An Interview with Dorthia Cottrell (Windhand)

Despite only being three albums into their career. Windhand has already proven to be pretty influential in the stoner/doom scene. Their own influences are easy to guess and there are plenty of groups similar in style, but I think they’re the most responsible for the current wave of occult bands whose singers sound like a swamp witch recording her vocals in a cave. Windhand’s singer, Dorthia Cottrell, was courteous enough to answer some questions we had in anticipation of their upcoming return to Indy on with Satan’s Satyrs and Wretch.

IMV: How would you describe the evolution that Windhand has undergone since your debut album? What elements of your style do you think have changed or stayed the same?

DC: I have no idea, I think we’ve pretty much kept the same philosophy since the beginning, we just want to play music that we like.

IMV: As a listener, I’ve noticed that the vocals have become increasingly prominent in the mix with each album that you have put out, especially on Grief’s Infernal Flower. Was this a stylistic choice or do you feel the vocals may have become more confident?

DC: Well I think we’ve always preferred the vocals to be more like an instrument, blending into the music. I think it just makes everything sound heavier that way. The vocals on Grief’s Infernal Flower were a little more up front than our other albums but maybe that has more to do with Jack Endino and his input. Also, in the beginning we were playing smaller bars and house shows with P.A.’s that were not as loud, so I think having the vocals a little deeper in the mix was more true to the way we sounded live.

IMV: Your acoustic solo album was one of my favorite releases that came out in 2015. Seeing how Windhand has included the odd acoustic song on albums, how did you decide which songs were appropriate for your solo output and which were appropriate for Windhand?

DC: The acoustic songs on the Windhand albums were all written specifically with Windhand in mind. Most of the songs on my solo album were written before I ever joined Windhand.

IMV: What is your songwriting process like as a band?

DC: Usually one person will bring in a riff or part of a song and then we’ll all try to arrange, add or subtract. Everyone has a hand at some point but I’d say the majority of the time Garrett will think about it for a few days and then come in with a rough arrangement and then we’ll just play a hundred thousand times to see if it feels right and I’ll write the vocal stuff.

IMV: How do you see Windhand’s style evolving on future efforts? Are there any influences that you would like to expand on or tap into that you haven’t yet?

DC: It’s hard to try to predict how we will “evolve” because that’s just not something we think about when we are writing. We never purposely try to push the songs in any certain direction, we just try to write songs that we like to play and hope people will like to listen to them. The music that we all listen to is so varied but I don’t think any of us have ever thought, “Ok I want to write a song that is 43% Black Sabbath, 12% Deep Purple, 45% Nirvana.” It just doesn’t work like that.

IMV: What song do you think best describes Windhand as a band?

DC: I think “Forest Clouds” is a good example of our sound. It has a little bit of everything that we like to do on it.

IMV: What sort of music are you guys listening to lately? Are any particular bands that you would recommend?

DC: Danava always blows my mind when I see them play. We did a tour with them a couple years ago and hadn’t seen them play again until we played together in Portland for Stumpfest in April and they are just amazing musicians and performers and great people. It is kind of jarring how good they are when you’re watching them live.

IMV: What’s next for Windhand? When can fans expect a new album?

DC: We will be doing Psycho Las Vegas this summer as well as a European tour in the fall and then we’re going to be making time to sit down and write the next album.

Originally published at Indy Metal Vault on May 22nd, 2017

An Interview with Karl Simon (Wretch, The Gates of Slumber)

There’s no denying that The Gates of Slumber was one of the most important metal bands to ever come out of Indianapolis. They may have been singlehandedly responsible for getting the ball rolling on our city’s current doom fixation and produced plenty of excellent staples along the way. Fortunately, guitarist/vocalist Karl Simon has continued to leave his mark on the doom scene with the 2016 debut album by Wretch, which also features Gates drummer Chris Gordon and bassist Bryce Clark, formerly of Teenage Strange. I spoke with Karl about the new Wretch album along with a few Gates tidbits and the attitude that comes with adjusted priorities.

Indy Metal Vault:  Wretch just released your debut album last year. How do you think the reception has been compared to your efforts with The Gates of Slumber?

Karl Simon: It’s been warmly received which is really cool and humbling. We worked really hard and had a lot of setbacks.

IMV:  I assume that Wretch is named after The Gates of Slumber’s 2011 album, The Wretch. What led to the decision to make Wretch’s debut a self-titled album?

KS: It just made sense to take the name and run with it. Jason was very sick when we started and TGoS wasn’t going to be a band without him…. also there are differences. The album has a title? What’s in a name? Honestly so much time is spent on that and really to me it’s much more fun to allow the listener to name it in their own way. If it were up to me we’d never name any release – they’d be known by their covers.

