Grammys not showing their "metal"

Awards show gets it wrong ... again
By Peter Lindblad

AC/DC gave a commanding
performance at this year's Grammys

For just a second, let's forget about Kanye West and his weird obsession with getting Beyonce a Grammy. Can we talk about the Grammys and their "heavy metal problem?"

Why can't they ever seem to get metal right? Smartly, the Grammys kicked off their soul-sucking awards show with AC/DC doing "Rock Or Bust" and then following it up with a galvanizing performance of "Highway to Hell."

Katy Perry – yes, that Katy Perry – had plastic devil horns on her pretty little head and was flashing signs. Lady Gaga was losing her mind over it. Everybody was on their feet, from clueless industry executives to Dave Grohl, celebrating the survival of battle-scarred veterans rocked by a founding member's debilitating health problems and another's bizarre legal battles.

Oh, Grammys ... we knew you cared. This was a magnanimous gesture, one that would surely lead to peace between an institution that either had no clue about metal or was intentionally dismissive.

Metallica's ... And Justice for All
lost the Grammy to Jethro Tull

And then came the award for Best Metal Performance. The National Association of Recording Arts and Sciences first recognized metal in 1989 with a category known as Best Hard Rock/Metal Performance Vocal or Instrumental. A lot of people forget that "Best Hard Rock" part, because that year, the Grammy inexplicably went to Jethro Tull's Crest of a Knave. over Metallica's ... And Justice For All.

The metal community has never forgiven the Grammys for that disaster. Still, there is that nagging feeling that at least they were taking into consideration the "Best Hard Rock" part of the equation in making the decision. Still, hardly anybody mentions Crest of a Knave anymore, except when people want to talk about how out to lunch the Grammys are when it comes to heavy metal.

Over the years, the title of the category has changed, and Metallica has ended up with their fair share of Grammys. Controversy has dogged this area, with Soundgarden's Chris Cornell wondering why Dokken was nominated in the heavy metal category a year later. Many, including yours truly, had a beef with Soundgarden winning a Grammy for "Spoonman" in 1995.

Here's the rest of the entrants that year: Rollins Band's "Liar"; Pantera's "I'm Broken"; Megadeth's "99 Ways to Die"; and Anthrax's groundbreaking collaboration with Public Enemy on "Bring the Noise." Little did Cornell know that he'd be living in a newly furnished glass house five years later when he made his remarks about Dokken.

Anyway, the point is, there have been good choices and not-so-good picks in the past 15 years, but surprisingly, the Grammys had generally avoided making complete fools of themselves in that time. That is until last year, when the show cut off a performance from Queens of the Stone Age, Trent Reznor, Dave Grohl and Fleetwood Mac's Lindsey Buckingham before it was finished – a sort of musical coitus interruptus, if you will.

Reznor declared a self-imposed exile from the event forever. They were insulted, and it stands to reason that aside from Grohl, who always seems to want to play peacemaker, none of them will ever do the Grammys again. Black Sabbath's win aside, this was not a good moment for the Grammys and metal. This was Vladimir Putin defecating in Obama's corn flakes. And that doesn't even take into the Grammys' In Memoriam snub to Slayer's Jeff Hanneman, repeated again this year with its overlooking Gwar's Dave Brockie.

So, we come to this Sunday's event, filled with the usual ridiculous drama and lame thrown-together collaborations it's always had and awards handed out to the undeserving – Beyonce, I'm looking at you!

But here comes Best Metal Performance. In this category are Anthrax's "Neon Knights," Mastodon's "High Road," Motorhead's "Heartbreaker" and Slipknot's "The Negative One" – all worthy candidates. But, when that envelope was opened, the award somehow went to ... Tenacious D's remake of Dio's "The Last in Line."

Okay, Tenacious D are great at what they do, and Jack Black and Kyle Gass came up with an amazing version of "Last in Line," doing Ronnie James Dio proud. But choosing a slap-sticky acoustic comedy duo over four incredible bands like that? It's a, pardon the pun, joke ... and it smacks of the Grammys consciously and with malice of forethought again spitting on metal. What it comes down to is this: whatever you think of the Grammys, at the very least, they are supposed to recognize sublime artistry in music. By that yardstick, it's hard to even fathom why Tenacious D was nominated in the first place.

And lest you believe this is rampant paranoia or an oversensitivity as to how metal specifically is mistreated by the Grammys, do you think for a moment they'd ever choose somebody like Tenacious D over their precious Taylor Swift or Sam Smith in any other category? Not in this lifetime. This was a decision made carelessly and deliberately so, and because of that, it's a slap in metal's corpse-painted face.

