Tag Archives: Tribute

by

Peter Steele And Me

Peter Steele

As I sit on April 14th, yet again mourning the loss of Type O Negative’s Peter Steele, and reliving the sorrow that I will never get to see this monolithic band on stage, ever, on the 10th anniversary of Peter’s passing, I felt I should add some words of my own, to the floods of tributes already paid, to a literal giant of the alternative music scene.

The first time I truly recall the work of Type O Negative in my life, was a feature in Kerrang, with a beginner’s guide to their work (which was an excellent feature and I think they should’ve kept up, and unless the well ran dry, someone else could really monetise this premise), highlighting their 15 best songs, and the albums you should purchase. Although my love of music had not yet blossomed to its fullest strength, track names, album titles, and finer details quietly seeped into my brain of this newly acquired band, and did not awaken until three or so years later. That being in a time where music streaming and YouTube were still in their embryonic stages, and as a teen with little money, mp3 samples on online retail outlets, and the use of LimeWire, were my common practices to cherry pick and obtain the music I wanted to listen to. Yet I didn’t make the first step. My brother did.

My brother, head deep into his emo phase at this time, scoped out and sourced various different, often provocative, bands and songs from LimeWire, put them on an iPod, or played directly from his laptop, and that music permeated out of his bedroom door seven days a week, right up until he slept. One such song he played was Dead Again, taken from the titular album around the time of its release, and while it never initially gripped me, rotations over months and a huge love for thrash metal, brought pleasure when it belted out from his speakers. I eventually asked for the song to listen to myself, and in that moment, triggered the memory of that Kerrang article, and the song titles I should seek if I wanted to hear more. Unbeknownst to me, my brother did also have this song himself, but Wolf Moon, acclaimed to be the best song they had written by whomever was in charge of that article, was the song I next listened to, and it tore open an entirely new realm of music to me.

There was something about that bone-grinding bass tone against the backdrop of ethereal gloom, the keys alone scratching that 80s itch I’d later become obsessed with, but his ungodly bellow, reaching from a place of pain yet staggeringly melodic, totally floored sixteen year old me. How could something sound so gargantuan, melancholic, and beautiful at the same time? My first encounter with Wolf Moon did precede becoming better acquainted with Sabbath’s back catalogue, but in those six minutes of head-crushing bliss, a world where Ozzy and Paul McCartney went for a sad drink in the pub, and wrote songs together, made absolute sense. I wholeheartedly defend Wolf Moon as the best song ever written about giving head to a girl on her period.

Wolf Moon became somewhat of a staple in what was a meek offering of my musical tastes, but my love and fascination with Peter Steele and Type O Negative never truly took off until Spotify sprung into existence. I had already owned Dead Again in full by this time, but the true birth of music streaming, enabled me to experience so much more of what was Type O’s darker, heavier, and often deeply hilarious universe. You can take countless examples through out their career on what is considered as the funniest Type O song, but mine remains September Sun from Dead Again, while an excellent song in its own right, it almost exists solely to be a upbeat pastiche of November Rain. The Drab Four was perhaps an astute term befitting their music, but it cannot be understated just how funny this band were, attached or separated from their art.

With firm adoration established, the very harsh reality that I could never experience them live began to set in. No chilling rendition of Love You To Death. No deafening chants of Black No.1. No tongue-in-cheek pomp of My Girlfriend’s Girlfriend. No venue-trashing frenzy from I Don’t Wanna Be Me. That particular space in my head to fill with being in the same room with another of my favourite bands, will forever remain a void, and hollow.

Peter Steele, a man whose lore and public perception paints him as one of the nicest people to grace alternative metal, who battled his own demons and vices for decades, and perhaps in a final hope, turned back to Catholicism in his last years, before his body succumbed to the damage that had been done to it. A larger than life person and personality that could never take to the stage again. Especially in an age where the veil surrounding mental health is gradually dissipating, his demeanour and conduct was always that of a magnetic and wildly entertaining songwriter and individual. Were he still alive, could things have been any different? Perhaps, but with so many warming accounts, archive footage, and of course his incredible back catalogue, to ponder that what if scenario only does an injustice to the memories of those who met him, and were touched by his music. A man who by his twilight years came in touch with his own mortality, and despite not following so many parallels with, I felt a genuine human connection to.

The greatest example I can offer you is a lengthy interview with the often considered divisive Juliya, which is still one of my favourite videos I revisit, in which her closing question to the band is ‘How would you like to die?’ The vast majority of the interview is jovial in tone and while the rest of the band answers in the same light-hearted manner, Peter answers with the following, could be considered sobering, statement:

‘How would I like to die? It wouldn’t really matter, so long as I made a difference in the world.’

Every April 14th, I’m reminded of these words as a moral code to abide by, in the hope I can one day get closer to that goal of feeling like I too can make a difference before I shuffle off the mortal coil. It seems fitting that Peter admired Rasputin, a historical figure who famously couldn’t die, because for the influence he has had on my life, and countless others, as a musician and as a true innovator, he too, will surely never die in the hearts of music fans either.

