The Glacially Musical Pouredcast is a weekly Podcast that has three principles: Beer, Metal, and Swearing (and also vinyl)! Hosted by Nik Cameron – grown out of the Glacially Musical blog is all about great music and vinyl collecting. Once per week Ghost Cult’s Chief Ghost Cult Keefy joins Nik as they undertake a surprise chaser episode – our Metallica Vinyl Club subscription release #22, St. Anger era live rarities!
To celebrate 40 years of Metallica, the band joins Zane Lowe for a career-spanning conversation exploring the group’s early days, seminal moments, lineup changes, and the secrets to longevity. They also discuss why their 2004 documentary ’Some Kind of Monster’ was so ahead of its time, gratitude for former bassist Jason Newsted, the status of new music on the way, and more. The band will perform two 40th anniversary shows at The Chase Center in their hometown of San Francisco, CA this December 17th and 19th.
In sad news to report, Metallica’s legendary frontman James Hetfield has had to re-enter rehab for addiction. The band has immediately postponed their planned tour of Australia and New Zealand with Slipknot that was to begin next month. The Australian leg of the “WorldWired” tour was announced in March, with the first show of the trek scheduled for October 17 at Perth’s Optus stadium. It was to be the first of eight stadium dates across Australia and New Zealand, including a night at Sydney’s ANZ Stadium and two dates at Melbourne’s Marvel Stadium. The tour would have been Metallica’s first to Australia since 2013 and first visit to New Zealand since 2010. Hetfield’s issues with addiction and alcoholism were detailed in the 2004 documentary Some Kind Of Monster. We wish James the best in this trying time for himself, his family, and friends. The band posted this message to their social media pages: Continue reading
Dave Grohl of Foo Fighters gave a special performance at last nights Academy Awards (a.k.a. The Oscars) during their In Memoriam segment, honoring entertainers who passed away. Among those honored were the recently passed on David Bowie and Metallica: Some Kind of Monster director Bruce Sinofsky whom both died in 2015. Grohl performed a cover of ‘Blackbird’, by The Beatles. You can watch the video at this link or below:
[amazon asin=B01929HRGE&template=iframe image1]
Holy fuck. Like Sergey Bubka in 1991 and his incredible year of breaking and re-breaking his own world records, the bar that was well and truly upped this year by While She Sleeps, Lamb Of God and Bring Me The Horizon, amongst others, has been raised yet again by Aussie moshers Parkway Drive and their fifth album, Ire (Resist/Epitaph). 2015 is proving the year of the big boys, and has seen belter of an album follow belter of an album. I don’t know what’s has been stirred into the metal waters this year, but bands are falling over themselves to release classic and defining moments.
While the main focus is still here in the now frontier, by opening the floodgates, as with the newest Trivium album, Parkway have allowed themselves to write a batch of great metal songs that reference classic rock, traditional metal, 90’s groove metal and metalcore while still sounding resolutely and proudly Parkway.
There’s no shame, or hiding things, either. From the outset, like Louis Van Gaal dropping trou. pointing to his nadgers and telling his Bayern Munich players not to take him on as had the biggest balls in the dressing room, Parkway let the new elements in their sound stand proud. Apparently spurred on by the realization that they’d painted themselves into a corner, with vocalist Winston McCall bravely stating “When you’re playing the same style of riff, the same drumming, the same vocals and same breakdowns for ten years, what point is there in people listening to your new record or even recording one if it sounds the exact same as the last one?”, there is no doubt things are different, superior and enhanced, this time around when ‘Destroyer’ kicks things off. A building lead guitar motif, cavernous drums and gang vocals build before a classic metal riff that would have graced The Last In Line (Vertigo) swaggers in, bold as brass.
Make no mistake, Ire is no 80’s worship, it just allows the elements that had previously restricted their song-writing to flourish. All through there is chunk and menace, with groove – heavy guitars are still the dominant feature. McCall does an excellent job in maintaining intensity; it would have been easy to have succumbed to peppering the album with by-numbers clean vocals, instead he mixes up death metal growls with ‘core gravel-throated shouts, to some melodic yet howled moments, and when his throat shatters, spitting “Twelve years I’ve fought for this! Twelve years my heart still beats for the ones who stood beside me!” in ‘Dedicated’ you can taste the validation. Ire is the album Parkway always had in them, but were too pre-occupied to write before.
From the massive Dio testicles of the opener, to the down-tuned stomp of second track ‘Dying To Believe’ we move onto ‘Vice Grip’, which is simply huge – Parkway refereeing a no DQ bout between In Flames and AC/DC. But there is no let up whatsoever as ‘Crushed’ chins the masses, being the best 90’s Roadrunner song since, well, 90’s Roadrunner, as if some pre-Roadrunner United amalgam had brought Max Cavalera, Dino Cazares and Robb Flynn together in 1995 to produce one of the hugest grooves this side of the Mariana Trench.
Elsewhere, ‘Writings On The Wall’ is menacing, taking a stalkers change of pace, not too dissimilar to King 810’s slower numbers but more effective, with McCall ominous, while ‘The Sound Of Violence’ revisits ‘Sleepwalker’s urgent groove, a song on the prowl. In an album full of massive bangers, ‘Vicious’ stands its ground and stands out, even deep in the album running order, a bone fide anthem, before ‘A Deathless Song’ is a more sombre epic that takes us home in a sea of guitar harmonies.
There is no other way to say this, Ire is Parkway Drive with a super power-up; bigger and so much more larger-than-life than expected. The rampant aggressive grooves that define their sound fleck every track with reckless abandon, but by allowing the very best of the 70’s, 80’s, 90’s and 00’s to infiltrate where appropriate, Parkway Drive have created an absolute monster.