Writer & Editor
I first had the opportunity to talk to Jon Mikl Thor back in 2005, while he was in the midst of a gruelling tour and had recently suffered an onstage accident in which he was nearly electrocuted. Despite that, he was very upbeat about his music career and made for a great interview. The only kicker was, I was interviewing him for Lögberg-Heimskringla, an Icelandic ethnic newspaper, and in the course of the interview learned he was not of Icelandic background at all.
They’re too good to be true (or too awful) and sometimes they’re hilarious because they don’t need to inhabit the real world. Imaginary musicians, faux songs or flat-out spoofs, here are my favourite fake metal bands.
One of the virtues of Chuck Klosterman’s take on 1980s heavy metal in Fargo Rock City is that, once you’ve read it, you’ll never look at metal the same way again.
Born and raised in Wyndmere, N.D., Klosterman had already covered music for the Fargo Forum and the Akron Beacon Journal before writing it, and has since gone o to write for GQ, The New York Times Magazine, and The Washington Post, as well as a number of bestselling books.
Downloading KISS’s Destroyer (Resurrected) marks the fourth time in my life I’ve paid full price for this album, but the first time I’m not sure it’s worth it.
Destroyer is the album every other studio effort by the band is measured. Given Gene Simmons and Paul Stanley’s penchant for self-hype, it’s become something of a tradition for them to claim about each new album that it’s their “best one since Destroyer.” (I can’t think of a time when that’s been true, though Love Gun certainly comes close.)
Some may take umbrage at the notion of including Def Leppard in the category “heavy metal,” but for Pyromania, at least, they deserve it. And the genre can thank them for it.
Released in 1983, it was one of a number of albums that pushed heavy metal into the mainstream. Leppard, along with Iron Maiden and Judas Priest, was part of the New Wave of British Heavy Metal, but while Maiden and Priest had core audiences in the U.K. and scattered across North America, it was Leppard that got Americans and Canadians to wear Union Jacks.
Note: this review of Iron Maiden’s 2002 greatest hits collection was written before the band’s reemergence as a touring dynamo in the early 21st century (at least in North America; Brazil always seemed to know they put on a great show, as you can hear on Maiden’s live album Rock in Rio.)
What? Don’t these guys know they’re has-beens? Apparently not; or maybe Bruce Dickinson and crew are old enough to know that what goes around, comes around. A greatest hits album for a band never big on hit singles may seem incongruous, but given the road-testing of their material over the years, Iron Maiden and their cheerfully macabre mascot Eddie have put together an astute collection.