I mean what’s the purpose of a name? Me telling you what the album should evoke in you? Like with TGoS. The brave and in your face “war doom” we were making was chock full of posturing: Conqueror! Suffer No Guilt! This isn’t that. It’s not so easy. These songs aren’t about barbarians slashing away, these songs are about a guy: me, coming to terms with the fact that given free reign I will drink myself to death. That unless I keep my demons in check I am the kind of guy who will commit slow suicide. They are about how miserable I can feel. In a sense it’s intensely narcissistic – like anyone wants to hear me moan about what a fool I am; but the hope is to make a connection with others, because I’m not the only person who’s driven to distraction by the world. Me writing about these personal things and then trying to give them some cool name? Yeah no. There is no title because how silly. How goofy. Nah I don’t think about it because it’s not important in the grand scheme.

IMV:  The songs on Wretch seem to have a looser, more jam-based feel than your past material. What was the writing process like? Were there any additional songs written that didn’t make the album or are being reserved for future release?

KS: I would come in with a skeleton and we’d jam it out. Try to feel our way through. Bill Ward talked about how Sabbath had changed after he left it became a “time” band under Vinnie and Cozy and the others. Strict time… I didn’t want to do that with Wretch. I just wanted to make music with feeling, like the early Sab records. I don’t think about scales or theory much anymore. I know a bit, Bryce probably knows more. I just don’t care about that stuff anymore. I’m trying to write sick riffs, not give myself a complex… you want technical shit? There’s too much of it out there, shouldn’t be hard to find some. We’ll be here crunching away.

IMV: I personally consider Rocka Rolla to be one of Judas Priest’s most underrated albums and was pleased to see your cover of “Winter” on the album. What was the inspiration to include it and were there any other covers considered or recorded?

KS: Rocka Rolla is my favorite Priest record. Chris was bound and determined to play that song and it rules so we did it, and it fits with the other stuff. A lot of people don’t seem to know that it’s a cover. Which is sad, but the way things are I guess. All that stuff is fading away… fewer and fewer people care every year. I’m sure in another 10-20 years all this stuff will be passé. Replaced by who knows what. We also recorded a version of [Motorhead’s] “Sweet Revenge”… I have no idea what Bad Omen is going to do with it.

IMV:  How do you feel the doom metal scene has evolved over the years and where do you see your place in it?

KS: I don’t think about things like that anymore. LOL couldn’t care less about doom or metal or a scene or where I fit into any schema like that. I have some friends and I have a family and a job and volunteer work that I do. I spent a lot of years, wasted a lot of years on those kinds of thoughts. I like some of the stuff I’ve heard. But hell man, this week it’s been Manic Frustration, Born Too Late and Bayou Country by CCR… I’m not “with it”. Hahahah

IMV: What are the goals that you hope to accomplish with Wretch in 2017 and the future in general?

KS: I’m writing and we are planning Euro stuff here in Spring. Probably something this summer here in the US. Who knows?

IMV:  If I may go back to The Gates of Slumber’s Hymns of Blood and Thunder era for a moment, one thing that I’ve noticed over the years is that there are some phrases in the lyrics that remind me of “In for the Kill” off Black Sabbath’s Seventh Star. Was that an intentional move or something that just kind of happened?

KS: Intentional. I love that album.

Originally published at Indy Metal Vault on January 30th, 2017

An Interview with Christian McCall (Liquid Signal)

Liquid Signal is one of the more overlooked bands in the Indiana doom scene. While their placement up north in Kouts, Indiana puts them a little far from the hubbub here in Indianapolis, they’ve been forging their own path with a fair number of shows and a solid debut EP to their name. I emailed their drummer Christian McCall to ask him about their history, ambitions, and all other things Liquid Signal.

Indy Metal Vault: For those unfamiliar with Liquid Signal, could you give a brief history and describe your style?

Christian McCall: Sam and I started jamming in my garage I want to say the summer of 2013 with him on bass, and 2 different guitarists with varying degrees of reliability. The 2 guitarists kind of fell off the face of the Earth, Sam felt more comfortable singing and playing guitar than bass anyways, so he made the switch to guitar. We found our now former bassist Kenadi, and we were a 3 piece for a while. Adam contacted me about playing drums in a band he was in at the time, I went and played with them for a while. That band ended, but my drums were at his house, and I asked if I could have practice with Liquid Signal there. He heard us, dug us, asked if he could join, and we were all down with it.

Our style has changed a lot since we first started playing together, but it has always stayed somewhere in the doom/sludge/stoner spectrum, with I guess a little pinch of post-rock/metal. I would definitely say more towards the doomy end of things, but there’s definitely influences from other genres present.

