On June 11, Black Sabbath will release 13, its first album with Ozzy Osbourne in 35 years. Legendary producer Rick Rubin was tabbed to man the boards, and Rage Against the Machine drummer Brad Wilk has joined behind the kit. Check out the in-studio footage of the band with the world’s most unkempt producer.
13. This number, above most others, has a superstitious history — buildings built without 13th floors, Friday the 13th, and historic associations with bad luck. But in 2013, heavy-metal forefather Black Sabbath is taking that number back with the release of its new album, 13, to be released in June.
This interview appears in ALARM #40. Subscribe here to get your copy!
[Ed. note: ALARM contributing writer Bobby Markos was improperly uncredited in print. We sincerely regret the error.]
“Fuck Your Stuff”
With an ear for diversity and a mind for critical thought, Stefon Alexander — better known as rapper P.O.S — has maintained operations as a multi-instrumentalist by day and rap artist by night. The early-30-something is a man whose DIY/punk upbringing aligns him more with Ian MacKaye than Kanye West, and that’s reflected in his many and assorted rock-band roles, including his current gig as keyboardist/vocalist for Marijuana Deathsquads.
But no matter the project, Alexander continues to reinvent himself with each release. His latest as P.O.S, We Don’t Even Live Here, is a testament to his 360-degree perspective of both music and the world we live in. Here he discusses what has changed in his life as well as the new album’s danceable vibe and anti-capitalist theme.
Junkyard Empire: “We Want”[audio:http://alarm-magazine.com/wp-content/uploads/2011/09/Junkyard_Empire_We_Want.mp3|titles=Junkyard Empire: “We Want”]
Morrow: Based in St. Paul, Minnesota, Junkyard Empire is an emphatically political five-piece hip-hop/jazz/rock crossover ensemble, topping a groove-heavy amalgamation with scathing rhymes and spoken-word speeches.
On its newest album, Acts of Humanity Vol. 1 & 2, MC Brihanu is incensed from the get-go, using the opening verses to cite a barrage of America’s fucked-up foreign policy while referencing the School of the Americas, the backing of military juntas and death squads, and support for dictators such as Augusto Pinochet, Joseph-Désiré Mobutu, François “Papa Doc” Duvalier, and Manuel Noriega.
Though a handful of other tracks take a more personal approach, the vast majority is just as biting, addressing American imperialism, capitalism, Israeli aggression, and much more. The music and delivery, for the most part, are above average, but a bit of cheesy funk/R&B seeps into the mix — including a very “Shoop”-esque “hey-eee!” on “Regla.”
Every Friday, The Metal Examiner delves metal’s endless depths to present the genre’s most important and exciting albums.
A Storm Of Light: “Destroyer”[audio:http://alarm-magazine.com/wp-content/uploads/2011/05/04-Destroyer.mp3|titles=A Storm Of Light, “Destroyer”]
Since its inception, Josh Graham’s A Storm Of Light has adopted a model that’s based squarely on collective evolution, be it in something as complex as its musical aspirations or something as simple as its personnel. With its fourth release, As the Valley of Death Becomes Us, Our Silver Memories Fade, the group seemingly moves a little further from its loose “project” designation yet seemingly keeps the “band” label at arm’s length.
With its sound rooted firmly in no-frills rock, Valley’s style could best be described as “talk metal” or, barring that, “verbal doom.” Graham’s vocals tend to avoid conventional melody, or at least anything too advanced, instead coming off more as pitched declarations of ideology over the anvil attack of bassist Dominic Seita and newcomer drummer B.J. Graves. Though the obvious comparisons to contemporaries Neurosis or Unsane will make sense, Valley really borrows more heavily from mid-1990s hard rock — the half-spoken, hard-truth heaviness of Rollins Band, or the sludgy Sabbath nods of Soundgarden (fittingly, guitarist Kim Thayil pops in for a pair of guest spots: “Missing” and “Black Wolves”). The chugging “Collapse” evokes a less tom-reliant form of Tool, and the environmentalist-turned-existentialist “Destroyer” finally explains what a Queensrÿche / Alice in Chains / Rage Against the Machine collaboration might have sounded like.
Blue Note announces another list of catalogue deletions; Akron/Family and High on Fire sign to new labels; Trent Reznor comments on Nine Inch Nails‘ music being used in the torture of overseas detainees. Keep reading…