Archive for April, 2012
Deicide’s Glen Benton Saves Baby From Burning Building; Throws It Back
Posted by Keith Spillett in General Weirdness on April 26, 2012
Deicide vocalist Glen Benton has gained a reputation over the years of being mean-spirited and callous. There was the time shot a squirrel with a pellet gun during an interview, or the time where he interrupted Christmas service at a local Tampa church by jokingly crucifying a senior citizen, or the time he sold chemical weapons to former Iraqi dictator Saddam Hussein. However, as we all know, even in the darkest and cruelest of human hearts, there is a bright light that shines. No better example of this exists than what took place in Clearwater, Florida on Wednesday night.
Benton was walking home from his weekly Bible study and burning at a local Denny’s when he noticed a fire had broken out in a single family home. Benton witnessed a man and a woman out on the curb screaming about a small baby trapped in the burning hulk of a building.
Without a moments thought, Benton rushed into the house, climbed two flights of smoke filled stairs and burst through the door of the infants room. The stairs had become impassible so Benton tucked the baby into his jacket and leaped out the window grabbing a tree with his free arm. There he hung in agony for seven minutes waiting for the fire trucks to arrive.
At this point, a small crowd of neighbors had gathered round. As the firemen helped Benton down from the tree they began to applaud his amazing feat of bravery. When he reached the ground and ran to the street, the group surrounded Benton and began thank him as tears of joy streamed down their faces.
In all the excitement and commotion, he threw the baby as far as he could. It landed with a horrible thud in the smoldering wreck of a house. The crowd was so stunned by Benton’s selfless actions, they ignored the burning child and lifted them onto their shoulders, carrying him up and down the street while singing the chorus from “Dead By Dawn”.
This isn’t the first time Benton has done something truly beautiful in service of his fellow human. Back in 1998, Glen donated his earlobes and nose to a seven-year-old child who needed them to survive. In 2003, he began a shelter for injured llamas and three-legged-pigs, which he runs out of the basement of his house to this day. He spends his weekends helping to nurse sick baby woodchucks back to health at the local Tampa Zoo.
Glen’s work with one particular charity is particularly impressive. He donated most of the profits of the Deicide album “The Stench of Redemption” to Brands For Babies, a non-profit organization that helps small children get inverted crosses burned into their foreheads. Benton is the national spokesman for the organization and has helped over 50,000 infants get the mark of Satan on their heads since 2006.
Of course, he will be remembered for creating some of the most punishing and horrifying music ever to be recorded, but there is a softer, more loving side to Glen Benton that few people see. If you look past his menacing Manson-like countenance, his frightening behavior and his cold, dead eyes, you’re likely to see a man with a heart of gold.
New Sunn O))) Album To Feature Gurgling Stomach Noises, Garage Doors Opening and Closing
Posted by Keith Spillett in Articles I Probably Shouldn't Have Bothered Writing on April 24, 2012
Ambient, drone, doom, experimental, black, minimalist, noise, power ambient, musique concrete, trancecore, avant-garde, post metal band Sunn O))) is back in the studio working on a new genre defining record that may be in stores as early as July. The record, which will be called “The Crucifixion of Plants”, will be released as a triple vinyl LP that can only be played on Teflon coated record players that were made in Myanmar between the years 1986 and 1989.
In spite of a massive amount of pre-order requests, the band has insisted that there will only be 12 copies printed. Ten of the copies will be hidden in random Chili’s restaurant kitchens throughout North America. One special copy of the album will be buried in the chest cavity of a cadaver at a morgue somewhere in Northern Kansas. The final copy will be cryogenically frozen until the year 2052, when it will be launched into outer space inside the corpse of a humpback whale. Many fans of the band believe this could be their most accessible record.
Band members Stephen O’Malley and Greg Anderson have not given many details about the album, but the ones that have been released sound very promising. The first track called “Trgh5ueh7slyVuhQ(){“ will be a recording of a man eating and digesting a pound of fire ants. Track number 2, the magnificently named “Fierce Glruh99rf”, will feature 12 chainsaws being thrown off of the Eiffel Tower mixed with hundreds of garage doors opening and closing underwater.
Some of the other album highlights include a 12-minute recording of a turkey pot pie being heated up in a microwave, a song where 500 kindergarteners try to tune guitars while wearing fake 3 foot long FloJo press on nails on each finger and a twelve second long cover of Jethro Tull’s “Thick As A Brick” played by a chimpanzee hitting a tin can against a wall.
Despite the fact that no one outside of the band has heard the record, Spin Magazine critic Andy Lafontaine has already called it “The Best Metal Album of 2015”. “You don’t need to listen to a Sunn O))) album to understand its significance,” wrote Lafontaine in his recent review of the record, “All you need to know is that this is the sort of thing that you can have on your shelf and get mad respect from people at parties who think it makes you look edgy and misunderstood.”
