On July 23rd, Sevendust kicked off the electric portion of their 2014 touring cycle. Pitriff's Dave Hudec and Chris Akin caught up with vocalist Lajon Witherspoon recently to talk about the new tour, Kickstarter, and stealing their debut release back in the early days.
CONSTRICTING RAGE OF THE MERCILESS
Here's one for the stout of heart and strong of neck: New Orleans's Goatwhore have just barfed up their sixth album, and if you liked the last few releases, Constricting Rage of the Merciless is sure to appease your charred heart. If you haven't been following along, Goatwhore is sort of a supergroup, if having members of Soilent Green and Acid Bath in the ranks qualifies for that designation—and maybe it doesn't, given the incestuous nature of that city's metal scene. They started out playing pure black metal in the Norwegian style, complete with cumbersome, English-as-a-second-language song titles, but over the ensuing fifteen years, their sound has evolved to include healthy doses of thrash and death metal, and even an almost rock 'n' roll swagger here and there. As a result, when you see news items about them on websites like Blabbermouth, they tend to have laughably long descriptors. Stuff like, "New Orleans hardcore blackened-thrash death 'n' roll sludgemeisters."
It's not a secret that this whole retro movement in the worlds of Hard Rock and Heavy Metal has been an absolutely God sent for my musical palette. For so many years now, probably 20 or more, the ONLY band I've had to hold onto when I wanted new music from a band who's influences were steeped into the days of the late '60s/early '70s "war anthem" hard rock sound has been The Black Crowes. Every disc from them has been welcomed because it always accurately captured that spirit from a time that's long gone in music. Lately though, there's been a great many bands that have emerged and just have made my own personal listening experience better than it's been in years. SpiralArms and Scorpion Child were, without question, my favorites last year. Here at the halfway point of 2014, the runaway winner is Blues Pills. This soulful rock record is the very best thing to come across this desk this year, as it's as close to flawless as a disc can be.
Retro has become in these days, and there are more and more bands creeping up that have harkened their sound back to a time that left well over 30 years ago. The last 2 years have seen an influx of bands reaching back to the '70s. Bands like Blues Pills, Vista Chino, Scorpion Child and Rival Sons have all emerged with killer throwback vibes that are impressive. There's been a few bands that have come forward a little bit to the '80s, and have had varying success with that. So along comes Unbreakable; a band produced by Scorpions' legend Herman Rarebell that seemingly listened to a lot of '80s metal along the way. While I will say they are interesting, there's just something not fully clicking with this band. It's hard to put my finger on it, but there's just something not quite there.
RUNNING WITH THE DOGS
Admit it: you've just about given up on England when it comes to producing quality rock 'n' roll. The land that brought us the Beatles, the Stones, Zeppelin, and of course the revered NWOBHM--in the past twenty-five years, what have they given us? The Wildhearts? Come on. The Darkness? Come the fuck on!
The Treatment are a five-piece band that hail from that benighted former bastion of rock supremacy. Their 2011 independent debut, This Might Hurt, caused enough of a buzz to earn them a support slot for Van Halen's European tour (while we Yankee pigs were stuck with Kool and the Gang). Now comes the band's second album, Running With The Dogs.
The big story surrounding Arch Enemy's ninth studio album is that the band has done the impossible. They replaced their lead singer calmly, quietly, and without anybody knowing about it until it was already done—and somehow didn't miss a beat in the process. It's hard enough to replace a singer just once, but Arch Enemy has done it twice, and while there are still some people bellyaching over the loss of original vocalist Johan Liiva, it's safe to say Angela Gossow left a much bigger footprint on the band, and on metal in the new millennium. With her at the mic, Arch Enemy were one of the bands responsible for popularizing so-called "melodic death metal," if not in the mainstream, at least outside of the dank sub-basements of the underground. Plus, she reminded a new generation of female headbangers that you didn't need to be an opera singer, a goth chick, or a bassist to find a place in extreme metal.