#Murderdolls 2010

[kazchao]

[bbreakingbenjamin]

𝕳𝖊𝖑𝖑𝖔 🖤👋🖤☠️

𝕵𝖔𝖊𝖞 𝕵𝖔𝖗𝖉𝖎𝖘𝖔𝖓 & 𝖂𝖊𝖉𝖓𝖊𝖘𝖉𝖆𝖞 13 𝖋𝖔𝖗 𝕶𝖊𝖗𝖗𝖆𝖓𝖌! 𝕸𝖆𝖌𝖆𝖟𝖎𝖓𝖊, 2011.

[m4rc3y]

Got these from Wednesday’s insta😽

[basementdoll]

Wait And Bleed

Murderdolls were on a high with their 2002 debut album. Before Joey Jordison knew it, Wednesday 13 had 30 new songs written…but was going it alone.

Words: Dom Lawson

On July 12, 2003, the band that Slipknot drummer Joey Jordison had formed with his friend, vocalist Wednesday 13, as a bit of light relief from the relentless touring and ferocious intensity of his day job, performed to a sold-out Brixton Academy in London. Within a year of releasing their debut album, 2002’s brilliantly snotty Beyond The Valley Of The Murderdolls, this goofy, sleazy horror-punk side-project had evolved beyond all expectations, like some kind of many-headed Frankenstein, and won the hearts of thousands of fans. In the UK in particular, Murderdolls rocketed from nowhere to the brink of hugeness, accruing a hysterical army of red’n’black-clad admirers who had fallen wholesale for the band’s party-all-night-and-fuck-the-consequences philosophy. What started as a liberating side-project had mutated into something with the potential to conquer the world…all of which makes the fact that Murderdolls left Brixton, buggered off back across the Atlantic and then vanished for seven years somewhat confusing.

But now it’s the summer of 2010 and Murderdolls are back at last. And so, as Joey Jordison and Wednesday 13 settle down on a small leather sofa in the air-conditioned downstairs bar of a swanky Soho hotel to speak with Metal Hammer about their reunion, imminent comeback and brand new studio album, Women and Children Last, it’s finally time to ask the question: Gentleman, where the fuck have you been?

“We don’t bullshit and there’s no reason to lie.” says Joey, shades on and as serious as hell. “After we got done with the tour for Beyond The Valley Of The Murderdolls, we ended on a high note at Brixton Academy, but then of course I had to go back and start up Slipknot again. Me and Wednesday were still in contact and he had demoed like 30 songs and sent me a CD, but the next thing I know, he’s doing a solo record and he didn’t tell me! I didn’t understand it. I was like, ‘Don’t you wanna do another Murderdolls record?’, but I can’t tell him not to go and do what he wants to do, you know? So I had to go and do my stuff with [Slipknot album] Volume 3 (The Subliminal Verses) and we did the whole tour, and we met up again during that tour. We hadn’t talked in a while, so it was kinda weird, but once we talked and crossed paths…”

“We met in a trailer at Rock Im Park in Germany.” recalls Wednesday. “It was 100° and all the crew people were like, ‘Get in there and work it out!’ and they threw us in there and shut the door! That’s when we sorted everything out.”

Having patched things up after what sounds like a fairly minor falling out, Joey and Wednesday still didn’t exactly rush into a Murderdolls reunion. In fact, another five years have passed since the initial exchange of apologies and explanations. In terms of squandering momentum, this hiatus will take some beating, and yet Women and Children Last oozes a level of intensity that was never even hinted at by Murderdolls first time round. Apparently absence makes the fire blaze harder…

“To other people, eight years [between albums] must seem like a long time.” says Wednesday. “But if you think about fuckin’ everything that Joey’s done and everything that I’ve done in that period, that’s a lot of shit! Combined, we’ve done more than bands do in a 20-year period. Joey did two Slipknot records, a Ministry tour, played with Korn, did Roadrunner United, produced 3 Inches Of Blood and played with Satyricon and I did three solo records, an EP, two country records and started a whole new band…”

“We were never enemies at all.” adds Joey. “We just got confused. After we met up again, we were on speaking terms and having conversations by texting and we were thinking that maybe we’d just let Murderdolls be the band with the cult following that it was and let sleeping dogs lie. But then the moment of clarity came to me about two years ago. I was at home on a break and I was sleeping on my couch and Headbanger’s Ball was on and there was this spark that jolted me awake. The metal scene in America and also in Europe, it’s all the fucking same now. There are some great bands, trust me, but everyone’s the same now. Labels are trying to survive because they’re going down the tubes. It’s all about who can play double bass the fastest. There’s no rock stars anymore. I called Wednesday at that point and I’m still in a sleep haze and I said, ‘Wednesday, I want to make another Murderdolls record!’”

