Remfry and Steve honour Skunk Anansie’s Skin as she is set to receive an OBE from The Queen (the monarch, not the band), discuss Roger Waters being aggy over social media and James Labrie guesting on his son’s band’s cover of Kickstart my Heart by Mötley Crüe, a song that feels as if it were recorded single-handedly with the intention of enraging us both.
We review new releases including I Lie Here Buried With My Rings and My Dresses by Backxwash, Migration by Bossk, Aggressive Continuum by Fear Factory, Path of Wellness by Sleater-Kinney and Arrows In Words From the Sky by Machine Head.
Sweet Ham Alabama(!) it’s a new Classic Album podcast and on this particular episode, Remfry goes in deep on his oldest album covered on Classic Albums thus far, 1970’s After the Gold Rush, the third full-length studio ‘solo’ album by Canadian / American musician Neil Young. It is one of four high-profile albums released by each of the members of folk rock collective Crosby, Stills Nash & Young in the wake of their chart-topping 1970 album Deja Vu. The album consists mainly of country folk music, along with the rocking “Southern Man”, inspired by the unproduced Dean Stockwell-Herb Bermann screenplay After the Gold Rush.
Remfry and Steve go through all 11 songs from the album individually as well as discussing the long lost screenplay that two of the songs from this album were inspired by. We also discuss Young’s history in bands before this album, the Skynrd/Young ‘feud’ and esoteric lyrics to the title track that have stumped fans for the past 50 years. Neil Young is an absolutely phenomenal talent, and this 2-and-a-half hour deep dive into one of his best works will tell you why.
It’s been a minute since we’ve released any Interview Specials what with one thing and another but we’re back with a very special chat indeed as Remfry sat down with Tom Begley, the mastermind and low-end rumble provider from post-metal stoner legends Bossk. We’re here to discuss their second full-length album Migration, a record that had a very unorthodox gestation. We discuss the collaborative nature of the record, how the band wrote music over noisescapes that were provided by Japanese band Endon, the guest spots from Johannes Persson from Cult of Luna and Josh Mckeown from Palm Reader, the circumstances behind the delay of vinyl that is affecting bands on a global scale, plus the future of Bossk and the exciting prospect of even more new Bossk music coming sooner than people might think.
Steve and Remfry discuss the relative merits of writing their memoirs … is it too early? Could we ask Jordan to ghost write it? Would anybody care? Expect to see two volumes in your local Waterstones by the end of the week (RRP £18.99). Something that will undoubtedly be better written is Bill Bailey’s proposed song for Eurovision 2022, something that will automatically give the UK their best chance of winning in years! We can’t agree on which is better though, Katrina and the Waves or Gina G …
Albums reviewed this week include Bodies by AFI, Blue Weekend by Wolf Alice, No Gods No Masters by Garbage and Replica of a Strange Love by Wristmeetrazor
Steve and Remfry ‘go down and deep’ on the Download Pilot line-up and end up completely and utterly contradicting our stance from last week by having a *whispers* bit of a moan. Still … festivals are back … sort of … yay! Something that no-one in their right mind should have a problem with is us moaning about the fact that Vince Neil STILL has a career in music even though he is clearly a washed up, overweight sexist sack of shit who can’t sing, as he proved earlier this week at a festival in Iowa. What an utter goober!
Albums reviewed this week are Nowhere Generation by Rise Against, Arrows by Red Fang, Family the Smiling Thrush by Boss Keloid and Drool by Part Chimp
Steve and Remfry are keeping the Sabbath dream alive as they take a look at Sons of the Pioneers, the debut (and only) full-length album by ‘nu-metal’ one hit wonders The Workhorse Movement as suggested by Doug Rae. Outrageously coloured hair, mustard-coloured suits, two vocalists, one of whom is called ‘cornbread’ … it could only be the early 2000s. The Workhorse Movement had Monte Connor’s backing, the Roadrunner A&R guy famous for signing the likes of Slipknot, Sepultura, Fear Factory and Machine Head … but do The Workhorse Movement live up to such lofty signings?
On this week’s Classic Album podcast we take our first tentative steps into the world of extreme metal, as we look at Altars of Madness, the debut full length record from Floridian death metal legends Morbid Angel.
Released on the 12th of May 1989, Altars… represents something of a full stop for a metal scene that was in the process of obsessing over outdoing itself in terms of speed, ferocity, gruesome imagery and brutality. We look at the birth of the band, and how they could have been considered one of the first names in death metal had their original debut album back in 1986 not sat on the shelf for 5 years, the sound that set the band apart from their peers and, even more tellingly, the lyrical inspiration from the infamous Necronomicon book that the members of Morbid Angel obsessed over. Before delving into the record itself and looking at the aftermath of death metal, and discussing whether Altars of Madness set a bar for death metal that was so high that it immediately helped to contribute to its creative downfall.
Steve’s furious as per after Remfry takes 25 minutes to make a coffee … Why do something in 3 minutes when you can do it in 25 eh?
Once we get around to talking about … ya know, MUSIC, we discuss the news that Download are set to host a three day pilot festival at a capacity of 10,000 in three weeks time … a festival … with music … in a field … in three weeks. Bet the internet’s still gonna kick off though isn’t it! Oh and ex-Megadeth bassist David Ellefson is, in the words of Frankie Howerd, a very dirty old man.
Reviews this week are Cavalcade by black midi, Lustful Sacraments by Perturbator, Wretched Abyss by Noctule and Perfect by Mannequin Pussy.
Released on June 24, 2003, Deloused in the Comatorium is the debut album from The Mars Volta, the progressive salsa latin jazz art punk collective spearheaded by ex-At The Drive-In members Cedric Bixler-Zavala and Omar Rodriguez Lopez. An album quite unlike any other, Deloused in the Comatorium was released into a world where progressive music was just beginning to seep it’s way into the public consciousness again, what with the likes of Tool’s Lateralus, Opeth’s Blackwater Park and the gigantic success of Muse paving the way for making the term ‘prog’ legitimate again. But Deloused in the Comatorium followed no preconceived notions of formula or commercial enterprise. Instead, the project was born out of De Facto, a dub/reggae/electronica hybrid that Bixler-Zavala and Rodriguez-Lopez used to jam with after At The Drive In shows alongside Isaiah ‘Ikey’ Owens and Jeremy Michael Ward (cousin to ex-At the Drive-In / current Sparta guitarist Jim Ward).
De Facto gradually metamorphosed into The Mars Volta and one of the most forward-thinking modern ‘rock’ acts was born onto the world. Despite its far from commercial sound, Deloused in the Comatorium featured extensively on a wide range of Album of the Year lists including Q, Kerrang!, Metal Hammer, NME, Spin, Drowned in Sound, Mojo and Terrorizer, effectively picking up accolades from every major guitar music publication in the UK. We trace the lineage back to the musicians that influenced the band, discuss the tragic circumstances that inspired the album and deliberate over how The Mars Volta have inspired a whole scene to push boundaries and innovate beyond the usual musical formulas and templates.
Remfry and Steve discuss weird collaborations as the news breaks that A$AP Rocky has wrangled in Morrissey to guest on his new album …….. joy! In other news, Slipknot’s Shawn Crahan (AKA Clown) is to release his own brand of Cannabis products, Glastonbury have been granted a license to hold a mini-festival called Equinox with a capacity of 50,000 patrons and accusations against Prince have once again reared their ugly head in a New York Times interview conducted with Sinead O Connor.
Albums reviewed this week include Intruder by Gary Numan, Witness by VOLA, Frontera by Fly Pan AM and Flag by Prosperina.