I don't buy the notion that the Grammys are simply lorded over by old geezers who somehow just don't get metal and make decisions based on a lack of awareness. That argument didn't hold water then and it doesn't now. They've had all this time since the Jethro Tull debacle to figure out how to give metal the respect it deserves. And time and time again, they prove they just don't give a shit about it. This is the Grammys saying, "Hey, I've seen those guys in the movies. Forget all the rest of those clowns. Let's give it to them. I liked 'The Pick of Destiny.' Hell, 'Nacho Libre' was a work of cinematic genius!"

And if the Grammys really and truly were paying attention to metal, wouldn't they stop trotting out the same old acts to reward retroactively for sins of the past? Wouldn't they include newer acts in the Best Metal Performance category, like Revocation, Periphery, Animals As Leaders, etc., etc.?

Trashing the Grammys is dumb. It's like a vegan trying to get McDonalds to give up beef for tofu. They'll never change. I hate talking about them. And yet, here we are. Damn it, Grammys ... you've won again. Visit http://www.grammy.com/ and tell 'em what you think. At least Brann Dailor got to show off that cool suit.

Best of 2014 in Metal and Hard Rock – Part II

Counting down the top five albums of the year
By Peter Lindblad

Crowbar's 'Symmetry in Black' is
our pick as the best album of 2014

No where in the Farmer's Almanac did it forecast heavy landslides of sludge or days of darkened, apocalyptic skies portending doom.

Such conditions were prevalent in the world of heavy metal, however, what with the blackened, cataclysmic audio devastation wrought this year by the likes of Obituary, Yob, Goatwhore, Eyehategod, Wo Fat, Crowbar and Corrosion of Conformity.

Old reliable alternative-metal punishers Prong brought forth another blistering, hard-hitting screed on the ugly state of the world, while one of the band's former guitarists, a veteran sideman named Monte Pittman who's played with Madonna, of all people, released a solo album that not only showed off a diverse set of chops, but also had some solid songwriting to boot.

And then there were the '80s artists that somehow succeeded, against almost insurmountable odds, to recapture the magic of yesterday, like Winger, Tesla, Sebastian Bach, House of Lords, Rubicon Cross and their frontman C.J. Snare of Firehouse fame, and Red Dragon Cartel, featuring the long-exiled Jake E. Lee.

Whittling the best of 2014 down to a final five was no easy task. Without any more delay, here then are the top five albums of the year:

Tesla - Simplicity 2014

5. Tesla – Simplicity: Trends come and go. Tesla remained steadfast in its adherence to the basics on Simplicity, choosing good, solid songwriting and well-executed, tasteful musicianship over flashy playing and experimentation. Gnarled, passionate, blue-collar anthems for "Freedom Rock" holdouts mingled with heartfelt, torn-and-frayed ballads – cobbled together with a mix of electric and acoustic instrumentation – that soared made Simplicity a welcome throwback to their salad days, while the sunny Southern rock charm of "Cross My Heart" made it one of the best songs of the year. Keep it simple, Tesla.

Winger - Better Days Ahead 2014

4. Winger – Better Days Ahead: Nobody's laughing at Winger anymore, or at least they shouldn't be, not after striking musical gold on two strong LPs in a row. Building off the melodic complexity and surprisingly heaviness of Karma, Better Days Ahead showed even more diversity and maturity, positioning Winger as the most progressive and daring pop-metal band to survive the hair-sprayed glamour of the '80s. Time hasn't diminished their chops, and with Better Days Ahead, Winger combined power with precision on the rugged "Rat Race," while embracing funk on a bright, bouncy title track and swimming in the psychedelia of "Be Who You Are, Now." This is who they are, for better, not worse.

Goatwhore - Constricting Rage of the
Merciless 2014

3. Goatwhore – Constricting Rage of the Merciless: Ferocious death metal with undercurrents of Southern boogie grooves – Constricting Rage of the Merciless is a holy terror of an album, as comfortable riding blazing-fast, charred thrash metal as it is crawling through thick, tar-like sludge with an evil grin on its dirty face. Highly combustible, brutal riffs are the order of the day, and they look to brawl with anybody that crosses their path of destruction. And for those who have the stomach for it, Goatwhore paints in bloody language grim scenes of torturous violence and horrific end-of-life struggles. Their rage is contagious.