A world apart from the comic book kitsch and pun-filled sloppiness of their debut, the second Murderdolls album might as well be the work of an entirely different band. Although still imbued with the hook-packed sleaze metal sensibilities that made old songs like Dead In Hollywood and Grave Robbing USA so irresistible, the new songs seem to have been beamed in from somewhere much darker and more real than their predecessors. There is no shortage of macabre humour lurking amid the pounding riffs and roar-along rage of Chapel of Blood and My Dark Place Alone but while Beyond The Valley…was all about taking the listener into a grim but ludicrous fantasy world, this record sounds very much like the work of men on a sincere and heartfelt mission. Murderdolls 2.0 mean every last fucking word, and as a result they have become a hundred times more believable. 

“I said, ‘If we’re gonna do this, it has to be full bore and we have to make a real record.’” says Joey. “The first record is great for what it was and I love it, but I consider this to be the first Murderdolls record. This is the first time we actually sat down with a vision and wrote songs together, and it’s been one of the most gratifying records I’ve ever made.”

“We wrote all these songs from scratch, a few feet away from each other in the studio.” grins Wednesday. “The first song we did was Homicide Drive, and the drum take you hear on the record is the first take we did. It all happened that naturally. It was really easy and it was fun. We had a fuckin’ blast making this record.”

Just like their favourite band, Murderdolls fans may well be a little bit older and wiser eight years on from that first flush of anti-hero worship, but the goofy, light-hearted side of the band was always a major part of their appeal. As a result, there may be some who find the idea of a more serious Murderdolls a little alarming, but despite injecting their sound with a little more substance, Joey and Wednesday are still firmly committed to delivering the rock ‘n’ roll goods. It’s just that this time round the fire in their bellies is for real and not just cheap whiskey afterburn.

“It’s still fun but it’s more fun for me because I get to sing about personal stuff now.” explains Wednesday. “I’m not the same guy you saw before. This band has changed - this is a whole new Murderdolls, in terms of what we’re bringing to the table. When I sing My Dark Place Alone, that’s very personal to me. I’m going deep into the lyrics, and that’s something I’ve never been able to do before.”

“The first record, you could say we were a dumb horror punk band or something like that.” adds Joey. “The new one, this is like my other Slipknot, even though they’re like apples and oranges. On this record you go from a song like Chapel Of Blood to Drug Me To Hell, and then songs like Nowhere and Summertime Suicide and it starts getting poppier. It’s kinda like Slipknot, with all that diversity, even though we’re a rock ‘n’ roll band. That’s what’s gratifying to me, having a band that has its own style but is able to inject its own identity into each song. When I used to play in death metal and speed metal bands, it was easy to sit there and write a million riffs. The biggest challenge is to write an actual song, and only then do you know you’re a real songwriter.” 

If everything goes to plan, the new Murderdolls album should swiftly restore the band to the levels of popularity they were enjoying when they took their extended hiatus. But if anyone needs convincing that Women And Children Last is the real deal, they need only acknowledge the presence of no less a figure than Mötley Crüe guitarist Mick Mars, who lends some hair-raising solos to Drug Me To Hell and Blood Stained Valentine, two of the album’s grittiest anthems. Mick doesn’t put on his top hat for any old rubbish, and Joey and Wednesday are visibly thrilled when they talk about his involvement in their new record.

“Mick’s one of the great underdogs and never got the respect he deserved.” says Wednesday. “We see him as one of the great rock ‘n’ roll villains, so what better guy to come out and play for us? It was so natural. He loved it!”

“We didn’t want any guests on this record whatsoever, but this was a little bit different.” smiles Joey. “It was definitely an honour to watch him play on our dumbass songs! I was just sitting there, almost blacking out, thinking about when I had Shout At The Devil on vinyl in my parent’s basement and I was thinking, ‘Man, this is fucked up!’”

Mick Mars aside, Murderdolls remain very much a two-man operation in the studio, but live performance is plainly a major part of what the band stands for and so, with that in mind, Joey and Wednesday have recruited a brand new lineup to assist them in their new crusade. Original members Acey Slade, Eric Griffin and Ben Graves have been usurped by new lead guitarist Roman Surman, bassist Jack Tankersley and drummer Racci Shay, who previously played in Wednesday 13’s solo band. Again, as with the songs themselves, fresh blood seems to have invigorated the whole Murderdolls enterprise. 

“The first lineup and the first everything that we did, it was really thrown together.” admits Wednesday. “We did our first video without ever having played together in a room before. Me and Joey did the record by ourselves and then we found these guys through friends of friends and, of course, it was complete chaos. So this time, we purposefully picked people we knew and that we were friends with, and it’s been great. When we finally got on stage, it was like ‘Holy shit!’”

