Machine Head

No però ci sta bene lo stesso quell'introduzione, da l'atmofera giusta per dare inizio all'album

Non notate una certa epicità?
In particolare in "A Farewell to Arms" (anche nel testo).

 

io trovo che sia epico l'intero album e non solo gli episodi che hai citato te

 

Ho appena finito di sentire di seguito senza pause:

- The Blackening
- Burn My Eyes
- The More Things Change...
- Through The Ashes Of Empires

Conclusioni? Una serie di piacevoli macigni dentro le mie orecchie. Lo consiglio a tutti, anche perchè pur essendo diversi a modo loro, ognuno di essi ha molto da dire.

 

Se per questo allora anch'io la penso come te è che non volevo che sembrasse una cazzata ai vostri occhi ed invece non è così, meglio Davvero epico l'album.

 

tu sei pazzo

 

anche io come voi adoro questo album che reputo semplicemente magnifico...canzoni una più bella dell'altra (secondo me le più belle sono clenching halo e wolves, ma ripeto sono tutte stupende da ascoltare e riascoltare -cosa che faccio spesso-). il fatto è che anch'io nn conosco i testi, si so a grandi (grandissime) linee che clenching è un attacco alla guerra e che aschetic invece un attacco a un giornalista "anti-metallaro" (che aveva anche attaccato il grande dimebag) ma per il resto non so nulla......più o meno di cosa parlano canzoni come wolves, farewell, halo, now i lay, slanderous......
aspetto risposte....

 

Io sapevo che Aesthetics of Hates era un'attacco alla Walt Disney che aveva negato alla band un nonsocchè...

 

"A Farewell to Arms" è sempre un attacco alla guerra molto epico

 

Aesthetics of Hate è dedicata a Dimebag Darrell..come reazione ad un articolo scritto da nonsochi che insultava dime e i metallari definendoli ignoranti..
Per quanto riguarda una diatriba con la disney:

Machine Head’s music rattles Disney
By Scott McLennan, Entertainment Columnist
September 20, 2007

Machine Head is disturbing The Mouse.

Twice this month, House of Blues concert venues on Disney-owned property — one in Anaheim and one in Orlando — booted long-booked Machine Head concerts just days ahead of the scheduled performances. The Orlando House of Blues also forced death-metal band Cannibal Corpse to change venues.

“It’s pretty disturbing,” said Machine Head singer Robb Flynn. “We are shocked that in this day and age, in 2007 America, that bands can be pressured, (and) that promoters can be pressured by a business and be removed from a venue because somebody doesn’t like what your lyrics stand for or think that your fans are crazy. We’ve played these venues before, and there was no indication that anything was going to be different.”

Calls for comment from the House of Blues in Orlando were bounced around three offices before falling into a voice mail belonging to Kendall Lee in the HOB’s operations department. In published reports, Live Nation, the concert-promoting giant that owns the House of Blues chain, conceded that the entertainment mix presented at its venues on Disney property will have to differ from what it typically offers elsewhere in the country.

Machine Head is heading to a safe harbor this week, though, as the band brings its Black Tyranny Tour to The Palladium, 261 Main St., Worcester, tomorrow. The package also features co-headliner Arch Enemy and support acts Throwdown and Sanctity (whose bass player Jared MacEachern is also subbing for Machine Head’s Adam Duce, who broke his leg just before the start of the tour).

To modify Flynn’s assessment of the situation a bit, things are a little different from previous Machine Head tours as the band is now packing “The Blackening,” the best — and darkest — album of its career.

“Once we started the recording process, it dawned on everyone that this might be something a little different, and that got us excited,” Flynn said.

“The Blackening” consists of eight tracks, two of which pass the 10-minute mark, and another two that hit nine minutes. The shortest tune is just shy of five minutes. In other words, these thrash-bred guys from the Bay Area got their epic on for “The Blackening,” making the sort of move into big sounds that their forebears Metallica did a generation earlier with “…And Justice for All.”

Making such a record was a gamble, as Machine Head was solidly leading a pack of young metal acts expert in the genre’s scorched-earth approach to music making. The band’s previous album, “Through the Ashes of Empires,” restored Machine Head’s place in the metal firmament after it stumbled through a couple of experimental and hasty-sounding efforts.

“After all the success with ‘Through the Ashes,’ we felt that now more than ever we could not play it safe. We couldn’t make ‘Through the Ashes II.’ That was a record for its time, and that time passed. We set out to challenge ourselves.”

