Metallica News

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Hors ligne Whiplash

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Re : Re : Metallica News
« Réponse #30 le: octobre 11, 2011, 07:36:31 am »
Tu vas loin là...

En quoi je vais loin ?

Qulqu'un à moyen d'extraire la video pour ceux qui ne donne pas sousous pour le metclub ?
PUTCHHHE ENZOP ENDY YEAH !

"Sometimes...The Riff is so Fuckin' good, that you just wanna hear it ...oveeer and oveeer and oveeer and over again...sometimes for 52 minutes..."
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Re : Metallica News
« Réponse #31 le: octobre 11, 2011, 07:51:10 am »
Je plussoie...
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Re : Re : Re : Metallica News
« Réponse #32 le: octobre 11, 2011, 06:54:19 pm »
Tu vas loin là...

En quoi je vais loin ?

Qulqu'un à moyen d'extraire la video pour ceux qui ne donne pas sousous pour le metclub ?

Je ne sais pas faire ....
\,,/ What don't kill ya make ya more strong \,,/


Re : Re : Metallica News
« Réponse #33 le: octobre 11, 2011, 08:26:54 pm »
En gros c'est une vidéo compil' où on retrouve des fans du monde entier souhaiter un bon anniversaire au Mets :)

Pour le coup celle des français est pas top, c'est juste une succession de photos...par rapport à celle des polonais qui est très originale par exemple! :o

Oui, c'est vrai,

Mais au moins ils ont honoré les anciens membres du groupe qui ont fait ce qu'est devenu MetallicA.


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Hors ligne Orion

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Re : Metallica News
« Réponse #34 le: octobre 18, 2011, 01:33:00 pm »
Inspiré sur ce coup là le père Lars, bon faut dire c'était pas une période pour le groupe qui incitait à la clairvoyance...  :D
Citer
My Favorite Mistake
Oct 17, 2011 1:00 AM EDT
Metallica’s Lars Ulrich on saying no to Quentin Tarantino.

Quentin Tarantino wants to have dinner. OK, we can facilitate that ... A week later, we’re hanging out in a restaurant in San Francisco, swapping stories about the most turbulent flights we’ve ever been on, triggered by a particularly nasty flight he’d just taken from China. In between the mischief and half-truths, we get to the point of the visit, which concerns his next cinematic endeavor, titled Kill Bill.

One of the most surreal 30 minutes of my life was having Q.T. six inches from my face, eyes dancing, intensely animated, explaining in intricate detail how he had written and choreographed the two main fight scenes in the film to the Metallica songs “Enter Sandman” and “Sad but True.” Fists would impact faces on accents. Kicks would land on cymbal hits. Bodies would twirl along with the rhythm of the music. Tarantino’s next-level movie magic married to Metallica music, all turned up to 11.

I was already fast-forwarding 18 months, sitting in an Enormodome, watching this spectacle unfold before my eyes with the biggest smile on my face. True cinematic poetry in motion. The greatest marriage between music and film the world had ever seen.

We were high on this idea for the rest of the evening, and the elation continued for days. Finally, ta-da!! The Script. All 180 pages. Man, was it thick and dense. I threw myself headfirst into the shenanigans. Then something slowly started happening. Story, language, twists, turns, kung fu banter, and jargon—as I got further and further into it, I became more and more puzzled.

Page by page, I realized that most of this was written in a language that was outside of my realm of understanding. I had never encountered a narrative like this, set in, to me, a very foreign culture of martial arts and Asian myths. I just couldn’t wrap my thick Danish head around it. I championed his movies, loved him as a person, but at the end of the 180 pages, I sat there somewhat bewildered and felt very uncool for not getting it. I wasn’t capable of appreciating its brilliance. Then I started overthinking it. “Do it, do it,” my gut screamed, but my head was confused. Cautious. I experienced a rare inability to pull the trigger.

Over the next few weeks the whole thing fizzled out as I continued not trusting my instincts. In the end, I never got back to him. Probably the single biggest mistake I’ve made in the creative department. Of course Kill Bill turned out to be above and beyond brilliant, as have his subsequent movies, which have all been a significant part of my life in the 2000s.