IMV: You’re based in Northwest Indiana and have opened for some big names in that area, but have played shows in Lafayette and Indianapolis. How do you think the different scenes compare?

CM: Up here we definitely stick out. People either like us a lot, or they think our set is a good time to go have a cig. Local shows are usually mixed genre, which is cool because it gives us an opportunity to reach people who would never even know we existed, but can also be lame if the crowd isn’t receptive to different music. It definitely works out in our favor to stick out when bands like Goatwhore/Crowbar/Eyehategod come through, we don’t have much “competition” when it comes to getting opening local slots on those shows.

Down in central Indiana we definitely mesh well with the scene. There’s a dedicated doom/sludge/stoner rock scene, with dedicated shows to those genres, so by default we have zero problems fitting in. I don’t think I’ve seen a single person get bored and leave while we’re playing yet down there.

IMV: You guys released your debut EP last year. How do you feel about it now and how do you think future releases will compare to it?

CM: If we could go back, I think we would’ve definitely taken more time with it gotten better packaging. We recorded the drums live without a click and I did full takes, which for the most part worked out well, but I’m well aware there’s a few goofs.

Future releases will definitely be cleaner, I’d like to have more than 25 minutes of material, and will for sure come in real packaging.

IMV: How would you describe your writing process?

CM: Someone has a riff or two, they pitch that riff, and we jam on it for a while. The riff will get backlogged for a bit, someone will end up working on it themselves, show up to the next practice and pitch what they came up with to continue the song, we’ll jam on it again. That process repeats until we’re all satisfied with what we’ve made. Aside from a couple exceptions, our songs are very much a group collaborative effort.

IMV: Is there a particular song that you’re most proud of or one you think best represents the band?

CM: For me personally, I think “Black Masses” is one of our best works. It’s evolved so much from its very basic beginnings as we’ve all become more proficient at our instruments and gotten better at playing together.

IMV: What are your goals for 2017 and for the band in general?

CM: The current goal is to keep writing new songs and play more shows than we did last year. Details are tentative at the moment, but we’re looking at recording a split with our boys in Chainsmoker, and we’d love to do a short weekend run of shows sometime in the spring.

IMV: Is there anything else that people should know about Liquid Signal?

CM: We smell good and want to be your friends.

Originally published at Indy Metal Vault on February 20th, 2017.

Culling the Herd: Iced Earth - Framing Armageddon & The Crucible of Man

When I started considering double albums for this series, one of the rules I gave myself was to avoid concept albums. After all, there is a difference between a band stretching the limits of their self-indulgence and a band releasing a two disc storyline where every song is meant to be part of a greater narrative. The Wall may technically have a couple fillers but there’s no way in hell you can listen to “Young Lust” without the doldrums of “Empty Spaces” preceding it.

I already broke this rule when I analyzed Judas Priest’s Nostradamus but the Something Wicked duo by Iced Earth is another concept that could stand to go under the knife. 2007’s Framing Armageddon and 2008’s The Crucible of Man aren’t bad albums but they’re definitely messy efforts. As if the idea of extending the famous trilogy off 1998’s Something Wicked This Way Comes wasn’t unnecessary enough, the execution is incredibly awkward as the two albums don’t even have the same singer on them; Tim “Ripper” Owens sang on Part 1 while classic vocalist Matt Barlow briefly returned to helm Part 2. In addition, both albums are full of songs and interludes that contribute nothing to the narrative beyond mid-tempo triplets and redundant lyrics rephrasing the same themes of human enslavement.

While these two albums are near impossible to make as good as Night of the Stormrider or even Dystopia, there should be a way to at least make the Something Wicked saga digestible as a single album. There are a bunch of songs that deserve a classic status, even if I can’t tell whether Ripper or Barlow should be the one singing on all of them. I’ll leave that decision up to the reader. Even though I’m a much bigger fan of Matt Barlow, I must admit that with a few exceptions, these songs sound the most natural with Ripper fronting them.

1. Setian Massacre
So many concept albums start with an overture or an interlude but I find it better for this concept to just go for the throat straight from the get go. After all, the Setian Massacre as depicted in the song sure sounded like it came out of nowhere. At any rate, this song makes for a pretty great opener thanks to the aggressive riffs, soaring chorus, and vicious vocals that manage to avoid sounding too abrasive.

2. Reflections
The Something Wicked albums had way too many interludes on them, especially Framing Armageddon, but keeping a couple of them does help with pacing. While “Reflections” serves as a short breather between the crushing anthems to let the weight of everything sink in. It also helps that this interlude reminds me of the two short acoustic tracks that popped up on Night of the Stormrider.