Mastodon - Once More 'Round
the Sun 2014

2. Mastodon - Once More 'Round the Sun: Conceptually speaking, this isn't Leviathan. Aiming for more accessible and immediate rewards, Mastodon tightened up its song structures considerably and crafted big, muscular hooks for the vibrant, yet still intricate and massive Once More 'Round the Sun. They took a lot of heat for its video for "The Motherload," what with all that twerking going on. And not everybody's onboard with the band's sound evolving to become increasingly more radio-friendly. All that aside, Mastodon is still Mastodon, their mighty riffs are still enormous and blustery, Brann Dailor's drumming remains astoundingly intricate and powerful, and their guitar architecture, as always, is awe-inspiring.

Crowbar - Symmetry in Black 2014

1. Crowbar – Symmetry in Black: Underestimate Crowbar at your peril. This chugging behemoth, once a bit of a one-trick pony, has expanded its sludge-metal repertoire, thrashing with fierce intensity while also constructing mammoth, churning riffs that build slowly and grow to enormous tsunamis of doom. Expertly plotted, intricate movements crawl like primordial creatures, before evolving into thick, crushingly heavy monsters. What's surprising is how listenable it is. Calling it "melodic" might be a stretch, but every track is compelling in some way, hiding brawny, slow-developing hooks within its deeply blackened, impenetrable great walls of sound. What symmetry, what balance, what provocative lyrics – Crowbar has brought forth its masterpiece. Now go ahead and crown them kings of 2014.

Live Review: Mastodon, Gojira, Kvelertak in Madison

Live Review: Mastodon, Gojira, Kvelertak
By Peter Lindblad

Mastodon's Brann Dailor, Brett Hinds,
Bill Kelliher and Troy Sanders (Photo by
Travis Shinn)

A lot is expected of Mastodon. Such is their burden, and they don't really seem to mind carrying it.

From the moment Remission dropped from the sky in 2002 and crashed into earth like a devastating asteroid, the legend of Mastodon has only grown larger. Their enormous, surging riffs and enthralling progressive passages – so intricately designed and so hypnotic to behold – made believers out of metal fans and the cult of Mastodon continued to grow.

Nobody does concept albums anymore, and yet Mastodon, typically oblivious to the whims of a fickle music industry, unleashed in 2004 the titanic Leviathan to critical acclaim. For God's sake, it was a record centered around the tale of "Moby Dick" by Herman Melville, and even though it was a story about a maniacal obsession for killing a damn big whale, it's not really the most "metal" thing in the world to meditate on dusty old literary sacred cows. Just who were these people? They are the four horsemen that make up Mastodon, that's who. And they'll do anything they damn well please, because they know you have to have those riffs. You have to have Brent Hinds' otherworldly guitar solos and Brann Dailor's seemingly impossible drumming gymnastics. Without them, the world would be a cold, empty place, indeed.

Whether taking astral voyages through Crack The Skye, crafting what may well be the greatest metal epic of the new millennium in the thunderous Blood Mountain or making a video with so much ass-tastic twerking that it made what Robin Thicke and Miley Cyrus did look positively Mormon by comparison, Mastodon has always gone its own way, confident in asserting that what they've done is just and right and if you don't like it, there's the door.

Well, some longtime supporters in recent years have looked at that same door and wondered if the party's winding down and whether it might be time to leave. With The Hunter and its follow-up, this year's Once More 'Round The Sun, Mastodon's sound has evolved into something warmer and more colorful, and heaven forbid, more pop. And then came that twerking video, the one for "The Motherlode." That, apparently, crossed some sort of line.

And so, with doubt creeping in and cracks starting to appear in Mastodon fandom, what did these loud and heavy minstrels do? They decided to go on tour in support of Once More 'Round The Sun – which boasts some of their best songwriting by the way; don't let the naysayers' nitpicking make you believe otherwise – with two of the hungriest, most ambitious young bands around in French technical death metal giants Gojira and the ball of black metal and punk fury known as Kvelertak. Got a load of Gojira in this video:

All three invaded The Orpheum in Madison, Wis., on Thursday, and what a spectacular triple bill it was. The monstrous wall of pummeling sound – not to mention their inhuman precision and wrecking-ball swing – Gojira constructed must have caused all kinds of seismic activity in the area, its music infinitely more violent live than on record. By all rights, it's hard to believe the capitol building is still standing. All this coming on the heels of the barely harnessed raw intensity of Kvelertak, a jail break of three guitars, sturdy, roaring riffs and punk energy. Here's what they bring to the table:

Not just anyone could follow that. Again, though, this is Mastodon. Perhaps they felt a need to be pushed on this tour, to have some competition that would give them all they wanted and then some. And with the Duplantier brothers of Gojira in Madison – evidently the birthplace of their mother or she grew up there or something – they were highly motivated to shock and awe, having informed the audience how special this performance was to them.

