Writing is Fighting

Some New Stuff........

Happy Canada Day, Y'all! I started a new job (thank God) this week, so I'm trying to take advantage of this day off.

First, I've got a little thing up at Hellbound, celebrating Canadian Metal. I've also got an article up on Consequence of Sound on this great band, Weapon of Choice. I'm also in the process of doing a shitload of album reviews for Hellbound, but have a couple of things up at Exclaim! which I'm really happy about: HDK, System Overload and Dawn of Tears, Dark Chamber Litanies.

I have to start preparing my post for Blogher today, and I will probably do something about Michael Jackson's death. Haven't figured out what I'm going to do yet, so stay tuned. We are in an interesting space, as there have been complaints from some that black folks are conveniently forgetting Jackson's troubled personal life in favour for celebrating his music career. I'm on the fence, but err on the former, not the latter........

Goodbye, Michael

Yesterday seemed surreal.

While it was anticipated that Farrah Fawcett would pass, she died yesterday morning of anal cancer. I was out and about yesterday afternoon, interviewing my friend Laura on her experiences in the 70-80's punk scene, and I got a text from another friend that Michael Jackson was dead. I raced home to put on CNN to see what happened.

Shit. That's what I texted as a response to my friend, and that's what I thought. Then I finished working on my Blogher post, which was due.

I was never a big fan, so I'm not even going to front, or wax poetic about his life, his career, his legacy. Here's what I added to my Blogher post:

I was never a huge fan, post the Jackson 5 - My favorite song is "Ben" which always brings tears to my eyes. I actually disliked the man immensely, because as a little black girl I, like probably many others, fantasized about marrying one of the brothers. They were the perfect men, in a 9 year-old's eyes. But when the plastic surgery and the skin lightening appeared, and much later, the allegations of sexual abuse of young boys, that childhood fantasy seemed distorted. I felt betrayed, as I imagine other black girls did. As a kid when the white boys my age called me an animal and never gave me the time of day, it was the images of Jackson boys and the fantasy that there were boys that one day, might like us - were destroyed.

He was a talented man, and a very disturbed man. It's unfortunate that his life was cut short.

I will say - as I said to a friend last night - that I think WE killed him.

If he had never become the mega super-star, what would he be? If he had not been born into such a dysfunctional, abusive, greedy family, how would he be? I am watching a retrospective on his career and I'm shaking my butt to "Wanna Be Starting Something" and it takes me back to my eleven year-old self, rollerskating and dancing to the music, so proud that someone who looked like me - afro, big nose and lips - was on the top of the charts. But as I wrote last night, when he changed his features, it changed me. It hurt me, because back then I desperately needed to believe that people who looked like me could actually be something in life, that despite all the naysayers, that we could be something.

I think that WE killed him because we put him on a pedestal, forgetting that he was a real person with real issues. He, I believe was a pedophile and maybe without the fame and fortune (and hangers-on licking his boots) he would have gotten the help that he so desperately needed. His fame blinded us, making us ignore or dismiss that fact that he was severely fucked- up. The whole thing is so sad, but what stays with me the most is that now his family and hangers-on will now attempt to take every dime he had left - which wasn't much, as I hear.

I hope people learn from this unfortunate incident - that our heroes are people too. I think that today, I have forgiven him for changing his skin color and his features, as now that I'm older I know a bit more about self-loathing. He simply had the money to do what a lot of people might wished they could have done. But I will never forgive him for the lives he destroyed, the children that will always be damaged from his selfish actions. I just can't do it. But I do hope that wherever he is, he finds some peace.

At last.

Album Review: The Mars Volta, Octahedron

(Note: The editor at Consequence of Sound didn't like this version, so I'm in the process of re-writing this review for their site.)

In 2005 I saw the most awesome show: System of a Down and The Mars Volta, who were supporting the just-released Frances the Mute. I was skeptical: loved the album but was unsure as to how it would translate live. Based on the number of kids wearing SOAD T-shirts and the mutterings from disgruntled fans who felt that sitting through the opening act was going to be boring, were skeptical too. Dressed in a skintight 3-piece suit, singer Cedric Bixler-Zavala hit the stage and started shimmying, ducking and jiving like James Brown and the crowd went nuts, and the rather complex and psychedelic music turned into an all-out funk show. Unfortunately for SOAD, who were touring in between Mesmerize and Hypnotize, clearly exhausted (and based on the tension onstage were clearly not getting along) were toast.

I am going to predict that for those to catch The Mars Volta support their latest, Octahedron, will also feel that they have suddenly been morphed back to Detroit or Memphis, circa 1970, holed up in a smoky all-black nightclub to watch a performance that you will never forget. Sure, the music is radically different, but the emotions will be the same.