3. Ten Thousand Strong
“Ten Thousand Strong” seems to be the most enduring track from these albums, and it’s pretty clear as to why. Ripper’s bookending shrieks give way to some of Jon Schaffer’s most triumphant sounding gallops, as well as one of the catchiest choruses to ever appear on an Iced Earth album. In addition, the lyrical theme of determination and overcoming adversity with a sci-fi backdrop are textbook power metal in the best way possible.

4. The Clouding
If “Ten Thousand Strong” is the most famous track here, then “The Clouding” is easily the best written. The meat of this nine minute song is one of the most emotional Iced Earth ballads ever, surpassed only by “A Question of Heaven” and “Ghost of Freedom,” that transitions to an effectively aggressive climax. While the Ripper has never been known as an emotional singer, this song is easily the best performance of his career as he perfectly portrays the melancholic confusion of the human condition as well as the Setians’ wicked gloating once the story shifts perspectives. Even if you hate everything to do with these albums, this song is mandatory listening.

5. The Domino Decree
Not much really happens in Framing Armageddon once you get past “The Clouding.” Songs like “Retribution through the Ages” feel pretty half-baked, as the music only stands out for eccentric vocal patterns and lyrics just echo the Setians’ manipulation of human history without ever going into specifics. “The Domino Decree” is of a similar nature, but I give it more points for creativity. Its structure does have an awesome buildup and the organ solo is really cool. If only they all could’ve been this interesting…

6. Framing Armageddon
The lyrics may still be more of the same but Framing Armaggedon’s title track is definitely one of the most powerful songs on either disc. Much of that power can be attributed to the vocals as the verses put in rapid fire layers while the choruses opt for drawn out wails that build up to hair raising screams at the song’s climax. It’d make for an awesome album closer, but it works as well in closing out the first half of this concept.

7. In Sacred Flames
It’s a little sad that this two minute instrumental prelude turned out to be the most awesome sounding thing on The Crucible of Man. Thankfully it serves its purpose well thanks to distinct choral lines flowing well with the building guitar and heavy atmosphere. The composition has a very film score-type feel and I get the feeling that Schaffer wrote this as a heavy metal answer to The Omen’s theme. I’d say he succeeded.

8. Behold the Wicked Child
Fortunately, the buildup from “In Sacred Flames” explodes into a strong power metal number. It isn’t quite at the anthem level of “Ten Thousand Strong,” but it does feature a rushing rhythm and vocal acrobatics alongside a comparably slowed down but still catchy chorus. Add in the choir’s periodic intrusions and you’ve got the concept’s second half keeping the energy alive. I imagine this sounding even better in Ripper’s hands, but Barlow does a pretty good job with it too.

9. Minions of the Watch
“Minions of the Watch” and “The Revealing” are an odd combination of tracks, neither one quite long enough to feel like standalone songs but too developed to be mere interlude filler. I do give “Minions of the Watch” props for its climbing mid-tempo riff accompanied by rather orthodox vocal phrasing. The two minute length also keeps the track from overstaying its welcome.

10. The Revealing
“The Revealing” works a little better as a standalone track compared to its predecessor thanks to its fast-paced riffs and commanding vocal line. I always feel like it should be a bit longer but it works well enough in this format as well. Think of this as a condensed version of “The Clouding” that got split up into two tracks for some reason.

11. A Gift or a Curse?
Another power ballad, “A Gift or a Curse?” isn’t on the same epic scale as “The Clouding,” but it’s a lot less formulaic than Iced Earth’s other ballads. The subtle tribal percussion in combination with the layered vocals courtesy of Schaffer and Barlow really gives this song an otherworldly vibe. The building structure also works well with the narrative, gaining more momentum as Set Abominae, the narrative’s protagonist as well as the band’s undead pharaoh mascot, realizes his power and destiny.

12. Come What May
Unfortunately, there’s really not much to say about The Crucible of Man once “A Gift or a Curse?” finishes up. As with the second half of Framing Armageddon, most of the songs consist of interchangeable mid-tempo drags with eccentric vocal lines while the lyrics are the same old boasts about humanity being led to destruction without specifically stating how it is happening. The album’s story even ends on an anticlimax as Set Abominae ultimately decides to leave humanity alone to decide its own destiny. Not the best decision by a figure who proudly declares himself the Antichrist and personally kills Jesus…

With this in mind, the closing epic song “Come What May” can leave a bitter taste in one’s mouth but it is still a solid song. The verses build over drawn out vocals, an uplifting yet somehow melancholic chorus, and an exotic instrumental break. It isn’t quite a grand closer, but it works in the given context.