And it was important to Mastodon and its followers, too, if only to show, once and for all, that they deserved to headline, that they're still as heavy as ever and can still leave audiences spellbound with dreamy, cosmic transmissions, while at the same time delivering non-stop action and landing big hooks right on the chin. There was no "Curl of the Burl," but there was a dazzling version of "The Motherlode," followed by a spacey and powerful "Oblivion." Throw out the set lists. It's not important what songs were played. It's how they played them.

They played them with swagger. They were playful, and they were mighty, their last six or so songs a blur of thick, psychedelic, swirling sound that was as punishing and action-packed as it was melodic and beautiful. It was fast and slow, trippy and as focused as the lasers shooting overhead on occasion, an acid-induced nightmare of a tapestry behind them matching the wild and wooly atmosphere. There was Troy Sanders, throwing down massive bass lines and banging not just his head but his whole body. There were Hinds and Bill Kelliher, cycling through captivating dual-guitar explorations as if tunneling to the center of the earth or hurtling through space to fight alien monsters. And then there are the vocals, Mastodon's unique arrangement of three singers who haven't always been great live. Even if Hinds was a bit muted, they rarely, if ever, veered off track.

And Mastodon performed as if they had nothing to prove to anyone. They knew what they were capable of, and they simply let it rip, throwing caution to the wind, but they were never careless.

Searching for the motherlode of current metal treasures? Look no further than this tour. It's not to be missed.

CD Review: Mastodon – Once More 'Round the Sun

CD Review: Mastodon – Once More 'Round the Sun
Reprise Records
All Access Rating: A

Mastodon - Once More 'Round
the Sun 2014

Heaven help the first-time acid taker if that poor sap's gaze should happen to fall upon the tripped-out cover art for Mastodon's Once More 'Round the Sun.

A vivid, psychotropic nightmare, this crazed eruption of bright colors and melting shapes somehow forms a fearsome, hallucinogenic monster that could only be the product of a fevered imagination. To those grappling with their sanity while in the throes of drug-induced paranoia, this alien vision could hasten a break with reality that might soon land them in the loony bin.

And yet, for Mastodon, Once More 'Round the Sun may be their most structured and focused effort to date, the proof being found in the tsunami-like surges of "Diamond in the Witch House" and the massive riffs and dizzying instrumental complexity – be sure to examine Brann Dailor's mind-boggling drum puzzles and the intricate, ingenious guitar interplay of Brent Hinds and Bill Kelliher closely – that are omnipresent throughout, as they are in the chugging first single "High Road," the blustery rampage that is "Chimes At Midnight" and the monolithic opener "Tread Lightly."

Explosive, energetic and wider than humanly possible, Once More 'Round the Sun is also a cleaner, even brighter and more accessible set of songs from a band that's not just relying on their enormous volume and unpredictable progressive maneuvers to impress. Here, Mastodon throws around big hooks like muscle-bound heavyweights in "The Motherload" and the propulsive title track, two of the most infectious tracks they've ever recorded, while the band's vocal treatments ring clear and are more expressive than ever, making the giant, gripping choruses of tracks like "Ember City" enchanting and more inviting.

Time to address the elephant in the room. If it's not already apparent, Once More 'Round the Sun could almost be described as "radio friendly," a scary thought for Mastodon followers, even as they're caught up in the swift melodic currents of "Halloween" and not fighting it. Well-crafted, these song are tightly constructed and provide an immediate impact, and yet they still allow listeners to explore and dig for atmospheric and mysterious passages, like those found in the spellbinding "Asleep in the Deep." Pack a bag. Many trips Once More 'Round the Sun are in the offing. http://www.warnerbrosrecords.com/
– Peter Lindblad

CD Review: Bison B.C. - Lovelessness

Bison B.C. - Lovelessness

Metal Blade Records

All Access Review: A

Bison B.C. - Lovelessness 2012

Raw energy, boiling frustration and churning riffage fuel the impossibly heavy Lovelessness, a staggeringly brilliant mess of rugged, rampaging thrash metal brought forth by Bison B.C. Unloved, they charge out of Vancouver with a messed-up head, ragged clothes and feral, throat-shredding vocals strained beyond medically acceptable limits. These skid-row noisemakers have been rejected and they respond by whipping up a frighteningly intense, incredibly visceral racket that’s every bit the measure of Mastodon’s immense rogue wave of guitars and High On Fire’s tempestuous fury.

