2017 Metal Hammer quotes

January issue…

Floor Jansen (singer of Nightwish) criticizing Slayer while talking about the most metal album in her collection: “Some would say Slayer, but I think they’re a dreadful band. Unbelievably boring. Terrible.”

March issue…

Ben Bruce (Asking Alexandria) name-checks the most metal album that he owns: “Slipknot’s Iowa. I still think that’s the most metal album in the world; it’s so filthy and raw. It was innovative and fresh at the time but it still hasn’t been replicated – nobody’s ever been able to deliver a record as aggressive at that.

Mille Petrozza (Kreator) reveals the history between his band and Sepultura: “We came from the same underground metal tape-trading scene They were in Brazil, we were in Germany, they’re write to us letters then we’d go back and forth. They sent us made handmade Sepultura T-shirts and their live tapes.”

Rob Halford (one of two singers who have fronted Judas Priest) talks about his violent boyfriend’s suicide in Phoenix, Arizona circa 1986: “I was with someone who was also dealing with their own self-destructive challenges. That was my pledge, in the memory of that person, to stay clean and sober. Drug addiction and alcoholism is like a curse.”

April issue…

Konstantinos Karamitroudis (a.k.a. Gus G in Firewind) talking about the most metal albums which he owns: “All my Black Sabbath albums – Tony Iommi’s worst album is still better than most metal albums ever made.”

Robb Flynn (Machine Head) talking about The Blackening and James Hetfield’s reaction to the album: “I say this a lot, but I really this that the job of an artist is to hold a mirror to society. Sometimes what we reflect back is beautiful and sometimes what we reflect back is ugly, but it has to be done. Once James said he liked The Blackening, that was it! We get invited to support Metallica.”

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John Bush (Armored Saint) explains why he joined Anthrax after Symbol of Salvation: “I think we probably had these expectations that Symbol was gonna be bigger than it was. But truthfully, even though we received a lot of acclaim on that record – we didn’t get the results that we’d expected. There was some frustration on the U.S. tour that we did after the album came out. It was one of the most miserable tours that I’ve ever done in my life. We were driving through the Rockies with all our luggage and 10 guys in a van. I thought we were going to die every time we hit the road and there were a LOT of short fuses in the band. It felt like a big sigh, you know? We’d made Symbol but we were exhausted – mentally, physically and emotionally. The tour was terrible and then Anthrax came along. It just seemed like the right time to end it.”

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Vinnie Paul (the drummer of Hellyeah) compares the recent music industry with what it was like when Pantera were still a band: “It’s just not quite as fun anymore. A lot of bands now aren’t really bands; they’re corporations – they don’t hang out together, they don’t drink together, they don’t party together, they just do it to get paid. It’s sad. I’d give anything to go back to how the industry was in 1994. It’s much more difficult to be successful now. Back in the day, you had to sell a platinum record in the first week or the label would drop you. Now, if you sell 50,000 units then people think you’re the greatest band since Led Zeppelin; it’s crazy. Just because I was in Pantera doesn’t mean that this band is going to sell out arenas.”

May issue…

Avenged Sevenfold’s mascot comes from a band called Overkill. The last album that Bobby Ellsworth, the singer of the latter, bought was Dear Mr. Sinatra by John Pizzarelli: “We were in the same high school and his father was an amazing jazz guitarist. John is the apple from the tree. I mean, I’m from New Jersey, you know. ’nuff said.”

June issue…

Bobby talking about Queen’s Sheer Heart Attack (their third album): “It had it all: heavy metal, pop, musicianship, songwriting, perfect presentation. Queen was also my first ever concert. My father called the police because the show went late, but I wasn’t leaving.”

Dave Mustaine (Megadeth) combines sociology with psychology: “When you’re sitting at a bar, you’re looking around. You’re kind of profiling.”

Stephen ‘Stef’ Carpenter (Deftones) cites the unlikely influence of a 1984 album: “When I was a kid, the first Metal Church album really made an impression on me. It was incredibly punchy. I told Terry that I wanted Adrenalize to sound like that, so that you could turn it up real loud. When it came to recording Around the Fur, he told us that we should be considering going for a more bass-heavy sound.”

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Chino Moreno cites another unlikely influence: “We were in this rehearsal room that had a skate ramp. We were all big into the skate scene, so we’d hang out at our studio all the time, skate for a bit then write some music. Back and forth, you now. Looking back at it now, it was kind of like the time of our lives. Stephen wrote all the riffs and I put the vocals over it. It wasn’t forced; we didn’t argue. We were really connected at the time.”

Terry Date (producer) contributes to the same article: “I had just come off of working with Pantera and a lot of the metal bands of the time. Those records tended to have a lot of top end; not a lot of hip-hop low end.”