To this day I still worship the ground Q.T. walks on.

If only ...
source : http://www.thedailybeast.com/newsweek/2011/10/16/lars-ulrich-on-saying-no-to-quentin-tarantino.html


"Flaaaaash bifore maiiille aiezzze, no its taiillme tou daiiiille..." ;)


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Re : Metallica News
« Réponse #35 le: octobre 18, 2011, 02:07:08 pm »
Huhu en effet! :D
BIÈRE,BIÈRE! BIÈRE-BIFI !
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Re : Metallica News
« Réponse #36 le: octobre 18, 2011, 02:53:32 pm »
Oh le con !!! ??? Remarque ça doit être spécial de bosser avec Taratino... Et est-ce que Metallica avait vraiment sa place dans la merveilleuse BO multi-culturelle de Kill Bill ?


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Re : Metallica News
« Réponse #37 le: octobre 18, 2011, 03:13:12 pm »
Rah mon rêve, un des groupes favoris dans la BO d'un film de mon réalisateur favori toute catégorie confondue, je me répète mais RAH !!!  :'( :'(
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Re : Metallica News
« Réponse #38 le: octobre 19, 2011, 09:27:43 am »
Tjs intéressant une interview de Flemming Rasmussen

Citer
Flemming Rasmussen And Metallica: Master Of ..Producers

The book of contemporary rock music has had many authors, since the first scratches in the 1960s by Chuck Berry and the Beatles. Certainly in the past decades a band like Metallica has been writing a few crucial chapters of it, and their soon to come next work, in partnership with other pivotal writer Lou Reed, could become another important one. Someone could recall the 2009 appearance of Mr Reed and the band at the Madison Square garden. There was then enough time to play "mary jane", and give the world a taste of what we could hear in few days, after the issue of Lulu.

In that lucky period I had the chance to meet Metallica's much acclaimed producer Fleming Rasmussen. He was just back from Cleveland, where he'd been a special guest at the induction ceremony at the House Of Blues, where Metallica were inducted into the Rock And Roll Hall Of Fame in March 2009.

Flemming is a Danish producer from Copenhagen, class 58. His reputation is nowadays unquestionably legendary. He started some years ago as a sound engineer and producer of many renowned rock bands, such as Rainbow, Blind Guardian or Morbid Angles. However the real tale begins when, back to early 80s, four guys from the Bay Area choseto record their second studio-album in Europe. An emerging metal band named Metallica. A bunch of records followed: "Ride", "Master" and "Justice". There is no need to mentionmore titles: the majority of rock guitarists have spent half of their teenage years learning the riffs recorded at the Danish Sweet Silence Studios.

I had the pleasure to hook up with Flemming in Berlin for a talk. Flemming likes Berlin and its music scene quite a lot. It's an honor for us to have him in town.

UG: How was it being in Cleveland at the Rock 'n' Roll of Fame ceremony? I noticed the Master of Puppets giant cover, right there on stage..

Flemming: It was amazing. Metallica, invited 150 people who had been important for their career, and have been working for them for the last 25 years, to be part of the Rock and Roll Hall of Fame. I flew directly from Denmark together with Ken Anthony(Lars' heavy metal mentor and lead singer from Switchblade). The location was the famous House of Blues, rented for the special occasion. There was a private party, then the induction ceremony the following day, where the band played, it was so great being there.

You are not new to music awards, there was a Grammy few years ago, right?

Yes exactly, I got a Grammy Award in 1989 for the "...and Justice for All " album, recorded in the summer of 1988, in Copenhagen.

I was wondering how you and Metallica initially made contact with each-other?

I worked on an album with Richie Blackmore's Rainbow, "Difficult to Cure". Metallica had their first record out "Kill 'em All". They wanted to try out something different and record in Europe. The dollar at that time was so strong that they thought they could spend more time in a studio based in Europe than they could do in the U.S. They decided to call me up, to ask if I was interested. I did not know them at all, I did not know who they were at that time.

Particularly at the beginning of their career, not many people trusted them..