Flynn said that writing “The Blackening” was actually the easy part. Once he got the green light from band mates Adam Duce (bass), Phil Demmel (guitar) and Dave McClain (drums) that they were on board with his lyrical content, turning out the songs was not difficult.

“I asked them if it was OK to say some of the things I say on this record. They agreed that this is what we are about,” Flynn said.

And what Machine Head is about on “The Blackening” is unfiltered rage. The band picks over the American landscape like a vulture on a carcass as the songs present a stark world view full of hate and mayhem. In contrast to what the Disney banning may lead one to believe, Machine Head is not endorsing the misery so much as reflecting it. Besides, if the band simply wanted to agitate, it likely would not have so exquisitely crafted the message.

“Recording this was the challenge. Everything became so epic that everything else needed to become epic just to sound right. We have songs with 10 tracks of just snare drum. Just the beginning of ‘Clenching’ (the Fists of Dissent), that acoustic intro, was cut with 84 different tracks. Mixing this record was hell,” said Flynn, who also served as producer for the project.

But the basic Machine Head grind born in the early 1990s is not lost in “The Blackening.” And a good portion of the record is as staggering and blunt as the band’s raucous 1994 debut “Burn My Eyes.”

Machine Head’s efforts to both celebrate its thrash origins and then build upon them paid off nicely as U.K. music magazine Kerrang! in its annual music poll bestowed album-of-the year honors on “The Blackening.” Machine Head bested favorites My Chemical Romance and Fall Out Boy in the voting. Kerrang! also awarded Machine Head its Hard Rock Hero award. In similar fashion, earlier in the summer Metal Hammer magazine dubbed “The Blackening” best album of the year and gave Flynn its Golden God award.

“It was a huge day for metal,” Flynn said of the Kerrang! awards. “I didn’t think we had a chance against My Chemical Romance or Fall Out Boy. Those are both huge commercial bands championed by Kerrang! (Our) album is as edgy and as extreme as we’ve ever gotten, but the readers and editors of Kerrang! found it more relevant. Our jaws just hit the floor when they announced we won,” said Flynn, noting he was able to thank Judas Priest, also in attendance at the award ceremony, for “letting us jack so many of its riffs over the years.”

The awards were just one honor for Machine Head this year as the band was also tapped to tour with the Ronnie James Dio-fronted lineup of Black Sabbath, now known as Heaven and Hell.

“Touring with Heaven and Hell was surreal. Walking out of my dressing room and seeing (Black Sabbath guitarist) Tony Iommi was too much. It took me two weeks just to get my head around that. I used to write letters to Black Sabbath when they broke up with Ozzy (Osbourne), pleading for them to get back together so I could see them play ‘National Acrobat’ before I died.”

Flynn grew up a metal head through and through and said things worked out nicely that he learned the music through the San Francisco scene rather than through the more prominent Los Angeles scene taking place farther south in his home state.

“(“The Blackening’) is steeped in the stuff I heard growing up. I was fortunate to be 14 years old growing up in the golden age of thrash,” Flynn said. “In L.A. the musicians acted like rock stars. In the Bay Area, people were accessible. When I first saw Metallica, James Hetfield was hanging around outside the auditorium. You could get his autograph and talk to him. To a young kid that made a huge impression. That’s the spirit we are trying to carry on. The Bay Area sound always had more evil notes than other styles of metal.”

And that deliverance of evil is so convincing these days that Machine Head is earning the sort of notoriety through corporate censorship most metal bands would gladly pay for. Yet Flynn was not over-hyping the Disney cancellations.

“It’s basically a form of profiling, and it’s pretty shocking,” he said. “A result of 9-11 is that you have people acting in a way they say makes the world a safer place. I just want to know, safer for who?”

non ho voglia di leggere tutto

 

nosferatu puoi dirmi per favore in poche parole il significato di quello che hai postato? è talmente lungo sto post che non ho nemmeno voglia di tradurlo in italiano

 

Quoto

 

Su un sito italiano dicono questo:

MACHINE HEAD: FLYNN non perdona la DISNEY Robb Flynn è ancora inca**ato nero per i recenti intercorsi con la Disney (colpevole di aver mosso pressioni al promoter Live Nation facendo cancellare ben due concerti dei MACHINE HEAD schedulati sul proprio territorio. Ecco a chi è stata dedicata quindi "Aesthetics of Hate":

Molto riassuntivo è!

 

comq vedete l'accidia colpisce anche me

 

No eliminiamo questa diceria: Aesthetics of Hate è dedicata a Dime

 

Probabile che sia una cretinata, i giornslisti le sparano grosse spesso e volentieri...