“What we’ve done now and the people we have now, they’re great players and they’re there for the job.” continues Joey. “They’re not there to fuckin’ party. They believe in the songs and they believe in the project and this is a big chance for all of ‘em. They’re all amazing players. I wouldn’t do this if my heart wasn’t completely in it.”

With a new warcry of “We live, we breathe, we bleed rock ‘n’ roll!” the all-new Murderdolls can hardly be said to have altered the main thrust of their philosophy, but everything about the new lineup, the new album and the intense demeanor of the two men steering the ship suggests that they are in this for the long haul this time, ready to do whatever it takes to bully the world into joining in the fun. Serious men on a serious mission, perhaps, but surely there is still plenty of room for a little chaos, mayhem and debauchery? 

“Before, when we walked off stage, everything else was complete madness too.” Wednesday laughs. “It was a fuckin’ circus, but it was great. But we’ve moved on. We want to take the chaos from backstage and put it on the stage!”

“Now it’s just the most violent, fuckin’ sleazy, hideous, heaviest fuckin’ rock ‘n’ roll you can possibly imagine.” concludes Joey, with a snarl. “It’s a real band now.” 

Women and Children Last is out August 30 via Roadrunner Records. Murderdolls will play Ozzfest in September.

-

Six Stringer Joey Jordison’s Weapons Of Mass Destruction

Which albums inspired you to play the guitar?

“The first record that turned me on was the Stones’ Tattoo You. I remember my dad coming home with the album.”

What was the first guitar you owned?

“A harmony, which was like a Fender Stratocaster. I played it in my first metal band in fifth grade. I started playing drums aged seven and soon ditched the guitar.

How do you achieve your sound?

“I don’t normally tell people how I do it! Ha ha! I used a modified JCM 900 amplifier and a MXR distortion on top of that. I’m always involved with mixing and production and everything, so that has a lot to do with the sound on the record. My amp’s been modified.”

Who’s the most underrated guitarist?

“Probably Johnny Thunders (New York Dolls). He had something about him. Guitar is all about passion and playing with soul and style.”

How often do you practise?

“Right now, three hours a day! I’m going on tour with the Murderdolls so everything has to be up to par. It’s odd talking about guitar instead of drums. Drums always came natural to me. I still practise but I’m pretty much in the groove, but for the guitar I have to work real hard.”

What guitar do you play?

“I recorded with my custom BC Rich Bich. I’ve been using Gibson SGs and a BC Rich Warlock, plus I have my signature guitar coming out.”

[fuckyeswednesday13]

“Remembering Joey Jordison this week 🖤❤️

Back in 2010 Murderdolls were the support for Alice Cooper and Rob Zombie on a USA arena tour. While in Nashville TN In an attempt to keep things interesting and fun I decided to write FART as big as possible on our tour bus in neon duct tape.

FART was a magic word between us and we would write it anywhere to get a laugh. When Joey saw this on the bus he was thrilled and was laughing so hard, however our tour manager and bus driver were not impressed.”

R.I.P. Joey Jordison 1975-2021

[ramblinguitar]

There’s not too much about the Murderdolls around here, at least that doesn’t seem to be Slipknot adjacent. Which is cool, since Joey was in both. But this band is just a lot of fun.

(Source : Spirit of Metal)

While some consider the Murderdolls to have initially been born from Joey Jordison’s band The Rejects, way back in 1994 before Slipknot was signed; the band formed in 2002, in Hollywood California.

Consisting mainly of Joey Jordison and Wednesday 13, the touring (and some in studio work) line up included Tripp Eisen (Satic-X, Dope), Acey Slade (Dope, Wednesday 13, currently live guitarist for the Misfits), Eric Griffin, Ben Graves, among some other rotating musicians.

The band was active from years 2002-2004, and again from 2010-2011.

They’re macabre. They’re weird. They’re shock rock mall goth metal. They’re also pretty cool.

And this Billy Idol cover? Yes, please.

Also, here’s a gem featuring Peter Steele from 2005:

[brn1029]

On this date In when world of music…

July 26th

2021 - Joey Jordison

American musician Joey Jordison died at the age of 46. He was the drummer and co-founder of metal band Slipknot as well as guitarist for horror punk band Murderdolls. In August 2010 Jordison was voted the best drummer of the previous 25 years, by readers of Rhythm magazine.

2020 - Peter Green

English blues rock singer-songwriter and guitarist Peter Green died in his sleep age 73. As the founder of Fleetwood Mac, his songs, such as 'Albatross', 'Black Magic Woman', 'Oh Well', 'The Green Manalishi (With the Two Prong Crown)' and 'Man of the World' became world wide hits. Green left the band in 1970 as he struggled with his mental health. He was eventually diagnosed with schizophrenia and spent time in hospital in the mid-70s.

