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in-death-we-fall · 10 months

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Wham, Glam, Thank You Mam…

Kerrang 910, June 29 2002

The unmasked Joey Jordison’s Murderdolls are not Slipknot Mark II. Can you imagine the Clown wearing make-up and stack-heels?...

Oh Kerrang, we absolutely can... but that's not the point here

Words: Joshua Sindell Photos: P R Brown, Lisa Johnson

(drive link)

In a dimly lit room at the Sunset Marquis hotel, five heavily mascara’d men in black leather, each with immaculately back-combed hair, pose and purse their lips for a photographer’s lens. Only a single white curtain against the window protects their pale skin from the outside sun’s piercing rays. Last night’s expedition to famed strip club Crazy Girls has left some of them feeling bleary and achy, but, as the band Junkyard once sang so sagely, ‘That’s life in Hollywood’. Yes, this is LA, the home of all things tawdry and torrid, where giants in spandex so famously used to stride down the Strip. But this is not 1986. These events are happening in June of 2002. And one of these pouting prima donnas happens to be a member of Slipknot.

Murderdolls are the new baby of Joey Jordison – Slipknot’s diminutive drummer – but in stark contrast to his unrelentingly intense day job, their music is a trashy pastiche of glam-rock, New York punk circa 1977, schlock-horror, and heavy metal. Jordison has swapped his mask for make-up and his sticks for a guitar, and has created a band that embody practically everything you don’t ever hear on the radio these days. Alongside him are Static-X guitarist Tripp Eisen, singer Wednesday 13 who previously fronted the Frankenstein Drag Queens From Planet 13 and two friends of Tripp from LA – bassist Erik Griffin and appropriately-named drummer Ben Graves.

Just one listen to the Murderdolls’ debut album will be enough to have a legion of Slipknot fans chomping on their home-made boiler suits in confusion. Cheesy songs about grave robbing? Tributes to ‘The Exorcist’’s possessed devil-doll Linda Blair? Zombies? Mad scientists? Ghouls? What the hell is going on?

Jordison, barely five-foot-five even in his new stack heels, allows himself a sly smile.

“This is so far removed from Slipknot that it’s actually the best thing about it,” he says. “When we play, it’s just so fucking funny. We’re very serious about not being serious.”

To change gears from the testosterone-filled, uncontrolled anger of ‘Iowa’ to the sexually charged grind of Murderdolls is certainly something of a role-reversal. Butt Tripp Eisen, who, like Jordison, is also on shore leave from his day job, finds the turn-around almost hilarious.

“It’s kind of like being bisexual,” he jokes. “You’re doing a guy for now, but you’re not giving up on the ‘girl’ thing.”

The seeds of this project were sown years ago, in the mind and garage of Joey Jordison, under the name The Rejects. This was long before Slipknot and nu-metal’s all-conquering domination of the rock scene. The Rejects would eventually morph into Murderdolls, and to Joey, this is no mere side-project.

“I just feel that there’s no point in doing anything that’s even remotely similar to Slipknot,” he reasons, seated at a small table inside the cool, dark hotel room. “For me, it’s a chance to play guitar, which I played long before I played drums.”

Murderdolls began to become more than just a figment of Joey’s imagination three years ago when Slipknot toured with New Yorkers Dope, who had Eisen in their line-up at the time. The two bonded over a mutual love of such bands as Manowar, The Ramones and The Plasmatics.

“I had spent my whole life being kind of a glam guy, but also digging the heavy, heavy music,” says Tripp, a soft-spoken man with dreadlocks that sprout from his head like drooping asparagus. “It’s rare to find someone who can relate to both, and that’s what drew me to Joey. He’s into Slayer and Twisted Sister with equal intensity, and there’s not many people like that.”

To Tripp, there’s not all that much difference between the two. Both metal and glam are escapist and theatrical in nature, and he points out that Mötley Crüe and Slayer both used pentagrams on their albums.

Together, during the off time from their respective bands, Joey and Tripp dug up some of Joey’s old Rejects songs and dusted them off. They discovered a voice in North Carolina native Wednesday 13, and he brought several of his own songs with him. Then, after the album was finished, the band’s line-up was completed by Griffin and Graves.

The record itself is an absolute blast. Roaring guitars, skull-rattling drums and sneering, screaming vocals, all set to fast-paced tunes of terror and turmoil. Imagine the Ramones, the Misfits and the Dead Boys wearing long-haired wigs and goofing on love, lust and comic books. Add to the mix a soupçon of Marilyn Manson, plus a few screaming metal electric guitar leads, and stir. What pours out ain’t pretty, but it will certainly raise some eyebrows.

