Rapidinhas do Metallica

[PH]

Skull escreveu:

YouTube: BEHEMOTH@Ov Fire And The Void-live in Cracow 2014 (Drum Cam) Duração: 04:43 Vê o começo ai, uerlei. Primeiro é o china e depois o ride igual o Barata falou.

Inferno é foda. Nunca tinha assistido vídeo dele assim num momento de INTIMIDADE, mas sempre me impressionou a complexidade da bateria do Behemoth. Parada é uma pancadaria SERENA e agora deu pra entender perfeitamente o motivo

Skull escreveu:

YouTube: BEHEMOTH@Ov Fire And The Void-live in Cracow 2014 (Drum Cam) Duração: 04:43 Vê o começo ai, uerlei. Primeiro é o china e depois o ride igual o Barata falou.

Inferno é foda. Nunca tinha assistido vídeo dele assim num momento de INTIMIDADE, mas sempre me impressionou a complexidade da bateria do Behemoth. Parada é uma pancadaria SERENA e agora deu pra entender perfeitamente o motivo

[Skull]

JAMES HETFIELD: METALLICA Hasn't Written Its Best Album Yet

On the inspiration for METALLICA's new album, "Hardwired… To Self-Destruct":

James: "We always try to make a better record. It's innate; it's in us. We haven't wrote [sic] the best record yet. We're going to. I don't know when. I won't know when it is. So we always like moving forward, creating new stuff. For a band to be around for thirty-five years… There are bands that like to just play their hits and be okay drifting off into the sunset. We're not like that; we're artists and we love to create. It's like breathing for us — we need to do it. So it's always great when you have a new set of lyrics and music, and people still enjoy it."

On the effect of "fame" on METALLICA:

James: "Wow. Recently I've discovered what a dangerous drug it is. And there's obviously a song on this record that kind of deals with that. But fame can be something that destroys. You know, there's plenty of bands that have fallen apart because of fame, and one person's idea is different from another, and they can't get along anymore, and they think they're something that they're not. And that's always been dangerous, I think, and we've seen it happen, and we've tried to learn from it, but we'not exempt from it. It shows up, and we've all had our battles with it. Fame and adulation… People have an idea of what they want you to be, but when you're not that, they're disappointed. And there's a part of us that likes to please people, you know — we're an artist. So it's a constant dynamic that's happening. And I think the cure for it is confidence, and when you're an artist, you're not always confident of yourself. So it's a struggle at times."

On the importance of social media in the way bands interact with their fans in 2016:

James: "It's a great way to connect and stay connected with people. But also to still keep a mystery is important to me. So keeping an album, releasing little bits, you know… It's an art form. It's hard to surprise people these days, with so much information. So we're still trying to make it exciting. But there's obviously great things about it."



Vocalista da banda que ficou 8 anos sem lançar disco novo e 95% dos shows são sempre as mesmas músicas.

JAMES HETFIELD: METALLICA Hasn't Written Its Best Album Yet

On the inspiration for METALLICA's new album, "Hardwired… To Self-Destruct":

James: "We always try to make a better record. It's innate; it's in us. We haven't wrote [sic] the best record yet. We're going to. I don't know when. I won't know when it is. So we always like moving forward, creating new stuff. For a band to be around for thirty-five years… There are bands that like to just play their hits and be okay drifting off into the sunset. We're not like that; we're artists and we love to create. It's like breathing for us — we need to do it. So it's always great when you have a new set of lyrics and music, and people still enjoy it."

On the effect of "fame" on METALLICA:

James: "Wow. Recently I've discovered what a dangerous drug it is. And there's obviously a song on this record that kind of deals with that. But fame can be something that destroys. You know, there's plenty of bands that have fallen apart because of fame, and one person's idea is different from another, and they can't get along anymore, and they think they're something that they're not. And that's always been dangerous, I think, and we've seen it happen, and we've tried to learn from it, but we'not exempt from it. It shows up, and we've all had our battles with it. Fame and adulation… People have an idea of what they want you to be, but when you're not that, they're disappointed. And there's a part of us that likes to please people, you know — we're an artist. So it's a constant dynamic that's happening. And I think the cure for it is confidence, and when you're an artist, you're not always confident of yourself. So it's a struggle at times."

On the importance of social media in the way bands interact with their fans in 2016:

James: "It's a great way to connect and stay connected with people. But also to still keep a mystery is important to me. So keeping an album, releasing little bits, you know… It's an art form. It's hard to surprise people these days, with so much information. So we're still trying to make it exciting. But there's obviously great things about it."



Vocalista da banda que ficou 8 anos sem lançar disco novo e 95% dos shows são sempre as mesmas músicas.

[Camões]

Master of papinhos

Master of papinhos

[PH]

Skull escreveu:

There are bands that like to just play their hits and be okay drifting off into the sunset. We're not like that; we're artists and we love to create. It's like breathing for us — we need to do it. So it's always great when you have a new set of lyrics and music, and people still enjoy it."