(Editors Note: I really dig Sunn O))), but if I have to read another hipster reviewer write about how one of their albums is more significant than the Russian Revolution while ignoring 99 percent of metal music in their publication I think I’m going to stick a fork in my eye)
1309 Words With Richard Vaughn and Conor Riley From Astra
Posted by Keith Spillett in People Who Were Willing To Speak To Me, Uncategorized on April 18, 2012
Every once and a while, a truly mesmerizing record comes along, drags you out of the murky depths of an afternoon and elevates your spirit to heights you forgot it could reach. The power and scope of Astra’s new record “The Black Chord” is capable of providing the listener with just such an experience. The first journey through the album connects you to a serene place within your mind where all the limitations and barriers provided by the physical world cease to be relevant. Towering, primordial rhythms hypnotize the listener into a profound stupor. It’s more than a 70’s styled progressive rock album; it’s the musical equivalent of Satori.
Hearing such an exquisite piece of music made me extremely curious as to the creative minds that brought it into being. Richard Vaughn and Conor Riley were kind enough to give Tyranny some insight into their creative process last week. They both contribute vocals on the recent album, as well using enough obscure musical equipment to keep Robert Fripp entertained for the better part of a century. Here’s a look inside their heads….
Tyranny: What does the name Astra mean to you?
Conor: It was named after an album written by a South African band named Freedom’s Children. It’s a cosmic/spacey epic that we felt described our music.
Richard: Yes, our name was originally inspired by the South African band Freedom’s Children. Their second album from 1970 entitled Astra has long been a favorite of ours. Also, the phrase “Ad Astra” is a Latin phrase meaning “to the stars” and seeing that we all find some inspiration in astronomy, science-fiction and cosmic music of all sorts, we found Astra to be a perfect fit.
Tyranny: What is the experience of playing music like for you?
Conor: It combines many different elements. When playing with the right musicians in the right frame of mind it can be transcendent, cerebral, emotional and spiritual.
Richard: For me, playing music is very rewarding on many different levels. When a song finally comes together or a new part or riff is suddenly discovered during a jam, I always a feel this great sense of accomplishment and excitement. Playing music has also been very therapeutic for me. Like many people, I’ve gone through difficult times in my life and I’ve had to deal with some dark and heavy issues. Being able to get away and play, to escape within the music, really helped me to heal. Sometimes when we play as a group, during long, instrumental jams, I find myself in an almost trance-like, meditative state where I can just drift off.
Tyranny: What is the point of creating art?
Conor: I’m not sure that there is a point. I’m not sure that there’s a point to anything really. I think as humans, art is way to try to make sense of our existence and individuality. I don’t think it’s working; it seems to be pulling us in the contrary direction.
Richard: I would think that the reason for creating art would be to get that particular voice, sound or vision out of one’s head and into the physical world, to express one’s self and to be able to see or hear their vision fully realized. For me, sometimes a melody or an idea will pop into my head or I could be listening to music and I’ll get a sudden urge of inspiration from what I’m hearing and I’ll need to stop what I’m doing, pick up my guitar and see where it goes. The thing is, the actual reason for creating art could be unique for everyone.
Tyranny: What limitations do you face in putting forth your full creative vision?
Conor: We are only limited by the biases of each other. As a whole we don’t hold anything back. Within the band we all have different views and musical tastes which doesn’t allow us to stray too far.
Richard: A great thing about our label Rise Above Records is that they allow us full creative control of our music and they have never set any limitations on what we can do. Like Conor said, the only real limitations we have are the mutual criticisms, tastes and visions each of us has for our music within the band. We work together for the good of the music and sometimes that means shooting down an idea or reigning in a particular direction. We’re very honest with each other.
Tyranny: What influences, be they musical, literary, or of any other medium, have helped you find your creative voice?
Conor: Musically, I am most influenced by bands like Aphrodite’s Child, Freedom’s Children, Genesis and Comus.
Richard: There are just too many to name! Musically, Aphrodite’s Child with their double LP 666 is still right up there towards the top of my list and has been for a long time. Everyone in the band has a special place in their heart for that album. There’s also Genesis, King Crimson, Yes, Mahavishnu Orchestra, Magma as well as a long list of early 70’s Italian prog bands, Krautrock, electronic music and even a lot of late 60’s psych rock and folk. I seriously could go on and on. What’s great is that, while we all love most of the same music, we each tend to gravitate towards our own specific favorites. The variety of all of these influences is very beneficial to our songwriting and sound.
