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Pour rester dans le hors sujet, et histoire de jeter un petit peu d'huile sur le feu, je me permets de noter la discographie du groupe de Dave Mustaine.Ad Metal Eternam a écrit :Clair ! Et puis Thrashos a le truc qui fait les vrais thrasheux et que n'auront jamais les donneurs de leçons pseudo-élitistes qui croient tout savoir: il est sympa
Non, c'est juste preferer l'urgence et le coté sauvage, incontrolable, bordélique et imprevisible du thrash metal des debuts au coté beaucoup plus propre, carré, net, froid,clinique et legerement aseptisé(mais neanmoins tres catchy) de Countdown to Extinction.Gandalf a écrit :Putain mettre 10 points de plus au premier qu'à "Countdown..." c'est une heresie !!!
Ad Metal Eternam a écrit :Clair ! Et puis Thrashos a le truc qui fait les vrais thrasheux et que n'auront jamais les donneurs de leçons pseudo-élitistes qui croient tout savoir: il est sympa
Megadeth’s upcoming CD, TH1RT3EN, is guitarist Chris Broderick’s second with the group, and it allows him to showcase his classically-influenced, harmonically rich style in a variety of settings, from the head-down, high-tech thrash heard on the band’s last CD, 2009’s Endgame, to more melodic, anthemic songs reminiscent of albums like Countdown to Extinction and Youthanasia. We reached out to Chris to find out how he feels about TH1RT3EN, what he feels he brings to Megadeth, and more.
(This is the first in a four-part series of interviews with all four members of Megadeth, leading up to the release of TH1RT3EN on November 1.)
How does being in Megadeth compare to being in your previous bands like Jag Panzer and Nevermore?
It's a whole new level, in terms of the amount of prep that I have to do, to the video shoots to all of that. Where I'm at on stage, the amount of production we have, it's just a lot more. Takes up a lot more of your time, and it's a much bigger stage.
Is it more satisfying?
I would say it gives me more of a sense of accomplishment, the fact that I'm able to do what I love – which is playing the guitar – for a living.
What's it like to work with Dave Mustaine on the guitar parts?
I think it's great, because he comes from a different background than I do. He brings an insight from a totally different light than I view it from. And you can sense it in our playing styles, too, that we' re very different in that sense. So I think that's awesome.
What's the viewpoint that you bring to your playing?
Dave got his playing from the street, he picked up a lot of his playing from listening to records. I come from a more schooled approach.
How do you feel that the styles complement each other?
I think they're very complementary. [Dave] has more of that grit and that push and pull of the beat, where he'll play a little ahead of the beat or a little bit behind the beat. Mine tends to be right on the beat. So it was cool to learn that style, to actually play in front of the beat a little bit and then pull back when you want to do that, but then also lock in with the beat when it was time to do that.
Do you try to replicate the band's classic songs live, or do you try to put your own stamp on them?
I try to do as good a job as possible to re-create the original as faithfully as possible, but at the same time we all have our own ways that we approach the instrument, so I think a little bit of my playing would come out within those songs as well. But I do try to keep it as close to the original as possible.
What does your playing bring to Megadeth that your predecessors didn't?
It's definitely going to be my own influences, my classical guitar background, the schooling that I came up with. It's just a different balance of influences, you know? I can't speak exactly to what their abilities are and aren't, I can only listen to what they recorded in the past and make assumptions on that.
Could you be specific on some of your influences?
I've got a lot of time invested in counterpoint, which is the main form of composition that Bach would use, and I utilize that information when I write and when we come up with guitar harmonies.
Can you explain counterpoint for some of our readers who might not know what that is?
Sure. It's the idea of having a melody and a counter melody that work in harmony together really well. When you harmonize on guitar, usually what you would do is you would move up an interval and harmonize the exact same guitar line as the original, whereas counterpoint would have you do an entirely different melody, but it still works harmoniously with the original melody. So there's a lot of governing rules behind that and how you make that work.
