Hater's gonna hate

Above is the new artwork for the reissue of Sleep's paramount album, Dopesmoker, the 60+ minute heaviest opus, ever.  Those familiar, or well versed in Sleep-ology know that the album was originally released as a four part album called Jerusalem on Lodon Records in 1999, which was not how band wanted it to be released.  TeePee Records rereleased the album in 2003 as it was intended to be released, as one track.

Now Southernlord Record is planning on re-re-releasing Dopesmoker with a brand new mix from the original tapes to again present the album as "it was originally intended."  

Dopesmoker is a very personal album for myself and most likely anyone whose smoked weed or listen to heavy music.  Much like smoking weed for the first time, listening to this album was a gateway to the path of all things heavy.  I'm sure I'm not alone in this.  I foolishly bought Jerusalem first and was annoyed with how the album was broken up (then again, the vinyl version of Dopesmoker was broken up into four sides, so should it have really mattered?).  My point is, this is the THIRD release of this album.  I can understand redoing it once.  They remastered it as the band 'originally intended' for the 2003 release, and the world rejoiced.

Who decided that the Dopesmoker reissue wasn't suffice enough, and that something which I (and plenty of others) felt was pretty damn alright?  Has a line been crossed on Southern Lord's behalf?  Dare I, or anyone else, shout blasphomey or bullshit?

In this age of reuinions, and most noteably Sleep's, I understand the reemergence of this album and it's relavence.  I'm more than stoked that people are getting first and second chances to see the mighty Sleep live.  And for those who may have not come across Dopesmoker, yet, I'm pleased that a version will be readily available.  Minds will be blown.  I'm just suggesting that something smells funny about this.  I mean, this is better than some kids purchasing the vinyl for $300 on ebay, but still.  The band revisioned the album when they released it as Dopesmoker 1.0.  Dare I say that the band had their chance? Or is it just another label's chance to get their hands on the holy grail of heavy and make a few bucks off of it?

Ol' Dirty Bastard, the film. Wu-Tang Free Styles

As some of you may have heard, Michael K. Williams will be playing Ol' Dirty Bastard in an upcoming documentary about the late ODB and his manager, Jarred Weisfeld.  Those who may not know Williams by his real name will know him by Omar from HBO's The Wire.  This should be exciting as anything involving either of these guys is always good.

To celebrate, here are two Wu-Tang Clan free-style sessions.

Protect Yo' Neck

Altamont/Acid King (Split)

It's funny but not surprising that these two bands made a split.  Dale Crover and Lori S were married at the time (!), and both bands shared drummer Joey Osbourne.  Why they just didn't create a whole new band is beyond me.  Back in high school I thought that Joey was Buzz's brother, or some kind of relative.  After doing actual research, my dumb theory was proven wrong.  Wouldn't that have been cool though? 

Here

Weakling 1998 Demo Tape.

If Dead As Dreams left you wanting more, here are come recordings from a 1998 practice.  I know there's another 1998 demo/practice tape floating around.  This version has a slightly alternate, shorter take of 'This Entire Fucking Battlefield'.  The recording quality on these three songs are a bit sharper than the other demo.   Based on how iTunes files these songs, there's suppose to be five songs total, but I was only given three.  Regardless, this is a great demo to have handy.

Here

No Anaethesia

The music output of Finland is a funny one.  Their metal exports vary from booze-fueled 'folk' metal, funeral doom and any kind of metal death/thrash/power metal.  In short, they're all over the board when it comes to metal.  But back in the 90s while Amorphis (and eventually Children of Bodom) was running the show for the most part, there was a band called Stone.  Stone was probably Finland's sole 'thrash' export, and quite a head of their time.

No Anaethsia, the band's second effort, came during a particular time, when thrash was on the way out, and Death Metal and the whole melodic thing was slowly taking over Europe, and eventually turning in the Gothenburg sound.  Looking back at this album played a major role in the melodic death and 'thrash' sounds that would come from the Norther European bands during the 90s (namely the Gothenburg sound) and early 2000s.  And why not?  It's the speed, finesse and technical prowess that has been the staple of Northern European Metal for over 20 years now.  They seem more concerned with song writing than speed and pure agression.  Which isn't to say this album lacks any of that.  Calling this album Thrash would be walking the grey line.  Finns, Swedes for that matter, are definitely good at place melodic elements into anything and making it sound good.  The late 80s and 90s were a good time for music like this.

If you're vision of Finnish metal has been tainted by recent exports, give this album a chance and you'll be rethinking things.

Here

Paranoid Times

With the current political climate; apes trying to gain control of the United Sates, this album seemed more than appropriate.  The San Pedro trio's debut.  This album says more in under 7 minutes than most albums with any kind of message.  It's shaky and agressive.  It's the truest musical personification of paranoia that I could ever think of.  Easily one of my favorite albums.

