Metal wouldn’t exist without three core things — intoxicants, babes and the BOOM. In this edition of Bombshell we have the trifecta for you; a legit babe who slays the mic with intelligence and beauty, as well as two seminal intoxicant heavy bands that have carved out a mark for a generation of new metalheads to adore (see: they bring the motherfuckin’ BOOM). In preparation for the onslaught of summer tours, check out what some of my current faves are getting into and get your pink ass out to the pavement to see them in full glory. I promise, with all the female advice you’ll get from this column, you’re one step closer to getting laid.

Metal has always been a domain consumed with masculinity, for better or worse there is an inherent testosterone burst in every metal laced musical endeavor. As a musician and a commentator, I have always been intrigued with other females in heavy music. In an almost voyeuristic fashion I’ve connected with many other females in metal and despite my power-dykish disposition, have realized in the end we’re all just ladies who love the music. Meeting with Grace Perry from Landmine Marathon was quite a surprise; tall, fit and well-spoken she could easily step off the pages of a Prada ad. But what impressed me most was her genuine personality and love for music. Librarian/student by day, death metal/sludge goddess by night, Grace has been upping the ante with her Arizona-based band for over five years. Recently signing on with Prosthetic Records in late 2008 the band released Rusted Eyes Awake a raw and cathartic throwback to the days where production was minimal and the doom sandstorm was king. Sizing up with a heavy dose of charm and intelligence, Grace’s stage presence and demeanor leaves her untouchable, the girl oozes a rare brand of sexuality, one any gal or strapping young lad can get into. Although classic ovary driven bands like Girlschool set a precedence for the caliber of female fronted metal, bombshells like Grace have reshaped the way non-metal elitists view ladies in the genre — with equal respect and fascination. Grace was on hand last weekend as part of the Maryland Death Festival and word on the street is she had a little something brewing connected to the event, so keep your peepers peeled and check out my hangout with Grace here.

*****

Thunderous. The minute I heard “March of the Fire Ants” from Mastodon, I knew that I had stumbled on something purely Earth shattering. Part 90s post-hardcore, part progressive meltdown, all the while remaining wholly booming, Mastodon has perfected the formula of a hook-laden metallic rock conquest. Forming out the the ashes of the upstate NY-based Lethargy, bassist/beard master Troy Sanders linked up with Brann, Bill and Brant (must be lonely being the only non B guy) in Atlanta, connecting together to fuse a definitive southern rock feel with crushing metal/doom undertones that sticks to your ribs. Graduating to the big leagues, Mastodon’s second major label release Crack The Skye is looming positively on the tongues of both fans and critics, drawing in listeners with unexpected harmony, finesse and careful song craft, all filtered though the ears of mastermind producer Brendan O’Brien. Mastodon’s swift rise to the top of the metal world can clearly be attributed to hard work, extensive touring and plenty of perseverance. I sat down with Troy Sanders before a sold-out headlining show at NY’s Fillmore at Irving (Irving Plaza always in my heart) to talk about the new album, a possible Crack the Skye movie and many more debauchery filled behaviors.

*****

Torche are a quintessential summer band, perfect for jumping into your fathers beat up Chevy, lighting an overstuffed spliff and cutting loose. The first time I saw Torche was at an Isis show in 2006 and, in all honesty, was not totally sold. Retrospectively, my apprehension made perfect sense — they were a but a budding baby at the time and needed some saucy metal breast milk! Since that time, Torche has swiftly grown into a sneak-attack band, offering listeners a fresh melting pot of doom, post-hardcore driven vocals coupled with dynamic structuring. Offering rock-driven metal in the way Cynic bless prog metal — tight, appealing packaging with attention grabbing elements that keep listeners coming back for more. Their 2008 release Meanderthal topped Decibel Magazine’s top-records of 2008, probably much to the surprise of their deaf metal lovin’ core audience. Torche have been grinding hard since Meanderthal’s release and have been spending most of their time on the road, planning to conquer Europe with the legendary Coalesce and Kylesa, as well as return to the US late summer to trek with Harvey Milk. Genre defying and poised for glory, I had a chance to sit down with them on their recent US tour with Dredg — don’t let the soft spoken demeanor fool you, these men all all business when they hit the stage.

Torche are thunderous, almost orgasmic at times and despite their newfound penchant for hauntingly catchy melodies, the earth shattering bass and drum combo sets a deafening precedence. It’s blatantly obvious I have a pretty raging hard on for the stoner-pumped metal; the greenery and doom spark like fire through these veins. Thus my amorous feelings for Torche. Conveniently falling in with the stripped down heart of the 90s post-hardcore revival with a dash of metal legitimacy, Torche have crept up like a quiet storm securing spotlights on both mainstream and underground scenes.

Moving forward accordingly, Torche have announced a summer tour with legendary art-sludgers Harvey Milk and have also released a playfully trippy video for “Across the Shields” — a cut off their breakout 2008 release Meanderthal. Every summer needs a soundtrack, I suggest multiple intoxicants and throwing Torche into heavy rotation.

Check out the new video for “Across the Shields” — it’ll bring back ‘97 to you heart (I was expecting to see Billy Corgan any minute).

