Perpetual Strife

Impatience - Impatience

2012-03-05T16:05:00.000-05:00

Milwaukee anger specialists Impatience bruise through almost 15 minutes of old school pissed off hardcore that's fixin' to throw you through a window. Featuring members of Protestant and Enabler, Impatience play a heavy, fast and stripped down style that brings to mind Japanese masters Bastard as well as stalwarts Integrity.

Immediately the band shines with "Coward." From the anxious opening of feedback slams to the voracious vocals and gang choruses shouting "you fucking cowards" to the sped up measures of blast beats, Impatience stays true to their name and never takes the foot off the pedal.

Energetic and well executed, Impatience scores big with this tape.

Sacred Plague Records
2011
&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;a href="http://impatience.bandcamp.com/album/impatience"&amp;amp;amp;amp;amp;gt;Impatience by Impatience&amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

Somewhat Forgotten Lore: Realized - 21st Century Terminal World

2012-03-02T13:09:00.001-05:00

While 21st Century Terminal World still exists as their only full length, I was surprised to see that Japan's Realized were still kickin' the 'ol d beat around with a somewhat recent ep entitled Area 1. Misconceptions aside, Realized play a style of d beat driven grindcore with the most Doom-like vocals outside of Doom themselves.

I've held it as truth for years that Japan's one of the best countries when it comes to music. Like so many of my other Japanese favorites there's not a whole lot that really seperates Realized from the pack in terms of raw data. Instead, it's their supreme understanding and execution in delivery and sound. "Sweet Hammerheart" sounds straight outta the U.K. circa 88 and I mean that in only the best of ways.Their sound is honest and competent and successfully blurs the line that just barely separated hardcore and grindcore all those years back.

Songs surge along d-beats and hardcore riffing staircases to blastbeat quips thoroughly ransacked by unearthly and seemingly overweight vocals. Guitars shine through every so often with a memorable riff, but for the most part play dirty and razorfed hardcore riffs.

With an album cover that's Scum meets World Downfall in a gloriously 80's style, Realized complete the package.

2005
Bloodbath Records

Abyssal - Denouement

2012-02-27T11:00:00.000-05:00

“...I could not help feeling that they were evil things-- mountains of madness whose farther slopes looked out over some accursed ultimate abyss. That seething, half-luminous cloud-background held ineffable suggestions of a vague, ethereal beyondness far more than terrestrially spatial; and gave appalling reminders of the utter remoteness, separateness, desolation, and aeon-long death of this untrodden and unfathomed austral world.”

At the Mountains of Madness
H.P. Lovecraft

Since's Portal's relative notoriety with 2007's Outre', bands of a similar ilk, whether preexisting or just birthed, have become more commonplace in the world of extreme music. It seemed like almost every "best of list" from last year contained bands who draw strong comparisons to the Australian act. Whether it was Mitochondrion, Antediluvian, or Flourishing these bands have tread similar ground, yet none better than the U.K. act Abyssal.

Maybe what attracts me the most about Abyssal is the tangible quality to their music. Stomach wrentchingly down tuned and heavy, Abyssal's sound is so ominous and heavy that moments of melody and clarity do well to offset the Stygian atmosphere and further delve the listener into the nightmarish songscape. Too heavy and overwhelming for black metal, too sinister and atmospheric for death metal, Abyssal are able to articulate a horrific sound that has some sick sense of pleasure to it. Derivations from dissonance to moments of clarity and melody all submerge to a brutish and omniscient sound that is often shrouded in dissonant fret work and a chorus of the most guttural vocals possible.

"Detritivore" might very well be the most dynamic track on the album as it explodes from a brutal technical onslaught to a catchy and melodic finger-tapping section that's almost calming as jarring because it's placed so close to something so ugly. The band shows great skill and sense of structure in atmosphere and are able to create a seemless weave throughout Denouement's fifty minute playing time.

While I have bought the digital download on their bandcamp, the images and lyrics included match perfectly and show how important it can be to offer such a thing alongside your music. Verbose and dark, the lyrics are thankfully more modern and less Lovecraftian then you might think. "Swansong of a Dying Race" is a particularly well written tune which dodges the banality that often accompanies metal songs about cataclysms.The last stanza does well to encapsulate Abyssal's outlook.

"As the vast web unravels 'neath our feet

And we fall into the ages of darkness

A deafening hum of vapidity

Is the only soundtrack to be heard"

The whole album can be listened to on their bandcamp, or downloaded for £2 (roughly $3.11 or something).

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://abyssal-home.bandcamp.com/album/denouement"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Denouement by Abyssal&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

Tour of Duty: France

2012-02-24T11:00:00.000-05:00

LLN Ikon

France has always been a favorite of mine when it comes to black metal. The LLN acts such as Torgiest, Vlad Tepes, and Mütiilation (the only one to last) had their lo-fi charm and tried to combat the infamy of the Norwegian scene. Immediate successors such as Peste Noire and Celestia continued the raw and melodic style that's become such a go to for many acts around the world. Like those two mentioned, Mystic Forest brings about a huge dose of melody, but in a very classical and virtuoso style that's nearly unheard of in black metal. Diamatregon's forged themselves a bizarre path as their 2009 full length Crossroad is an homage of sorts to American blues (you won't really hear it in the music, but the album is a true grower and has such a great, raw, and dismally deep sound akin to the hardships Robert Johnson and the like sang about). Epheles had the aggression and straight ahead attack that some of those others lacked, but added a strong synth touch to the mix. Antaeus, like their namesake, were all about strength as their sound and nihilism has gone unmatched for quite sometime. Finally, there's Glorior Belli's who strangely enough also had a blues influenced album (Meet us at the Southern Sign) and have created a stable, polished style of black metal that's gotten wider distribution than most.