Joey couldn’t be more excited at the prospect of his Slipknot fans lending Murderdolls an ear.

“Not to take anything away from Slipknot, because I love that band and I’m still very much in it. But playing the guitar is not the same as playing the drums. Wearing make-up and trashy clothes is not the same as wearing coveralls and a mask.”

But what is to become of that famed Slipknot ‘mystique’? Won’t it forever be ruined by the fact that Joey is the first of them to go mask-less? Joey downplays the importance of his decision, saying that the internet has basically removed whatever secrecy Slipknot had tried to maintain anyway.

“We meet and talk to the kids without our masks every day,” he points out. He also says that Slipknot’s singer Corey Taylor and guitarist Jim Root will soon be performing sans masks in their own side-project, Stone Sour.

“I’ve said this a million times before, but wearing the masks is what the music ‘made’ us do,” says Joey. “It was not to just hide our faces. After knowing what Kiss looked like without their make-up for so many years, when I went to see them on their reunion tour, I didn’t give a fuck if I knew what they looked like under their make-up. When I saw them in make-up, I said, ‘That’s fuckin’ Kiss’.”

Scheduling the Murderdolls sessions and upcoming tour was never an issue with Slipknot either. All of the nine members decided that their loving maggots could allow them a few months’ rest, and many of them are pursuing solo projects.

“It was a mutual decision,” says Joey, “It wasn’t like we all needed the time away from one another. I told them that I felt that this stuff was worthy of being put out on a record. I think that it’s worthy for people to see it live as well. I’ve been spinning upside-down on a drum riser for the past 10 months, and now I’m going to go jam with this other band for a while, and they were totally cool with that. They knew from the start, even before the first Slipknot record, that I was going to do this, so it was no surprise to them.”

As for the other members, this much is known. Tripp Eisen says he’s still very much a part of Static-X, who are just about ready to wrap up their touring scenario for 2002 and will immediately begin writing their third album. Singer Wednesday 13, recruited to replace Rejects singer Dizzy, is an aficionado of ‘80s glam acts like Pretty Boy Gloyd and Tuff, and claims, quite horrifically, to have the soundtrack albums to every one of Sylvester Stalone’s movies – including ‘Over The Top’ and ‘Rhinestone’. Wednesday, who speaks in a warm southern drawl, plays a big role in the band’s theme and sound. He explains the song ‘Dawn Of The Dead’.

“I’ve always loved that movie,” he says, “and I thought, ‘How great would it be to have a Quiet Riot, ‘Cum On Feel Tha Noize’-type chorus for a song like that?’.” The singer described the sound of Murderdolls as a “Frankenstein monster we stitched together.”

The two newest members are Ben and Erik, friends of Tripp’s from LA. They do not play on the record, and both were struggling musicians who felt left out by the onslaught of post-grunge blandness and down-tuned rap-rock. Secretly, they wished they’d get hired to play just this kind of balls-out rock that just didn’t seem to exist outside of their old CD collections. They were working in shops on trendy Melrose Avenue when Tripp gave them a call.

“Once we all agreed that Nikki Sixx was God, we knew they were the right guys,” observes Wednesday.

Joey is loath to describe the band’s sound as metal or punk, though clearly it has elements of both, as well as some of the more frenzied moments of Marilyn Manson’s catalogue. In particular, ‘Dead In Hollywood’ truly sounds as if the God Of Fuck was somewhere in the mix, lending a helping shout. As it turns out, Joey asked the man himself to contribute, but not on any of the songs that have turned up on the record.

“Marilyn’s a friend of mine and we’ve always helped each other out,” says Joey. “I played some guitar for him and hooked him up with a remix, which he just recently used on the ‘Resident Evil’ soundtrack. He said that he’s going to sing on one of our songs now.” Unfortunately, what with his own deadline looming shortly, Manson’s tracks – either ‘People Hate Me’ or ‘Nineteen Seventy 666’ – may have to wait until after the release of the new Manson disc.

If all this sleaze and disorderly conduct sounds a little backward thinking, it is no accident. Even Trip agrees that the ‘Dolls pay tribute to a bygone time.

“I feel that kids today don’t know about what we grew up on, and I think that we’re trying to bring the whole package to them. The Union Underground and Sinisstar are similar in the respect that they’re bringing trashy rock back, but we just feel like we can do it better.”

Wednesday speaks with an endearing confidence that borders on pride.

“Nobody’s done it to the extent that we will,” he brags. “There were bands like Buckcherry and Beautiful Creatures who were doing the whole Guns N’Roses rock thing, but nobody’s done it at the level that we’re going to.”