Overall, the Something Wicked albums don’t quite live up to the potential of the ideas behind them, yet there’s not really much that calls for outright revulsion either. Considering how well Iced Earth made themed albums like The Dark Saga and Horror Show work in the past, it is a shame to see them stagnating in a two-album format. Hopefully this compilation will give listeners the chance to see the good that these albums had to offer amidst their filler and I’ll be curious to see what tracks people favor.

Originally published at Indy Metal Vault on September 20th, 2017

Culling the Herd: Judas Priest - Nostradamus

Like Iron Maiden, Judas Priest didn’t want to just rely on nostalgia when they reunited with vocal legend Rob Halford. 2005’s Angel of Retribution was a reassuring sampler of the band’s classic sounds, but even that kept the crunchy guitar tone from the Ripper years and a couple songs like the closing doom epic “Lochness” hinted at possible directions for the future. The band dove headlong into a new vision with 2008’s Nostradamus, boasting a symphonic metal sound packaged in a sprawling double album format. The album has ultimately become one of the band’s most hated efforts and judging by the six year gap between it and the uncomfortably safe Redeemer of Souls, it seems that Judas Priest has been discouraged from experimenting to such a degree ever again.

It’s fair if you hate Nostradamus because you think there are too many keyboards and the lyrics are too pretentious. Quite frankly, I wouldn’t deny that. The real shame is that listeners who would enjoy these elements still have to endure its excessive length. Even if you take out the numerous interludes that pad out nearly half of the album, there are still a bunch of fluff songs that Trans-Siberian Orchestra wouldn’t even want. Thus, I’d like to filter these directionless prophecies down to something that’s much more entertaining to sit through.

1. Dawn of Creation
As much as I just gave Nostradamus grief for its interludes, I do think a couple of them earn their keep. “Dawn of Creation” is slow and could have its first minute cut with no loss, but it has a nice keyboard melody with a mystical air and fitting buildup. Think of it as a slower, more atmospheric answer to “The Hellion/Electric Eye.”

2. Prophecy
“Prophecy” isn’t quite as explosive as its bombastic intro suggests but it starts things off strong. The track is largely driven by its crunchy mid-tempo riff and the verses don’t waste any time in showing off Halford’s almost operatic approach. The transitions to the more symphonic bridges makes things feel a little stilted but it’s a pretty good tune.

3. Revelations
The pace picks up for “Revelations” as the tempo becomes more upbeat while serving as another build-up. Its steady drum beat and guitar gallop is a pleasant reminder of 80s Priest’s more upbeat moments, while the more punctuated vocals portray a sense of urgency and purpose. It’s probably one of the more straightforward tracks on here.

4. War
“War” is definitely the most overtly symphonic track on Nostradamus. Its verses feature dramatic percussion alongside lower pitched vocals and supplementary orchestral effects while the chorus explodes into a multi-layered refrain. The sheer cheesiness of this over the top insistence will definitely turn off some listeners but I have to love the bombast of it all.

5. Sands of Time
“Sands of Time” is the other interlude that I think is worth including on this edited Nostradamus. In addition to not furthering the vague narrative in any way, most of the album’s interludes fail to connect to the songs they precede and don’t have any memorable melodies of their own. “Sands of Time” is one of the few exceptions as it features a neatly echoing vocal line and transitions to the next track quite nicely. It may still be a bit too long but I think it gets the job done.

6. Pestilence and Plague
“Pestilence and Plague” is similar to “Revelations” with its driving pace though it seems to raise the stakes a bit more. However, its guitar gallop is more prominent and the vocals have more conviction. The chorus lyrics suddenly being sung in Italian can be a jarring turnoff for some but it’s another cheesy segment that I can’t help but love. Lest we also forget the third verse of the underrated “Saints in Hell” where Halford randomly breaks out into French…

7. Death
The song where Judas Priest goes full on doom metal. Thankfully it comes out well as the guitar ranges from a thunderous plod to quietly fluid intrusions during the verses, a predictably sinister vocal, and some well-placed symphonic swells during the choruses. As some have pointed out, the pacing is a little too slow though that may have to do with the drums completely dropping out in spots rather than the way the song was written. I still hold a bit of hope that Priest will fine tune this approach and opt for an all-out doom album in the future.

8. Persecution
After all the buildup, “Persecution” reaches levels of near Painkiller speed. Even those who dislike the album as a whole seem to rally around this track for its more straightforward approach. Deservedly so, as the song is pretty catchy in the traditional Priest sense and the vocals showcase more of Halford’s signature wails and shrieks than the rest of the album. If not the more subdued segments that bookend the song, it probably wouldn’t be out of place on any of the band’s other post-Painkiller efforts.

