papajohnny
Member
Don't know how I missed that one. Thanks for the link.
Will watch it tomorrow then. It's Friday night after all haha
Will watch it tomorrow then. It's Friday night after all haha
They've become very practised in the art of deflecting critical questions, as I have witnessed on more than one occasion. The interviews they did for "Circle" sounded almost scripted.
One of the more obscure items in my vinyl collection is an "interview disc" Grace Slick recorded in the late 70s to promote her second solo album. It was distributed to radio stations and contains ready-made answers to questions the DJ was supposed to ask on air, as to give the illusion of a "live interview".
but it appears that instructions from the management to the label concerning the refusal of interviews to potentially critical journalists are already reality.
I meant a private friendly conversation, nothing more.
BTW, didn't I have photo with it from Tuska?
Bandcamp works fine. They do take small commission, but money goes immediately to your account via Paypal.
Bandcamp works fine. They do take small commission, but money goes immediately to your account via Paypal.
In 2007, this would have been the tour of the year. Amon Amarth, fresh off the triumph of their career high water mark, With Oden On Our Side, presiding over a bill filled out by an Enslaved in the midst of their transformation from black metal to Viking-prog, plus a hungry and — try hard to remember this — buzzy Skeletonwitch. You can probably picture the Decibel cover that might have been — Johan Hegg, Grutle and Chance Garnette mean-muggin’, all beards and teeth and size-72-font announcing the impending Viking plunder. The shows, it should go without saying, would have ruled.
But this is not 2007. It’s 2013, and those dudes have had more to drink and less to say every year in the interim.
Remember how it takes nine metalheads to change a lightbulb? One to change it and nine to whine that the old one was better...
Well, maybe I'm the wrong one to tell this joke, as I freely admit to hoarding a stash of old lightbulbs in reckless defiance of EU regulations, but as far as metal goes, I'm right with you.
After Michael Mann set out to direct Collateral, the story’s setting moved from New York to Los Angeles. This decision was in part motivated by the unique visual presence of the city — especially the way it looked at night. Mann shot a majority of the film in HD (this was 2004), feeling the format better captured the city’s night lighting. Even the film’s protagonist taxi needed a custom coat to pick up different sheens depending on the type of artificial lighting the cab passed beneath. That city, at least as it appears in Collateral and countless other films, will never be the same again.