2013 - JJ Cale

US singer-songwriter JJ Cale died of a heart attack at the age of 74. He became famous in 1970, when Eric Clapton covered his song 'After Midnight'. In 1977 Clapton also popularised Cale's 'Cocaine'. The two worked together on an album which won a Grammy award in 2008.

2009 - AC/DC

AC/DC singer Brian Johnson appeared as the Star in a Reasonably Priced Car on the BBC television programme Top Gear. His time of 1:45.9 tied him with Simon Cowell for the second fastest time. He was introduced by host Jeremy Clarkson as "a man who has sold more albums than The Beatles and I bet almost none of [the audience] have ever heard of him."

2006 - Top Of The Pops

The final edition of Top Of The Pops was recorded at BBC Television Centre in London. Just under 200 members of the public were in the audience for the show which was co-hosted by veteran disc jockey Sir Jimmy Savile, its very first presenter. Classic performances from the Spice Girls, Wham, Madonna, Beyonce Knowles and Robbie Williams featured in the show alongside The Rolling Stones who were the very first band to appear on Top of the Pops on New Year's Day in 1964.

2006 - Paul McCartney

The guitar on which Sir Paul McCartney learned his first chords sold for £330,000 at an auction at London's Abbey Road Studios. The Rex acoustic guitar helped McCartney persuade John Lennon to let him join his band, The Quarrymen, in 1957.

1992 - Mary Wells

American singer and Motown artist, Mary Wells, referred to as The First Lady of Motown and who had a 1964 US No. 1 and UK No. 5 single ‘My Guy’, died aged 49 of laryngeal cancer. Wells was forced to give up her career and with no health insurance, was forced to sell her home. Wells’ old Motown friends including Diana Ross, Mary Wilson, The Temptations and Martha Reeves, along with Dionne Warwick, Rod Stewart, Bruce Springsteen, Aretha Franklin and Bonnie Raitt, personally pledged donations in support.

1990 - Brent Mydland

American keyboardist and vocalist Brent Mydland from the Grateful Dead was found dead on the floor of his home aged 38 from a drug overdose. His eleven-year tenure was longer than that of any other keyboardist in the band.

1986 - Peter Gabriel

Peter Gabriel went to No.1 on the US singles chart with 'Sledgehammer', a No.4 hit in the UK. The song's music video has won a number of awards, including a record nine MTV Awards at the 1987 MTV Video Music Awards, and Best British Video at the 1987 Brit Awards. Gabriel was also nominated for three Grammy Awards. As of 2011, 'Sledgehammer' is the most played music video in the history of MTV.

1980 - The Rolling Stones

The Rolling Stones started a seven week run at No.1 on the US album chart with 'Emotional Rescue', the group's eighth US No.1. Emotional Rescue was the first Rolling Stones album recorded following Keith Richards' exoneration from a Toronto drugs charge that could have landed him in jail for years.

1977 - Led Zeppelin

Led Zeppelin cut short their 11th North American tour after Robert Plant's five-year-old-son Karac died unexpectedly of a virus at their home in England, UK.

1975 - Van McCoy

Van McCoy and the Soul City went to No.1 on the US singles chart with 'The Hustle', his only US chart hit, it made No.3 in the UK. McCoy died on 6th July 1979.

1970 - Jimi Hendrix

Jimi Hendrix played in his home town of Seattle for the last time when he appeared at Sicks Stadium.

1969 - Johnny Cash

Johnny Cash released the single, 'A Boy Named Sue', a song written by Shel Silverstein. Cash was at the height of his popularity when he recorded the song live at California's San Quentin State Prison at a concert on February 24, 1969. The song tells the tale of a young man's quest for revenge on a father who abandoned him at 3 years of age and whose only contribution to his entire life was naming him Sue

[beginagain--]

Wednesday 13 To Celebrate 20 Years Of Murderdolls For New UK Tour

Wednesday 13 have announced the details of an upcoming UK and EU tour where he will celebrate 20 years of Murderdolls. He will perform a full set of Murderdolls classics with his solo band – which also includes his Murderdolls bandmates Roman Surman and Jack Tankersley – with tracks taken from their 2002 debut ‘Beyond The Valley Of The Murderdolls’ and 2010 return ‘Women And Children Last’. On…

[theart2rock]