First, I must admit that if you read the above and then listen to the opener, the folksy, acoustic ballad "Since We've Been Wrong," you are going to think that I'm an idiot - but stay with me. The track, in which (minus the almost two minutes intro of what sounds like the hum from a monitor? Help me out here) with Bixler-Zavala's surprisingly direct, crisp but quite vulnerable voice: "do you remember what you said to me / what caused has given you the right to stray," you will realize that this song, which similar to previous Mars Volta ballads, swells and bends with the mid-introduction of strings and orchestral accompaniment, is more about love lost and melancholy than a 'get up and funk' type of tune.

Out of the eight tracks, "Desperate Graves" is a definite standout, and I'm guessing that collaborator, Red Hot Chili Pepper's guitarist John Frusciante worked his magic on this one. The trademark signatures of quick tempo changes and a melange of various musical styles are present - the beginning reminded me of a Jeff Buckley-influenced song and then morphs into an almost pop feel with 80's style synths might jar you, but then it quickly evens out.

What makes Octahedron a must-listen is their return to the 'soul' and like funk, the music is going to make your body sway, from the Latin-influenced guitars and percussion and/or overwhelm you with emotion, from probably the best ballads they have ever created. While the tempos differ from track to track, such as the haunting ballad "With Twilight As My Guide" with its hair-raising - in a good way - harmonies, to the freak-rock of "Cotopaxi" there is something that has been returned that had been missing, most notably on last year's The Bedlam in Goliath, which was criticized for be a bit too experimental and sonically fragmented, Octahedron seems more focused, melodic and yeah, sexy.

Download Festival and Some New Articles

Download Festival

So as mentioned on my Facebook page, I went a little nutso with watching the Download Festival in Donningon, UK this weekend - the live stream, that is. I actually missed a couple of bands that I wanted to see, but tuned in Friday to watch Korn and then Faith No More, which was fantastic, as I have never caught them live. While I actually enjoyed playing air drums to "Freak on a Leash" and seeing Fieldy and Munky(?), their sound reminded me of engines being revved up...over and over and over again. Plodding and getting a bit boring after awhile. But the FNM dudes looked good - especially Mike Patton, whom besides being a bit weird, I have a crush on for years and years.

On Saturday I got up early and still missed a couple of bands, but tuned in to catch Hatebreed and Down. After catching Hatebreed at the Heavy MTL fest last year, I was looking forward to seeing them again - I actually think I prefer seeing them live, versus their recordings, as Jamey Jasta is an incredible frontman, really enthusiastic and seems to be really rabid about what he does. On a side note: During their set, the camera caught this black girl flashing her sagging breasts.....which confuses me: Why do women still do that? For the love of Christ, this ain't Woodstock. And why, at least from what I witnessed, is it always women who have sagging / small breasts?

I've never seen a live performance of Down, and wanted to check out guitarist Kirk Wienstein (Crowbar, Kingdom of Sorrow) and Rex Smith (ex-Pantera) and of course Phil Anselmo, whom I have loved / lusted since Pantera's Cowboys From Hell. He looked the best I have seen him in years, looked like he had gained some weight (on/off drugs?), muscled up a bit (on/off drugs?) and for the love of God, got rid of that awful shoulder-length bob and shaved the sides of his head, reverting back to the lovable skinhead we all once knew and loved. Sigh. Smokin' hot. Why I love the could-be-racist look, I'll never know.

On a side note, it's interesting to me how many of my black non-rock/metal lovin' friends loved Pantera. They loved that southern groove / raunch thang, and I loved, loved Down's set. Check it above!  Later in the day was Slipknot, which again, wanted to see live (only if I could stand on the side of the stage, that is) and they were great. Love the antics of Clown,Seven, et.al.

New Sh#t

My interview with fellow music journo Amy Sciarretto who co-wrote Do the Devil's Work for Him is up at Hellbound, and my review of the (really good) new album from the 'Supergroup' Chickenfoot (Sammy Hagar, Mike Anthony, Joe Satriani, Chad Smith) is up at Consequence of Sound.

Mastodon's New Video: 'Oblivion"

Love it!

I think this is probably the best video they have ever done - at least I could follow the story line in this one (which, in hindsight, might say more about my intelligence and my limited attention span). check it!

Killswitch Engage Vs. Dio - "Holy Diver"

I was just on YouTube trying to find the latest video from Killswitch Engage (which was removed by Roadrunner) and I came across this video of a 'mashup' between the original video from Ronnie James Dio and the cover by Killswitch. I absolutely love the song - both the original and the cover - which I think only Howard Jones could have pulled off. Fantastic singer. Sure, it's cheesy as hell, but good fromagey fun.

