Posts Tagged ‘Judas Priest’

Bart Simpson ber om ursäkt till Judas-fansen

15 januari, 2014

Do not mess with the Judas fans.


Nu är jag sen på bollen, men jag har varit upptagen med annat, typ jobb. Hursomhelst, tydligen gjorde Judas Priest ett inhopp i the Simpsons, och Bart råkade kalla deras musik för death metal. Aj aj aj. Hela världen skakade, fans rasade och vi andra fasade.

Men nu har Bart Simpson bett om ursäkt via vinjetten, framme vid svarta tavlan. Okej? Kan vi gå vidare och diskutera viktigare saker, som hur sjutton vi ska klassificera Morbus Chrons kommande album?

Förresten. Oktober 2010 gjorde jag en nördig lista över metal/crossover-referenser i the Simpsons. Klicka här, så kan ni läsa skiten.

Exclusive Interview – Black Breath: ”There were so many last-minute things on Sentenced to Life”

26 november, 2012

”Nine slaves of death, Trapped in eternal Hell, Kill you with their breath…” That is how the Repuslion song begins – Black Breath. Which also happens to be the name of a great band that got a lot of attention 2012.

Eric Wallace [guitar] gives Bara Metal the details about the Sentenced to Life album, talks about the $500 riff and explains the background to the visual mix of Judas Priest, Metallica and one more classic band. Oh, and he let’s us know everything about the last-minute things that made Sentenced to Life really stick out.

För svensk version klicka här

So what has this year meant to you, you seem pretty popular within the metal community, and I know at least Roadrunner praised you on Facebook recently?

– This year has brought us more of everything: more tours, more killer bands to play with, more countries to wreck, more untamed energy at shows, more interviews, more miles driven and flown, more records sold, more opportunities to kick ass.

– I’d say it’s been a fuckin great year so far! And it’s not over yet. It’s quite flattering that people enjoy the songs we released this year, and that always makes it easier to bring the Black Breath spectacle to their town.

Any big record company that has shown interest? Let the beans be spilled.

– Ha! I’m not sure if I need to name names, but there have been some bigger labels interested over the last year. As of now we’re still planning to release our next record with Southern Lord though.

Good to hear! I know you had to do rehearsels in the studio for Sentenced to Life. Please tell us some of the last things that you added to any song? Usually those ideas turn out really great.

– There were so many last-minute things it’s hard to even think of one! Some of my favorite last-minute additions were the chorus in Home of the Grave, where all the lyrics and vocal arrangement and even musical arrangement of adding some extra bars to the second chorus were very last-minute changes.

– Another of my favorite additions was in The Flame at the end of the song where Neil says his last vocal line and holds out a long scream, we were just gonna end the song, but I asked Kurt [Ballou – producer, guitarist of Converge] to see what it would be like if he brought back in the riff again during the middle of the scream so it was like the band kicked in again. He did it and we all thought it was cool so we kept it. That’s not how we played it originally! Then again, that whole song was basically written in the studio.

– Probably half of the lyrics, including most everything in Mother Abyss, The Flame, Home of the Grave and probably others were written between 2 am and 5 am in the hotel while we would stay up trying to come up with shit. Luckily Neil had a hearty base of material to work with.

– The way the gang vocals are arranged in the bridge part in Feast of the Damned were originally just so we could hear what it would be like with and without them. We didn’t intend on having none on the first two times through and then including them on the 3rd and 4th time, but we ended up liking it when we heard it so it stuck. You want one more? The entire beginning and ending of Mother Abyss were written in the studio. The list goes on, I could do this all day!

– Oh yeah, then there was a pretty funny set of little guitar runs in Of Flesh that we refer to as the $200 riffs or $500 riff or something, because we spent so long trying to figure out how to harmonize a set of like, four notes between the two guitars. The part doesn’t even last more than 1.5 seconds but we still spent an afternoon on that and I smile every time I hear it. Most every guitar lead and solo on the album were written basically on the spot too.

You mentioned The Flame, it happens to be my favourite – tell us how that song developed from nothing to all the riffs put together!

– It’s funny that the song even turned out in the first place! We were considering only putting nine songs on the record and then at the last moment arranged The Flame in a way we were happy with so it stuck. Actually, we didn’t even know if we were happy with it at the time because the process of completing it was such a whirlwind experience that our heads were just sort of spinning from it. We lost perspective on the whole thing and just didn’t listen to it for a while. Listening back now, and playing the song live, I’ve come to really enjoy it as well.

– Basically, Jamie had the guitar riff that ended up being the sort of signature riff in the song, the more Slayer-sounding riff. So we started with that, and I had another riff from before getting to the studio that we used as the bridge, and we filled in the rest around those two.

