Tag Archive: “Slayer”

dc

The term “supergroup” is thrown around a lot these days, though many of the bands adorned with this label don’t always live up to the hype. Dead Cross is not one of those bands.

Dead Cross is set to release their debut, eponymous album this Friday, August 4, 2017, as a joint release between labels Three One G, owned and operated by the band’s bassist, Justin Pearson, (The Locust, Retox), and Ipecac Recordings, owned and operated by the band’s bizarrely versatile vocalist, Mike Patton (Faith No More, Mr. Bungle, Fantômas). It’s a 28-minute banger of a hardcore album. Simply put, it’s a monstrously heavy and weird record, yet one that’s unpretentious and seemingly aware of its humble roots.

Dead Cross started in November, 2015, after a band called Philm featuring Dave Lombardo (Slayer, Fantômas) unexpectedly ended. Ross Robinson (At the Drive-In, Glassjaw, Slipknot), a renowned producer who was hip to Lombardo’s band-break-up-blues, was simultaneously conducting some recording sessions with Pearson and Michael Crain (Retox). With this perfect storm in place, things escalated rapidly; a band was formed, songs were recorded as they were simultaneously being written, and a debut live performance ensued less than a month later. Gabe Serbian (The Locust, Head Wound City) served as the band’s original vocalist, though stepped aside halfway through the recording process to be closer to his daughter. Patton, also a close friend and a former bandmate of Lombardo, enthusiastically accepted the band’s invitation to join as their new vocalist.

Justin Pearson gave a nod to his vocally inspired partner when we asked if there were any tracks on the record that stuck out to him the most. Here’s what he had to say:

“My favorite track on the album might be ‘Grave Slave’. I think Patton’s vocals, specifically his ‘witch voice’ rules and really makes this track for me.”

As soon as this track kicks in, you’ll likely know what Pearson is referencing. Patton fans will similarly rejoice in these spastically ferocious moments, accentuated with an abundance of deeply layered vocal harmonies and one of the most impressive tonal ranges in the business. Consistent with his unmistakable lyrical approach, Patton trudges his listeners through an onslaught of nightmarish imagery, pitch-black humor, and a disgusting amount of references to bodily fluid. Indeed, much of this album delivers a quintessential “Patton-esque” experience, though his performance maintains an impressive freshness throughout.

While the album demonstrates a limitless range in technical playing proficiency, there’s not a lot of over-thinking it here. Like many of Robinson’s past involvements, the album’s production is original, raw, and largely driven by visceral, gut-instinct. When asked what it was like working with Robinson, Justin Pearson told us the following:

“Working with Ross is rad. He is a brilliant man. But when I say that, I don’t just mean as far as him being a producer or even things pertaining to music. But just as a human, and his outlook on life, and more specifically his use of energy from the human spirit. That might seem a little new age-ish, but fuck it. The dude is on a whole other level with certain things in life.”

As you listen to the record, you may very well find yourself chuckling one moment at a bizarre lyrical phrase or a squirrely guitar riff, and then contemplate starting a riot the next. This is accomplished in a surprisingly linear fashion, especially considering the band’s roster. You aren’t going to hear a lot of genre shifting or even too many unusual time signature changes (do not approach this record expecting Mr. Bungle). Instead, you will hear a matured repertoire of finely crafted hardcore riffs between Pearson and Crain, some bone rattling blast beats and drum shredding by Lombardo, and one of the most haunting vocal performances by Patton to date.

This is also one of the most heretically charged albums on which Patton has ever performed. Songs like “Divine Filth,” featuring a delightfully macabre duet of sorts between Patton and Crain, and “Church of the Motherfuckers,” the album’s epic finale, make it pretty clear this album isn’t exactly geared for fundamentalists. And while this album certainly shouldn’t be categorized as a political record, there’s simply no denying the influence our past election cycle and our contemporary political climate had on shaping the album’s overall vibe. If any of this seems difficult to believe, you needn’t look any farther than the animated video for the album’s opener, “Seizure and Desist.”

