Hello and welcome to Video Clip of The Week! This week’s featured video clip also qualifies 100% as a Pink Thing of the Day, because it is just so effing pink. Oh, the Pinkness. Their love of Pink aside, Night Club has a fascinating pedigree, being comprised of Keyboardist Mark Brooks (a co-director of Adult Swim’s Metalocalypse as well as videos by Slayer and Danzig, among others) and singer Emily Kavanaugh, whose dad is the keyboard player in the legendary Southside Johnny and the Asbury Jukes.
“Strobe Light” gets everything right for what it aims to accomplish, competing fiercely with the very best of what we used to call “Rock of The Eighties” nearly 30 years ago, but is today considered the greatest hits of Depeche Mode and New Order. Anchored by insistent keyboard hooks and a beat that cannot be denied, “Strobe Light” is the “Satisfaction” of modern club music. Kavanaugh’s vocals also remind me of early Madonna (Think: “Borderline”). Win-win!
“Strobe Light” is the second single from Night Club’s sophomore release, Love Casualty — which is also a very ’80s title! Recommended highly for fans of Dance Music That Does Not Suck, you can keep up with their latest shows and events by ‘Liking” their FaceBook Page. Enjoy!
Images seen here of this one-of-a-kind Slayer Birthday Cake were posted on the Facebook page of my friend, Rob. This cake was designed by Jessa Blavatsky, a lady who obviously knows her Metal. Awesome Slayer Cake celebrates the birthday of Jimmy Duff, owner of the Heavy Metal bar Duff’s in Williamsburg, Brooklyn. Clearly, what we have here is a case of Too Much Metal for One Cake!
It is indeeed a sad time in the Metal Community today as it has been announced that Slayer founding member and Guitairst, Jeff Hanneman, passed away on May 2nd, 2013 at just 49 years of age. Cause of death is reported as liver failure, though Hanneman had suffered with the extremely rare but serious condition Necrotizing Fasciitis (popularly known as flesh eating bacteria) since contracting it possibly through a spider bite in 2011. What a horrible way to go. RIP, Jeff and just remember, God Listens to Slayer.
Map Of Metal is a totally addictive and endlessly entertaining interactive website, designed by Metal Historian Nick Grant and Graphic Designer Patrick Galbraith. The site traces Metal music all the way through from its 1960s beginnings to its latter-day mutation into crazily specific genres (Black Ambient, Mathcore, Crust Punk, Swedish Death Metal, etc ad infinitum). The artists featured are as diverse as Black Sabbath, Queen, Slayer, Lamb of God and Cannibal Corpse. Different genres of music not usually associated with metal – Punk Rock, Grunge and Post Rock – but with ties to the genre are also represented. The Map of Metal is available to order in various poster sizes (and would surely make an amazing gift), but the online version includes hundreds of sound files and doubles as a heavy-metal radio station. It takes a few minutes on the site to orient yourself and get used to how the interactive functions work, but it’s best to get started by clicking on the “Navigation Map” thumbnail in the upper right hand corner of the page. Then just drag your cursor all over the place, from sub-genre to sub-genre, as you explore the Origins of Head Banging in all its brutal glory. Valhalla, I am coming.
Oh my, this Slayer fan’s holiday display is definitely something to see. I bet the neighbors really appreciate his idea of Christmas spirit. Slayer!
Note: Unfortunately, since I posted this, I’ve discovered that the embed code is disabled by SONY on “select” browsers. If the above video won’t play for you or if it shows an error message, please click this upcoming link to Watch all the madness unfold on YouTube.
Testament vocalist and Native American activist Chuck Billy is pleased to announce his inclusion in the Smithsonian’s National Museum of the American Indian’s new exhibition, Up Where We Belong: Native Musicians in Popular Culture. Of his inclusion in the exhibit, Billy said, “I’m humbled and proud to be recognized as a Native American contribution to the Arts and Music.”
Quoting the Smithsonian official press release, Up Where We Belong tells [Native artist’s] stories and histories and provides visitors the opportunity to hear music and discover artists with whom these exceptional musicians collaborated. Visitors will also learn of the musical greats who inspired these artists, as well as the growing number of contemporary performers who follow in their path.”
Chuck Billy is featured in the “Encore” segment of the exhibition, which includes artists who represent the span of Native achievement in mainstream music over the past half century, according to the Smithsonian. Other musicians featured in this segment are saxophonist Jim Pepper and singer Debora Iyall (Romeo Void).
The exhibition is located on the National Mall in Washington, DC on the second-floor level of the Sealaska Gallery, and will run through January 2, 2011. For more information about the Up Where We Belong: Native Musicians in Popular Culture exhibition, please visit This Link.
Chuck Billy and Testament are currently on tour with Slayer and Megadeth.
“When I joined Slayer and I went on tour with them, there’s one particular memory that sticks out for me. We were already working on the new record and right before we went into the studio I went to a club in Hollywood to see Fu Manchu. I remember this one guy was standing there with his girlfriend and he walked up to me, because he recognized me. He was this tall, buff guy. He’s looking at me and he says, ‘So, I hear you’re the new drummer for Slayer.’ And I said. “Yeah, how are you doing? My name is Paul.’ First he gives me this once over, and then he looks at me like he’s thinking, ‘How could this guy replace Dave Lombardo?’
I remember he reached over, grabbed my bicep and squeezed it to see if I was really strong. Then he looked at me, shook his head and walked away. I remember thinking, ‘Okay, so what I need to do to win over the fans is go to the gym.’ It was the funniest thing because I remember wondering how the size of my bicep related to how well I play the drums. I just stood there in complete shock.”
