Question Of The Week: I Don’t Wanna Hear It Anymore
Hey MetalSucks readers! It’s me Anso DF, MS senior editor, welcoming u to today’s MetalSucks Question Of The Week! Dude, sometimes don’t u feel bad for awesome bands? Like, they slave over an awesome project, it turns out awesome, u love it, but then u are forced to shelve it anyway. That’s the definition of “tragedy,” an incredible record meeting the same fate as a crappy one. Worst of all, the fault lies with u the listener! It was your love — probably everybody else’s, too — and lack of restraint (ditto) that doomed a classic album to early retirement. What do I mean exactly? Let’s talk all about it in this week’s QOTW!
Inspired by albums that are too awesome, we asked our staff the following:
What awesome album do u no longer listen to cuz u are so gd sick of it?
Please share yours below! Then put it out of your mind and have an awesome wknd :)
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DAVE MUSTEIN
Planetary Duality by The Faceless. Eesh. So many afternoons spent stoned indoors fapping to the guitarworks & attempting to practice “The Ancient Covenant.” I can’t hear the opening bars of “Xenochrist” without wanting to scream. I keep foolishly trying, but it’s going to take a couple years before I’ll feel normal again about The Faceless. At least we can look forward to Michael-Keene-meets-David-Bowie …
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ANSO DF
One night a bunch of us stayed out all night driving around and stuff. The car’s “cd wallet” got misplaced, so over like seven hours or so, we listened to the only two albums we had: A really scoldy Pennywise album survived a while before it was ejected from the car lol; from there it was like 14 plays of Mr. Bungle‘s then-newish debut album. I’d already heard it a million times, but whoa I suspect that my brain got rewired that night to link Mr. Bungle to sitting still, drugz, and moving straight ahead at speeds of like 45 mph. Isn’t that funny? I self-applied a torture technique out of Guantanamo Bay or The Men Who Stare At Goats or something lol. Now when I hear that bottle shatter that begins the album (below), I reach for the glove box and start rolling up a window. lol
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DAVID LEE ROTHMUND
The first time I heard Lamb Of God‘s As The Palaces Burn, other music became as ass-bland as table crackers. As a result, I listened to it non-fucking-stop — in the car, in the shower, in space, and even in the hospital while they were putting me under. So as my metal tastes grew outward, Palaces just kind of fell away from me, and Lamb Of God sounded ever more tinny and weak and irrelevant. I reached out and tried to grab them back, but I just couldn’t do it: The huge number of awesome drop-Z 400-string jams made LOG seem puny. But after quite a few years of “omg heavier heavier heavier breakdownzzzzz” I realized the glowing truth — songs like “Blood Junkie” (below) have such an ethereal rawness to them which makes them rightfully fucking heavy. I get hard at 2:27. That shit is real. Heavier and meaner and grittier than pretty much anything else on this planet. Uh, plus Randy Blythe is a goddamn king.
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SAMMY O’HAGAR
I have a weird relationship with Nirvana‘s Nevermind: There’s probably no other record more important and integral to who I am, yet in the last 15 years I’ve listened to it once. In seventh grade, I was obsessed with it; I threw it on and — cliche as this sounds — everything made sense to me, both on tape and in the world. Conservatively, I’d guess that I heard it hundreds of times after that (probably more like thousands). I put it on after school every day, listened to it through gigantic foam headphones during downtime. I knew every hum, screech of feedback, and every Cobain warble. About a year and a half later, I just stopped listening to it. I guess I discovered other music like Nirvana’s — or better. I had moved on to Nine Inch Nails then Tool, Korn (d’oh), Slipknot, Slayer and so on. I never grew to dislike Nevermind, but had no desire whatsoever to hear it after about 1997. Then, when Nevermind got the 20th anniversary treatment (ow, my youth), I stumbled on the Devonshire mixes of the album. This rawer mix brought me back in; more noticeable are this version’s tethers to old Black Flag, Hüsker Dü, and Big Black. It was fascinating to hear de-varnished songs I knew beyond by heart; there were new knots and scratches to run my hands over. But I haven’t listened to it since. There are Melvins records to discover.
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