Archive for the ‘Iron Maiden’ Category

Noiseweek: David Bowie, Failure, Drowning Hose, Iron Maiden, Tortoise & more

Sunday, October 11th, 2015

The sights, sounds and words of the week in noise.

NEWS

Thank you to everyone who has expressed their condolences and celebrated the life of Pete Dunstan, AKA The Black Captain. Pete’s funeral service will be held at Fremantle Cemetary on Tuesday, with more details available on the Facebook event page. Pete’s co-presenters on Behind the Mirror presented a tribute show on Wednesday night, and Dave Cutbush dedicated his Thursday Out to Lunch show to Pete’s memory. Tangled Thoughts of Leaving have named their forthcoming EP The Black Captain in Pete’s honour, and you can read our archive of Pete’s thoughtful criticism here. Vale The Black Captain.

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Gail Zappa, the widow of Frank Zappa and the executor of the Zappa Family Trust, passed away this week at the age of 70. Rolling Stone have penned a touching obituary on Zappa, including quotes from an interview they conducted with her earlier this year about an Alex Winter-directed documentary about her late husband’s life which is due for 2017.

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The Rock ‘N’ Roll Hall of Fame has unveiled its 2016 nominees. Among those included in the list are Cheap Trick, Deep Purple, The Spinners, N.W.A., Yes and The Smiths, as well as more recently-eligible nominees Nine Inch Nails. Artists become eligible for nomination 25 years after the release of their first record. We’re now reaching the point where the acts at the centre of peak grunge and alternative — Alice in Chains, Soundgarden, Jane’s Addiction et al. — are eligible for nomination, though they missed out this year. Fan voting is open now at the Rock ‘N’ Roll Hall of Fame website, with the inductees to be announced in December.

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Continuing on the award beat, the ARIA Award nominees were announced this past week, with usual suspects Courtney Barnett and Tame Impala earning a handful of nods. The Best Hard Rock/Heavy Metal Album category leaves a lot to be desired — would it hurt to acknowledge something a little more boundary-pushing than In Hearts Wake or Northlane, when we’ve seen new releases from Tangled Thoughts of Leaving, High Tension, Dumbsaint, We Lost the Sea, Hope Drone and a buttload more I’m forgetting? Fuck it, maybe we’ll start our own awards. See the full-list of nominees at the ARIA website.

READ

Death and the Iron Maiden | NPR

“Whereas their forebears in Black Sabbath engaged the subject of mortality with low and slow misanthropy, Iron Maiden tackled it on frenetically paced, epically rendered cautionary tales, heralded by Dickinson playing the part of a maniacal prophet. The result has been one of metal’s most celebrated legacies, exuding a notion of the very glory and immortality the band’s songs depicted. Yet recently, Maiden’s lyrical themes, and that of many of their influential peers, have manifested as an unavoidable reality. The authors of the mortality narratives that have been heavy metal’s stock in trade for nearly 50 years are confronting their own.”

Why Noise Bands Are Playing at the European Organization for Nuclear Research | Motherboard

“The best parts in [Deerhoof’s] live shows are the points at which they push beyond the melodic and beyond the understandable, into the unknown, into the musical nether regions. But they do it from a basis. That was sort of what I noticed at their show and noticed that I had subconsciously understood the whole time—that a band like Deerhoof, they are doing what they do because they can’t help themselves. They want to start from a basis of well-known musical ideas and then want to push beyond that because they’re curious and they’re just pushing forward.
Which is really what we do here at CERN. The research that we’re doing here at CERN, we’re not doing this for a profit, we’re not doing this to make money. We’re doing this because we really just want to know what happened like a trillionth of a second after the Big Bang. We want to know that. And to do that, we have to build a bigger detector to push back farther in time and higher energy to understand this. And that’s really the only reason why we’re doing this, because we’re curious.”

LISTEN

Tortoise — Gesceap

This beautiful synthscape is one of the most vital pieces of music Tortoise have released in their two decade-plus career. “Gesceap” is the first single from The Catastrophist, the follow-up to 2009’s Beacons of Ancestorship, marking the longest time between Tortoise albums. “Gesceap” bears no hallmarks of the jaunty rhythms that marked the previous record’s 11 tracks. This is soothing and uplifting, backed by jazz-inflected drum fills and a rich textural tapestry. The Catastrophist is out on January 22 through Thrill Jockey.

Drowning Horse — Echoes

Nothing comes easy with Drowning Horse. “Echoes” spends half of its length on building up tension, promising a cathartic release from a tension and menace that borders on unbearable. That release does come eventually on “Echoes”, though not in the form of a crushing crescendo as one might expect, but an otherworldly slow bleed of anger, like a resting predator that’s roused from its slumber only to return after a warning growl. The track is taken from Sheltering Sky, out October 22 through FalseXIdol Records and Art As Catharsis.