In the studio, the people who came from a jazz background were a bit skeptical. I listened to their previous stuff and I thought it was the best thing I had ever heard. I was definitely impressed by the energy and I loved the power and the attitude in their tracks, not much to add. I thought to myself, "what the hell.. these guys are great". We started then to work on "Ride the Lightning" album, released in 1984.

Now..we can say that you were right ..and lots of people grew up listening to that guitar sound, which amps did they like to use?

Just before "Ride", during "Kill 'em All", James was really satisfied with his guitar sound, he modified his Marshall amp. Unfortunately that was stolen then he wasn't able to get the sound that he wanted. We decided to call up every metal band in Denmark in order to try out every Marshall that was in available at that time. He tried them all out and chose what he liked the most. Then, a few years later, Metallica's guitar sound shifted gradually from the Marshall to the Mesa boogie amps in the end of the 80s. I personally liked the Marshall more.

How was the studio time with them?

In our studio sessions we worked pretty hard, at the same time having some really magical and inspiring moments: for example songs like "For Whom the Bell Tolls" were fully composed at the Sweet Silence studio. "Master of Puppets" was totally composed when they came into the studio. They used to produce really good demos before going into the recording sessions. I really appreciated that. Their first idea was to start in the States looking for a pro-studio, but then they decided to continue at Sweet Silence again. On that record everything flowed easily. "Master" took about 4 months to be finished, "Ride" 2 months. For "Justice" we recorded 4 months in a row, with no days off! Its production was a bit more hard as compared to the others, Cliff Burton had already died, and the situation was a bit strange at that time.

In your opinion, which record which you engineered/ produced, do you consider to be the most influential for the scene?

"...and Justice for All" was very inspiring for lots of metal bands that came afterwards, and for the death metal scene as well. So many musicians were also inspired by that one.

A classic question, what made that time so special? Do you think it was a combination of several factors?

Yes it was a mix of elements, they were just starting to become known, going up, getting better and better as musicians and composers. They were really enthusiastic about what they had achieved.

How did you start the studios in Copenhagen?

I was 18 when I built the Sweet Silence, training myself as I went. It was basically a learning-by-doing approach. There are so many good music schools today, but kids get a lot of theory, somebody tells them when it sounds good and when it doesn't. In Denmark there are a lot of good music schools anyway, lots of classes where you can play rock. Actually Sweet Silence Studios are now closed, but the plan is to re-build them as soon as I find the right location.

Your professional experience allowed you to range between analogue and the latest digital technology. What is basically your basic sonic approach?

I still use and like a lot of analogue stuff. I still have a couple of channels of the old Trident desk that I use to record. I am not using tape recorders anymore because it takes too much time to set up everything. I could use them sometimes to record drums, but basically my main tool is Digidesign Protools.

Lastly, are you happy about the volume-war in records, particularly what we have been listening to in the last years?

Not really, nowadays the dynamic aspect is a major issue, it is totally gone. We really should take care of what's happening. Some recent records sound as if they have been produced exclusively to be listened to on headphones.

Interview by Gianluigi D'Autilia
source : http://www.ultimate-guitar.com/news/interviews/flemming_rasmussen_and_metallica_master_of_producers.html
"Flaaaaash bifore maiiille aiezzze, no its taiillme tou daiiiille..." ;)


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Re : Metallica News
« Réponse #39 le: octobre 20, 2011, 08:41:38 pm »
New vid' sur le Metclub :

Welcome Home (Sanitarium) (Sep 14 - New York, NY)
Recorded live on September 14, 2011 at Yankee Stadium in New York, NY

All Nightmare Long (Jul 8 - Stevenage, England)
Recorded live on Jly 8, 2011 at Knebworth House in Stevenage, England

The Call of Ktulu (Jul 2 - Gelsenkirchen, Germany)
Recorded live on July 2, 2011 at Veltins Arena in Gelsenkirchen, Germany
\,,/ What don't kill ya make ya more strong \,,/


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Hors ligne Kevz

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Re : Re : Metallica News
« Réponse #40 le: octobre 20, 2011, 09:13:40 pm »
Oh le con !!! ??? Remarque ça doit être spécial de bosser avec Taratino... Et est-ce que Metallica avait vraiment sa place dans la merveilleuse BO multi-culturelle de Kill Bill ?