The other funny aspect is the description from the dude who created it - who has too much time on his hands (like me, I guess): Killswitch Engage and Dio join forces in this tale of a midget with a sword and an angry black guy.

Funny! Enjoy.

Hellbound.ca and Outtakes from Interview with Rob Halford

Well, I spoke too soon, as my first piece for  is up.

I really liked working on this article, as it really took me out of my comfort zone - I know nothing about motorcycles, and I don't think I have ever been on one. But it was fun being able to talk to Judas Priest's Rob - which I waxed poetic about last year. I also spoke to Six Feet Under's Chris Barnes, whom I now wish I could have asked a few more questions, as he is a pretty interesting guy. I was a bit fearful of asking him about Cannibal Corpse, but wanted to chat about his 'interesting' lifestyle - he has radically changed from how he used to be as the singer of the legendary Florida - based band. What is it about Florida and death metal, anyways? I'm thinking of Glen Benton from Deicide.........

One of the problems with working on a specific topic and not a standard artist profile, is that you are left with a ton of interesting information that you know will never make it into the piece. Initially, I was only allotted about 10 minutes with Halford via his publicist - which stretched to 40, as he allowed me to ask him some personal questions for my book - there was a ton of interesting stuff about his love for motorcycles, how they became a symbol for Judas Priest's stage shows, and their iconic status in American culture:

On the stage bike: “ I only ever brought out onto the stage which is about 20 feet. Prior to that, I used to ride that bike around the parking lots at venues. Unfortunately I had a few incidents that cumulated in that they took the keys from me and wouldn’t let me ride it again. Plus I was like an insurance hazard. And after chasing after fans in their cars, didn't help, so I was banned from having the keys to the stage bike."

Motorcycles + Judas Priest = Metal: "The whole association with motorcycles and Judas Priest goes back to “Hell Bent for Leather” - wwhenever that song was written......When we were touring in England, we thought that it would be cool if we could bring the bike on stage when we did the song, as it seemed like the right thing to do. So when we would go to a city we would ask one of our crew to see if there were any motorcycle guys or girls that had parked their bikes and could we use their bikes and give them a couple of T-shirts, or buy them a drink and that type of thing.

"When we got to America, we basically asked our management company to contact Harley Davidson and told them what we wanted to do. They were really excited about the association of their bikes with this heavy metal band from the UK. They gave us the 1981 low-rider for a dollar. Prior to that, they would give us Harley's and then we would give them back at the end of the tour. The official one that you see now, which has been customized - the frame, the wheels, the engine all the internal stuff are the original components. So we have had that bike since then."

Motorcycles = American Culture: "In my mind, in talking about the United States, it’s all about Harley Davidson. There has just been this ongoing relationship in rock and roll with Harley for as long as I can remember. The roots of motorcycles and rock n’ roll culture goes back all the way to Marlon Brando in that movie “On the Waterfront.” I think that it is still relevant in today’s rock world. I’ve seen guys like Avenged Sevenfold in other metal bands that are using bikes on stage. The Motley Crue boys are using bikes in their videos. We are using bikes in our videos but Harley Davidson is the most important brand  for us. They are American and the represent America, even though for awhile Harley's were made in Japan, which was a bit unusual but eventually they moved back to the States where they belonged.

"Harley’s are the perfect American motorcycle to be associated with rock n’ roll music. And I’ve always said that the Harley's are synonymous with heavy metal because like heavy metal, Harley’s are big and loud and brash and they smell and they piss some people off, and they have all the same attributes that heavy metal does. So It’s a very close correlation between rock n’ roll, heavy metal and motorcycles. It’s the independence, the rebel streak – all of those are attached to being on a Harley."

 

Random Thoughts and Musings, Pt. 26

First, I've got a review up at Consequence of Sound on the latest album from 311 - Uplifter. I had this bad feeling while writing the review that I was going to get some flack for it. From what I had found via researching the band - which admittedly, I knew little about - I got the feeling that their fans were a bit, um, 'obsessive.' We'll see how this works out. (Update: I was correct. The fans are rabid.)

Also, I'm really stoked to announce that Hellbound is live! The new metal webzine is 100% Canadian - that is Canadian writers - and I'm pleased to be asked to contribute. I don't expect to have anything up for about a week or so, but check it out! There are some amazing writers contributing to the site and I'm honoured to have this opportunity to work with them.

Right now I'm in the process of nailing down an interview and in the next couple of weeks ( when I hopefully get a review copy) a book review of Do the Devil’s Work for Him: How to Make it in the Music Industry (and Stay in it) which looks quite interesting.