WATCH

Failure — Counterfeit Sky

Not many bands get a second shot at success — critical, commercial, personal, or however you define it. Even fewer make use of it the way Failure have. “Counterfeit Sky” is the most impressive and ambitious visual effort of Failure’s career. Forgoing Failure’s tradition of borderline cheesy performance-based music videos — the Undone and Stuck on You clips haven’t exactly aged well — this video is (or at least looks) big budget, high concept and timely in its release, given the hype around The Martian and NASA’s Mars announcements. It’s ironic that only now, two decades after the space rock opera that was Fantastic Planet, are Failure capitalising on the imagery of alien worlds. “Counterfeit Sky” is an appropriate choice for a single too; with that earworm of a chorus riff and the shimmering guitars in the bridge, it could fit on Fantastic Planet just as easily as The Heart is a Monster. With Troy Van Leeuwen back in the touring band for the next little while, there is no ceiling for the new Failure.

Tangled Thoughts of Leaving — Reprieve

The chaps from Perth’s most bizarre foursome push vans, flog merch, bang heads and generally faff about in this video for “Reprieve”, a compilation of tour footage from their most European jaunt. The track is taken from the aforementioned EP, The Black Captain, in honour of the late great Pete Dunstan. At the risk of being overly sentimental, I bet Pete would’ve loved this track. It’s a slow-burner in contrast from the majority TTOL’s recent output, but it’s a perfect encapsulating of the band’s ever-shifting dynamics — from tempered build-ups and understated riffage to a rousing but subtle crescendo that burns fast before giving way to a sombre guitar outro. The Black Captain is available now to those who pre-ordered Yield to Despair. Details on a full release are coming soon.

David Bowie — Blackstar

A one minute excerpt of new David Bowie music is still enough to get excited about. “Blackstar” accompanies the opening credit sequence of The Last Panthers, an upcoming British crime drama starring Samantha Morton and John Hurt. The series comes from screenwriter by Jack Thorne, whose credits include Skins, Shameless and This is England ’86. Bowie’s voice is sullen and sultry, like something between the Low, Outside and Hours eras, with more than a hint of menace. The Last Panthers debuts in the UK on Sky Atlantic on November 12.

Anger Management: Iron Maiden

Wednesday, September 16th, 2015

Every fortnight, we check in with all things heavy on RTRFM’s Critical Mass show.

When the “human air raid siren” Bruce Dickinson returned to Iron Maiden in 1999 along with guitar hero Adrian Smith, the band was totally rejuvenated. Given an energy boost that was sorely lacking during the two albums of the Blaze Bayley-era (1994–99; poor Blaze was an OK singer with impossible shoes to fill and some lacklustre/boring songs to deal with), the band bucked the trend of legacy acts releasing dodgy later period albums. On the contrary, some of Maiden’s best work has been in the past 10 years: Brave New World, Dance Of Death and A Matter Of Life And Death were all fantastic albums that showed there was still a lot of fire in the beast.

More recently, there have been some concerns that the band might be hanging up the axes. The title of 2010’s The Final Frontier raised a few alarm bells and Bruce’s admission that he was dealing with treatment for a cancerous tumour on his tongue was extremely concerning. Thankfully he was given the all clear in May and now we have the new double album, The Book Of Souls.

The 11-song double album has already gone to #1 in the UK charts and #2 in Australia, a very rare achievement for a band playing this type of music. There’s a lot of synth work in these tracks, which is surprising given the 3 guitarists, but it thickens out the sound and works well. Although there are quite a few tracks that push 7+ minutes duration, the songs all work well and never feel boring. Neither disc feels as laborious as Virtual XI.

“The Red And The Black” is a highlight, seemingly a love letter to the fans as it contains every Iron Maiden trope in a 13-minute epic. The second disc closes with the 18-minute “Empire Of The Clouds”, a micro-symphony written by Dickinson which doesn’t always work throughout, but is a pretty grandiose effort and makes me wonder what the band could do if pushed more in such a direction.

Some may bemoan the lack of a faster, punchier track (such as “The Trooper of Running Free”) but the longer tracks work much better here; the shortest song. “Tears Of A Clown”, is actually one of the album’s lesser tracks..

Lead single “Speed Of Light” is a cracker, even with its slightly out of place (more) cowbell and has an excellent clip that retro gamers will love. Up the Irons!

The Book of Souls is out now.

Critical Mass airs every Wednesday from 9PM (GMT+8) on RTR FM 92.1 in Perth, Australia.