M. Drew's blog

As is our custom, we close the annual Tribute Project with submissions and thoughts from around the metal sphere, as promised. A couple dozen people were nice enough to take time out of their lives and consider our question: "Out of all the artists who debuted or formed in 1983, which one has had the greatest impact on you personally or professionally?" the answers are varied, some heartfelt, some hilarious and many in between. Nonetheless, each one provides insight into the artist who gave it, and gives a glimpse into their dedication and fanhood. But enough.

M.DREW: Speaking of Queensryche songs, if you ever really want to make a serious ‘Ryche fan angrier than all get out, tell him or her your favorite song of theirs is “Jet City Woman.” Watch the reaction. There might even be an eye twitch.

CHRIS:

Welcome to the annual Bloodygoodhorror.com Heavy Metal Tribute Project! This year, we have the honor of being ushered into our discussion by the esteemed vocalist from Montreal-based metal band Blackguard, Mr. Paul Ablaze:

Very seldom has a single year changed so much so profoundly in music. Trends and fads come and go in every era in one form or another, which makes the significance of what transpired in this specific time period all the more astonishing.

I recognize that it probably seems wildly out of place for us to be discussing a band like The Tossers in this space. They’re certainly an odd fit with the likes of all the death metal, doom and thrash we tend to concentrate on around here, and their particular blend of Irish folk combined with punk and rock doesn’t even come close to fitting into the expansive catch-all of ‘progressive.’ So what are we doing here?

At this point in their lengthy career, there are a couple things about Darkthrone which are automatically true and indubitably awesome. First is that, good or bad or indifferent, Darkthrone is doing whatever the hell they want to do. Musically, this duo has moved into the rarefied air of having nothing to prove to anyone. Long gone is the corpse paint, the leather get-ups and most (but not all) of the scowling.

A double album is one of the riskiest propositions in music. They are not constructed or regarded in the same manner as typical albums; not as a collection of singles surrounded by a supporting cast of others songs, but as marathon stories that must traverse the grounds of mood, message and tone. Double albums must hit multiple notes and resonate at periodic intervals. The truth that must be accepted is that no double album is perfect.

If imitation is the highest form of flattery, then Cancer Bats have flattered a lot of people over the years. Not only does their musical catalog reflect so many of their influences, but they’ve been known to breakout a cover or three when the occasion calls for it. On the heels of the success of their excellent cover of the Beastie Boys’ classic “Sabotage,” the Cancer Bats have dedicated an entire EP to a band they likely aren’t often associated with, Black Sabbath.

Attentive readers have no doubt noticed that my compatriot Chris has been dedicating a lot of words to the notion that this wave of traditional metal which has so captures our attention in the past two years is beginning to play itself out. The idea behind the theory is that in some form, we’ve heard all this before, that these new or resurgent bands need to bring something new to the fold, lest they simply be branded as more of the tired same.