Michael Alago recently released his memoir I Am Michael Alago: Breathing Music. Signing Metallica. Beating Death. (BackBeat Books), written by Alago with Laura Davis-Chanin (with a foreword by Mina Caputo of Life of Agony and John Joseph of Cro-Mags) and you can read our review here.Michael is the music industry legend that signed Metallica to Electra Records and helped guide them on the path to being the biggest band of all time. He also played a role in the careers of White Zombie, Cro-mags, Metal Church, Flotsam and Jetsam, and more. The Drew Stone documentary Who The F*ck Is That Guy: The Fabulous Journey of Michael Alago(just wrapped on Netflix after an unprecedented 3 years, now on Amazon Prime and YouTube) grew awareness of him beyond music documentaries and VH1’s Metallica Behind The Music. Now you can see never before seen outtakes of Michael with Metallica after they filmed their segments for the film, posted to Drew Stone’s YouTube. Continue reading →
Michael Alago is not just famous for making Metallica a household name and signing White Zombie, he has put down a legendary career in the music on top of those highlights! His new memoir, I Am Michael Alago: Breathing Music. Signing Metallica, Beating Death is coming out March 25th. Matt and Curtis hear from Michael about his life and career on Dumb and Dumbest – Episode #353 – Who The F*ck Is That Guy? It’s Michael Alago!Dumb and Dumbest is hosted by Matt Bacon (Dropout Media, Ripple Music, Prophecy Productions), Publicist Curtis Dewar (Dewar PR) and Keith Chachkes (Ghost Cult/BDWE Media). In addition to the podcast, Matt, Curtis, and Keith all host The Music Marketing Challenges: low-cost, super high-value private training to bands and artists. And we just launched a Get hands-on practical experience to market your band like a pro today! DM Matt or Curtis at the links below for detailsContinue reading →
Have you ever attended a concert, and had a life-changing experience? I have had a few of those. I have been lucky in my so far to see a myriad of third-eye opening events like Miles Davis at Lincoln Center, Gorilla Biscuits at CBGBs (RIP), Rush at the height of their superpowers at Madison Square Garden, Joan Baez at a county fair, Overkill at Coney Island High (RIP), Tool before they were superstars, Frank Sinatra and Slayer in the same week, and the list goes on and on. Now I have one more experience to add to the list, not really a concert, but the first time I saw Heilung (Season of Mist). Continue reading →
Music industry legend Michael Alago is as down to earth, forthright and humble as they come, but he doesn’t have to be. Coming from New York City in the late 1970s, in the early 80s he cut his teeth on discovering new artists and becoming a taste-maker in an emerging scene. In his quarter century as an A & R rep he helped put Metallica on the map by signing them to Elektra Records and changing the course of music history. Later he helped catapult White Zombie to fame while at Geffen Records and discovered, signed and cultivated countless scores of bands in rock, metal and other genres. In this feature interview with Ghost Cult, Michael discusses Who the Fuck is That Guy? The Fabulous Journey of Michael Alago, a documentary by filmmaker Drew Stone (All Ages: Boston Hardcore, New York Hardcore Chronicles). The film examines Michael’s entire life up to now, from his early days in Borough Park, Brooklyn through his music career, and into his work today as a celebrated photographer. In addition to our chat about his life and times so far, Michael opened up his personal photo archive, sharing with us many rare or never before seen candid photos of him with musical royalty. Continue reading →
As reported earlier this week by Ghost Cult, Life Of Agony has confirmed the release date for their upcoming album, A Place Where There’s No More Pain, out via their new label Napalm Records on April 28th. The band has also booked a record releases show, and two mini- tours as well. Continue reading →
Witchsorrow play to a sparse crowd, but still manage to kick up a storm. Nick Ruskell churns out barbaric slabs of distortion while bassist Emily and drummer David make a perfect partnership in more ways than one. Rivalling Jus Oborn and Liz Buckingham’s partnership in manner in which they communicate so exquisitely with each other.
This powerful compact performance is more than Shazzula can muster. Solo member atmospheric drone doom projects can prove tricky to translate in the live arena and while the accompanying feature film on the back screen helps provide the nocturnal 70s horror ambience this lady is looking for one the organ subsides it is clear that fiddling with an effects unit fails to conjure up hideously introspective feelings of foreboding. In more intimate surrounding this may prove more effective but for now this is a languid trip that few are buying into.
Satan’s Satyrs fully embrace their occult metal heritage featuring vocals very reminiscent of Ozzy Osbourne. ‘Show Me Your Skull’ has some ballsy riffs but other than that there are not a great deal of hooks to draw you in.
Eerie sound of thunder and the garish projections fill the stage as ‘Witchcult Today’ announces the arrival of Dorset’s Electric Wizard. The second departure of sticksman Tim Bagshaw and subsequent reintroduction of Simon Poole sees a tighter more efficient outfit which should hope to dispel recent memories of sloppy performances.
For the most part the set flows like molten lava; relentless and constant. Material from new opus Time To Die (Spinefarm) is consistent with the band’s early work, mining the depths of paranoia and subterfuge to compelling effect. Enveloped by a cloak of Hammer Horror psychedelia Wizard are at times mesmerising yet the cavernous venue doesn’t seem prepared for the bombastic showing with tonight’s set being quieter than some of their recent outings.
While the wheels don’t come off tonight, we don’t escape a snafu in the sound department when Jus Oborn’s amp blows up during ‘Funeralopolis’. Luckily Nick Ruskell is on hand to supply his equipment, but Oborn looks pissed off at this slight interruption. Soon enough the black tar riffage cut through the PA allowing the show to be brought to a cathartic climax. Not the triumph the band would have hoped for but in places Wizard showed capable of transfixing an audience who shall surely be ushered into their loyal Supercoven.