Wednesday 13 & Hardcore Superstar

Wednesday 13 hat eine UK- und Europa-Tournee für Herbst 2024 angekündigt, um 20 Jahre Murderdolls zu feiern, seine kultige ehemalige Band mit Joey Jordison. Wednesday und seine aktuelle Soloband - zu der auch die ehemaligen Murderdolls-Mitglieder Roman Surman und Jack Tankersley gehören - werden ein komplettes Set mit Murderdolls-Songs aus ihrem gefeierten Debütalbum "Beyond the Valley of the Murderdolls" von 2002 und ihrer triumphalen Rückkehr "Women and Children Last" von 2010 spielen. Wednesday 13 erklärt: "Nach 21 Jahren seit der Veröffentlichung und dem traurigen und verfrühten Tod von Joey fühlt es sich nur richtig an, diese Songs zu feiern. Wir haben zwei fantastische Alben gemacht, auf die ich sehr stolz war, und leider hatte ein Großteil der Welt nicht die Möglichkeit, die Songs live zu hören. 2018 trafen wir uns alle in Joeys Haus und diskutierten Ideen und Möglichkeiten für die Zukunft, aber wir hatten beide andere unmittelbare Pläne. Nach einer erstaunlichen Tournee durch die USA, bei der wir diese Songs gespielt haben, werden wir nun im Oktober und November in Großbritannien und Europa auf Tournee gehen, wo die Band begann. Wir werden Tracks von beiden Murderdolls-Alben spielen und das Erbe der Band feiern. Bei einigen Terminen in Großbritannien werden uns die schwedischen Rock'n'Roll-Retter Hardcore Superstar begleiten, und wir werden sie bei Terminen in ganz Europa als Support unterstützen. Wir können es kaum erwarten, diese Tour später in diesem Jahr nach Großbritannien und Europa zu bringen. Inmitten einer musikalischen Landschaft voller Baggy Pants, Schirmmützen und Trainingsanzügen entstanden 2002 die Murderdolls, eine metallische Glam-Punk-Band, die sich den vorherrschenden Trends widersetzte und den harten, schnellen Rock n' Roll zurückbrachte. Sie gruben den Leichnam des Rock aus und injizierten ihm reines, unverfälschtes Leben zurück. Und es war glorreich! "Beyond the Valley of the Murderdolls" und sein Nachfolger "Women and Children Last" waren wie nichts anderes - schnell und dreckig, roh und makaber. Die Texte sind vom klassischen Makabren inspiriert, und jedes Stück ist voller augenzwinkerndem Horror, der perfekt umgesetzt wird. Angeführt vom "Duke of Spook" Wednesday 13 und dem verstorbenen, großartigen Joey Jordison schlitterten die Murderdolls auf ihrem Weg zu den horrenden Höhen des Rocks und sammelten auf dem Weg dorthin eine kolossale Kult-Anhängerschaft. Der düstere, höhnische Gesang, die gewaltigen Hooks, die Refrains mit Gang-Vocals, die stampfenden Rhythmen und einige der eingängigsten Riffs, die je geschrieben wurden - Murderdolls schrieben Songs für Arenen und spielten sie in Theatern, was ihre adrenalingeladenen Oden an die Dunkelheit umso spannender machte. Lesen Sie den ganzen Artikel

[metalindex-hu]

Cradle Of Filth: jövő tavasszal újra Budapesten az angol metal legenda

Cradle Of Filth: jövő tavasszal újra Budapesten az angol metal legenda - https://metalindex.hu/2023/10/06/cradle-of-filth-jovo-tavasszal-ujra-budapesten-az-angol-metal-legenda-3/ -

Jövő márciusban ismét Budapesten portyázik Dani Filth és hírhedt zenekara, a Cradle Of Filth. A több mint 30 éve aktív csapatot a jól ismert amerikai horrorpunk énekes, Wednesday 13 is elkíséri, aki Murderdolls programmal készül, nyitózenekarként pedig a Sick n’ Beautiful játszik a Dürer Kertben.

A Cradle Of Filth az angliai Suffolk megye legsötétebb bugyraiból bújt elő 1991-ben, és immár három évtizede dolgozik azon, hogy a heavy metal színtér óriásai között tartsa magát, egyre több és több embert megbotránkoztatva, vagy éppen kevély mosolyra késztetve. A Dani Filth által vezetett együttes mai napig a black, gothic és szimfonikus metal elemeket ötvöző, okkult témákat (mitológia, horrofilmek, és a ma már klasszikus sötét irodalom) feldolgozó csapatok legismertebb képviselője. Ismertségükön sokat dobott az is, hogy már évtizedekkel ezelőtt is igen látványos – és nem egyszer megbotránkoztató – színpadi jelenléttel hívták fel magukra figyelmet.