Comme tu le dis, elle est multi-culturelle. Donc tu réponds à ta propre question. QT est génial quand il s'agit de faire rimer musique et image.


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Hors ligne Orion

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Re : Metallica News
« Réponse #41 le: octobre 21, 2011, 10:25:46 am »
Citer
MACHINE HEAD Frontman: It's Amazing To See How Passionate METALLICA Still Are About Music - Oct. 20, 2011

MACHINE HEAD frontman Robb Flynn recently spoke to Revolver magazine about opening for METALLICA on the "Death Magnetic" tour.

"To me, one of the raddest things in the world was touring with METALLICA and watching 'Master of Puppets' — not 'Enter Sandman'. I get why 'Enter Sandman' is so frickin' huge, but to watch 'Master Of Puppets', this eight-minute song with a million parts in the middle of it with complicated choruses and off-time rhythms — to watch arenas every night sing every fuckin' word, that was amazing. There's this whole other part of music that can be well-written and well-constructed that can be somewhere over here [points away from him] and still translate to millions of fuckin' people.

He added, "It's amazing to see how passionate those dudes still are about music. They don't have to give a shit about music at this point. They don't have to care about other bands. They're fucking METALLICA. But there were times when I'd sit there and talk to Lars [Ulrich] or [James] Hetfield and listen to them geek out on a band. Lars and I went and saw THE SWORD, and he's singing every word and doing air guitar to all the right parts. I'm like, 'You know every fucking word to THE SWORD's songs?'"

Flynn also spoke about having one of his musical idols — METALLICA frontman James Hetfield — join MACHINE HEAD on stage on May 16, 2009 and May 17, 2009 in Oberhausen and Cologne, Germany, respectively, to perform the song "Aethetics Of Hate", taken from MH's 2007 album, "The Blackening". According to Robb, the jam came about when Hetfield walked into MACHINE HEAD's dressing room and the two started talking. When Hetfield noticed there was an electronic drum kit set up in the corner of the dressing room, Hetfield took a seat behind the kit.

"He said, 'Do you know any 'TALLICA?'" Flynn said. "I'm like, 'Do I know any METALLICA?! Fuckin' call it.' So we did 'Master Of Puppets'. Then he goes, 'Do you know any MAIDEN?' And I'm like, 'Fuckin' 'Wrathchild'. And then I realize, 'Oh my God, I'm jamming with Hetfield and he's on the fuckin drums, playing it killer.' Then he says, 'Let's jam [MACHINE HEAD's] 'Aesthetics Of Hate'.' I'm like, 'You know 'Aesthetics Of Hate' on the drums?' He knew every fuckin' drum beat, every part, and that ain't an easy song to play. While we're playing, Dave [McClain, MACHINE HEAD drummer] comes in and goes, 'He's playing my drum parts. This is amazing!' To see a band at that level and think, 'Wow, man, those dudes are still fans. They still love music' is kind of a revelation. But I mean, I don't know why I didn't know [they still loved metal]. I think I might have thought they'd be different now because they're huge and they're METALLICA."
"Flaaaaash bifore maiiille aiezzze, no its taiillme tou daiiiille..." ;)


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Hors ligne Flafla

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Re : Metallica News
« Réponse #42 le: octobre 21, 2011, 10:45:56 am »
ca fout presque les frissons la fin  :D


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Hors ligne Kevz

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Re : Metallica News
« Réponse #43 le: octobre 21, 2011, 10:52:24 am »
whhaa sans faire le lèche cul, c'est la plus vibrant hommage que j'ai lu ces dernières années.

Et je ne savais pas que James pouvait jouer Aesthetics Of Hate à la batterie car il est vrai que c'est un morceau redoutable.


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Hors ligne Flafla

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Re : Metallica News
« Réponse #44 le: octobre 21, 2011, 11:14:37 am »
ca doit d'autant plus l'énerver d'entendre l'autre pied mou derrière lui à chaque concert, James  :D