Chino opens up on collaborating with Max Cavalera after the fatal car accident of the latter’s stepson (Dana Wells): “It wasn’t depressing at all, it was really uplifting. It felt so exciting for us. Those first Sepultura records were really important to us as a band. Chao A.D. especially. I met Max through Dana, we were one of his favourite bands and then suddenly he dies.”

He addresses how preconceptions can be misconceptions: “People have this idea that I write all the mellow stuff and Stef only likes big guitar riffs, but listen to Mascara on that record. That’s a Stef song. We’ve always all been open to anything musically.”

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Stef seconds the motion when addressing the rap metal trend at the time: “I remember when these sub-genre names didn’t exist. It was just metal, so I don’t think we made a decision to step away from it – we’ve never paid attention to what anyone else was doing. We just what we thought was right, and tried to make a killer album.”

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Chino shows why other young bands would have a hard time stepping outside the box: “We did make a very conscious choice of who we were going to play shows with. It was hard to be this young band and having to turn town tours. I can’t remember how many times I turned down Korn! The name of the genre was nu metal, so anything that is new is going to be old. I didn’t want to be old with it.”

July issue…

Tom Morello (Rage Against the Machine) had low expectations: “I had been in a band that had a record deal, I had already had my grab at the brass ring. The band got dropped and I was 26 years old. I thought that was it.”

He had low expectations when they were openers for Public Enemy: “The tour was a needlessly controversial one. At the time, rap was considered a dangerous endeavour. The police sometimes outnumbered the audience at these shows. They filed injunctions – none of which were successful, I might add. We were playing at these colleges, and the audience would be 100% white fraternity boys and sorority girls passing through five levels of metal detectors before pat-downs.”

August issue…

Terry Date talking about producing Soundgarden’s second album: “They were just different. It was a period of time when things were going hair metal. There was a lot of dumb, butt rock – metal without any thought. Then Soundgarden come along, and you’ve got these four incredibly brilliant people who are doing heavy riffs with really smart lyrics. My goal at the time was to make music that was still going to be valid in 20 years time, and those guys completely fit the bill.”

September nineties retrospective issue…

Max Cavalera (Sepultura) talking about what Ross Robinson contributed to Roots Bloody Roots: “Ross hardly touches anything at all, so it just sounded like it was recorded live. We sent it to Andy Wallace, he beefed it up and padded it out to make it sound more heavy. I think that’s the thing that makes it really killer, the mix of live punk recording and Andy’s ear for making things sound huge.”

Ginger Wildheart (The Wildhearts) anointing Metallica’s black album as the `90s album that should not be: “Heartbreaking. After the standard of riffery they’d displayed up until this point, I couldn’t get my head around how un-dangerous they sounded. James Hetfield was the long-haired punk wearing GBH tees and ripped jeans. On the black album, he just became a rock frontman, and as good at that as he was and is, there was no one to replace him. Cue thrash turning mainstream.”

Ginger naming My Bloody Valentine’s Loveless as the best `90s album to have sex to: “You can’t tell where the male voice turns into the female voice. It’s a perfect parallel to the kind of sex that sees you both so lost in the act that you’re joined as disembodied energy, animal and spirit intertwined.”

Ross Robinson complimenting a band called Snot: “They were just the best dudes. I couldn’t imagine a sweeter bunch of guys. If you’re going to leave something behind, that’s way better than any level of success. They were truly great.”

Sean Yseult (White Zombie) explains her encounter with one famous fan and one famous band (Pantera): “In 1995, I stayed over at Timothy Leary’s house with Al from Ministry. He’d answer the door and be like – Oh, can I get you a drink? A cocktail? Some weed, pills, uppers downers, what do you need? He was like the perfect host. One of his favourite hors d’oeuvres was to take some weed, put it on a Triscuit cracker, put some butter on top and put it in the microwave. Apparently, the butter would heat up and activate the THC. In 1996, I had the most insane tour of my life. Darrell and Phil were like big brothers to me. Darrell would get a roadie to go to the bank and get 20 dollars in pennies. He’d come out onstage and POUR them into my boots, and then I could barely move. It was hilarious.”


Anders Colsefni outlining what happened after his final gig as the vocalist of Slipknot: “When I got off the stage after I said it, Jim Root came over and gave me a hug that put the hug in huge. He understood.”

Scott Ian (Anthrax) names the best (consistently high quality) grunge bands: “I was already a fan of Soundgarden and Nirvana before anyone had a name for them. I just thought they were metal bands. The first time I saw Soundgarden was on a tour with Voivod and Faith No More in New York. There was no question in my mind that this was a great band. I always thought that grunge was a s#!tty name for a genre.”

