The Ex Man Podcast Ep. 48 – Marc Rizzo (Soulfly, Cavalera Conspiracy, ex-Ill Nino)

Doc speaks with Soulfly and Cavalera Conspiracy lead guitarist, Marc Rizzo, about coming up in the New Jersey extreme metal scene, the story of how El Niño became Ill Niño, the experience of having early success with Ill Niño and eventually quitting the band, how he joined Soufly, what it’s like to be in a band with Max Cavalera, how Cavalera Conspiracy came together, the secret to his tireless work ethic, and his solo guitar career.

This episode features the song “Seismal” by Headcrusher from the album Death Comes With Silence, “Spines” by Terror Universal from the album Make Them Bleed, and “Kylocycyle” by Marc Rizzo.

Follow Marc Rizzo on Twitter @MarcRizzo and Instagram @MarcRizzo_ripandshred

Follow Doc on Instagram and Twitter @DocCoyle

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The Ex Man Podcast 41 – Dave Chavarri (Ill Nino, Terror Universal, ex-Pro-Pain, Ex-M.O.D.)

Doc talks with Ill Nino and Terror Universal drummer Dave Chavarri about getting his start on the East Coast with his first band Gothic Slam, how that led to him joining bay area thrash band Lååz Rocket, his time playing with M.O.D., what he learned about work ethic and the music business playing with Pro-Pain, how filling in for Soulfly prepared him to launch Ill Nino, the evolution of a more melodic Ill Nińo from the original El Nińo with Jorge from Merauder, the relentless touring that fueled the band’s success, the key to Ill Nińo’s longevity, and how his new band Terror Universal came together.

This episode features the song “Galactic Outlaw” by Gigantalope and “Dig A Hole” by Terror Universal.

Follow Dave on Instagram and Twitter @illdavechavarri

Follow Doc on Instagram and Twitter @DocCoyle

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The Ex Man Podcast Ep. 07 – Mike Gitter (A&R for Century Media Records, ex-Roadrunner, Atlantic)

Doc vents about the holiday blues, and speaks with Century Media A&R guy, Mike Gitter, about his start as a journalist in the early punk and hardcore scene, his time in the major label world at Atlantic records, the process of making records with bands, his legacy at Roadrunner Records and working with bands like Killswitch Engage, Glassjaw, and Ill Nino, and reveals what he looks for in upcoming bands.

This episode features the song “Calculating Fate” from Death I Am and a live version of “Numbered Days” from KiIlswitch Engage.

DOWN WITH THE SICKNESS (Posted Feb. 22nd 2010 on


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?”

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