Without too much Slipknot business to attend to, aside from the upcoming Reading and Leeds appearances this summer, Joey is clearly basking in his new-found freedom. Returning from the bathroom after applying his make-up, he jokes that posing for photos in Slipknot is so much easier than this current Murderdolls shoot. “You just throw on a mask and make hand gestures!”

Joey says that he’s looking forward to sharing his band with the world, and playing guitar live.

“I think that we’re original, but we’re not trying to reinvent the wheel,” he muses. “I think that in Slipknot, we broke down a lot of doors. I’m very proud of that, and I’m very fulfilled there. This is just another way to keep the glass full.”

Murderdolls release their debut album, ‘Beneath (sic) The Valley Of The Murderdolls’, on August 19 via Roadrunner.

Doll Parts

Joey Jordison’s guide to his new bandmates…

Ben Graves Joey: “Again, Tripp found him. Does he look like Twiggy Ramirez? Absolutely no comment.”

Wednesday 13 Joey: “He and I wrote all the music and the lyrics together. It’s fun when we’re singing about grave robbing. It’s much more tongue-in-cheek than anything Slipknot’s ever done.”

Erik Griffin Joey: “Tripp brought him into the band. I saw a video that Tripp did of them jamming, and he looked right for the band.”

Tripp Eisen Joey: “When we met, we instantly knew that we had the same taste in music. I really love his leads on the album. Live he’s great, and he’s a great friend.”

#if you want anything else from this scanned lemme know #hey if you're new here and don't know why nobody talks about tripp (beyond being in the band very briefly)#his wikipedia immediately gets right straight to the point #murderdolls #joey jordison #wednesday 13 #ben graves #eric griffin #tripp eisen #interview #kerrang 910 jun 29 02 #that time eric decided to spell his name with a k i guess?#i had the power to scan the two page spread in one piece but 1. there was a white line and 2. i thought it was funny tripp was cut in half #DROOPING ASPARAGUS almost makes up for the diminutive incident #there's some old website features and a page of stickers in the drive folder! and i'm shutting the fuck up now

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larrystylinsontweets · 1 year

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29/06/2011

@Harry_Styles: @ThisisTimDean is NOT Tim Dean!! Be aware.

@Louis_Tomlinson replying to @Harry_Styles: @Harry_Styles miss you baby cakes

@Harry_Styles replying to @Louis_Tomlinson: @Louis_Tomlinson I miss you too sweetcheeks ;)

#larry stylinson #larry tweets #2011 #29.06.2011 #jun 29 2011 #by harry #by louis #mentions/interactions

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mikeywayarchive · 9 months

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MCR’s Mikey Way: “I hope that we’re the band that get to pass the torch”

My Chemical Romance bassist Mikey Way tells us about his love for the Fender Jazz bass, how he cut his teeth on Weezer’s Blue Album, and more

by Tamzin Kraftman

June 29, 2023

Full interview under the cut:

“It’s crazy to think about how much time has gone by since the last one!” says Mikey Way, reflecting upon his newest Fender signature Jazz bass which has arrived 11 years after his first foray into signature instruments. “It seems like just two years ago. You don’t realise how quick a decade shoots by.”

The My Chemical Romance and Electric Century bassist knows all too well how much can happen in that timeframe. The breakup of a band; the formation of a new one; reuniting with the old band; a sold-out world tour. Not to mention a global pandemic, a marriage and two children.

Things have also gone a little more upmarket since that silver-finished first signature bass – a Squier Mustang. This time, perhaps reflecting My Chem’s status as emo aristocracy since their surprise 2019 reunion, it’s a full Fender Jazz Bass, which is handy as Way believes his “approach to the signature bass has definitely shifted”, but one thing has clearly stayed the same. He sure does love glitter.

Getting Into Gear

You can just tell sitting across from the computer screen in his Nashville home that Way’s love for the bass and all its technicality, is monumental. After the disbanding of My Chemical Romance in 2013, Way says he found his previous signature Mustang, a “little too confining”, especially due to the short-scale neck. It was an experience that brought him back to the Jazz – an instrument he says solidified his love for the bass back in 2000. “I started checking out what Fender had to offer,” he admits. “My first kind of experience with a real instrument was a Fender Strat, so from that being my jumping on point, it’s why I’m kind of partial to Fender”.

As he explains, this then led to a conversation with Head of Signature Artists at Fender, Michael Shulz, who sent him a Fender Jazz bass, and he “never went back since”.

“The reason I love the Jazz Bass is the neck,” he clarifies. “Especially on my signature model I was very clear that we had a neck that started out thin that got wider as it got to the bottom, a C neck! As far as comfortability and speed, I kind of dig it, it’s just kind of personal preference but I like the thinner neck.