9. Exiled
Like many double albums, Nostradamus’s second half seems to be gasping for air as much as the listener at this point. It is decidedly more somber in tone and is unfortunately wracked with filler, even if it has fewer tracks. Thankfully the first proper song is an exception to this rule as “Exiled” features an almost tribal beat and atmospheric synths alongside with a particularly melodramatic chorus. Much like the move from “Death” to “Persecution,” “Exiled” proves to be another solid contrast.

10. Visions
From there, “Visions” keeps the mysterious aura but introduces a more active tempo. It is admittedly one of the trickier tracks to get a feel for, but its gradual buildup and memorable chorus do make it worth keeping around.

11. Nostradamus
While I find the intro to be redundant considering the equally redundant interlude that precedes it, the title track in itself is a winner and deserves its status as one of the album’s rare universally enjoyed songs. The guitar work sets up another fiery speed run while Halford’s use of trade-offs, drawn out wails, and a few well-placed screams make its grandiose structure even more epic. While I enjoy the various styles and tempos that these songs aim for, Nostradamus probably would’ve been better received if it had more tracks like this.

12. Future of Mankind
If I’m being honest, “Future of Mankind” probably isn’t essential as the title track would make for an even more explosive finale. But the album aims for a grander, swelling closer in the vein of Operation: Mindcrime’s “Eyes of a Stranger” or Scenes from a Memory’s “Finally Free,” and this being a pretty good track means that I can get behind that idea. It has a few moments where it may be a bit too overdramatic, particularly the distorted spoken segment during the closing riff (also more Italian), but it is a nice way to close things out with some particularly sweet guitar harmonies.

Even looking at Judas Priest’s discography as a whole, this condensed version of Nostradamus would still barely just break the top half. This is a testament to the band’s many successes but also to the album’s less accessible style. But while there would still be some controversy surrounding this album, I think the consequences wouldn’t have been so severe. Who knows, maybe its alternate universe follow-up is more interesting than what we got with Redeemer of Souls and maybe K.K. Downing is still with them. I envy such a universe.

Originally published at Indy Metal Vault on August 24th, 2017

Culling the Herd: Guns N' Roses - Use Your Illusions I & II

When you think of bloated double albums, I’ll bet money that the Use Your Illusions by Guns N’ Roses are the first ones that come to mind. It was understandable for the long-awaited follow-up to the iconic Appetite for Destruction to consist of two fully loaded CDs, especially since the only thing out in the four years between was the half-fake live/half-acoustic GNR Lies EP. It was less understandable when said CDs were filled to the brim with what seemed to be every single piece of music that Axl and friends had ever written. They’re a strange two-part odyssey where hard rockers intermingle with power ballads and attempts at legitimate artistry surround a song where the band calls their critics out by name and threaten to beat the crap out of them…

Thus, it’s only inevitable to try Using the Illusions (heh) to make them fit on a single disc. Sure enough, an officially sanctioned Use Your Illusion compilation does exist and came out in 1998; but that release was a move to appease retailers like Wal-Mart and Kmart who didn’t want any of that naughty potty mouth rock & roll to grace their retail shelves. I’m more motivated to remove the filler and make a concise release bad language or none, but I’ll more than happily swipe that compilation’s twelve-track format as I switch these songs around.

Also, just so you know, apparently some people think Use Your Illusion II is the better half. I am not one of those people. Mainly because “Get in the Ring” and “My World” exist.

1. “Civil War”
The Illusions originally kicked off with “Right Next Door to Hell,” an energetic three minute rocker that’s good but doesn’t quite represent what they were trying to go for overall. With its opening sound bite and climactic structure, “Civil War” is a power ballad that goes beyond mere love song musing and manages to be encompassing without being too self-contained. It’s also a nice chance to properly bid adieu to drummer Steven Adler, as this is the only song on either album to feature his “talents” before the band decided that his severe drug habits made him more trouble than he was worth.

2. “Dust N’ Bones”
The epic power ballads may be these albums’ most remembered tracks, but the band’s penchant for sleazy Rolling Stones-style blues rock is subtler yet ultimately just as present. This is made immediately clear with “Dust N’ Bones,” a dirty mid-tempo tune featuring a slinky bassline and lead vocals by guitarist Izzy Stradlin. While Izzy’s voice isn’t as technically accomplished at that of LA’s leading howler monkey Axl Rose, itgoes down smooth and is just the first of many instances where Izzy proves to be the real talent behind Guns N’ Roses. Sorry, Slash.

3. “Don’t Cry”
I almost put “So Fine” in this spot, but I thought it’d be best not to deny the band one of their bigger singles from this era. “Don’t Cry” is pretty subdued by power ballad standards with some sentimental guitar/piano and a surprisingly delicate vocal performance. You can also put the version with alternate lyrics here if you want; I really don’t understand what the point was in releasing two versions personally.