He name-checks his favourite nineties album: “Meantime by Helmet. They took all the best things I liked about metal and stripped it right down. When the riff of In the Meantime kicks in, it’s freaking insane. It’s pure hit-in-the-head-with-a-hammer stuff. From Pantera to Sepultura then Korn and Slipknot along with all the other bands, there’s so much Helmet in there.”

A startling confession from the brash baldy: “I didn’t drink in the eighties. It didn’t agree with me and I was too busy to be hungover!”

Rap metal: “Rage Against the Machine were the best band to come out of that whole thing. They just took it to the next step. If Anthrax and Public Enemy opened the door, Rage Against the Machine drove a frigging truck through it.”

Rex Brown describes how ridiculous that Pantera’s drinking became: “I don’t know how we did it. Dime was sometimes up for a couple of days straight. Those were some of his best performances, believe it or not. He’d play off the cuff. I thought he couldn’t stand up, but he’d get up and play his off. We were a very functioning alcoholic band.”

What sums up the nineties for him: “On a personal level, I would have to say Vulgar Display of Power, because nothing else comes close to that. I don’t remember what I was listening to back then, if I’m totally honest. It becomes a big blur, but I do think that Soundgarden’s Badmotorfinger was a killer record and we certainly jammed that a good few times on the bus. Facelift, the first Alice in Chains album, was great, too.”

Dave Jerden discusses the before, during and after of Facelift: “I met with the band and told them what I thought – that their songs were a mess. But I also said to Jerry Cantrell that I liked what he was doing. It was like if Metallica had sped Tony Iommi’s riffs up then brought them back down again. Sean Kinney had broken his arm and couldn’t play. We got the drummer from Pearl Jam to cover him but he couldn’t do it, so Sean played on that record with a broken arm. Those guys came from the same sort of crazy backgrounds, and they bonded together like a family. I believe that Layne was a sensitive person attracted to darkness, but I never saw any evidence of drugs in the studio. Not once. I believe that on Facelift, Layne was portraying a dark world from the outside looking in. It’s only later that they were right inside it looking out. Something had happened to that family. It was drugs, that was obvious. Layne started recording the second album a week after getting out of rehab. They suddenly seemed to be living the darkness that they were only exploring on songs like We Die Young from the first record. That’s what they wanted, but you have to be careful what you wish for.”


Kim Thayil (Soundgarden) takes credit for shaping their sound: “Their early demos owed a little bit more to Poison. Jerry asked me how to play songs like Beyond the Wheel. I said: There’s this thing called drop-D tuning. A short time later, they recorded a demo of the songs you hear on Facelift and they had that drop-D tuning on them.”

Tommy Victor (Prong) going on about the craziest thing that he did in the nineties: “I don’t know what you’d consider crazy or whatever, but it was a rough time for violence and excess. Your guitar was used for self defence during and after the show. I managed to get laid every night of an entire European tour, though. When I was a kid, I couldn’t get girls, so when I joined a band, that was pretty high on my to do list.”

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Tommy describing his favourite moment with Dimebag/Diamond Darrell: “We were playing a show while there was a wedding going on, so we crashed it then Dime decided to get totally naked and throw stuff at the bride along with the groom as they were in the middle of their special day. He was heckling, screaming and laughing. I was like – these poor people.”

October issue…

Kirk Hammett (Metallica): “I’m a mental waste-case. I have mental issues, and anger is one of them. What really, really helps me is music, and going out there onstage. What people don’t understand is that the angst, the anguish, the anxiety, the frustration – all those various feelings and emotions that are attached to our music – are feelings which live in us since the beginning. Just because you become famous or you have a little bit of disposable income, that’s not a cure for my inner anger. I have to deal with it every single day, and music helps that.”

November issue…

Clown Crahan (Slipknot): “I’m into going anywhere. I’ve been told not to go into places, gotten there and they’ve become my favourite places. So I’m very blessed with rock ’n’ roll pushing me into situations that feel scary or I’m a little insecure about or I don’t know. Rock ’n’ roll is not politics – I’d never want to be in politics because it’s not my thing, but who doesn’t like rock ’n’ roll? The police like rock ’n’ roll. The army like rock ’n’ roll. Religious people like rock ’n’ roll. You go into these territories you’re scared of, you’re usually pretty much welcomed with open arms because everybody loves music.”

Marilyn Manson namechecks Rihanna: “She gave me her phone number once.”

December issue…

Ivan Moody (Five Finger Death Punch) on why he went to rehab again after 2016: “There are more than just addictions to drugs and alcohol. I mean there is sex, there is food – there are people who are addicted to caffeine, for god’s sake.”

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