Thursday, May 10, 2012

Probot the superband

Sorry. I can't fault Dave Grohl. I know a lot of my fellow metal head brethren would be the first that see this as not being tr00 enough (I own albums by Blasphemy, Beherit, and Inquisition....go listen to Manowar faggots!) and that would be their own fault. Yes this isn't the perfect album that makes everyone hold hands and essentially sing a song/tale of forgive and forget. Obviously metal heads have a hard time dropping grudges and getting over the fact that their shit don't stink, I mean if it was a perfect universe we would still be stuck in 1989 listening to Mordred clones and wearing acid-washed jeans....sorry. Like we really needed another decade of pissing and moaning of why "Bounded By Blood" never got the same video airplay as say fucking Poison or Nelson. Do we really want that bad of a stgnation or was Nirvana actually needed in order to air out the castle so to speak? Nirvana didn't survive. Exodus and all of the GOOD thrash acts are still touring in their twilight years of their careers even if their music quality has dropped. But regardless of how one man literally changed everything and provided some much butthurt for metal heads, the shocking fact of the matter was that he was a metal-head himself all along. This album proves it more than anything he has done with his other 2 bands.

First thing's first: the collaborations. I don't know if many people remember how fucking DISMAL the year 2004 was. The tail-end of Nu-metal and the commerical success of Metalcore/scene music. Next to that everyone was still in their Pop-Punk phase with baggy Dickies shorts and were witnessing the rise of...and I will say this....Emo music. It was bleak. It was probably bleaker then than in the mid 90's when Metal was going through a major identity crisis as far as what genre of music would conquer not only the underground, but give hopes to the mainstream. And for Dave Grohl to come out with an album that featured Cronos of Venom, Tom G. Warrior of Celtic Frost, King Diamond, Lemmy of Motorhead, Mike Dean of C.O.C., Wino of Saint Vitus, Lee Dorrian of Cathedral/Napalm Death, etc.....that was possibly the most epic thing any major MTV superstar could do. It's not a million fucking blastbeats, it's not uber-satanic, it's not technical guitar wizardry that resembles nothing short of stroking yourself and thinking your shit don't stink, it's not angsty(thank-god), it's not anything that is so overly-redudant within the metal universe that hasn't been done a million times over. It's basically Dave Grohl's musical vision and collaberation with some of his favorite musicians. And for what it was, at least least 15 minutes of the summer that this album came out was damn good. It was FUN. It was enjoyable. It was groovy, dark, heavy, it essentially felt like listening to a Black Sabbath album and feeling like a kid again and having summer vacation off. And fuck off to those who think that's EVER a bad idea.

Now the main thing with a lot of metal heads including myself was that....what would it sound like? Would the songs sound exactly like those Dave had on the tracks sound like the glory days of their former bands from a decade that everyone is still trying to out-do? Yes and no. Yes in that SOME tracks sound what you would expect and others are a slight let-down like for example the tracks from Tom G. Warrior or Max Cavalera. The tracks with those who have fallen far from their once reigning thrones(NOTE: Since this album, Tom G. Warrior has long since atoned for his sing with Celtic Frost and Tryptykon, where as Max Cavalera still hasn't.), but other than that...the rest of the songs are fucking good. They rock.

First song up is "Centuries of Sin" that features Cronos of Venom which really starts the album off on a killer Venom almost and I stress the word "almost" a very heavy D-Beat/Discharge edge. Not bad. Cronos is singing and Dave is pounding the shit out of his drums in the background. There's also this creepy-sounding outback-type Aborigine sounding howl that makes it sound somewhat diabolical sounding. Good effort on setting the atmosphere and tone. The following song just takes away that cool 'good' feeling of the opening and flushes it down the toilet. You would think that Dave would beg Max to pull something ala "Beneath The Remains" or fucking "Arise" at LEAST but no, we get another modern-day Sepultura/modern-day Soulfly song with Max Cavalera damn near rapping with that fucking annoying "WATCHYOBACKWTACHYOBACKWATCHYOBACKWATCHYOBACK!!1!1" part. Max you are fucking hopeless when it comes to getting away from your stupid bushman/wigger hybrid persona. Hate this song. Next song features Lemmy "Shake Your Blood"....guess what? It's sounds just like Motorhead. No surprise there. Not saying it's bad, but it's Lemmy and you know what to expect from big guy himself. "Access Babylon" features Mike Dean of C.O.C. and here we get back to the good groovy shit where it sounds a bit like "Technocracy" e.p. "Silent Spring" is the catchiest song off the entire album with Kurt Brecht of D.R.I. fame and that is sounds more Sabbathy than D.R.I. It has that bottom-end heaviness you might have gotten the pleasure from D.R.I. songs such as "Under The Wheel" or "5 Year Plan" during their "4 Of A kind/Crossover" days. "Ice Cold Man" with Lee Dorrian of Cathedral/Napalm Death sounds exactly like Cathedral. "The Emerald Law" featuring Wino of St. Vitus...sounds more like The Obsessed. Another damn good one, where it actually starts with a trippy psychedelic/stoner vibe in the beginning and the burst into a wall of feedback and driving distortion. Great song....and now we have an intermission.

Why? Because of the next track. This one specifically. As I write this, when this first came out, I was majorly fucking disappointed. Of course as I mentioned previously, it's been a number of years but when this song promised me a CF fan a possible return to that sound, it failed. It's a half-assed doom/industrial/pop track in the vein of Apollyon Sun. Fuck me for not being open-minded enough, but this is boring. Just flat out sucks. This song ranks up there next to "Red War" with Max Cavalera as the worst song on the entire album.

....back to the show.

After the shit fest of "Big Sky", we get to the song "Dictatorsaurus" featuring Snake of Voivod, and we're getting back to that comfortable spot where songs sound like they should. Snake sings his little heart out and the song even fucking sounds like Voivod....not so much like "Killing Technology", but take the best of post-"Nothingface" and it's what you have. Eric Wagner on "My Tortured Soul"??? Oh fuck yeah! Sound just like Trouble. Never a bad thing. And we come to the final track featuring none other than the king himself.....King motherfuckin' Diamond. The track is titled "Sweet Dreams" and it's a snoozer. It's a bit boring for the most part. Don't expect anything Andy LaRocque-ish here. Don't expect "Abigail", "Them", "Conspiracy", "The Eye", "Voodoo", or even "The Graveyard" for that matter....King Diamond and heavy Sabbath-sounding riffs don't tend to go together. You know what I mean, King Diamond's vocals only go with a certain sound and this song just doesn't cut it for me as a major fan of the King for both his solo and days in Mercyful Fate.

So a total sum-up for this album would be good. It's just good. It's not a must-have, must-own, nothing that would make it something worth shilling over $10-$15 over(oh hell, I'm sure you can find a used copy for cheaper these days), but it's one of those albums that you can listen to on Youtube and check out if you have some down-time. As far as Dave Grohl is concerned, he made up in my book at least. And I'll leave it at that.


No comments:

Post a Comment