As the core chaos from the aforementioned track settles, the audience is granted a roughly 40-second respite of atmospheric creepiness. You may want to take a few breaths at this point, as its one of the few low-key breaks you’re going to get. “Idiopathic” is on deck, and delivers an unrelenting attack, reminiscent of old-school east coast hardcore acts like Agnostic Front or Deep Wound.

The album inspiration is much farther reaching than just the east coast, however. Case in point, the album’s only cover song, “Bela Lugosi’s Dead” (originally written by England-based Bauhaus), proves the group’s genuine appreciation for punk’s many subgenres and forefathers all over the globe. It’s a chilling and driving rendition of the influential tune, only about a third as long as the original, and far away the deepest deviation from the album’s sonic motif.

The album will be available for purchase August 4, 2017. To promote the record, the band will be touring for the first time ever. Secret Chiefs 3, featuring Mike Patton’s former bandmate, Trey Spruance, will support most of upcoming dates as well. Check below for details. (Ipecac Recordings/Three One G) – Words by Andrew Humphrey

 

August 10 Santa Ana, CA  The Observatory *

August 11  Las Vegas, NV  Brooklyn Bowl

August 12  Phoenix, AZ  The Marquee *

August 14  Dallas, TX  Gas Monkey Bar & Grill

August 15  Houston, TX  Warehouse Live

August 16  Austin, TX  Emo’s

August 18  Tucson, AZ  The Rialto Theatre *

August 19  San Diego, CA  The Observatory North Park

August 21  Los Angeles, CA  El Rey Theatre

August 23  Berkeley, CA  The UC Theatre

August 25  Vancouver, BC  Vogue Theatre

August 26  Seattle, WA  The Showbox

August 27  Portland  Wonder Ballroom

August 29  Sacramento, CA  Ace of Spades

September 8  Baltimore, MD  Baltimore Soundstage

September 10  Philadelphia, PA  Union Transfer

September 11  Boston, MA  Royale

September 12  New York, NY  Gramercy Theatre

September 13  Brooklyn, NY  Warsaw

September 15  Detroit, MI  St. Andrew’s Hall

September 16  Chicago, IL  Riot Fest *

September 17  Milwaukee, WI  Turner Hall Ballroom

September 19  Minneapolis, MN  First Avenue

September 20  Lawrence, KS  Liberty Hall

September 23  Denver, CO  Ogden Theatre

* – Secret Chiefs 3 do not perform

Thrash legends Slayer have set Repentless as the title of their forthcoming album, which has officially been set for a worldwide release on September 11 through Nuclear Blast Records. Repentless was tracked with producer Terry Date (Pantera, Deftones) at the helm, and is the first Slayer album not to feature guitarist Jeff Hanneman, who passed away two years ago.

Thrash legends Slayer has announced a handful of headline shows set to take place this spring amidst the band’s previously announced festival appearances.

Confirmed dates include:

4/24 Birmingham, AL @ Iron City

4/25 Jacksonville, FL @ Welcome To Rockville

5/3 Concord, NC @ Carolina Rebellion

5/2 Pryor, OK @ Rocklahoma

5/23 El Paso, TX @ Socorro Entertainment Center

6/13 Manchester, TN @ Bonnaroo

6/16 Huntington, NY @ The Paramount

6/17 Huntington, NY @ The Paramount

6/18 Portland, ME @ State Theatre

6/20 Montebello, QC @ Amnesia Rockfest

Slayer, Exodus, and Suicidal Tendencies will be touring together this year.  Here are leaked dates for the trek.

5/9 Magna, UT @ The Great Saltair
5/10 Denver, CO @ Fillmore Auditorium
5/11 Billings, MT @ Shrine Auditorium
5/13 Kansas City, MO @ Uptown Theater
5/15 St. Louis, MO @ The Pageant
5/16 Milwaukee, WI @ Eagles Ballroom

Slayer have released a new set of dates.  All tour dates are listed below.