Are there any examples on TH1RT3EN?
Yeah, but they're more textures buried in the background, making them hard to point out. There's a little bit of contrapuntal harmony in "Millennium of the Blind"...I'm trying to think of where else there would be as well. There were some things that we recorded, but we didn't use – they made things too complex, took away too much from the original melody.
So when you go into putting together guitar parts for a Megadeth record, making it sound like a Megadeth record is the top priority?
We'll come into the recording process and the songwriting process with all those different possibilities, whether contrapuntal or bringing in different styles of music were just presenting harmonic and rhythmic ideas. And then, of course, after you try it, you're like, "Okay. That's definitely not the correct style for this song." Or it doesn't fit the song correctly, and you put it on the back burner. Definitely all that stuff's open, but like you said, at the end of the day it has to sound like Megadeth.
Does Dave do the lion's share of the writing?
Yeah, except for, obviously, I write my solos, and sometimes the guitar melodies over the top I'll write. The countermelodies, the harmonies, things like that I'll have a big say on. Most of the rhythms are Dave.
How do you approach writing the solos? Is it more of a compositional thing or more of an instinctive thing?
It's a little bit of both. When I hear the rhythm, I usually like to loop it and solo over the top, getting the feel for the phrasing, what is going to be like, hearing it in my head. And then from there I like to think about compositional skills and how I can develop what I'm hearing. That's the ideal way. Sometimes you run into time constraints and things of that nature where you have to move a bit more quickly and you don't have all the time in the world to compose exactly what you want.
It sounds like the recording of the album went quickly. Was it quick in a good way, or in the "oh crap, we have to get this thing done" way?
A little bit of both. We did have the deadline of the fact that we were leaving for Europe to do a tour and the Big Four shows, but I don't think it was absolutely crucial that we finished the CD by then. It was a goal, and we ended up meeting that goal. For me, it was awesome, in the sense that it came out quickly and it came out well within the time that we had. Now, that being said, you can always sit there and listen to the song again and again and see if there's any marginal thing that you could do to make it just that much better, but then a lot of times that leads to second-guessing yourself. I'd say overall I'm pleased with the fact that we got it finished as quickly as we did.
Megadeth's TH1RT3EN will be in stores November 1.
Gaëtan au KIT a écrit :Y'a des sites sur internet où tu marques ce que t'as picolé et ça te dit combien de temps il te faut pour dé-saouler. Et ben des fois c'est une semaine...
Megadeth’s upcoming CD, TH1RT3EN, is drummer Shawn Drover's third with the band (he joined in 2004, along with his guitarist brother Glen), and it's a great vehicle for him to demonstrate facility in a variety of styles; there's some thrashy material as furious as anything on 2009’s Endgame, but there's a lot of melodic, anthemic music, too, like first single "Public Enemy No. 1." We reached out to Shawn to find out how he feels about playing with prodigal bassist Dave Ellefson, what he feels he brings to classic Megadeth material onstage, and more.
(This is the second in a four-part series of interviews with all four members of Megadeth, leading up to the release of TH1RT3EN on November 1.)
How do you feel the Big Four show at Yankee Stadium went?
It was awesome! We're the first hard rock/metal bands that have ever played Yankee Stadium as far as I know. I know Eminem and Jay-Z had played Yankee Stadium previously, but as far as I know we are the first metal bands to play Yankee Stadium, so that in itself is quite an achievement and quite a great thing for metal. The show itself was fantastic, the place was packed—it's Yankee Stadium, you know? I wouldn't even put that on my bucket list, it's such a monumental thing that I didn't think I would ever play something like that in my lifetime. Madison Square Garden, yes, of course we've played that, but Yankee Stadium was quite an honor, I've gotta say.
How did recording TH1RT3EN compared to your previous experiences doing Megadeth records?