Torche U.S. tour with Harvey Milk
07.11.09 – Miami, FL (Chruchill’s Pub)
07.12.09 – Gainesville, FL (Common Grounds)
07.13.09 – Birmingham, AL (Bottletree Cafe)
07.14.09 – Memphis, TN (Hi Tone Cafe)
07.16.09 – Nashville, TN (Exit/IN)
07.17.09 – Indianapolis, IN (Emerson Theatre)
07.18.09 – Chicago, IL (Subterranean)
07.19.09 – Columbus, OH (Ravari Room)
07.20.09 – Cleveland Heights, OH (Grog Shop)
07.21.09 – Buffalo, NY (Tralf Music Hall)
07.23.09 – Toronto, ON (Lee’s Palace)
07.24.09 – Montreal, QC (La Sala Rossa)
07.25.09 – Cambridge, MA (Middle East Downstairs)
07.26.09 – Brooklyn, NY (Music Hall of Williamsburg)
07.27.09 – Philadelphia, PA (First Unitarian Church)
07.28.09 – Washington, DC (Rock and Roll Hotel)
07.30.09 – Charlotte, NC (Milestone)
07.31.09 – Atlanta, GA (EARL)
08.01.09 – Athens, GA (40 Watt Club)
08.02.09 – Tampa, FL (Czar)

My fascination with Dave Witte began the minute I heard blast beats rabidly pulsating through the walls of a dingy, yet endearing practice space in south Jersey. At the time I was in this ambitious tech metal band and my band mates quickly alerted me, “that’s Dave Witte, he’s the fucking MAN.” As a lover of all things heavy, I was privy to Dave’s projects — Discordance Axis, Melt Banana, Human Remains — but what I was hearing that glorious day was the unmistakable Burnt By the Sun. Later that day he walked by and in true Dave fashion complimented us on our sound, I stood in utter awe of a man that was not only one of the sickest drummers alive, but also stood out as a genuine, humble and approachable human being.

There is no greater pleasure in life than to meet another musician you greatly respect and receive a positive vibe. As fates would align, a few years later I began working at Earache Records and spent time working with Municipal Waste, which I immediately discovered now included a recently transplanted Dave Witte. The man truly is an anomaly — he cooks gourmet dishes, has a fervent love for cats and has several tattooed through his body (all cat lovers are clearly genius), tours the world and most notably, pounds a drum set like no one else.

A legend in the underground metal community, Dave and Municipal Waste are showing a new generation of kids how to party hard and thrash he night away. We sat down with Dave and talked about the bands’ slot on the forthcoming No Fear Energy Tour with Lamb of God, recording a new Municipal Waste album in 2009, the reemergence of Burnt By The Sun and many other revealing tidbits.

The ever shrinking world of metal and underground music has lowered the caskets of two beloved publications; Metal Maniacs and Metal Edge. Although the parent company that publishes MM and ME, Zenbu Media, has also kicked jam band staple Relix Magazine to the curb, on the whole this is a stark reality check for the current state of metal music and all of its’ subsequent cultural offspring.

From their 80s inception and birth (Metal Maniacs in ‘86 and Metal Edge in ‘89) both publications have been a beacon for every level of metalhead, immersing the novice in a wealth of bands and wooing the jaded with exclusive stories as well as one-of-a-kind coverage. During the late 90s both publications suffered from the emergence of formidable competitors like Revolver, but in mid 2007 things seemed to be on the up-swing when both magazines were picked up by global music classic, Zenbu Media. Both magazines revamped and relaunched, admittedly turning heads (including my own) and began to integrate multimedia content and a plethora of 21st century virtual eye candy.

Yet today, although there has been no official confirmation other than the mention of both mags taking a “hiatus,” it seems that ME and MM will become the martyrs of the dying art form that is print publication. The irony of it all is Zenbu Media was at the cutting edge of digital publication a few years ago, rolling out with a digi edition of their mags via “Zendition,” an online reader component that delivered a full edition of the magazine to your email inbox. Zendition was also licensed to other publication aching to launch digital editions and seemed to be a novel idea. Great minds always suffer a price.

The pressing issue is the decline of print, coupled with scarce ad dollars, which has minimized the success rate for any niche publication, but it doesn’t make the cultural blow any easier — the MM and ME staff over the years has been comprised of some of metal music’s most ardent supporters with true passion and love for the genre. These publications helped make and sustain the longevity of metal, they had what many other ad-money-hungry publications didn’t — heart. Magazines like Metal Maniacs and Metal Edge sold a lifestyle, a rock star vision that subscribers are dying to identify with. It is almost therapeutic; discovering new music, evaluating the newest look of your fave metal act, and stepping into the shoes of a touring metal musicians without leaving the can. I mean really, what more could a fan ask for? But as the tides of the shifting industry change, there are bound to be casualties. In an ideal world, we would never sacrifice monuments but let us not forget, these really are shifting times.

So rest in peace alongside many of your fallen brothers, we can only speculate what this will mean for a new generation of metalheads that will never know the joy of the quarterly zine, peril of running to the radio multiple times a day to record a thrash mixtape, satisfaction of running to the bookstore to pick up the new Metal Edge and Terrorizer, or the satisfaction of shocking hoards of mothers with a wardrobe that makes them declare “Weren’t you raised right?!”