This month, drummer Paul Bostaph – the guy who “took a lot of shit from Slayer fans for committing the cardinal sin of replacing Dave Lombardo” – talks to Metal Edge about his return to the drum throne of Bay Area thrash stalwarts, Testament on their latest critically acclaimed CD, Formation of Damnation. Enjoy!
Metal Edge: Since forming, Testament has had maybe ten different drummers, including you. How do you think the ongoing change in drummers has affected the band’s sound?
Paul Bostaph: Testament is definitely a band that’s been able to work well with many different drummers. Louie Clemente (1987 – 1992), who I respect immensely, is a really good drummer, and he was the best drummer for the band at that time. The argument has been raised that if they’d had a different drummer, maybe they could have been bigger. However, I actually don’t think so, because Louie’s simple style allowed all of the other musicians to shine. The guitar players could play better riffs because they had a simple drum beat behind them. Everything else could be busy because the drums weren’t. When Louie left, I toured with Testament and they were like, ‘Wow, with this kind of a drummer we can do this.’ They invited different people in over the years for the flexibility it gives the band.
Metal Edge: You’ve said that you primarily left Slayer because you wanted to become a more eclectic drummer. What does eclectic mean to you in terms of developing your drumming?
Paul Bostaph: I love lots of different styles of music, and I’ve tried to find that teacher who can open up my brain to learn stuff that’s really challenging for me. I’m not saying that metal is easy, but for me to become a more eclectic drummer I would love to, say, be able to sit in authentically with a jazz fusion band. I’ve tried playing other styles and, by stretching out, I’ve realized where my limitations are as a player in those styles. Coming back to metal now, especially on Formation of Damnation, I’ve drawn on the successes and failures of all of those experiences. It’s easy to stay within something that you’re really good at, but it’s really hard to take a chance, jump without a safety net and [know that] whether or not it works, you’re doing it for the experience. If you do that, sometimes the benefit is that you see more of who you are.
Metal Edge: Years ago you toured extensively with Testament and recorded the live EP, Return to the Apocalyptic City (1993). After spending time in Slayer, Exodus and all of your other projects, how does Formation of Damnation show your growth as a drummer in relationship to Testament’s music?
Paul Bostaph: Let me backtrack a bit. Originally I came from Forbidden, which was my own band. When I first toured with Testament I was actually in Slayer, but hadn’t recorded the first record yet. I knew Testament’s music because I had toured with them, so I knew their old style and lot of their old songs. So, in doing that first tour with Testament and then going to Slayer, I learned a lot about extreme metal drumming and it took my playing to another level. Coming out of Slayer I did a project called Truth About Seafood, which showed my experimental side. Then I came back to Slayer again and did Diabolus in Musica (1998). When I left Slayer after recording God Hates Us All in 2001, I recorded Pleasure to Burn with the rock band Systematic.
Testament took two and a half months to do pre-production with this new record. I had ten days to record, so we took our time and did it right. But I drew on my experience with the Systematic record, where Josh Freese replaced me on half the tracks. Likewise, I incorporated the improvisational skills from Truth About Seafood and the extreme drumming from Slayer. Also, in my touring experience with Exodus, we had many death metal bands open for us, so I was inspired by their amazing drummers: guys like Horg from Immortal. He was playing with a band called Hypocrisy at the time and –oh my god! – this guy is just a machine; he’s amazing! So, getting a chance to see all of these death metal drummers play on tour, doing the rock thing with Systematic, and taking into account that I’d played all of the old Testament stuff live before, as well as having seen them in the clubs when we grew up together – I knew exactly what Testament was. Chuck [Billy, vocalist] wanted me to come in and do what I did on the Exodus record Shovel Headed Kill Machine, which was just to be myself without overplaying. All of my previous gigs, along with learning how to be a team player, culminated in my performance on this record.
Drums: Pacific Drums, LX Model with Maple Shells
Sizes: 10”, 12”, 14” Rack Toms, 16” and 18” Floor Toms, (2) 22”x18” Kick Drums, 14”x5” Edge Snare Drum by DW
Sticks: Vater Wooden Sticks, Power Wrist Builder Aluminum Sticks
This article was originally written for Metal Edge Magazine as part of a monthly column by Gail Worley (under the pen name Jayne Rollins). With the magazines’ dissolution, the article has been added to the content base of The Worley Gig for our readers’ enjoyment.
Dave Lombardo of Slayer is looking very much like comedian Bobcat Goldthwaite on the cover of the September 2006 issue of Modern Drummer Magazine. Inside, on page 150 and continuing for seven glorious, glossy pages you will find my current masterpiece: an in-depth interview with the extraordinary Ray Luzier.
Best known for his nine years as the drummer for wild man David Lee Roth, Ray’s touring and studio experience is as vast as his reputation as an expert a drum clinician is strong. Ray is currently rocking the world as part of LA’s latest Supergroup, Army of Anyone, which also features brothers Robert and Dean Deleo (ex-Stone Temple Pilots) and vocalist Richard Patrick from Filter. I’ve known Ray for years now and I can honestly say that this is not only the best showcase piece on Ray’s talents ever written, but it’s also among my best work for Modern Drummer. The article also features my side bar with studio legend, producer Bob Ezrin. Exciting!
This piece is not online and can only be found on newsstands when the September MD hits the stores in the first week of August. Please check it out.
“Drummers are the martial artists and fire jugglers of music and should be treated with respect.”