It's weird—speaking for myself, but I think I can say that for pretty much everybody, the record was a very easy process. I'm not really sure why. Everything went very smoothly, we just rolled along and got things done at a very quick pace. We had about nine weeks between tours to record this record, and we really pulled it off. We're ecstatic about the results of the record. We think it's a great record, and we hope the fans will as well. I think the biggest difference between this and United Abominations, Endgame before it, and so on and so forth, is how easy it was. There is no special reason why. Everything just seemed to click. Songs came together very well and very effortlessly, and it was just a really enjoyable record for us to make. Certainly on my behalf, that's for sure.
Did having David Ellefson back after a long absence contribute to that ease?
You know, I don't think that contributed to the record being easier. He had a lot of input on the riffs we used, but we all did, we all fed off of each other. Dave [Mustaine] has such a library of riffs that he's recorded on tour, riffs that we've recorded on previous tours. He just keeps everything on file, so he's got such an abundance of riffs, partial songs, finished songs, all sorts of things he can choose from that we never have an issue like, “oh, we don't have enough material.” We always have more than enough material. Which is a great thing to have. So it's not the reason the record was easier to make, but I'll tell you what, it was great being on a record, for me personally, with both Daves. He was one of the ones that started the band, and having him back in the band and back on the record is certainly a great thing in my opinion. I'm loving it. We get along very well, and I'm glad he's back in the band.
Did you find it easy to establish the chemistry with him as the other half of the rhythm section?
Yeah. We clicked. It's funny, the first time David came down to Arizona to rehearse with us, this was just before the Rust in Peace tour that we were going to do—and I've met him several times before, but this was the first time we'd ever gotten in a room and jammed together and stuff. He plugged in, and we started playing tunes, and right away everything just locked in. Not that it was any better or any worse with James LoMenzo or James MacDonough, they were fantastic as well, but there was something about performing with someone who was on those records and performed the original bass parts. For the most part, I'm emulating other drummers and trying to bring their nuances to songs that I haven't played on. It was cool to play with someone who had played on pretty much all the records for the first 20 years of the band, to play all those old classics again and have the original bass player and guitar player play on that stuff.
When you play songs from before your tenure in the band, do you try to emulate them as closely as possible or do you try to throw in some of your own identity?
I keep a pretty close. There are certain things here or there, certain things I feel are not as important—like if there is a certain drumroll on a song, or something that's really integral to the song, I would never change anything like that. But there are a few things here or there where I try to add a little of my own flavor to it while not deterring from the original recording. We try to keep things as close as you can get to the original recording. It's almost impossible to have everything note perfect and jump around on stage and headbang and all that crazy stuff. I try to keep it as close as I can just out of respect to the previous drummers and out of respect to the fans who want to hear stuff close to the record.
When writing the new material, do you come up with the drum parts yourself?
In the studio, it's a collaborative effort. When we are tracking, I'll get in there and play a track to it, and then we'll listen to it—myself, the producer, and Dave—we'll all sit down and talk about it, and sometimes they'll have ideas like "why don't you add to this part, or why don't you do this instead of that" and we talk about it. If I feel very strongly about something, and I know the way that I played it is better than the way that they're suggesting, I'll speak up about it. But in the end, it's a collaborative effort. It all stems from the track that I lay down, we just change certain parts. Sometimes we change parts more than others, and some we barely change it at all from my original idea. At the end of the day, it's a collaborative effort between the three of us. I look at it as three heads are better than one, because sometimes they'll come up with an idea that's better than the one I originally had in mind. At the end of the day, we want to service the song. I want the song to be as good as possible and play what the song requires.
Gaëtan au KIT a écrit :Y'a des sites sur internet où tu marques ce que t'as picolé et ça te dit combien de temps il te faut pour dé-saouler. Et ben des fois c'est une semaine...
Il est vachement près des fans Mustaine du moment que ces derniers ont un CD tout neuf à faire signer
Ti leeeeeeeGasp Ounet a écrit :moi j'attends le CD, pas envie d'écouter des bouts comme ça sur internet
Serais-tu perturbé par le départ de méga brebis?
