Doc welcomes Megadeth drummer, Dirk Verbeuren, to the show and they discuss how they are both dealing with COVID-19 social distancing, his roots in death metal and grindcore, how moving to Paris turned him from a hip hop kid to a metalhead, what the metal scene in France was like in the 90s, going to music school, cutting his teeth in the underground with the French band Scarve, how he joined Soilwork, becoming a prominent session studio musician, how he got involved with drum software company Toontrack, and his time in Megadeth.
This episode features the songs “The End” by Rise of the Silverback and “I Am Become Lust” by Bent Sea.
Doc talks with ex-Soilwork guitar player Peter Wichers about what made the Swedish metal scene in the 90s so special, how Soilwork’s career was built and cultivated an international following, the evolution of the band’s sound over the years, why he quit Soilwork the first time, his venture becoming a record producer, rejoining and leaving Soilwork the 2nd time to start a family and work for Fender, and his forthcoming music project with vocalist Howard Jones (Light The Torch, Killswitch Engage).
This episode features the song “Two Lives Worth Of Reckoning” by Soilwork.
For my opening salvo, I suppose I should mention that it has been a long break between blogs. I’ve been meaning to get back to it, but this summer has been a very busy one filled with the musical composition of the new God Forbid album as well as a new project I’ve been working on, in addition to the daily pursuit of living life and getting by. I hope to contribute more frequently in the near future.
If you’ve followed my articles in the past, you may notice that I often address music history, and pertaining to this site, heavy music specifically. I have a great respect for artistic pioneers and the roots of where the most admirable and brilliant music stems from. I was the type of kid who would read liner notes and interviews by my favorite bands to find out who influenced them. I would always want to climb that musical family tree to see where it lead.
When it comes to music (and other things really), I tend to play devil’s advocate. If everyone is shitting on a certain band, for some reason, I become more attracted to that band and seek them out. I don’t know what it is about my personality, but I think it stems from the same perspective that inspired me to write the antagonistic blog about rethrash. It may be a character flaw, but I’m sure it has something to do with a need to be an individual. From what I gather, this website is inhabited mainly by “true” metal heads. What I define as “true” are people whom are purists in the realm of metal and usually scoff at any band or trend that reeks of premeditated commercialism or an overt play for popularity, and who usually demand a certain level of musicianship and underground credibility. These fans usually hate every Metallica record after …And Justice For All, and for that matter always prefer any particular band’s older releases, which usually have a more raw and unrefined recording quality, as well as more abstract, less traditional song writing. For example, they will prefer Carcass’s Necrotiscim to Heartwork, or Morbid Angel’s Blessed Are The Sick toDomination. Oh yeah, and these guys gave up on In Flames and Soilwork years ago.
I have a good deal of that purism in my bones, but it always seemed short sighted and close minded. You have no idea how many arguments the Adler brothers from Lamb of God and I have gotten into over the merits of a particluar Metallica or Megadeth record. If you even bring up Disturbed or Limp Bizkit on MetalSucks, it is mocked and disregarded 100% of the time. I think metal heads often have a sheep mentality because of the fear of being viewed by their peers as less credible for liking bands that aren’t considered “true” or “real” enough. We all have guilty pleasures, but the real question is “Why should we feel guilty about something we enjoy?”