A book I read recently was a direct influence on the last song of our album. This sci-fi novel was published in 1969 and was written by Brian Aldiss. Entitled “Barefoot in the Head” it’s a futuristic, post apocalyptic tale of a world wide “acid head war” waged with PCA(Psycho-Chemical Aerosol) bombs. The aftermath left most of the world permanently dosed on LSD. As the main character is increasingly exposed to the drug, the narration and dialog become more and more fractured by mutating words, puns and phrases. I borrowed this writing style for the lyrics and used the influence of the book as a kind of metaphor for feeling as if you’re losing your mind. I was feeling this way around the time I was writing that song. This is good example of how music can be therapeutic for me.
Tyranny: Salvador Dali once said, “Confusion is the best form of communication”. What are your thoughts on this quote?
Conor: Maybe he was trying to say that by being confused it forces you to think critically to grasp for a deeper understanding. Perhaps sometimes that is the best way to convey a point.
Richard: To me organization seems to be too simple, too linear or one dimensional and may only carry a single message. Chaos and confusion can be much more memorable by requiring a deeper thought process allowing for people to draw their own conclusions or to gather their own thoughts and meanings.
Tyranny: What do you believe would be the highest complement you could possibly receive?
Conor: Plagiarism and illegal downloads.
Richard: Knowing that our music directly inspired or influenced someone in one way or another to do something creative or important. To do something positive. That would be a great complement.
Tyranny: If you could be trapped inside one song for the rest of your life, what would it be?
Richard: That would be a living hell! Trapped inside one, single song for the rest of my life, over and over again? I think that would be enough to drive a person mad. Don’t get me wrong, of course I absolutely love music but I do need to take a break from time to time. Once in a while I won’t even listen to any music for up to a week or more. A break like that can be very refreshing and it makes me appreciate music that much more when I come back to it.
Honest Validation of Unfair Cheese: Slayer and The Perils Of Free-Market Fanaticism
Posted by Keith Spillett in Articles I Probably Shouldn't Have Bothered Writing on April 12, 2012
In Slayer’s song Blood Red, singer Tom Araya bellows forth a challenging and powerful lyric that cuts to the core of today’s debate between a managed, centralized economy and a free market system where the “invisible hand” balances the wants and needs of the consumer against the production capabilities of the market. When he shrieks “Honest validation of unfair cheese” at the 41 second mark of the song, it is clear that he is undercutting a basic free-market premise posited by thinkers the likes of Milton Friedman and Frederick Hayek. The words are enlightening and deeply meaningful, particularly for an electorate on the cusp of deciding what sort of financial decisions it plans to make as it marches forward into a new millennium.
In order to understand the meaning behind Araya’s lyric, it is first critical that we understand the meaning of “unfair cheese”. Nothing is more disappointing to a lover of cheese than when, upon returning from the supermarket, a shopper finds moldy, poorly preserved cheese in their bag. Who is supposed to ensure the consumer is safe from a flood of this “unfair cheese”? If the supermarket is left to its own devices, it might well sell all the out of date cheese it could possibly get away with. After all, as Buddy Holly said in his 1981 hit song “Who is watching the detectives?” In this case, maybe we need someone to even watch the people who are watching the detectives. Or, it is possible we may need to hire detectives to watch the detectives who are watching the detectives.
Back to the cheese thing. If it weren’t for the Better Food and Cheese Act of 1938, under the esteemed and underappreciated Presidency of Franklin D. Roosevelt, humans would be consuming pounds upon pounds of rotting, vile cheese. The Act empowered the police to arrest and jail any store clerk found selling “unfair cheese” for a period no less than five years in prison. Higher quality cheeses began to appear. Productivity flourished. It was during this period that Gorgonzola cheese was first produced in a laboratory. It was originally meant to be used as a weapon against the Soviet Union, but later it became appreciated for its velvety texture and tangy flavor. In the preceding two hundred years, America’s cheese growers had not produced as much as a single new breed of cheese.
So, when Araya asks for “honest validation of unfair cheese”, he’s really questioning whether a purely free market can produce the quality goods needed in a modern economy. Sure, it’d be nice to believe that the market is such a perfect force that can correct itself and keep the desires of its members in line, but it’s this sort of utopian thinking that caused the Great Wall of China to fall in 1990.
We cannot simply rely on market forces to purify the market. Human nature tells us that humans, in a perfect state of nature, will do some really unnatural things. In short, only a neutral arbitrator with no stake in the outcome can possibly make decisions that protect the consumer.
Only when the positions of these regulators are depoliticized and not influenced by corporations or individuals with expensive cars will we truly see an “honest validation of unfair cheese”. Only then will children of all races and all creeds, of all nationalities and all socio-economic backgrounds, of all hair styles and all blood types be able to sit down at the table of friendship together and eat the same safe and healthy cheese. Only then will we truly be free.