On this very special 100th episode of The Ex-Man podcast, Doc welcomes Hatebreed vocalist and Jasta Show podcast host Jamey Jasta and they talk about Hatebreed’s place in the NWOAHM, the state of rock radio, dealing with politics within the music industry, how Entombed and Sepultura influenced early Hatebreed, how growing up poor in urban Connecticut shaped his world view in feeling Iike an underdog, where his entrepreneurial ambitions stem from, how his time as a booking agent informed him on Iearning from the mistakes from other underground bands, helping create a community by extending an olive branch to up and coming artists, being an innovator as frontman with stage banter, and the Chvrches/Gojira controversy.
This episode features the songs “Home” by Eclipsica, “Are You In There” by NeverWake, and “13 Appears” by Jasta featuring Tommy Victor.
Follow Jamey on Instagram and Twitter @JameyJasta Follow Doc on Instagram and Twitter @DocCoyle
For those who don’t know, Hatebreed frontman and Jasta Show host Jamey Jasta has a killer solo band called Jasta. The band just released a brand new EP entitled The Lost Chapters on March 31st. Doc co-wrote the song “Chasing Demons” which also features Howard Jones of Devil You Know and Killswitch Engage fame on guest vocals.
Catch Jasta on Tour with Anthrax and Killswitch Engage and you can listen and purchase The Lost ChaptersHERE.
“This is the end!” This is the emphatic, anthemic line in the God Forbid opening track from the album IV: Constitution of Treason, which was released during the peak of our powers in 2005. In fact, it wasn’t the end. The end came much later. At the time, it felt like we were invincible, destined for heavy metal immortality. And we were in the lower tier of the NWOAHM (or Metalcore or whatever you want to call it) in all metrics for determining the success or popularity of bands. If you look at album, ticket, and merchandise sales, Myspace friends, Youtube views, Facebook “likes”, or the ever mystical buzz on the street, God Forbid was probably never half as big as any of the rest of the Big 4 of Quitters (I should trade mark this) including Bleeding Through, Shadows Fall, and now Chimaira. Knowing that, even we felt invincible. That’s how intoxicating achieving any discernible success with your art can be. Shadows Fall and Chimaira hanging it up in the last couple weeks have brought an outpouring of sadness, shock and disappointment from fans. It seems like the end of an era, and maybe it is.
Hearing that these great bands are moving on makes me sad and disappointed, but not shocked. The truth is that amongst peers a good majority of our conversations have to do with figuring out how to stay relevant by finding new audiences, getting great tours, signing with the right label, writing the next game changing album, and more. Teetering on the edge of existence has been much of our collective realities for half of our careers. As the O.G. quitter, I’m here to explain why this is happening and why you shouldn’t be surprised.
I am truly shocked and saddened to hear of my buddy Mick “Deth” Morris’ passing. I wasn’t aware of his heart condition. It’s increasingly weird as the older you get, the more people you know die before their time.
I met Mick when 18 Visions opened up for Mushroomhead and Lamb of God at the Birch Hill Nite Club in NJ in 2001. He was always super cool, humble, affable guy. Although we never did extended touring with 18V, we got to do some spot dates together like Furnace Fest 2002, and a show later that year w/ Everytime I Die, Bleeding Through and Avenged Sevenfold opening.
18 Visions deserves credit for being a trailblazer. For better or worse, they brought style to hardcore scene. They wrote the script for bands like Motionless in White and Falling In Reverse to follow. And when 18V did it, they were playing with real hardcore bands, and it was not always cool with the status quo. That takes some balls.
We stayed in touch over the years as he started to work for Hatebreed, and even chatted about jamming together at some point. Unfortunately, it never happened. I was just enjoying his Instagram feed last night. This sucks. I’ll miss you dude.
I am going to assume that a decent portion of the followers of this site are themselves musicians with bands of their own. That is generally how it goes with metal. There are seamless lines blurred between the “fans” and the “bands” because, like myself, many metal patrons represent both categories. Without this large sector of musician fans, technically proficient bands that cater directly to this base (like Dream Theater, Meshuggah, and Necrophagiast) would be much less successful. So to those musicians, I would like to use this blog to shine a light on one of the harsh truths in all music and entertainment that many musicians choose to ignore –
Image matters a lot in this industry. In fact, it’s probably just as important as the music.
We’ve all been there. Tensions are high in some packed, sweaty venue, sparked by feverish excitement and the potential for violence. These people paid good money to enjoy some type of cathartic release. The frontman for whatever hard-nu-death-crab-metal-core outfit is brazen and demanding. Can you believe this shit? You PAID to be entertained, and this guy is telling YOU what to do! The speech goes something like this: “I want everybody in this room moving! Front to back, side to side, NO ONE STANDS STILL! When this part kicks in, I want total [Insert destructive word here like “chaos,” “mayhem,” or “bedlam” if you’re witty]. If the person next to you isn’t moving, MAKE THEM MOVE!” Than, if the action is not adequate, this screamer/pep rally organizer calls YOU some variation of “pussy” or “faggot” or really anything to make you feel like a soft, womanly bitch of a man in order to get in that pit and kick another grown man in the face, all in the spirit of making this band look like they are awesome. But then something happens, as if the air is sucked out of the room at the moment of impact – when those glorious staccato chugs kick in, the crowd is almost always powerless to its charms regardless of the obvious lack of substance. Like junk food and reality TV, we have a love affair with breakdowns.
Last week, during one of my daily perusals of this very blog, I came across a rather scathing recounting of Killswitch Engage’s self-titled album, which came out earlier this year. This caught me a bit off guard, as I considered it to be one of my favorite albums of the year and a step in the right direction from Daylights Dies, which was at first very disappointing but grew on me after some time. I was even more surprised when I saw that most user comments tended to agree with the blog entry.
Most of the criticism seemed to center around Killswitch’s supposed inability to stray from their winning formula. People seemed to think that their sound had become stagnant, and that there wasn’t enough variety between albums and songs. Now I don’t disagree that KSE has a pretty standard formula for their songs and a definitive sound that really hasn’t changed a whole lot over the years, but I am disagreeing that this is necessarily a bad thing. I want to ask you guys if you think it’s better for a band to stick to a relatively confined style through their career like Hatebreed, Cannibal Corpse, or Motorhead, or is it better to expand and experiment like Mastodon, The Haunted, or Cave In.