Skull escreveu:

There are bands that like to just play their hits and be okay drifting off into the sunset. We're not like that; we're artists and we love to create. It's like breathing for us — we need to do it. So it's always great when you have a new set of lyrics and music, and people still enjoy it."

[Maluco Doido]

Os caras não tem nem vergonha de falar isso, pqp.

Os caras não tem nem vergonha de falar isso, pqp.

[fanatic]

Nem ele mesmo deve acreditar no que disse. Não é possível.

Nem ele mesmo deve acreditar no que disse. Não é possível.

[Gud]

Cada vez mais babaca e patetico o Shitfield.

Cada vez mais babaca e patetico o Shitfield.

[Moonwalker]

But fame can be something that destroys.

Sim por exemplo casamentos

But fame can be something that destroys.

Sim por exemplo casamentos

[PH]

ele tá casado e provavelmente enterrando a serpela na francesca toda noite

ele tá casado e provavelmente enterrando a serpela na francesca toda noite

[Skull]

[PH]

[Gud]

A serpela dele só cresce no instagram, caras.

A serpela dele só cresce no instagram, caras.

[Kirkão]

Gud escreveu:

A serpela dele só cresce no instagram, caras.

Exatamente.

Cagueimes só falando asneiras.

Gud escreveu:

A serpela dele só cresce no instagram, caras.

Exatamente.

Cagueimes só falando asneiras.

[Papa Hec]

CAGEUIMES

CAGEUIMES

[[metalremains]]

LARS ULRICH Explains How He Stopped Feeling Compelled To Show Drumming Ability And Focused On Groove

In a brand new interview with FOZZY singer Chris Jericho for the "Talk Is Jericho" podcast, METALLICA drummer Lars Ulrich spoke about how he became the foundation for the band's groove emporium after losing interest in technical prowess and focusing more on improving his skill at keeping steady time.

"That's kind of been my M.O. for most of METALLICA's career," said Ulrich, who has gotten a lot of flak over the years from people who accused him of being a poor drummer. However, Lars admitted that he wasn't always impressed by drummers who kept a steady tempo but showed no flash.

"Things started so quickly [for METALLICA], and literally, half an hour after we started, we were in San Francisco, and then Jonny Z [METALLICA's early manager and Megaforce record company owner] called me and we were on the East Coast, and then we were making a record," he recalled. "I mean, it just moved so quickly. And when we came back from 'Ride The Lightning', it was, like, 'Wow!' And we had a little bit of time [off]. At that time, a month or two was like an eternity. It was, like, 'What am I gonna do now for a whole month?' And so Kirk [Hammett, METALLICA guitarist] went back to taking guitar lessons from [Joe] Satriani. And I went back and I thought I could… I'd never really taken lessons. I just wanted to be in DIAMOND HEAD and MOTÖRHEAD. It was, like, 'Oh, you have to learn to play the instruments?' I mean, it was almost like karaoke in the beginning. I just wanted to be in a karaoke heavy metal band. That's what [James] Hetfield [METALLICA frontman] and I did — we just sat and played along to DIAMOND HEAD. Then, all of a sudden, it was, like, 'Wow! This is getting real.' It wasn't really intended that way. And so I'd never really taken lessons. So I tool some lessons from one of Satriani's guys, a super-cool guy. And Kirk took lessons, and we were playing a little bit of catch-up. And so I went through a period that probably culminated in the 'Justice' album where I felt sort of compelled to try to show ability."

According to Lars, part of the reason for him feeling insecure about his abilities was the increased competition from some of his peers.

"Listen, when you've got Dave Lombardo [SLAYER] and Charlie Benante [ANTHRAX] breathing down your back, it was, like, 'Okay, I've gotta…' I tried to step it up a little bit and tried to do my own thing and do all this crazy shit," he said. "I was trying really hard to push the drums kind of into the foreground. And then, after like a year or two of that, I was, like, 'Okay. Seriously? Just do your thing. Chill out. Support the riffs. Do what's best for the song.' So since around I guess the late '80s — so I guess it's been, like, 25 years now — the only thing that's really interested me is just doing the best thing for the song. And sitting and doing the Phil Rudd four-on-the-floor [a technique where drummers strike the bass drum on every beat in the measure], when it calls for that, that's really what I love to do. And just to be able to make James's riffs swing and to make it kind of bounce and to do all that type of stuff. I just turned a corner where I just stopped being interested in trying to do thirty-two paradiddles standing upside down backwards fucking Lombardo style. It's, like, let Lombardo be Lombardo and I'll kind of just do my own thing. But everybody goes through periods of that kind of thing, and I got mine out of my system pretty early. And, like I said, for the last twenty-five, thirty years or whatever, it's just been more about making it swing, and that's what I'm happy to do."