Az alapító Dani mellett Martin ‘Marthus’ Škaroupka dobos, Daniel Firth basszusgitáros, Marek ‘Ashok’ Šmerda és Donny Burbage gitárosok, illetve Zoe Marie Federoff billentyűs játszik a csapatban, melynek egyik friss nótája a She is a Fire:

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A Cradle Of Filth rajongói már igencsak várják a zenekar új albumát, ami a 2021-es Existence Is Futile-t követi. A 14. nagylemez megjelenéséig a csapat egy élő felvétellel lepte meg a hallgatókat: az áprilisban kijött Trouble And Their Double Lives a COF első koncertalbuma az elmúlt 20 évben. A Demon Prince Regent felvétele itt látható:

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A turnén érkezik Joseph Michael Poole, azaz Wednesday 13 is, akinek aktuális zenekarában többek között a Murderdolls két egykori tagja, Roman Surman és Jack Tankersley is játszik. Ennek megfelelően a srácok egy Murderdolls szettet is beillesztettek a programba, előadva a 2002-es Beyond The Valley Of The Murderdolls, és a 2010-es Women And Children Last albumok néhány nótáját is. Utóbbiról itt nézhetjük meg a My Dark Place Alone klipjét:

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A turné március 6-án ér Budapestre, ahol a Dürer Kert nagytermében játszanak majd. A nyitózenekar az olaszországi Sick n’ Beautiful lesz; az industrial és punk vonásokkal színesített, hard rock és modern metal elemeket ötvöző csapat 2004 óta működik. A Rob Zombie, Kiss, Rammstein és Lacuna Coil hatásokat is mutató csapat legutóbbi lemeze a 2022-es Starstruck, friss klipjük pedig a Deep End Dark:

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A Livesounds bemutatja: 2024. március 6., szerda 18:30 Budapest, Dürer Kert Cradle of Filth, Wednesday 13 (performing Murderdolls), Sick n Beautiful koncertek Belépő: early bird jegyek 9.900 Ft, kedvezményes elővételben február 20-ig 11.990 Ft, utána és a helyszínen 12.990 Ft Jegyek kaphatók a www.tixa.hu weboldalon és a Ticketportal hálózatában

Kapcsolódó weboldalak: https://livesound.hu/ https://www.cradleoffilth.com/ https://officialwednesday13.com/ https://sicknbeautiful.com/

https://facebook.com/liveSoundProd/ https://www.facebook.com/events/2372075749645886

[bbreakingbenjamin]

✨𝕱𝖔𝖗𝖊𝖛𝖊𝖗 𝖎𝖈𝖔𝖓𝖎𝖈✨ ♡💀☆⛓⛓🤘🔥

[death-gloss]

Murderdolls: A Trip to L.A.'s Museum of Death With Joey Jordison and Wednesday 13

Shock-rock duo joined Revolver on tour of Hollywood's grisliest shrine to the macabre

Nestled in a modest vine-covered building along a drab stretch of Hollywood Boulevard far away from the gaudy L.A. tourist destinations of the Mann's Chinese Theatre and Hollywood Walk of Fame, the Museum of Death stands as a grim counterpoint to its hometown's obsession with beauty and youth. Containing a grisly cornucopia of serial-killer artwork, suicide-cult artifacts, and other stark images of death and depravity, the museum revels in the sick and twisted, catering to a crowd with strong stomachs and morbid sense of curiosity.

Which is why it's hardly shocking that Wednesday 13 and Joey Jordison are totally loving their private after-hours tour of the museum's collection. Longtime friends who collaborate in horror-rock side project the Murderdolls, they've never visited the museum before, but they instantly feel a kinship between their music's gruesome outrageousness and the frank depictions of our final destination all around them.

"I've always been fascinated with anything weird," Wednesday says, scoping out a display of exotic animal skulls. "I was the kid that always had fake hands and legs hanging from my ceiling, but I had Mötley Crüe posters on the wall as well. To me, horror and rock and roll just went hand in hand."

The band's first album, 2002's Beyond the Valley of the Murderdolls, combined Wednesday's twin passions, with a healthy dose of tongue-in-cheek humor thrown in for good measure. (Typical song title: "Graverobbing U.S.A.") But after eight years apart focusing on other projects — Jordison working with Slipknot and drumming with everyone from Rob Zombie and Korn to Norwegian black metallers Satyricon, and Wednesday focusing on Frankenstein Drag Queens from Planet 13, as well as his solo outfit — the band has reformed to release Women and Children Last (Roadrunner), a decidedly darker, more biting affair. "The songs [for Beyond the Valley] really represented a lot of teenage angst that we'd had. We lived in our parents' house, in the bedroom playing guitars," Wednesday explains. "Now flash-forward eight years later. A lot of shit has happened. We've had marriages that failed, houses that foreclosed, bankruptcy, drugs, drinking, flipping cars." He shakes his head. "Just … madness. I've created my own horror movie over the past eight years, and that's what this record is about."

