/dmg/ DEATH METAL GENERAL: Rooftop Riders Edition

 

DEATH FUCKING METAL:

http://www.deathmetal.org/metal/

http://www.deathmetal.org/site-map/

http://www.deathmetal.org/category/faq/

>b-but I heard death metal is dead!

http://www.deathmetal.org/news/

http://www.deathmetal.org/review/

OP Paste Bin:  http://www.deathmetal.org/tag/death-metal-general/

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WAT? Testament Guitarist Denounces Israel

Alex Skolnick, the guitarist of mediocre thrash metallers Testament, has for some reason decided to go out of his way to go on anti-Israel tangent for no reason.  After the band preformed there last week, a few of the members posted photos of the band posing with the Israeli flag and a number of roasties from the Israeli army.  But on Skolnick’s post, his photo is preceded by a ridiculous rant on how he wants to preemptively explain that he thinks the state of Israel and its president are horrible and that he’s ashamed of the soldiers and the flag (except for the fact that the flag has the star of David).  He then goes on to state that he is Jewish blooded but thinks Judaism is bullshit and apologizes for Israel being mean to the Palestinian terrorists that tried to invade/destroy Israel and still continue to commit acts of terrorism now that all their friends bailed on them.  Hilariously even the fake-news-fake- Jews of MetalSucks praised Skolnick for denouncing the homeland of their people as social justice warriors and progressive liberals notoriously disallow Jewish symbols to be displayed while they protest Trump/men/etc and march in favor of sodomy and degeneracy.  This event again goes to show, as many have in the past, that social justice warriors don’t really care about Jews when they oppose antisemitism as they only feign outrage to project a moral high ground that benefits their cause.

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Dave Mustaine Wants One More Big 4

Megadeth guitarist Dave Mustaine has been vocal these past few weeks of pushing through one final Big 4 tour before Slayer hits the nursing home. He believes, however, that there’s no chance Metallica will be in. Mustaine, committed to getting a piece of the Slayer retirement pie, goes on to say he’ll headline a big 3 tour (minus the big 1) or perhaps start a new big 4 with two other thrash metal giants….
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Upcoming tours – Slayer, Testament, Carcass

Slayer-Testament-Carcass
A veritable tour of the fallen? Perhaps. Blabbermouth recently blabbed about these bands going on a tour of the US some time in 2016. According to them, a March 3rd performance at the Fillmore in Philadelphia has leaked, but little else has been officially revealed. If this does turn out to be an actual tour, and not just an attempt by record labels to entrap some sort of leak at Blabbermouth, it’s… probably worth noting, but far from the best lineup you’re going to see. Slayer and Carcass, at the very least, have strong legacies under their belts (although recent works fail to live up to such), but Testament’s career has been iffy at best, despite some musically proficient if not particularly inspired speed metal at the beginning of their career. As usual, it’s up to you, the reader, to determine whether this concert is worth your time.

Editor’s note: The tour was later confirmed. As of December 3rd, here are the dates:

2/19 – Riviera Theatre, Chicago, IL
2/22 – War Memorial, Nashville, TN
2/24 – The National, Richmond, VA
2/26 – House of Blues, Myrtle Beach, SC
2/27 – The Ritz, Raleigh, NC
2/29 – The Fillmore, Charlotte, NC
3/2 – Capitol Theatre, Port Chester, NY
3/3 – The Fillmore, Philadelphia, PA
3/5 – The Fillmore, Silver Spring, MD
3/6 – The House of Blues, Boston, MA
3/8 – LC Pavilion, Columbus, OH
3/9 – The Orpheum, Madison, WI
3/11 – Myth, St. Paul, MN
3/12 – Civic Auditorium, Fargo, ND
3/14 – MacEwan Hall, Calgary, AB
3/15 – Shaw Centre, Edmonton, AB
3/17 – Revolution Event Center, Boise, ID
3/19 – The Paramount, Seattle, WA
3/20 – Roseland Ballroom, Portland, OR
3/22 – Warfield Theatre, San Francisco, CA
3/26 – The Joint, Las Vegas, NV

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Planetary Coalition – Planetary Coalition

3162_6PAN_CLOSED_POCKET

Since this is a metal site, most of us know Alex Skolnick from his emotional and virtuostic guitar leads on Testament albums; in my view, he gave The New Order the power it needed to rise above being another speed metal band by creating solos that resonated and amplified the emotion in the riffs and vocals.

Years go by and guitarists find themselves in need of new pursuits. Skolnick has since created jazz with his Alex Skolnick Trio and participated in a wide range of other projects, but now he takes an acoustic guitar approach to world music in a style reminiscent of Paco de Lucia with more alertness to contemporary music. He tackles multiple traditions from music around the world with a combined classical/jazz approach which accentuates the subtleties of the music and add texture of melodic activity.

Joined by a wide range of performers including Rodrigo y Gabriela to Kiran Ahluwalia, Adnan Joubran, Pablo Aslan, Horacio “El Negro” Hernandez and more, Skolnick shadows these songs with fast acoustic playing that tackles a dozen or more styles from flamenco to Middle Eastern and combinations of the above, incorporating local instruments and styles in addition to the talents of multiple vocalists. The album basically splits between an instrumental portion and a vocal-driven portion.

Like most world music albums, Planetary Coalition sticks to recognized song forms and melodies that clearly communicate their place of origin and give him a chance to improvise alongside the relatively well-known tunes. Many of them are not known as songs per se so much as archetypes from movies and tourist documentaries that find a type of national sound and explore its tropes, which gives Skolnick a starting point to build on those familiar melodies and amplify the internal dialogue of these songs. He shines most on the instrumentally dense songs such as “Taksim Square,” “Negev Desert Sunset,” “Return of the Yi People” and “Sleeping Gypsy.” For those who are not world music devotees, or planning to use this album as a sort of musical coffee table book to show their SWPL awareness of the vast diversity of earth’s cultures, these songs are where Skolnick shines and shows how he can adapt to a different voice and make it his own.

As an introductory album, Planetary Coalition does quite well but stops short of showing Skolnick’s compositional range. Because it emphasizes a collage of cultures and styles, and thus sticks to the clearly identifiable as a means of communicating that, it ends up in the kind of world music background sound position that much of its audience will expect. That is a shrewd move for Skolnick who seems to be attempting to be accepted first, and then to build on that legacy, as any smart musician would given this opportunity. In an album of all-stars, he finds a place to shine in later tracks, leaving me wishing that he would do more of those, and hoping that the second album will showcase more of his power in his own style even as he pays tribute to the many great voices worldwide who contribute to human music as an ongoing adventure.

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