– I wrote the music in the verses in the middle of the night while we were all getting drunk at the hotel, and I think Zack helped come up with the intro and outro riffs while we were tracking the drums to the song. I remember us standing there and basically writing that one within five seconds before we needed to come up with the drum parts so they could be recorded properly.

– We took a couple cues from Vinnie Appice for the drum parts to that, and then we decided to start the song off in F and bring that theme back in the bridge before allowing everything to drop back down to Eb, which seemed to lend a little more weight to the heaviness. I had to play the Slayer-sounding riff with a capo and then stop and take it off and record the next part – the same riff, just a full step lower – without it, since I didn’t have time to learn the transposed version of it in normal tuning.

– Live obviously I don’t do that, but it took a while to figure out how to play it with our standard tuning so it sounds the same! The chorus is a weird one. We weren’t coming up with much that we liked for that part and Kurt actually suggested we try out a few chords that we normally wouldn’t have thought to use together and we took his suggestions and put it through the Black Breath filter and liked the result enough to record it. So I have to give credit to Kurt for coming up with the chorus idea.

– While we were tracking music to the song Neil and Zack were in the basement arranging the lyrics in a way that ended up being a bit unique for us, so that’s probably why they ended up that way. The music in the song was more unique than other songs on the record so it seemed to fit decently together.

I love the backward intro to Feast of the damned, I guess it is the intro riff in reverse. How did you come up with that? Inspirde by Morbid Angel’s Immortal Rites?

– Initially the idea was to try and replicate the effect used at the start of Suicidal Revelations by Dismember with the tape reels spinning backwards by hand. …or at least that’s how I thought they made that effect, I’m not sure.

– But at that point we were in Seattle communicating with Kurt, who was mixing the record in Salem, MA on the other side of the country so there wasn’t much room for experimentation. Kurt sent a mockup and it wasn’t quite what I was looking for so I tried flipping it myself and sent it back to show how I wanted it.

– In my head it was gonna be different, but since that was the first time I actually heard it, it turned out to be much more similar to the Morbid Angel intro than I thought it would be. Essentially it’s just the first few bars of Feast of the Damned in reverse and it fades in until the start of the song, the riff played forward like normal, kicks in. We settled on the version that’s on the record after he put it all together a little cleaner. It has a weird groovy bounce thing going on, sounds pretty cool to me!

Agree. Out of the album/EP before this release, name one song that you really think new fans should listen to! Pick one that will follow your liveset for a long time.

– We don’t play songs from the EP at every show, but I think we’ve played two songs from Heavy Breathing at every show since they were released. I guess that means I would recommend Black Sin or Wewhocannotbenamed. Most likely Black Sin since it starts off the album and I usually think the first song from an album is a pretty good impression of what you’re going to get after that.

About the cover art – I came to think of Kill’em All and British Steel. How did you decide upon this? It looks like a studio photo, which is quiet contrary to your previous releases.

– You’re right on the money with those two covers! Another cover we talked about was Black Flag’s Damaged, and we set out to reference the different visual aesthetics of those three albums to make our own. We decided we wanted something that somewhat referenced the title, which we had already decided would be Sentenced to Life.

– Originally we were talking about using a chrome gavel and smashing glass and had a good chuckle at the idea of actually doing that, but obviously it was a bit too literal and the sledgehammer was way more menacing so we did that. It took a long time to make up our minds about using a painting or an illustration or a photograph, and we finally decided on creating an original photography-based cover since the other two record covers have used pieces borrowed from elsewhere, and also because we love so many of the photography-based artwork from the ‘80’s.

– Even though we don’t sound like Judas Priest, we couldn’t think of other bands doing that kind of artwork these days so we thought it could set us apart a bit. Weird right? But a sledgehammer smashing glass, what’s not mean about that? Anger, destruction, violence, and some leather thrown in for good measure!

So, nerdy detail – whose hand is it on the cover?

– Haha, I wish I could say it was someone really notable but it’s just my hand. Pretty funny story about how that cover art came together though, maybe I’ll save that one for later…

Boss HM-2 Heavy Metal Pedal – how many do you have and how important is the pedal to your music?

– I think I own three, but we probably have six between us, just so there are some backups. Shit breaks, you know? The sound those things create dictates to some extent how we write riffs so I suppose it’s pretty important. Obviously people love referencing the Sunlight sound and buzzsaw riffs and all that, and it’s no accident that we started experimenting with them when we did.

Next album, what can you tell us?

– We’re still waiting for it to get a bit colder and a bit more evil out before we write the next one.

Why the name Black Breath? I take it that is a tribute to Repulsion – or to the Tolkien Nazguls? I mean Eaten Alive and Lurking Fear are great names as well – both songs from Repulsion. Why did you decide on Black Breath, and what other names did you consider?

– ‘Lurking’ is a great word. Very creepy and full of evil possibilities. But the song Black Breath by legendary rippers Repulsion was just too killer for us to pass that one up.