Despite the recent real-life horror, in person, the two buddies display an almost playful comedic rapport: Both decked out in full makeup, Wednesday is the tall, lanky, extroverted jokester, while Jordison serves as his shorter, more deadpan counterpart.

Wednesday enters a room devoted to funeral homes, talking about the childhood influences that informed his twisted sensibility. "The Munsters is my favorite show," he says. "I used to sit in front of my TV every day and watch it. Addams Family, The Munsters — it was all about death. Then I saw Alice Cooper, how he incorporated humor. Dead babies, cutting heads off onstage — it's just comedy. That's what we do — that's what our thing is."

"I worked in a funeral home for five years," Jordison says. "My family owned five of 'em. That's how I learned to do makeup." He's unfazed by an instructional video playing in the corner that offers a step-by-step demonstration in preparing a corpse for viewing. "I've seen it all," he says.

Egging him on, Wednesday says to Jordison, "Tell 'im about when you had to store bodies behind your house."

"No, in my garage!" Jordison replies. "Our main funeral home was flooded, so we had to bring the bodies into my garage. It was fuckin' fucked up. They weren't embalmed yet, and with how hot it was, oh my god — they were bloated, and it stunk so fucking bad …"

Wednesday breaks into a big smile. "And people wonder why we make the music we do."

Of course, after years of not seeing each other, it seemed like the members of Murderdolls might never get back together to make another record. "There was a time when I was like, OK, he's gonna just do his solo stuff, and I'm down with that," Jordison says of their time apart. "But he's one of my best friends ever, and we lost touch for a little bit, and that sucked — I missed him. But I'm glad actually things happened the way they did, because if we'd made the next record [right after] it would have been just like the first one—just campier and funnier. But people are gonna be blown away by this record. It's heavy."

Wednesday nods in agreement. "It's scary, it's dark, and it's violent. The happiest song is called 'Summertime Suicide.'"

On the subject of offing oneself, discussion soon turns to the museum's Heaven's Gate exhibit room, complete with a recruitment video for the religious cult that committed mass suicide in March 1997. Wednesday and Jordison talk excitedly over one another as they peer into the room, which includes a sample of the cult's bunk beds and clothes.

"Those are the real outfits," Jordison enthuses.

"Holy shit!" Wednesday replies, barely able to contain himself. "I love this story!"

They take a moment to read a cult members' suicide note, but then Wednesday makes an announcement. "We gotta get into the Manson room," he says. "Manson's my favorite."

The room devoted to renowned psychopath Charles Manson is easy to spot: It's the one with the words "Helter Skelter" adorning the wall in blood red. And proving that he does indeed know his Manson history, Wednesday quickly points out that the Manson family misspelled the phrase as "Healter Skelter" when it appeared on a refrigerator in one of their victim's homes.

"I've been a Charles Manson … I wouldn't say 'follower,' but I've been interested in all his stuff," Wednesday says. "I've quoted him in songs. You know, as crazy as the guy is, I've sat and listened to him talk, and he makes complete sense to me. Or maybe I'm just out of my mind."

"Well, you are, though," Jordison responds with ace comic timing.

Wednesday looks at a photo of the madman staring back with steely defiance. "Would you buy a car from that guy?" he asks, laughing.

In an adjoining room, there is a wall of photographs of Manson's victims taken by the police after their slayings. It's a feast of bloody corpses, and the two musicians silently take it in. "Dude, I'd rather be shot than stabbed," Jordison finally declares. "You don't even feel it, really." He reflects for a moment and then adds, "This place is awesome."

They move on to a set of photos in honor of the 1947 Black Dahlia murder victim Elizabeth Short, who was killed about seven miles away from where we are now. It's a gripping juxtaposition of snapshots — there are glamour photos of Short from her acting years and then there are grisly images of her lacerated face and bifurcated corpse.

"She was hot," Jordison observes, sadness in his voice. "I still haven't seen the movie [the 1996 Brian De Palma-directed film The Black Dahlia]. I heard it was kinda lame."

Another infamous L.A. murder is depicted on the next wall: the 1994 killing of O.J. Simpson's wife, Nicole Brown, and Ron Goldman. Wednesday looks at artist's sketches from the trial and then turns to Simpson's mug shot: "I say, 'Guilty!'"

Murderdolls wield a wicked sense of gallows humor while they roam the hallways of the Museum of Death, clearly geeking out on an exhibit of punk-rocker G.G. Allin's insane prison writings and a display case of suicide cult-leader Jim Jones' photographs. But even these guys have their limits.

