|Midnite Mixtape Massacre - Pound Of Flesh|
|Written by Pound Of Flesh|
|Sunday, 12 June 2016 03:20|
Pound Of Flesh was formed in the late ‘90s, and released their first full-length record in 2000, entitled ‘Red & Black’. The album received critical acclaim and support from over 250 radio stations nationwide. While touring regionally in support of ‘Red & Black’, frontman Darrell James was introduced to the legendary Al Jourgensen of Ministry. James was invited by Jourgensen to play keyboards during Ministry‘s 2003 Fornicatour. Darrell agreed, and was subsequently asked to stay on for their 2004 Evil Doer tour. Additionally, Darrell’s keyboard and programming work can be heard on Ministry‘s ‘Rantology’ and ‘Rio Grande Blood’ as well as the Revolting Cocks‘ ‘Cocked and Loaded’. In 2008, Darrell started collaborating with keyboardist Steven McIntosh on new material. After perfecting their sound and recruiting the rest of the current incarnation of the band, POF released their 2014 album ‘Pills’. This marked the launch of what now exists as Pound OF Flesh. January 7th, 2016 saw the release of ‘Refills’ which includes Steve McIntosh remixes that were heard on ‘Pills’. The first single from that record was ‘Believe’ (which you can watch below) but right now prepare for something a little bit different as POF take the Midnite Mixtape challenge .
Darrell James (Writer/Vocals/Programming):
1.) ‘Head Like A Hole’ - Nine Inch Nails (from the album ‘Pretty Hate Machine’)
I was writing pop music in the ‘90s and had started going through a period of difficult and dark times. So I started writing darker music to help me get through the shit. A friend said my new direction reminded him of NIN. He turned me on to ‘Head Like A Hole’ and he was right. But that being said, I don’t try to write like Trent. Just put me in the right direction to give birth to Pound of Flesh.
2.) ‘2112: Overture/The Temples Of Syrinx/Discovery’ - Rush (from the album ‘2112’)
I was a drummer through my teens and when I heard this song and album it forced me to change the way I played the drums. Neil Peart, in my opinion, is the best drummer EVER!
3.) ‘Heaven Can Wait’ - Iron Maiden (from the album ‘Somewhere In Time’)
Iron Maiden is by far my favorite band, and Bruce Dickinson is my favorite frontman and definitely influenced the way I engage the audience. In 2003, when I was the touring keyboardist with the band Ministry, we played some European festivals with them and one of the shows I was able to get on stage with them to sing the bridge. They usually bring people out to sing that part but it felt extra special for me.
4.) ‘Bad Romance’ - Lady Gaga (from the album ‘The Fame Monster’)
I know I’ll get shit about this one but I don’t care. There are a lot of Industrial and dark pop sounds going on in it and made me open up to adding a little more dance elements to POF. Our music is a bit poppy anyway so it’s not really that far of a stretch. Is it?
Steven McIntosh (Keyboards/Programming):
5.) ‘Flashlight’ - Parliament (from the album ‘Funkentelechy Vs. The Placebo Syndrome’)
My only exposure to music as a kid was this tiny little rack of 45s in a mom and pop store down the street from us, and I would go in there and buy singles that I had never heard of just to be able to have something to play besides what was purchased for me. The intensely infectious beat drove me crazy and I wore that vinyl flat. This track set the base for my taste for dance music -something that you can’t sit still to while listening.
6.) ‘Melt’ - Siouxsie And The Banshees (from the album ‘A Kiss In The Dreamhouse’)
I was just getting into my brooding phase when I found Siouxsie, and she stayed with me for a couple decades. ‘Melt’ - the lyrics are complex and disturbing, flowing softly over the beating toms, shuffling snares, mandolin trills, and ethereal backing vocals… it’s haunting and I love it.
7.) ‘Black Celebration’ - Depeche Mode (from the album of the same name)
Depeche Mode had to be on here… so many of their tracks influenced the way I see music - the value of a carefully crafted sound, anti-rhythm beats, merging the dark with the light, driving beats with melancholic undertones. Alan Wilder has a special place in my influences for his ability to merge opposites into something cohesive.
Alan Stehman (Guitars):
8.) ‘Mannish Boy’ - Muddy Waters (from the 1955 Chess 7” single of the same name)
I never tire of this one. The raw power and simplicity reminds me to play with passion and not use too many notes.
9.) ‘Back to Shalla-Bal’ - Joe Satriani (from the album ‘Flying In a Blue Dream’)
This instrumental from ‘Flying In a Blue Dream’ came out at a pivotal time in my guitar learning. It showed me that I could use my guitar to make sounds, not just notes and melodies. Also, I learned some unconventional playing techniques that blew my mind.
10.) ‘The Perfect Drug’ - Nine Inch Nails (from the original soundtrack album for ‘Lost Highway’)
When this song was released, I had just moved to Chicago and started going to dance clubs. A song like that is a lifeboat in a sea of rhythm. I was amazed at how seamlessly rock and techno could coexist and complement each other.
Michael X Christian (Bass):
11.) ‘Passover’ - Joy Division (from the album ‘Closer’)
Ian Curtis often wrote lyrics that speak to feelings of regret over the past and the overwhelming despair that as a result, can carry into the present. For quite some time, I have been able to relate in my own way to every line of this song. From the first verse to the last chorus, this has been an important addition to the soundtrack of my life.
12.) ‘The Obscene Kiss’ - Christian Death (from the album ‘Pornographic Messiah’)
This was my favorite track from an album (‘Pornographic Messiah’) that helped me indefinitely break down the walls of Christianity in my life. I found it randomly, in a pawn shop back home and it was the last record to make me feel uneasy during my first few listens. This song specifically went on to influence much of the lyrical content in my own songs and provided a name for the band I started in late 2011.
13.) ‘The Revolutionary Etude’ - Frederic Chopin
Classical music was one of my first obsessions. I still greatly appreciate it but the work of Frederic Chopin is what has stuck with me the most. I remember getting goosebumps the first few times I heard ‘The Revolutionary Etude’, a composition with such striking passion and intensity. The simultaneous staccato of the highs and the fluid undulation of the lows are truly amazing. There are very few songs that provide me with that sort of excitement and I’ve always said, were I able to instantaneously be given the skill to play one solitary classical piano piece, this would be the one I would choose.