“I think the alder body, I love the way it feels, I love the shape and it’s great in keeping a balanced tone – mids, highs, it covers all of it. Earlier on in my career I’ve tried different basses but it always felt a little alien to me. I always thought, this doesn’t feel right, that doesn’t feel right, but it’s a real testament to Fender. It’s what I’ve always known and loved, and it’s what I’ve always gravitated towards.

“The people at Fender really will build me whatever I want. They have helped me made a couple basses throughout the years, and I’ve been able to share with everyone which doesn’t go unnoticed on me how fortunate I am! When you think about how many bass players there are in the world, being chosen to have a limited edition is a special kind of honour”.

A special kind of honour it certainly is, and Way seems adamant that this collaborative approach is needed when trying to create the specific MCR sound.

“I like something to sound even, but it has to sound big, that’s the hallmark of the MCR tone. It can’t be too clean, can’t be too growly, it’s got to hit you just right, it’s hard to explain it. Which brings me to the signature edition. Using the 70s Jazz Bass pickups, they needed to be in there because that’s as close as I could probably get to the MCR tone”.

However, it is clearly not just the guitar that has allowed him to develop and hone this “big” sound over the years. Instead, he gives much of the credit to Rob Cavallo, American record producer whose large repertoire includes the likes of Green Day’s American Idiot, Goo Goo Dolls’ Dizzy Up The Girl, and of course My Chemical Romance’s The Black Parade. It was when the band were recording their third album, Danger Days, that Cavello encouraged the bassist to use a Klon Centaur in his tih.

“I tried it and from that moment on, it kind of puts this tone and a veil on your instrument where it’s kind of an overdrive, kind of a compressor. It creates a nice basis for a tone and then you can go to your head and tweak it.”

“James Bowman from Against Me! has a pedal company called Bowman Audio Endeavours, and he makes this Bowman and it’s pretty close to the Centaur [The Bowman Overdrive – Ed],” he continues. “That’s also a favourite pedal of mine, because I don’t always want to bring the Centaur on the road with me because it is rare and expensive, and James’ is just as good for my purposes. He has a tonne of different pedals that my bass tech Joe tries to incorporate into my rig sometimes, we tweak everything together. However, the Overdrive is probably my favourite.”

The Foundations of Way

My Chemical Romance was, and still is a band that has carved out an individual path. Despite the Way brothers being known for realising their passion while watching the Smashing Pumpkins headline Madison Square Garden in the mid 90s, MCR has made one thing clear: they are a sound you have never heard before, and never will again.

“I think our sound was really developed when we thought about a band that we wish existed,” says Way. “We took everything we loved about our favourite stuff and without aping anything we just tried to make it our own. I feel like that’s how we ended up with the sound of MCR.

“You know from ground zero it was like, what if Morrissey sang for Iron Maiden? We kind of dreamt up a sound and I feel like we nailed the sound that we set out to create,” he continues, “and I think it ended up unique, and I don’t think you can listen to MCR and think ‘oh they’re just ripping off x, y or z’. I think we’ve incorporated all our inspirations into our DNA, and we’re able to have an organic natural sound.”

Regardless of MCR’s authenticity as a band, Way is not shy in admitting who the icons are that allowed him to find his passion in music. Aside from the Pumpkins, of course, he notes Paul Di’Anno from Iron Maiden, and New Order’s Peter Hook among those who inspired him to pick up the bass.

“I still am a big Weezer fan, Matt Sharp especially,” the bassist says. “I love Micky Welsh, but Matt Sharp was very important to me when I was younger. When I was younger and first playing the bass guitar, for me, Weezer was so prominent, especially with the Blue Album. I loved how he played, and I love how much fun he had up there. He owned it and I respect that so much.”

There’s clearly quite a dichotomy between the world of Mikey Way, who has a deep love for alt-rock, and the “aggressive poppy punk with hints of hardcore” of My Chemical Romance.

“I cut my teeth on that album,” he bluntly says. “Once I joined MCR it was this different world. The New Jersey scene around me, it was a lot faster and a lot more aggressive so I had to follow suit and for someone who came from the world of trying to play like you’re in The Smashing Pumpkins, and then you’re going into this world where you’re playing with American Nightmare and the Get Up Kids, so I think that’s why my bass playing is like it is, because I went from this alt-rock world, to this punk world. It gave me a good range.”

Finding the Power to Inspire

Despite being admittedly “shy by nature”, Way is determined to show younger bassists how to get to his position, just like The Smashing Pumpkins did for him.

