In our ongoing series of guest columns, we’ve asked a bunch of metal’s heaviest hitters to provide us with a list of five crucial albums they think will change you — either for the better or the worse. Today, we hear from Corey Lyons of Millions, who instead listed Five Albums That I Shamelessly Rip Off.
Crain — Heater
This is the one that started it all for me — my introduction to local music and punk around when I was in 7th grade. A friend was staying over at my house one night, and said we should go to this record release party. I obliged, mostly for the promise of free pizza. I had never heard anything like it before.
The weird chords, time signatures, song structures and belting, strained vocals were ingrained into my psyche. I was hooked — a local music convert. It would still be awhile before I was allowed to go to shows, but I started seeking out local punk records after this introduction. This album is still one of my favorite albums of all time, and I shamelessly rip it off constantly.
Ink & Dagger — Drive This Seven Inch Wooden Stake Through My Philadelphia Heart
The guitars on this album are just so unwieldy that at times it seems like they’re about to fly completely off the rails. I’ve given blatant nods to the breakdown on “Shadowtalker” in at least two Millions songs, if not more. And I can only wish that one day I can write a riff as awesome the opening of “Full Circle.” I can’t escape my tendency towards dissonant chords, and this album is mostly to blame for that.
Converge — When Forever Comes Crashing
I’ll never forget when my friend Mike Harpring first played me this album back in the day. We were in the early stages of forming a band that we wanted to be a hybrid of some of the Louisville indie rock of the day and the grindcore stuff we had been started to get into. I just remember never having heard vocals like this before, and it served as a template for what we wanted in our new band. High pitched, distorted screaming that was more intense than anything I’d heard before. I was into hardcore and stuff like that at the time, but not much metal. Through this, and then going back to Petitioning The Empty Sky, my guitar playing would never be the same. Vocally, it was still something I looked back to with some of my earlier Millions vocals.
Botch — We Are The Romans
I’ve had to throw away so many riffs over the years because I realized they were just variations on Botch riffs. Then again, I’ve also kept a lot of riffs that did this anyway. When Lambgoat reviewed our last album, Gather Scatter, I couldn’t be offended by a comment that said “Millions of Botch riffs” because it was just fucking true. Most of the time it’s subconscious, but this album is just ingrained into my brain permanently, I can’t escape it.
King Crimson — USA
Oh, the hours wasted at practice with Scott and I noodling over weird, dissonant interlocking riffs. Red is my favorite studio album of theirs, but USA has some amazing performances on it. The version of “Starless” on here is one of my favorite recordings of any song ever. It just destroys me. Also, this is just one of my favorite live albums of all time, right up there with The Who Live at Leeds.
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