"I'm not really into watching operations," Wednesday admits. "That stuff makes me sick. I've got tattoos all down my arms and chest, but I don't like needles. And if I've been smoking weed, I can't watch Shark Week [on the Discovery Channel] — it creeps me out."

The two musicians look at a mounted series of graphic personal snapshots involving a romantic triangle gone bad: A wife and her boyfriend took pictures of their work as they methodically decapitated and defiled her husband. It's at this moment that Wednesday admits he got high before coming to the museum — right now he's regretting that decision. Still, he turns philosophical pondering the thin line that divides the demented from the truly murderous.

"These are the kind of people you pass in the supermarket every day," he says as he examines the snapshots. "And then you've got guys like us that just said, 'You know what? I think I'm just gonna play guitar.'"

"I'd rather plays drums and guitars," Jordison says, looking at the couple in the photographs carrying out their gruesome mission. "That just looks like too much work."

Wednesday is quick to declare that he would never commit any of the homicidal acts he sings about in Murderdolls' songs, but that doesn't keep him from imagining. "I always thought the perfect weapon is an icicle," he says. "You can fuckin' hack somebody up pretty bad with that, and then it melts." He smiles, an idea coming to him. "A guy who only kills during the winter and he uses icicles: Jack Frost!" He laughs at the new arch-villain he's created.

A gallery of car-accident photos from the 1930s and '40s catch their eye. The black-and-white images show the unspeakable carnage America's first cars caused to their passengers during collisions. In one photo, a dead motorist lies on the street, the bottom half of his face practically ripped off.

The Murderdolls bandmates seem a little unnerved by these automobile accidents, which makes sense since both band members have had near-death experiences behind the wheel. In September 2007, Wednesday flipped his car five times. And Jordison once rolled his car down a cliff after going too fast off an exit ramp. Both of them were drunk but walked away with only minor injuries and a few broken bones. "I'm fuckin' lucky, dude," Wednesday acknowledges.

With the tour winding down, the Murderdolls freak out over a John Wayne Gacy room, prompting Wednesday to wonder if he can sell any of his Gacy portraits to the museum. But the night's high spirits take a turn when they meet Museum of Death co-owner James "J.D." Healy and he offers heartfelt condolences about Paul Gray, Jordison's cohort in Slipknot who died in May of an accidental drug overdose. Jordison suddenly gets very quiet, speaking barely above a whisper. "Thanks, man," he says, trying not to lose his composure. "He was my best friend."

Clearly bummed, too, Wednesday tells Healy, "You just play on through it."

The Murderdolls may seemingly sport a cavalier attitude toward the Grim Reaper, both in their music and on their tour of the museum, but the truth is that they are all too intimately aware of the real, emotional consequences of death. Jordison, for one, is clearly still grappling with Gray's passing on a daily basis. And it's that struggle that has made his band with Wednesday so precious to him right now.

After Healy leaves, and as we prepare to leave the museum and head off into the warm L.A. night, Jordison says simply, "Slipknot doesn't even compute to me right now without [Gray]. He was my songwriting soul mate. If I didn't have [Murderdolls] …" His voice trails off. "…I don't know what I'd be doing."

[joeys-piss-pants-from-2002]

joey my beloved despising twilight

The entire thing

[fuckyeswednesday13]

🗣When there’s no more room in Hell….The Duke of Spook, WEDNESDAY 13, has announced a fall 2023 US headline tour to celebrate 21 years of his former band, revered glam punk icons, Murderdolls.

WEDNESDAY 13 and his current band - which features former Murderdolls alumni Roman Surman and Jack Tankersley - will perform a full set of Murderdolls songs, taken from the band’s celebrated 2002 debut album, Beyond The Valley Of The Murderdolls and their 2010 sophomore album, Women And Children Last, which won them the Revolver Golden Gods ‘Comeback Of The Year’ Award. WEDNESDAY 13 was the frontman and songwriter, alongside Murderdolls guitarist and his creative partner-in-crime, Joey Jordison, in the metallic glam punk outfit. 

The tour will begin on Friday, October 20 in Los Angeles, CA, and will visit a slew of major cities before ending in Colorado Springs, CO on December 9. Support will come from @geminisyndrome And @napalmrecordsofficial labelmates @infectedrain_official , and @blacksatellite

🗣Tickets go on sale this Friday, April 21 at 10:00 AM EDT. For more information, visit the band's official website. VIP packages are also available.

Complete list of dates and venues are available at officialwednesday13.com

[sexxxlessdemonsandscars]

Murderdolls, performing “Nowhere“, live at the London Ozzfest, 2010  [x]

[lazerlustt]