4. “Bad Obsession”
After the first three songs’ brooding, “Bad Obsession” opts for a more upbeat direction. A combination of harmonica, boogie piano, and a lower pitched drawl from Axl make this song’s hooks even more enjoyable than they would’ve been. There may not be much to say about it but it might get stuck in my head more than any other song on here.

5. “The Garden”
It takes far too long to get to “The Garden” on Use Your Illusion I, which is unfortunate as it would’ve made a neat curveball midway through. While it isn’t exactly a heavy track, the verse-chorus contrasts and ominous atmosphere do make it one of the most esoteric Guns N’ Roses numbers. The snarls courtesy of Alice Cooper during the choruses also make it a mandatory inclusion; his performance is the right amount of spooky and tongue in cheek worthy of shock rock’s patron saint.

6. “Right Next Door to Hell”
“Garden of Eden” comes off “The Garden” well with its fast tempo and motor-mouth vocal delivery, but “Right Next Door to Hell” also works as a fast way to close out the A Side. It may be a bit odd to place an album opener in the middle, but I find the briefly building introduction and catchy hook are just as effective here.

7.”Knockin’ on Heaven’s Door”
It only seems fair to put at least one of the cover songs that GNR recorded on this track listing, and their take on the old Bob Dylan classic won out over “Live and Let Die.” They do the Wings track justice but its original placement seemed like a source of unneeded whiplash. In contrast, “Knockin’ on Heaven’s Door” is a steady slow burn and I like the idea of opening the B side with another ballad. And what kind of monster would I be if I deprived your uncle’s fraternity brother of his favorite drunken karaoke jam?

8. “14 Years”
Now to another Izzy-sung blues tune following up the opening ballad. Compared to “Dust N’ Bones,” “14 Years” sounds more direct thanks to its hookier vocal lines, slightly more upbeat shuffle, and blunter lyrics. Songs like this are why I can’t really call the current Guns N’ Roses lineup a “legitimate” reunion; it just ain’t the same without Izzy Stradlin up there full-time. I strongly recommend his 1992 album with the Ju Ju Hounds if you want to hear more eclectic rock & roll in this vein.

9. “Bad Apples”
Like “Bad Obsession,” “Bad Apples” is another upbeat Stones-style boogie number. Dizzy Reed’s piano playing as is fun as ever and while the vocals are higher pitched than they were on “Bad Obsession,” the catchy lines combined with the smooth transitions between the verses and choruses keeps things enjoyable.

10. “Pretty Tied Up”
Putting another upbeat song here may suggest some interchangeable songwriting at work in the Guns camp. That may be the case with the albums as originally released, but “Pretty Tied Up” does manage to stand out on its own terms thanks to another catchy chorus and a nifty Eastern flavor sprinkled throughout. I also like the idea of an album that starts out ballad-heavy and gets progressively more upbeat as it goes on, as the reversal seems to be more common from my experience.

11. “You Could Be Mine”
Speaking of upbeat, “You Could Be Mine” is a driving anthem. It doesn’t quite hit the speed of “Perfect Crime” nor does it have the jovial feel of the other upbeat rockers, but it does ride a solid guitar chug and more drawn out vocal lines. Though with that said, I don’t think this Terminator 2 vehicle really should’ve been the song to close things out…

12. “November Rain”
Now this is the song that would close out the Use Your Illusion single album as well as the only epic song that honestly needs to be included. “Coma” has interesting parts but ultimately bites off more than it can chew, and “Estranged” simply goes nowhere. While “November Rain” is an admittedly overplayed song that nobody over the age of thirty ever needs to hear again, it does have heart behind it and its nine minute runtime does ultimately build up to a nifty Queen-style climax. And that climax is especially effective when there’s nothing that tries to follow it up or steal its thunder.

I must admit that getting this track listing together was more challenging than I had first anticipated. Despite the fillers running rampant on both Use Your Illusions, there are several good songs that I didn’t include on my list. With the mood whiplash that also persists throughout, it’s also even more of a challenge to get these songs in something resembling a coherent order. This is a double album where I’ll be especially curious to see what people think and how their lists will compare. Just don’t ask me about ways to fix Chinese Democracy; that album had enough cooks ruining it for me to start sticking my nose in it…

Culling the Herd: Metallica - Load and ReLoad

Metallica has always had a problem with releasing albums that are just too long. It wasn’t as much of a problem when Master of Puppets and …And Justice for All were padded with a score of ambitious riffs, but it became a serious cause of concern when Load and ReLoad came out in the mid-90s. The Loads certainly aren’t the sellout records that old-timers and revisionists claim them to be, but even those of us who like the Corrosion of Conformity meets Alice in Chains style have to admit that the two albums have a lot of filler between them.