Thank you, Peter.

Rest in peace.

You can like and follow the site below, or follow the site with the link on the bottom right, to never miss an article:

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark

by

Keith Flint And Me

Elton-John-pays-heartfelt-tribute-to-The-Prodigys-Keith-Flint

I will never ever forget the day I first encountered Keith Flint. It was a memory so vivid, so powerful at such a young age, that it will stay with me forever. I was around four, maybe five years old, when my mum had MTV on, and the music video for Breathe came on. She’d bought Fat of the Land around this time, and encouraged me to watch it, or at least listen. Being at that age where so much is impressionable on a young boy, that image of a demonic looking, and sounding Keith Flint, with the purple and green spikes adorned either side of his head, was absolutely terrifying. The video was played so regularly, it wouldn’t let me erase it from my mind. And like the best kind of hypnosis, after enough exposure, I started to like it. Instead of quivering in fear or leaving the room when it came on, I started to embrace it, and that state of alarm soon turned to joy every time it came back into rotation, the volume edging that bit louder every single time that beginning hook grumbled in.

God knows how many times I must’ve watched that music video, trying to analyse and break down all the imagery contained inside that dilapidated apartment. It’s truly a fascinating watch, not least because of Keith Flint’s flailing, and warped punk snarl, ensuring it became an everlasting memory, but it’s what became my gateway into The Prodigy.

Firestarter, of course, also left an impression on me too, that unmistakable nihilistic energy being translated by the innocence of a five year old child, who had no conceivable idea what anything Keith said meant, and the transformation of the chorus from arson into UFOs, sometimes flatulence, being one of my mum’s fondest memories of me as a child. Fat of The Land was always massively influential on me, even if I wasn’t really all that into music at the time. But for every new Prodigy song I discovered in that time, past and present, I always saw the music video for, and I’d always tried to copy how Keith danced, how they all danced for that matter, so if anything I’ll always owe him an indirect debt for any coherent ability I have for moving my body to a high-tempo rhythm. Out of Space and No Good especially. That was mostly in my infancy. A decade or so on, that connection got more personal.

Largely ignoring everything that happened with Always Outnumbered…, though not without its own merits, to date the only Prodigy album I actually own (although likely to change in the future) is Invaders Must Die. This album was on heavy rotation on my stereo after it came out, and came about a time when there was a lot of transitions in my life, namely finishing up high school and beginning to change things about my appearance, like hair colour, Keith being the very first person I ever saw with abnormal hair colour. Front to back this album was full of gems, and something always struck me about Run With The Wolves, not just because it’s solely Keith on vocal duty, and the drums recorded by Dave Grohl who may be my favourite human being ever, but there was this degree of authenticity amongst the anarchy. Keith’s sneer compliments the abrasive modular synths perfectly, the thunderous yet technical live drums propelling it far beyond album filler, and I fully believe this slice of electro-punk madness, no matter how iconic Firestarter and Breathe are, is his finest moment and the song he was meant to sing.

Going back to Breathe again for a moment, I was fortunate enough to see The Prodigy on two occasions. Their esteemed Warrior’s Dance Festival show at Milton Keynes Bowl in 2010, and at Sonisphere in 2014. For Warrior’s Dance Festival, my hair was dyed completely blue, in a bright UV yellow t-shirt, in a crowd of 65,000 people and I still managed to stand out. But in that moment of the opening notes of Breathe playing out into a sold-out ram packed amphitheatre, the rapture of being surrounded by tens of thousands bellowing out that chorus is unlike many experiences I’ve ever had before. It’s certainly the loudest I remember. I watched footage back of that moment recently and it gave me goosebumps. Hearing Keith’s snarls in the flesh resonates as strongly and vividly, as it did well over a decade ago on MTV. The Sonisphere performance is a lot more hazy in my recollection, but the MK Bowl show is without doubt one of my favourite live shows I have ever attended.

Since then, the new Prodigy releases always piqued my interest, and I lifted the songs I enjoyed from the two new albums since Invaders Must Die, some became songs I played in DJ sets, but I can’t deny I wasn’t as invested in them as heavily. I still haven’t worked out why to this day.

The day Keith Flint died, I was distraught. I cried a lot. I cried even more when his death was ruled a suicide. It didn’t make sense to me because I’ve always associated the music of The Prodigy to periods of elation in my life, and this year is already becoming one of my better years after the last 18 months of non-stop turbulence and uncertainties. The fact his irreplaceable voice, and larger than life stage persona no longer exists on this planet, nor will make any more appearances is a pill I’m struggling to swallow. Not to cast shadows on any other recent tragedies, but an illustration to give you an idea of how crushing an effect this has had on me; Chester Bennington’s death was like losing a best friend at one of the most difficult points of my life. The death of Keith Flint is like losing a close family member, someone whose presence has been felt consistently throughout my life, that their musical contributions have been so ingrained into who I was, and who I’ve become, from a very young age. This news hurt, it still hurts, and it feels like an important part of my soul was extinguished on that dreadful day.