“I think everyone in the world starts out aping something,” the bassist admits. “You look at the legends, The Beatles. They were copying their favourite R&B bands and doo wap. It’s the same thing with Rock n Roll, you’re aping and then eventually those training wheels fall off.

“I remember nudging my brother, during the Smashing Pumpkins concert at Madison Square Garden, and saying this is what we’re going to be doing when we’re older, we’re going to be playing this place especially, but this is what we’re going to be doing. He said to me “maybe you’re right”. It’s just this thing where we’ve had this realisation and I feel like that’s what music does to people, it possesses you almost.

“For me there are bands that got me to pick up an instrument,” he continues, “and I hope that we’re the band that get to pass the torch. I want to inspire kids to say, “that’s what I want to do for a living. It’s a cool power to have.”

#mikey way #gw #michael schulz #james bowman #mcr #the smashing pumpkins #weezer #fender #guitar.com #interview #return #2023 #jun 2023 #6/29/23 #limited edition jazz bass #text #originals

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hey-color-palettes · 3 months

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May I request one for the name Zen?

★ #192a22 ★ #4d7351 ★ #7dac59 ★ #b2cb6e ★ #d9e0aa ★

#zen palette #color palette #green #request #jun 29

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dailyscottficrec · 10 months

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Jun 29, 2023

Are we not drawn onward to new era by PetGhost (Zerozero00)

Author summary:

Scott decided to move to L.A. all alone. That was the first and most important fact.

Reasons to love the fic: !!!!! Ahhhh! I love, love love this one! The tension between Theo and Scott is so heavy and so good. Scott trying to address his own feelings and emotions and the anger? The tag "scott deserves to be angry" is earned, and I love it! And agree. And the sex parts are super hot. Gyahh. This fic is so complex and I love it.

#teen wo #scott mccall #theo raeken #sceo #jun 29 2023

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sammy-writes-sometimes · 10 months

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Word Count: 548

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Cleo wasn't the type to fall in love easily. Really, she wasn't. Especially not at first sight.

They also just didn't believe in love at first sight in general.

But there was something almost alluring about Bdubs. Something about spawning into a hostile world next to eachother.

It definitely wasn't romantic, not at first, but he was trustworthy when no one else was.

And he had that distinct personality, one known to be almost addicting as it ensnared others.

Cleo would be lying to herself if she said she didn't get trapped by him too. The dryad almost always beaming from ear-to-ear in an all too proud of himself way that made her cackle when he made some mistake.

They don't know when their play relationship turned real. Don't know when the jokes turned into long nights in eachother's embrace, whispering sweet nothings rather than planning.

She didn't even realize they were in a relationship, or even in love, until the Bdubs was on red and half mad and–

Scott looked at her one day. Pity and fear in his eyes as he talked about Jimmy. Their husbands would die before them, wouldn't they? And they'd be alone.

No Bdubs. No mornings with sleepy complaints, groaning at the bright sun. No smile to brighten the dark, attempting but failing to keep monsters away. Nothing.

That… hurt more than she thought it would. A knife stabbing and twisting, gouging out her heart to show it was still beating.

Show that she could still bleed and hurt and–

It was sunset now as she cooked dinner. Pot on the half-made stove, unfinished just like everything else.

Bdubs held her from behind, content to simply wrap his arms around her waist rather than help. It was a nightly routine, the dryad banned from making anything after making some strange concoction he called breakfast in bed.

"Is everything alright, Cleo?" Bdubs whispers. "You're more quiet than usual."

She chews her lip and wordlessly curses how much she wants to cry.

"Sweetheart…?"

She remains silent, a plea for this moment to go back to normal and last forever. For them to laugh off their anxiety and fear of death. For them to be safe.

"It's okay if you don't wanna talk, I'll stay right here." His tone is soft, kind even as he holds on tighter.

It's a split moment decision, she knows that, but without thinking she sets the spoon aside and turns.

Soft, scarred lips are on her own as she cups Bdubs' cheek. The dryad under her, for a moment, freezes before leaning in. Fingers thread through her hair, grounding her for a moment.

When she pulls away, she's easily greeted with those star filled eyes. Ones that reflect fires and scars and bruises, but in that moment he's beautiful.

There are words at the top of her tongue that refuse to fall out, even as she stares and watches that smile so, so carefully. Especially as Bdubs pulls her into another kiss and whispers something her tired brain can't process.

Cleo wasn't the type to fall easily, but Bdubs had so easily wrapped her in a web. One that felt like a warm blanket, one that she wanted to fall asleep in, one that she never wanted to leave.

#our writing #a: 🐍#a: 🎭#written on: jun 29-30 2023 #july 5 2023 #3rd life #cleo #bdubs #trafficshipping #cledubs

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