You have played with Entombed and Grave – tell us what they said when they heard your music!

– Well, I didn’t run up and ask them what they thought so I’m not entirely sure. Victor from Entombed contacted us before we started our last European tour in Gothenburg and said he was excited for the show, but I’m not sure if he ever made it inside as I didn’t talk to him after. Maybe we were terrible, haha! All the guys we’ve talked to in Grave and Entombed seem very gracious. You Swedes are a pleasant people.

Bara Metals skribent jagad av galen tjäder

3 september, 2012

Plötsligt dök den bara ned från himlen, under min fridfulla ensamma skogspromenad i Skaraborg. Konstig tjäder som landar så nära mig för att ragga tjäderhona, tänkte jag. Den gick runt med utspända stjärtvingar och skapade ett kluckande ljud, och var gigantisk. Skitstor. Och ganska läskig eftersom den verkade helt orädd, snarare sur och bitchig.

Jag tog lite dåliga bilder och filmade för att visa mina barn. Den kom lite närmre. Sju meter krympte till tre. Den såg ut att vilja flyga på mig, och tjädrar är ju kända för att vara aggressiva.

Så jag traskade snabbt iväg. Då flög den ikapp mig, tjäderfan, och landade tre meter ifrån mig, med sina svarta onda ögon. Shit! Den vill ha blod, människoblod, mitt blod! Jag sprang tillbaks därifrån jag kom för att komma ut ur reviret, och hörde hur den satte fart mot mig, vingarna flaxade och den var ikapp mig på nolltid. Den landade på marken strax bakom mig.

Nu sprang jag som en idiot för att komma bort från reviret och upp på en löparbana. Och lyckades, för den var väl nöjd med att ha skrämt bort mig.


I alla fall. När jag sprang där som en rädd hare och försökte undvika att bli nypen från denna fantastiska varelse tänkte jag på två saker:

1. Jag har dålig kondition.

2. Judas Priest omslag till Screaming for Vengeance är så himla bra!

Bild hämtad från Wikipedia

Judas Priest mjölkar fansen med två meningslösa släpp inom fem dagar

10 oktober, 2011

Är inte detta lite väl mycket? Judas Priest släpper denna vecka två nya album-grejsimojser. Wow! Två stycken? Ja visst!

Det ena är – hör och häpna – ett album där kändisar som Lars Ulrich, Steve Vai och Joe Elliot har valt sina Judas Priest-favoritlåtar. De har alltså valt låtar. Valt. Och sedan har låtarna hamnat på ett enda album döpt till The Chosen Few. Ungefär som en spotifylista.

De flesta hårdrockare har redan hört dessa låtar hundrafemtioelva gånger. De flesta Judas-fan har redan köpt dessa låtar nån gång i livet.

Innehållet på The Chosen Few är bra stoff för ett uppslag i typ Kerrang! men knappast för ett helt album. Även om det är billigt.

Det andra släppet är ”Single Cuts”, en bok med tjugo singlar på CD, som omges av säljorden ”limiterad”,  ”samlingsbox” och ”32-sidig bok med text av Kerrangs Geoff Barton.”


Nej, jag tycker det här är att mjölka fans på pengar. Förra albumet kom 2008, det hade varit mer imponerande att plötsligt släppa helt ny musik än att släppa gammal skåpmat i ny förpackning. Å andra sidan kanske bandet inte hade med den konstnärliga utgivningen att göra – oavsett vem (det onda skivbolaget/skivbolagen, det onda managementbolaget eller det goda bandet) så är det ett släpp för mycket. Eller två.

Metalachi visar att skåpet ska stå i Mexico

5 september, 2011

Jag har inte fått ett jota gjort senaste halvtimmen eftersom jag fastnade i Metalachis tolkningar av Master of Puppets, Crazy Train och Breaking the Law. Det är lika outhärdligt  – vem pallar fyraminutersgränsen? – som det är skickligt och underhållande. I denna version ser vi dock att man klarar sig gott utan Lars Ulrich.

Namntjosan gånger två – Sweden Rock Festival och Bröderna Hårdrock

17 maj, 2011

Sweden Rock närmar sig med en dag i taget, eller med ”chock-stormsteg” som det skulle heta på kvällstidningsspråk. För dig som ska dit finns det en app att ladda ned, som visar spelordning, information om artister, väderprognos och kartor. Det står också mycket tydligt att det ”inte [är] en officiell app från festivalen” och Sweden Rock Festival verkar ganska sura över att deras logga används utan tillåtelse, iallafall om man ska tolka deras kommentar på deras officiella facebooksida.