I edited the album so that it's all one track so the albums effect would seem more relentless.  If you cannot listen to six and half minutes of music in one sitting, then this is not for you.

Here

The Real Cavalera Conspiracy: Max's Denial

Those familiar with some of my rants at the Fried Chicken Cadillac are aware of my views on reunions; and especially the ongoing, never-ending-never-going-to-happen reunion of the classic Sepultura lineup. The amount of back and forth is beyond nauseating. It's as if a animal has been shot, refuses to die but continues to bleed. I thought the end was near when Max and Igor Cavalera reunited under their own flag, the Cavalera Conspiracy. This band would either pave the way to a reunion, or, what actually happened: nothing. I'm fine with nothing. I can settle for nothing. My thoughts on a Sepultura reunion are said and done.

So why am I bringing this up again?  New light has been shed.  An epiphany, if you will.  During my mindless searching across the Internet for heavy metal gossip and factoids, I came across a post on Blabbermouth containing footage of Soulfly, Max Cavalera's main project, preforming two Sepultura classics in Sao Paulo, Brazil.  What's special about the two videos (posted below) is that his son, Zyon (who's the drummer for this particular tour), and brother and former Sepultura drummer, Igor, as the guys playing the drums in the videos.  Max is quite fortunate to have his son sit behind the kit and I'm sure fans who attend the show appreciate the novelty of family sharing the stage (even Lemmy has shared the stage with his son).  Where I draw the line, however, is bringing your brother on stage to play the music of another band.  It actually would have been really cool to see Igor play 'Eye For An Eye', but to jump in during Soulfly's set, a band he's not even in, and play a Sepultura song?  Enough is enough.

Max Cavalera, you are in denial! Quit reaching the tentacles of your past legacy into everything you do.

It's impossible to go on Youtube and look up live Soulfly footage without coming across countless videos of the band covering Sepultura songs to the point where it outnumbers footage of Soulfly playing their own songs.

It's gone way to damn far.  I understand musicians playing the music of their former bands.  Both Ozzy and Dio would play Black Sabbath songs, respectively, during their solo careers.  Max, however, is taking it to a whole new level.  Max thrives on nostalgia to the point of excess.  I understand playing 'Roots' and 'Troops of Doom' during Soulfly's infancy stages, perhaps to fill up an hour set list, but it's been several albums later and things haven't changed.  Why are you making room for another band's music (even if you wrote the songs) when you have an abundance of new material?

Andreas Kisser was spot-on when he commented on Soulfly's rotating door of musicians.  But does it matter?  Soulfly doubles as Sepultura cover band anyways.  It's kinda like that episode of Metalocalypse where the band finds out that Toki is in a Dethklok cover band. The difference here is that Max never stopped being the star.  He's the key to Soulfly's success.  It seems belittling to the members of Max's current bands to play someone else's songs night after night.

I honestly don't think Max is over Sepultura.  Yet he basks in his past glory while thriving in his present day success.  Having Igor thrown into the mix only perpetuates the nostalgia.

It's been well documented that Max is willing to burry the hatchet and give the fans a reunion.  Any kind of insight on that matter can be read here.  In the article Max says the blame lies with Andreas Kisser, who is also down for a reunion, but allegedly has a list of demands.  Cavalera can wait for Kisser to come around.  Things are going well for Soulfly and the Cavalera Conspiracy (a band's success I believe leans solely on the nostalgia of a Max-Igor reunion) that a Sepultura reunion would be just one more thing on his plate.   Cavalera's response maks a reunion seem like an afterthought.  'Yeah, I'm down for a reunion.  Lemme see if I got some free time in between tours.'  If Max's current projects are doing so well, why lean on past efforts?

I'm sure Max is content doing what he's doing.  I'm just calling it into question.  I'd understand it more if Sepultura wasn't an active band, but they are.  You don't see Queens of the Stoneage covering Kyuss songs, do you?  You don't see Megadeth playing early Metallica songs simply because Mustaine has the rights to a few of them.  Continually playing Sepultura songs is like a passive agressive way of trying to say that Max is Sepultura.  Is Max doing Kisser and Co. a favor by letting letting the band keep the Sepultura name while they slowly destroy the band's once good name?  I think Max needs Sepultura, and the current Sepultura could sure use a boost from his presence.

I think instead of criticising Soulfly for it's rotating door of musicians, why doesn't Andreas Kisser talk about how Max cannot let go of his past.  If it's not denial, it's an obsession.  If Max can put off a reunion, why can't he put off playing Sepultura songs?