Almost since day one, The Prodigy has had a profound impact on my life, and to be in the knowledge that its heart will never beat again, leaves me in perpetual sorrow.

Thank you Keith.

Rest in peace.

It’s OK to ask for help. If you want someone to talk to, or someone to listen, please call Samaritans, or seek your local mental health charity. There is always someone willing to hear you out. Never suffer in silence.

You can like and follow below, and also subscribe to the site for free if you wish:

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark

by

Chester And Me

Petrusich-Chester-Bennington

I don’t take much pleasure in writing these sorts of things, but I feel that putting thoughts and feelings into words, can alleviate some of the gravity that Chester Bennington’s death has had on me personally. Honestly, I spent a good hour after glimpsing the headline, willing it, imploring for it not to be true, and someone had started some sick joke, like the occasional internet prankster will instigate fake death rumours of minor celebrities. I refused to believe it, outright defiantly unless it came from Linkin Park themselves. And an hour later my heart sank, as Mike Shinoda, a man whose craft I have respected for over 15 years, confirmed it was the truth.

I was very quiet that evening. Trying to process the disbelief and shock I’ve found myself in. 24 hours later and it still doesn’t seem real. I still don’t really know what to say. But I want to try and give you an idea. Even if it seems nothing but an incoherent stream of thought.

I became aware of Linkin Park’s existence around 2001, maybe 2002, when Kerrang was first available on my parents’ TV and my mum would play the In The End video whenever it came on. She loved that song so much, she bought it on single, in a time when singles from a plethora of musical talents came on CDs and were easily obtainable in the same capacity. I too grew to love the song, so much so that years later, I would perform Mike Shinoda’s rap parts in front of my high school class, with two other friends. I looked ridiculous in a short sleeve shirt with dragons on and spiked up hair, but whatever, I was only 12 years old. The deal was that for the performance, I would do the rapping parts, and my friends would sing Chester’s parts, and I complied with their request. Almost. The problem is the simplest words can be the most powerful, and the most catchy, and without trying to steal their spotlight too much, I couldn’t help myself. To this day, the vocals on that bridge are something I still aspire to mimic perfectly. Voice breaking aside, 16 years on I’d like to think I’m getting somewhere close. But I could say that for a lot of Linkin Park’s vocals. There are just some songs in their discography, that specific moments have a certain emotional frequency or delivery that I wish I could imitate. In The End. Somewhere I Belong. Paper Cut. Waiting For The End. From The Inside. Breaking The Habit. I can’t scream to save my life, but the contests I would have to try and hold that scream near the end on Given Up. Truly crazy.

The main contact, or true constant that Linkin Park really had on my life however, was in 2003, the year Meteora was released, and the year my parents’ marriage ended. That album was on repeat in my mum’s car to and from school, so in a sense, you could say that Meteora was the soundtrack to my parents’ divorce. I never truly saw it that way until recently when I listened to that album in full again a few months ago. It was never the most pleasant time in my life, I won’t lie, but I didn’t associate that album with bad memories, and I don’t now, having listened to it irrespective of that time period. I still think that album is incredible, quite honestly. Yet… With Chester’s passing, it does feel like it will eventually become another form of closure on that part of my life. I have grown so much and far beyond that 10 year-old boy I remember, that any lasting impact seems so superficial now, but the imprint of Meteora and the raw emotion in those vocals, it still has a connection to that time, and it does sting right now.

I have never claimed to be their biggest fan. Hell, I can’t stand Crawling and Numb by them. Conversely, I loved it when Jay-Z fused Encore with Numb, for some reason I enjoy it a lot more because of it. Numb has some truly powerful words in it, but there is a self-destructive anguish in it that is incredibly overbearing to me, and I find it hard to enjoy it for that reason. Yet whenever they were releasing a new album, especially after following Minutes To Midnight, I’d give the new single a chance. Results varied. I liked some of them. I didn’t like some of them. What I think matters more is I’ve always admired their guts to experiment with their sound despite the public reaction.

But even as I reach close to a quarter decade in age, Chester’s words, emotions and influence are still finding a way of speaking to me.

The bridge of Somewhere I Belong currently feels like words to live by right now, as I try to make a better life for myself. Leave Out All The Rest has always been a song I have considered for my funeral, and nowadays does make me cry. Lord knows I might be in hysterics when I hear it next. The beginning of Faint I truly consider to be one of the greatest song openings ever in terms of immediate impact and hook. Points of Authority will always be a staple of DJ sets for me. And as far as trying to match his vocals goes, nothing will stop me from trying. Maybe one day I’ll be able to nail them, but it just goes to show how deep his presence has been through out my life, and perhaps why this latest loss in not only the rockstar realm, but in the battle against depression and mental health issues, cuts far deeper than I realised.

Another extraordinary talent, that seemingly succumbed to his demons.

Rest in peace, Chester.

Normally, this is the part of the article where I make a quirky plea to like, follow and subscribe to the site if you so wish. Given the sombre nature of this piece, I’m waiving that gesture for this, but if you feel that you want to, then the links to do so are here:

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark