rubin, who was known strictly as a rap guy at the time. It was his first rock record. And he would go on to work with about 10% of the Rock and Roll Hall of Fame inductee groups. Engineer Andy Wallace mixed everybody, basically, from Nirvana to Guns ‘N Roses. It was released on the rap label Def Jam. So it was the perfect metal choice, because the album reaches beyond metal.
Did writing this book change how you viewed Slayer?
It did. With pretty much any group, when you really dig into the credits and start crunching numbers, you realize that your impressions of the band aren’t necessarily right. Like, there are a lot of Who fans who assume Roger Daltrey wrote the words, because he’s the singer. I thought I knew a lot about the band, but it was really interesting to see how the leadership roles changed over the years, and how the artistic division of labor changed over time. And with the splits between Dave Lombardo and the band… Well, when I started the second book, I was partial to one side of the division. And when I was done, I had switched sides.
Last year, you unveiled Slayer 66 2/3: The Jeff & Dave Years. A Metal Band Biography. This looks to be more of a historical book. How did you come up with material, and what’s in it?
It’s a combination of new research, material that was breaking news at the time, and great stuff that wouldn’t fit in the first book: They wanted 25,000 words, I wrote 67,000, and they took 42,000. The new book is 110,000 words, with 59 chapters, 33 photos, 3 indexes (2 in the paperback), and 400 footnotes. Its full title is Slayer 66 & 2/3: The Jeff & Dave Years, A Metal Band Biography. From Birth to Reborn, Including Slaytanic Profiles, a New History of the Thrash Kings’ Early Days, Reign in Blood Tours, a European Invasion, the Palladium Riot, the Seat Cushion Chaos Concert, the Whole Diabolical Discography, Newly Unearthed Details From Dave Lombardo’s Turbulent History With the Band, Artwork and Some Photos You’ve Probably Never Seen Before, Jeff Hanneman’s Hard Times, the Big Four’s Big Year, Lombardo’s Final Exit, the Top 11 Hanneman Tributes, the Mosh Memorial Service, Untold Stories, Updates, Relevant Digressions, and More Scenes From the Abyss.
What prompted you to write a second book on Slayer?
Lombardo left the band for the third, and finally final, time in February 2013. Well, he didn’t exactly leave. But he was gone. It was a fresh shock in the metal world. And it should have been. But Slayer fans who knew history knew he had left twice before. So I decided I would write a short e-book about his trouble with the band: He was never in step with the rest of them. The first time he quit was during the Reign in Blood tour. And their relationship never recovered.
I figured it would be a 12,000-word e-book. I wanted to have it out by the end of April. All spring long, I kept getting sick. If I wasn’t sick, one of my kids was. I just couldn’t get the book done. April ended, the book wasn’t out, and I was pissed. Furious. May 1, I was fuckin’ pissed. May 2, I was even more furious. Then the evening of May 2, word breaks that Jeff Hanneman died. And there I was, with a Slayer book halfway written. So for the rest of the year, as the story unfolded, it grew from a little project to a full-on rock biography. One thing after another stopped me from getting it done, and every time, the delays helped, until at the very end, famous metal photographer and musician Harald O found some amazing photos that he had totally forgotten about. And that’s where the cover came from.
What’s an interesting Slayer fact most people don’t know?
Man… They just split with Rick Rubin after almost 30 years. And they were his only client from the 1980s. I don’t know how many younger metal fans realize how influential Dave Lombardo was for all metal percussion. He gets respect in the metal world, but rock fans don’t realize he’s one of the all-time great drummers. When Lars Ulrich was sick and Lombardo played two songs with Metallica, Ulrich was actually nervous. He said something like, “You try sitting in a hospital bed while Dave Lombardo is playing with your band.”
Writing the second book, though, the biggest thing I learned was how little Slayer has toured over the years. I mean, they’re a regular presence on the touring world. But the South of Heaven tour was something like, if I remember right, 60 shows. They took a lot of time off.
Do you write on other things besides Slayer? If so, what and where do we find them? If anonymously, can you tell us why?
I transitioned from music writing to news journalism a few years back, and I won some awards for journalism. But lately, I mostly teach college. I write some popular-culture stuff for Diffuser and The AV Club. And I’m working on a couple non-fiction projects I can’t talk about yet; one is a collaboration, so it’s not mine to talk about. I write a terrible webcomic called Suburban Metal Dad that’s not as autobiographical as you’d think, for a website called Popdose.
International Day of Slayer organizers Dag Hansen and Jim Tate are great! Hansen is among the people I interviewed for the book. I just heard on the radio that today is actually the International Day of Prayer, which was the original inspiration for International Day of Slayer. Last year, I thought it was really something when Kerry King took time to acknowledge Slayer Day and talk about Jeff’s absence. As I discuss in the book, I think it’s about as emotional as we’ve ever seen him in public.
What do you think Slayer’s lasting influence on metal has been?
Like I said, Lombardo practically invented modern metal drumming. They’ve been the standard-bearers for thrash. Metallica are huge, but Slayer has been the Big Four band that stayed true to their original sound and style. They never tried to cash in or cross over. They’re the gold standard for a credible long-term metal career.