Even as dust bowls of drums and bass blot out the sun and come flying across these sonic plains, the rich, deep tones and bug-eyed aggression James Farwell and Dan And coax from their guitars cut through the storms like giant, gleaming swords. Split into halves, the 9-minute plus “Anxiety Puke/Lovelessness” flails wildly with the racing heartbeat of a blinded fighter in a prison riot, before slowing to a menacing crawl. In the sludgy, 11-minute slog through the thick tension of “Blood Music,” Bison B.C. tramps across miles of sonic mud and meaty, barbed-wire riffs and lives to tell about it. This is trench warfare, and Bison B.C. seems to fancy it.

Bayonets fixed, Bison B.C. sneaks into “Last and First Things” and takes it by force in thrilling fashion, crazily vandalizing the place with sharpened, flashing axe work and rhythmic brutality, much as they do in the surging, slow burning “Clozapine Dream.” Theirs is a world where even the most poisonous and treacherous love is not just hard to find, it’s impossible and their lyrics reflect that hopelessness. That fact doesn’t leave them depressed; instead, it fills them destructive anger, the kind that drives men to acts of vengeance. Like bilious punk terrorists the Jesus Lizard did in the ‘90s, Bison B.C. strike out in bold, decisive ways, delivering bare-knuckled hooks that turn rib cages into kindling, all while careening around the tightest of turns as only the most daring of riff-mongering daredevils could.

Produced by the celebrated Sanford Parker, best known for his work with Pelican and Nachtmystium, the high-powered Lovelessness, out on Metal Blade, is a wild horse of an album, bucking and kicking and twisting its body of versatile dynamics to throw riders to the ground in the most violent manner possible. Breakneck, stampeding tempos suddenly downshift to monstrous stomps, and all of it is delivered with bone-crushing violence. Without a conscience, Lovelessness drags your beaten, lifeless body – offering no resistance after just one punishing listen – out into the streets to be devoured and torn apart by coyotes. Either get this album or get out of its way. 

-            Peter Lindblad

CONCERT Review: ALICE IN CHAINS – Back on all Cylinders

ALICE IN CHAINS – Back on all Cylinders

Patriot Center, Fairfax, VA.

All Access FAN Review:  A

Having seen Alice In Chains over a dozen times, and seeing every tour since William DuVall assumed the microphone, I can say that this performance was the culmination of the band working their way back up the ladder to achieve greatness once again.

The event began with myself and a friend showing up at 4:15PM to get our VIP laminates and having the meet and greet in a small conference room at the venue. It was very coordinated and orderly. The assembly line of fans first walked along the table getting items signed and saying their hellos. I spoke with William about the various DC shows over the last year and we agreed that the show this past spring at DAR Constitution was odd on many levels (that is just not a good venue for a proper rock show). After shuffling through the line and having a polite chat with each of the guys, we made the second lap to get our pictures taken with the band. The fans were either stiff, or amusingly animated for their photo snaps, which is a fun thing to watch. After all of the fans had their pictures taken, we were let go to kill some time before the show started.

The show began a little after 7:00PM. As far as the support performances, Mastodon was a lot of fun to watch, but as with most support acts, their mix was very muddy. Deftones were also on their game and I was beginning to get excited for the main event.

AIC hit the stage with an almost perfect sound mix and light setup. They blazed through most of their popular repertoire and pulled out a few old school favorites like “We Die Young”. As is their new standard, they always take a minute to praise their fallen brother, Layne Staley. They said their peace, and went into a beautiful performance of “Nutshell”.

The rest of the set was peppered with tracks from the new record, and they absolutely shredded what is my favorite AIC song, “Dam That River”. The encore included “Got Me Wrong” and “Rooster” which had the audience singing along as loud as their throat muscles would allow.

Seeing the slow build since the 2007 acoustic tour, and watching William and the band gel over the last few years, I can say that the band has never sounded better and that they are clearly enjoying performing and interacting with the fans.

The only downside to the experience was that the company handling the VIP packages (Artist Arena) needs to work on logistics of the package. We were to receive a limited edition vinyl release and a t-shirt as part of the deal, however, about two weeks before the show, a stock email revealing instruction on the meet and greet indicated that those items may not be received prior to the show date. Given that tickets were purchased in June and the show was in September, I feel they should have better expedited these items…it would have been nice to get the vinyl signed by the band.

-Doug S.

Artist Links: 

Alice in Chains

Mastodon

Deftones

This review was submitted by a Backstage Auctions VIP. If you have a great story to tell about a recent concert experience, let us know.