Thus, I would like to prove how Load and ReLoad could’ve been condensed to a single disc of eight songs to serve as a worthier followup to the illustrious Black Album. This culling won’t take the place of Ride the Lightning as the be-all, end-all Metallica album since the shift to metallic blues rock still would’ve resulted in some controversy, but a much shorter presentation of the style likely would’ve made it a much easier pill to swallow twenty years ago.

1. “Ain’t My Bitch”
   My gut instinct tells me to put “Fuel” as the hypothetical opener but I have some personal bias against that particular track. It’s an enjoyable song and probably would’ve been successful as a standalone single, but the song’s structure comes off as clunky and the vocals are a little too on the goofy side. “Ain’t My Bitch” may have a goofball tinge (just look at the damned title) but it offers a much steadier tempo and more attitude in James Hetfield’s vocals. It doesn’t have the buildup of “Battery” or “Enter Sandman,” but it’s a nice driving song that starts things off nicely.
2. “2 X 4”
   As with the album proper, the second track on this playlist is the groovy as hell “2 X 4.” I’ve always liked the bluesy swing on this song and love how the main riff is basically a “Hole in the Sky” rewrite. I even dare wager that it’d be a stoner metal staple if it had been recorded in a drop tuning and sung by Pepper Keenan. Any doom band with the balls to cover any of the songs on here has my eternal respect.
3. “King Nothing”
   The upbeat momentum continues for “King Nothing,” the song that would likely be this version of Load’s lead single. While the track could be seen a slight retread of “Enter Sandman,” the main riff is catchy as hell and the chorus does provide some good buildup along with the excellent bass intro.
4. “Bleeding Me”
   In the grand tradition of “Fade to Black,” “Welcome Home (Sanitarium),” and “One,” the A-side of this Load ends with a sprawling long player. While “Bleeding Me” certainly isn’t as theatrical as those staples and never transitions from its slow tempo to all-out thrash metal, you can’t deny the track’s catharsis and the power behind its plodding buildup. The original Load does seem to have this intention, but putting an A-side closer four songs in instead of seven would make a respectable nod to the classic Metallica album structure.
5. “Devil’s Dance”
   While ReLoad is basically a glorified shelter for all the songs that didn’t make it onto Load, the album did distinguish itself by boasting the darker, heavier songs from those recording sessions. The slinky bass thumps and intertwining guitar riffs on the sinister “Devil’s Dance” would ensure a similar direction for the B-side of this album. And any song that reminds me of the White Zombie track that plays during the peyote scene from Beavis and Butthead Do America is okay by me.
6. “Carpe Diem Baby”
   I wouldn’t hold it against you if you’ve never listened to this song on the basis of its cringeworthy title. It was definitely hard for me to look past it, but once you hear that infectious main riff, it’ll come through as one of the most severely overlooked songs in the Metallica catalogue. “Bad Seed” would also be a pretty good song to have in place of this one, but “Carpe Diem Baby” gets brownie points for not featuring a riff that blatantly rips off Alice in Chains’ “Rain When I Die.”
7. “Hero of the Day”
   It’s only fair to include a token ballad on here (gotta have another single after all) and “Hero of the Day” is probably the strongest one of the batch. Its melancholic tone and heavy crescendos in combination with its second-to-last place in the track listing give it a vibe similar to “My Friend of Misery” or even “Orion.” The part of me that enjoys watching train wrecks is tempted to put “Mama Said” in this spot, but that would’ve been best as the introductory song to Hetfield’s pending outlaw country solo album. I swear he has one in him somewhere…
8. “The Outlaw Torn (Unencumbered by Manufacturing Restrictions Version)”
   If “The Outlaw Torn” isn’t my favorite Metallica song ever written, then it’s at least in the top ten. Its ten minute runtime is justified by emotional vocal and guitar performances set to a plodding ‘wild west by way of Dio-era Sabbath’ rhythm. Load had the right idea in making this song the epic closer but having it be the eighth track as opposed to the fourteenth is much more appealing for those who’d rather not wait seventy minutes to hear the best thing on the album. I’d also put in the unedited version of the song that was included on the single version of “The Memory Remains.” After all, an extra minute with Kirk Hammett’s wah pedal won’t kill ya…

But with this said, I know every Metallica song has fans and multiple versions of this list that could be made. Feel free to comment with your suggestions or alternate ideas. Just remember that I don’t think a song is bad just because it isn’t included on this track list. Unless that song is “Poor Twisted Me.” “Poor Twisted Me” is a shit song and everybody knows it.

Originally published at Indy Metal Vault on August 2nd, 2017