SLAYER, GOJIRA, 4ARM
10/25 Las Vegas, NV @ The Joint
10/28 Los Angeles, CA @ The Palladium
11/08 Minneapolis, MN @ Myth
11/10 Austin, TX @ Fun Fun Fun Fest
11/12 Houston, TX @ Bayou Music Center
11/13 Dallas, TX @ Southside Music Hall
11/15 Chicago, IL @ Aragon Ballroom
11/16 Detroit, MI @ The Fillmore (State Theater)
11/17 Columbus, OH @ LC Pavilion
11/19 Silver Spring, MD @ The Fillmore
11/20 Pittsburgh, PA @ Stage AE
11/26 Wallingford, CT @ Oakdale Theater
11/27 New York, NY @ Theater at MSG
11/29 Camden, NJ @ Susquehanna Bank Center
11/30 Boston, MA @ Tsongas Arena

Slayer guitarist Jeff Hanneman has passed away as a result of liver failure at the age of 49. Indications are that Hanneman passed away this morning at a Southern California hospital. The band has issued the following statement:

“Slayer is devastated to inform that their bandmate and brother, Jeff Hanneman, passed away at about 11AM this morning near his Southern California home. Hanneman was in an area hospital when he suffered liver failure. He is survived by his wife Kathy, his sister Kathy and his brothers Michael and Larry, and will be sorely missed.

“Our Brother Jeff Hanneman, May He Rest In Peace (1964 – 2013)”

Slayer will not be performing with drummer Dave Lombardo on their upcoming Australian tour dates, as Lombardo has apparently been “replaced” for the time being. Lombardo has issued the following statement:

“I want to personally apologize to all of our fans in Australia who have bought tickets for the tour expecting to see me in my usual place on the drums. So that you all know the truth, as of the end of the business day on February 14th, I was notified that I would not be drumming for the tour in Australia. I’m saddened, and to be honest I am shocked by the situation.

“Last year, I discovered 90% of Slayer’s tour income was being deducted as expenses including the professional fees paid to management, costing the band millions of dollars and leaving 10% or less to split amongst the four of us. In my opinion, this is not the way a band’s business should operate. I tried rectifying it by letting my band mates know, and Tom and I hired auditors to figure out what happened, but I was denied access to detailed information and the necessary back up documents.

“I spent the Christmas and New Year holidays realizing I had toured all over the world in 2012, but yet, had not been paid (except a small advance) or provided a proper accounting for a full year’s sweat and blood. On top of this, I was told that I would not be paid until I signed a long form contract which gave me no written assurance of how much or on what basis management would deduct commissions, nor did it provide me access to the financial budgets or records for review. It also forbade me to do interviews or make statements having to do with the band, in effect a gagging order.

“Last Monday, I sat down with Kerry and Tom to rehearse for Australia and to propose a new business model that I felt was the best way forward for Slayer to confidently protect itself so we could do what we do best . . . play for the fans. Kerry made it clear he wasn’t interested in making changes and said if I wanted to argue the point, he would find another drummer. On Thursday, I arrived at rehearsals at 1 pm as scheduled, but Kerry did not show. Rather, at 6:24 pm I received an email from the lawyers saying I was being replaced for the Australian dates.

“I remain hopeful that we can resolve our issues. But once again, I sincerely apologize to all of our fans in Australia who spent their money expecting to see the 3 of us original Slayer members. I look forward to seeing you in the future.”

Former Slayer drummer Jon Dette will reportedly fill in for Lombardo. Dette played with Slayer in 1996 and 1997 and is already in Australia filling in behind the kit for Anthrax.

Harmonic

Philm
Harmonic

Philm is somewhat of an odd super group (made up of Dave Lambardo of Slayer, Pancho Tomselli of WAR, and Gerry Nestler Civil Defiance) however listening to the album as a whole, you can definitely pick out influences from all three members. They mix elements of thrash, funk, stoner rock and even some post-hardcore. At their best moments they sound slightly like D.R.I. meets Helmet but overall it comes off sounding pretty dated, like ‘90s mosh metal with boring classic rock parts. Harmonic has its moments, just not enough of them. (Ipecac Recordings) Michael Wood