Ulrich also recalled the time in 2004 when he suffered a "medical emergency" just prior to METALLICA's performance at the U.K.'s Download 2004 festival, forcing the metal vets to forge ahead without him, enlisting Lombardo, SLIPKNOT's Joey Jordison and Ulrich's own drum tech to fill in for a full set.

"I have to say that lying in a hospital room in Hamburg, Germany while Dave Lombardo was up on stage [with METALLICA], that was not one of life's most fun moments," he recalled. "It's, like, 'Ugh, okay.' I was on the phone with James. It's, like, 'James, if I leave now, I'll find a plane. I'll be there in a couple of hours.' James was, like, 'Get some chill time. Stay in bed. Do your own thing. You need to recover and recuperate and get whatever it is that's going on out of your body, and I'll see you in two days.' [And I was like], 'James, man. I'm coming.' [Laughs]"

LARS ULRICH Explains How He Stopped Feeling Compelled To Show Drumming Ability And Focused On Groove

In a brand new interview with FOZZY singer Chris Jericho for the "Talk Is Jericho" podcast, METALLICA drummer Lars Ulrich spoke about how he became the foundation for the band's groove emporium after losing interest in technical prowess and focusing more on improving his skill at keeping steady time.

"That's kind of been my M.O. for most of METALLICA's career," said Ulrich, who has gotten a lot of flak over the years from people who accused him of being a poor drummer. However, Lars admitted that he wasn't always impressed by drummers who kept a steady tempo but showed no flash.

"Things started so quickly [for METALLICA], and literally, half an hour after we started, we were in San Francisco, and then Jonny Z [METALLICA's early manager and Megaforce record company owner] called me and we were on the East Coast, and then we were making a record," he recalled. "I mean, it just moved so quickly. And when we came back from 'Ride The Lightning', it was, like, 'Wow!' And we had a little bit of time [off]. At that time, a month or two was like an eternity. It was, like, 'What am I gonna do now for a whole month?' And so Kirk [Hammett, METALLICA guitarist] went back to taking guitar lessons from [Joe] Satriani. And I went back and I thought I could… I'd never really taken lessons. I just wanted to be in DIAMOND HEAD and MOTÖRHEAD. It was, like, 'Oh, you have to learn to play the instruments?' I mean, it was almost like karaoke in the beginning. I just wanted to be in a karaoke heavy metal band. That's what [James] Hetfield [METALLICA frontman] and I did — we just sat and played along to DIAMOND HEAD. Then, all of a sudden, it was, like, 'Wow! This is getting real.' It wasn't really intended that way. And so I'd never really taken lessons. So I tool some lessons from one of Satriani's guys, a super-cool guy. And Kirk took lessons, and we were playing a little bit of catch-up. And so I went through a period that probably culminated in the 'Justice' album where I felt sort of compelled to try to show ability."

According to Lars, part of the reason for him feeling insecure about his abilities was the increased competition from some of his peers.

"Listen, when you've got Dave Lombardo [SLAYER] and Charlie Benante [ANTHRAX] breathing down your back, it was, like, 'Okay, I've gotta…' I tried to step it up a little bit and tried to do my own thing and do all this crazy shit," he said. "I was trying really hard to push the drums kind of into the foreground. And then, after like a year or two of that, I was, like, 'Okay. Seriously? Just do your thing. Chill out. Support the riffs. Do what's best for the song.' So since around I guess the late '80s — so I guess it's been, like, 25 years now — the only thing that's really interested me is just doing the best thing for the song. And sitting and doing the Phil Rudd four-on-the-floor [a technique where drummers strike the bass drum on every beat in the measure], when it calls for that, that's really what I love to do. And just to be able to make James's riffs swing and to make it kind of bounce and to do all that type of stuff. I just turned a corner where I just stopped being interested in trying to do thirty-two paradiddles standing upside down backwards fucking Lombardo style. It's, like, let Lombardo be Lombardo and I'll kind of just do my own thing. But everybody goes through periods of that kind of thing, and I got mine out of my system pretty early. And, like I said, for the last twenty-five, thirty years or whatever, it's just been more about making it swing, and that's what I'm happy to do."

Ulrich also recalled the time in 2004 when he suffered a "medical emergency" just prior to METALLICA's performance at the U.K.'s Download 2004 festival, forcing the metal vets to forge ahead without him, enlisting Lombardo, SLIPKNOT's Joey Jordison and Ulrich's own drum tech to fill in for a full set.

"I have to say that lying in a hospital room in Hamburg, Germany while Dave Lombardo was up on stage [with METALLICA], that was not one of life's most fun moments," he recalled. "It's, like, 'Ugh, okay.' I was on the phone with James. It's, like, 'James, if I leave now, I'll find a plane. I'll be there in a couple of hours.' James was, like, 'Get some chill time. Stay in bed. Do your own thing. You need to recover and recuperate and get whatever it is that's going on out of your body, and I'll see you in two days.' [And I was like], 'James, man. I'm coming.' [Laughs]"