International Day For Slayer

This weekend I was contacted by Keith Khan-Harris, a UK academic who runs Metal Jew, which was pretty cool, as I have been reading the site for awhile and was considering contacting him for my book. Since he is now my 'Facebook Friend' I found out about a) this cool website about the petition to have an international day commemorating the delicious greatness known as Slayer and Khan-Harris, who is an expert, participated in a cool panel discussing the importance of the band and their impact in society. Check it!

Skunk Anansie Tour Dates

Could someone please explain why they are not playing in North America??? Argh. This really blows.

Oct. 09 - Ancienne Belgique - Brussels, BEL
Nov. 03 - Coliseum - Lisbon, POR
Nov. 04 - Coliseum - Porto, POR
Nov. 05 - Riviera - Madrid, SPA
Nov. 08 - Paradiso - Amsterdam, NETH
Nov. 11 - Große Freiheit - Hamburg, GER
Nov. 12 - Columbiahalle - Berlin, GER
Nov. 14 - Tonhalle - Munich, GER
Nov. 15 - Alcatraz - Milan, ITA
Nov. 16 - Saschalle - Florence, ITA
Nov. 17 - Gasometer - Vienna, AUT
Nov. 19 - Xtra - Zurich, SWI
Nov. 20 - Elysee Montmartre - Paris, FRA
Nov. 21 - Leeds Academy - Leeds, UK
Nov. 22 - Glasgow Academy - Glasgow, UK
Nov. 24 - Manchester Academy - Manchester, UK
Nov. 25 - Wolverhampton Civic Hall - Wolverhampton, UK
Nov. 26 - Brixton Academy - London, UK - My birthday....should I go?

Eminem Cover......What Do You Think?

First, let me just say that I'm going into this post already knowing that most people are going to look at this image and think, 'what the fuck?'

Second, I know that the 'what the fuck' is not necessarily going to come from a firm comprehension of what the designer's intentions were when they spiced this together - It's going to come more from "what the hell was he thinking?" train of thought.

I've never liked Eminem. Granted, I'm not a big Hip-Hop fan but what I never understood were his lyrics. They never really made much of an impression, as he always seems like a spoiled, whiny brat using misogynist lyrics and faux-horror tales to be provocative, and I never thought that it really worked. And the beats / production always seemed childlike. Granted, I'm not a angst-ridden suburban white boy dying to be black...actually, as I write this I'm listening to Dying Fetus's War of Attrition.  Much better, indeed.

Anyhoo,so over at Racialicious they have a debate goin' on about this cover and there have been some really interesting takes: First, does the cover allude to an unjustified vilification of Eminem by American media? An unjustified vilification of Eminem by African-Americans? The obvious symbolism of lynching? One thing that was noted was that the Klu Klux Klan are in black uniforms, not the standard white, which is why some thought that it might be targeted towards African-Americans. Also, instead of the usual confederate flag, it is an American flag and the Pit bull or Rottweiler - I don't know what is what - is a symbol commonly used within black - oriented gangster Hip-Hop images. Most importantly, the cover is for the remix of a track called "Black America."

Who knows? I just thought this was interesting because of how foolish it would be if the designers (I'm not giving Eminem any credit for this) thought that the cover represented his vilification within the African-American population, which is laughable. However, if we can look at past singles in which he indicates that he feels that the media is picking on him - that he is misunderstood (dripping sarcasm) - it could go either way. I don't really care, but I was really interested in this imagery. So If this alludes to black artists or black Hip-Hop fans are not giving him a chance, he should really shut the fuck up and pull a Kid Rock - go Country / Southern Rock (I'm not trying to be trite; I like Kid's stuff.... well, I respect what he's doing). After all, hasn't Eminem sold like, millions of records and won all sorts of awards, culturally appropriating black culture?

One other thing that the folks at Racialicious mentioned was his issue with black women. He has previously written a song - admittedly waay back before he gained mainstream attention - about how black girls are gold diggers, hoes.....yadayadayada. He allegedly went after Mariah Carey (again) on a track on his new album, and her husband, Nick Cannon, went after him ( see link above). 

You know what? I'm going to give him a break. I'm not going to believe that in order to garner some attention to his shitty new record he is purposefully doing this. If he does come out publicly and mention that he feels he is getting an unfair shake from black Hip-hop fans, then I will write another post on the hypocrisy of this - how black folks in the rock / punk / metal scenes have a harder time gaining mainstream attention than this fool, and how he needs to think about it before his designer come up with  ridiculous - and more importantly, racially insensitive - cover art.