Dave Grohl's ultimate metal compilation
"I think 'Red War' is a good representation of what the Probot album's about. It's a heavy fucking sound, but it's not too polished and was recorded, like most of the tracks, in about four days. I love that fucking drum beat we've done! It was actually written years ago and is actually the drum riff I used on 'First It Giveth', one of the songs from the Queens of the Stone Age record 'Songs for the Deaf' that I worked on."
"I had this conversation with Lemmy while we where making the record about rock'n'roll. He always considered Motorhead a rock band, not a metal band. Something like 'Bomber' is like an up-tempo Chuck Berry song, a real fucking rock'n'roll song with so much attitude. It's always been a favourite for me 'cos I always picture the bomber lighting rig.
"I met somebody offered to sell me the bomber lighting rig and I was SERIOUSLY considering buying it! But it came down to where the fuck would I put it? At the time I didn't care because I could say that I owned the fucking bomber and that was enough for me."
"The Venom sound was unlike any other band. The sound of Venom's music was so fucking bombastic and dirty that proficiency wasn't a key element and didn't really matter because it was more about making a collective sound akin to a fucking explosion! And beyond the lyrical content, it just sounded fucking evil! There were tones that were just fucking darker than anything else. Every aspect of that band was exaggerated to the point where you couldn't focus on just one thing; it was all just so fucking loud and crazy."
"The early days of Sepultura were so fast and thrashy and then later on they added the heavier grooves and then the Brazilian rhythms.But the main thing I love the most about Sepultura , especially with a song like 'Arise', is Max's voice. If you heard me singing it then it really wouldn't sound that cool. But when someone like Max in his guttural voice sings it, then it fucking freaks you out!"
"I can't say if Lee's better known for Napalm Death or Cathedral, but they're two entirely different things. The song that he sang on Probot is called 'Ice Cold Man', and you listen because you feel like he"s singing you a story. The tone of his voice that makes you sit and listen because you feel that someone's explaining something to you. It's the same with Cathedral songs. We go way back to the time when I was sleeping on his floor in Coventry 16 years ago"
"Trouble's first two records, 'Psalm 9' and The Skull' were hugely influential on me. Eric Wagner has such a great voice too. Trouble's early music was far heavier than anything you've heard lately. Their riffs were intricate and interesting, and their drummer had this swagger or drag that just made their music twice as heavy. A fucking amazing band'"
'IRON & STONE'
"The Obsessed were a heavy, sludgy metal band into hardcore and Wino's voice just gave me that fucking tingle in the back of my neck. And that guy sings from the heart, He's the real deal. There's no pretence or anything contrived about anything he does. Wino's in so many bands, all of which are fucking great. Because when it comes to making music, if you love doing it with all your heart, it doesn't seem like work and you can't do too much or spread yourself too thin."
'PROCREATION OF THE WICKED'
"'Morbid Tales' is a record that I fucking love SO much. They were a fast, thrash band but with added insanity. 'Procreation...' had some of the most twisted, insane riffs I'd ever heard. It almost sounded like someone losing their mind. I really believed that these people were insane. I'd listen to their records and honestly be thinking 'these guys are nuts'. But a lot of my favourite vocalists would sing with accents that made the song sound even more sinister. Tom G Warrior's one of them."
CORROSION OF CONFORMITY
"COC's first album, 'Eye For An Eye', was a hardcore record. Their second, 'Animosity', which 'Hungry Child' is from, was when they started to tune in more to the heavier stuff. That's when people started to think, 'these guys all grew up listening to Sabbath. These guys have some riffs'. 'Animosity' is one of the most incredible American underground hardcore metal albums ever made. At that time they were the most powerful live band I'd ever seen and that includes Bad Brains, Black Flag and even Slayer. COC was one of those bands that you saw only in small rooms with the stage a foot high."
"Well you can't get much faster than 'Dead: You could maybe put 32 of those on a seven inch. And of course Napalm Death were a fucking institution!"
"Some of my favourite Voivod songs come from the first two albums, War and Pain' and 'ROOOAARR'. They're from Montreal which means they've got that interesting accent thing which I love so much and a great flow to them which makes them sound like a fucking steamroller. They've got these ridiculously dissident riffs which was their speciality, giving them this sound sometimes closer to jazz than anything else. When they first started making records, they were really rock and really fucking rough, but then they tuned it down and honed it into the craziest thing experimenting with time signatures and riffs like no one else could. Nobody sounded like Voivod."
"DRI were the fastest. They were the beginning of that fast era of music. I met Kurt, the singer, in '83 when I bought their 22-song seven-inch from the back of his van. Anyone that can put 22 songs on a seven inch single gets kudos from me. But DRI were just so fucking fast and they could pull it off live. Their drummer was one of my fucking heroes because I would play along to their records with these big fat drumsticks just trying to play as fast as I could, and that's why I wound up being a hard hitting drummer. Because I learnt to play that fast with these fat sticks on a bunch of pillows, I didn't even have a drum set. So when I finally got on a real drum set with normal sized sticks, I just fucking broke everything in sight!"
'CORPSE WITHOUT A SOUL'
"The 'Fate motherfucker. You want to get some 'Fate, it's ALL good, but definitely the early stuff. 'Corpse Without a Soul' was the first commercial 'Fate song I ever heard and it just sucked me in. When I was young, I wouldn't necessarily listen to vocalists that were 'crotch grabbers', the singers with that high frequency, falsetto air raid sirens. But when the King did it, it was like there was a fucking ghost in the house. It was really eerie. But they were basically a rock band at heart. I would listen to their stuff, and I could hear elements of Deep Purple and Thin Lizzy. And a great drummer too. A guy who was not afraid to do a drum roll from one side of the stage to the other that lasted 15 seconds! Way to go."
Return to the PROBOT PRESS ARCHIVE