Apropå att sno namn – det var genom det här filmklippet på tvillingbröderna Erik och Per Gustavsson som regissören Ulf Malmros fick idén till titeln och filmen Bröderna Hårdrock. Men enligt Expressen så är Nifelheimarna ”inte lika roade av Malmros nya filmprojekt.” Läs om det här, och läs detaljer om filmen här på SFIs hemsida. Handlingen går ut på kärlek, så klart, med hårdrockare som en kuliss för lustigheter. Törs man gissa att någon av de vuxna heavy metal-bröderna ska dansa line dance i en ”lustig” scen – kanske till Iron Maiden?

Filmen ska spelas in i Vänersborg, med start 30 maj.

”En film om två vuxna bröder som tänker arrangera ett Heavy Metal-konvent i sin sömniga lilla by. Deras mamma är byns präst som oroar sig över sönerna och vill att de ska växa upp och skaffa familj. Byns unga lärarinna och Line Dance-instruktör sätter brödernas hjärtan i brand. I hemlighet, bakom varandras ryggar, startar en kamp om hennes hjärta.”

Erik och Per Gustavsson är förresten i gott sällskap. Regissören Stephen Herek sket fullständigt i att Judas Priest och framförallt Ripper Owens inte gillade att filmen Rock Star helt och hållet baserades på deras karriärer.

”Bandet respekterar hans beslut”

20 april, 2011

Mindre sånt här:

Mer sånt här:

Bara Metal har ingen som helst copyright till dessa bilder.

Warru mean I dont bereev in top fiffy lissssds – en jämförelse av två aktuella topplistor

21 mars, 2011

I fredags listade gitarrtillverkaren Gibson de bästa metallåtarna någonsin. En omöjlig uppgift så klart, och nästan hela listan skulle kunna se annorlunda ut om någon annan gjort den (Terrorizer? Hatpastorn?).

Då slog det mig att radioprofilen Full Metal Jackie och journalisten Roger Lortring släppte en bok förra året vid den här tiden, döpt till The 50 most influential heavy metal songs of the ’80s. Båda listorna har så många luckor att man baxnar, men vad de har gemensamt, det är dubbelt intressant.

Detta är fullt jämförbart, eftersom de flesta låtar på Gibsons lista är från åttiotalet, undantaget Black Sabbath featuring Ozzy på sång/droger.

hur mycket har dessa listor gemensamt?

Hela 20 procent är svaret. Eller elva låtar om man så vill. Följande låtar kanske ändå alltid borde vara med på en topp-femtio-lista? Javisst! Eller nä. Fast kanske? Jag länkar varje låt till en coververison, väl värda att klicka på, allt för att lyfta fram författarnas budskap om hur ”inflytelserika” och ”bäst” dessa låtar är. Siffran inom parantes visar Gibsons rangordning:

Master of puppets Metallica (1) [Primus version]

Crazy train Ozzy Osbourne (3) [Nightwishs version]

Breaking the law Judas Priest (10) [Ensiferums version samt Doros version]

Hells bells AC/DC (14) [Dandy Warhols version]

Back in black AC/DC (19) [Ricks version, en sån där video som nåt sångarsökande band får nys på och sedan kan hävda att ”vi hittade vår sångare via Youtube]

The Hellion/Electric Eye Judas Priest (21) [Helloweens version]

Holy diver Dio (31) [Otygs version samt Killswitch Engages version]

Heaven and hell Black Sabbath (33) [Bendictums version samt Tenacious Ds version (med underbar textversion)]

Fade to black Metallica (35) [Igor Presnyakovs version – Wow! Komp och solo samtidigt]

Peace sells Megadeth (37) [Kool tjej i Malaysias version]

Cemetery gates Pantera (40) [Dream Theaters version]

Istället för Anvil CAN – Black Anvil NYC

17 december, 2010

Om ni tröttnat på att höra Anvils Metal on Metal – kampen om förstaplatsen kan ni läsa om här – kan Black Anvils The Evil of All Roots rensa öronen.

iTunes topplistor för hela världen, inklusive Sverige, hittar ni här. Men digilistan bygger väl på mer än iTunes?

Black Anvil från New York tog ena halvan av sitt namn från Black Sabbath, andra halvan från Judas Priest. Förmodligen deras låt Between the Hammer and the Anvil som kommer från albumet Painkiller (producerat av Chris Tsangarides som spelar en stor roll i The Story of Anvil – ni ser?! Det finns Anvil-kopplingar överallt).


Judas Priest-låt inspirerar namn till gay-app

14 december, 2010

Grindr – December 2010: ”Free Gay iPhone App. Find local gay, bi and curious guys for dating or friends for free on Grindr.”

Grinder (från Judas Priests album British Steel) – April 1980:

Got no use for routine
I shiver at the thought
Open skies are my scene
this boy won’t get caught
Refuse to bait the mantrap
we love to set the snare
I love to have my sight
Capped everywhere

Looking for meat
Wants you to eat