This cover still baffles me. Note the dog in the foreground, and his stupid face. The wheelchair is just a whole 'nother story.

Not included due to length and an overall lack of quality is Pensées Nocturnes whose track "Coups de Bleus" is a very faithful and well done marriage of black metal and blues. I'm just saying this because France has such a peculiar scene, from NSBM bands to shoegazers like Alcest to pioneers Deathspell Omega Blut Aus Nord and bands with a complete admiration for U.S. black southern music. There's a lot of other great acts, hope this is just a good jump off.

Download

1. Torgeist - "Devoted to Satan" - Devoted to Satan

2. Vlad Tepes - "Untitled" - Broullions I

3. Mütiilation - "Travels to Sadness, Hate & Depression" - Remains of a Ruined, Dead, Cursed Soul

4. Celestia - "Prisoner of a Morbid Cradle" - A Cave Full of Bats

5. Peste Noire - "Paysage Mauvais" - Folkfuck Colie

6. Mystic Forest - "Braver Les Ombres" - Welcome Back in the Forest

7. Antaeus - "Blood War III" - De Principii Evangelikum

8. Diamatregon - "Wine" - Crossroad

9. Epheles - "Les Siècles D'ignorance" - Souviens-Toi

10. Glorior Belli - "Manifesting the Raging Beast" - Manifesting the Raging Beast

Download

Demo Fodder: Meth Lab

2012-02-21T14:59:00.002-05:00

Who knew?

While many might think of TV's most dominate force Breaking Bad when they see the words "meth lab," I think this Richmond act paints a far more gritty and chemically clouded sound that is truer to its name. The demo, while short (as it should be), contains a rough production that fits with its knuckle dragging splendor of basement power violence. Constant shifts in speed and attack paired with vocals akin to Infest (after a couple crystal hits) and you've got a brand of aggro ridden and attention challenged power violence that will never be content with more than 10 seconds at the same pace. Heavy, dirty, and overall smothering, Meth Lab are deceptively tight and right on the money as their demo has found itself to be a consistent listen since I received it.

Check out the demo below and follow the link to their bandcamp. This is hot off the presses, so get on it.

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://methlab.bandcamp.com/album/demo"&amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Demo by Meth Lab&amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

Absu/Infernal Stronghold

2012-02-15T13:05:00.000-05:00

Absu and Infernal Stronghold; it makes sense, but I'm still surprised by it. I think of Absu as one of those metal bands who've hit the next step and sell enough to make a living. Whether this is right or wrong (probably wrong) I didn't expect to see them team up with Infernal Stronghold, a band I picture excelling best in someone's basement in between bong rips for a totally self-produced split. All of that said, the packaging is simple, hand done, and great. Artwork courtesy of Dilek Baykara, and a great track from both bands on a flexi disc.

When I received this in the mail from Infernal Stronghold, I thought they were having a fun time with me and just mailing me a sleeve; it took a second for me to realize what a flexi disc was. Beyond the physicality of it, the music itself is great.

Absu's redeveloped sound funneled through thrashy razor riffing leads perfectly into one of Infernal Stronghold's more black metally songs with their signature grimy production. Both tracks are excellent, but it's hard not to give it to Infernal Stronghold as their dank punky take on blacken thrash is a winner 9 times outta 10.

Yeah this is a lazy post, yeah I don't give a shit.

Tour of Duty - Finland

2012-02-06T13:26:00.002-05:00

Finland, maybe more than any other country, does not get the recognition it deserves for its awesome black metal scene. While there's plenty of groups who are doing something new or bizarre from Finland (Circle of Ouroborus and Oranssi Pazuzu I'm looking at you) or Fleshpress, one of my absolute favorites, there's something special about the stripped down bands of Finland I find most interesting.

With a names like Ollie, the Finns mean business

Vordr's got a punk kinda feel to their usually short and bombastic songs, Horna can do a 16 minute song with 4 riffs and make it their best work, or they can do short punky bursts full of riffs and animosity, Armanenschaft's a stripped down and ugly side project of former chief deacon Albert Witchfinder of Reverend Bizarre fame, Musta Surma's another lo-fi outfit who's got that special charm, Prevalent Resistance is a deceptively familiar sounding band who knows how to create a great song, Diaboli's got the whole depressive shtick to mix with that raw Finnish sound, Behexen's usually boring, but this track takes a que from Horna and gets the whole long trancy song thing down perfectly, and then there's Misantropical Painforest; the weirdest of the bunch. (Not in the mood to work on my syntax/grammar here; maybe another day comma splices full power!)

Download

1. Vordr - "Harvesting the Crop of the Ancient" - I

2. Armanenschaft -"14000 Years" - Psychedelic Winter

3. Horna - "Vihan Tie" - Envaatnags Eflos Solf Esgantaavne

4. Musta Surma - Usvan Lapset" - Demo

5. Prevalent Resistance - "Forever the Pale Flame Burns" - To Live Again and Dominate

6. Diaboli - "Call From the Stars" - Anthems of Sorrow

7. Behexen - "Ritual of Flesh and Blood" - Horna/Behexen Split

8. Misantropical Painforest - "Besmeared the Tunic of Honour" - Winds Saturate With Inhumane Longing

Download

Bacdafuckup

2012-02-03T11:00:00.000-05:00

As much as I wish this was actually just about Onyx, I'm gonna talk about Philly's Backslider and their latest release instead. While it's hard for me to admit to liking anything from Philadelphia - us New Yorkers are petty when it comes to sports - this band is so up my ally I have a sneaking suspicion I've been incepted. Anyway, Backslider's music is built around rhythm and aggression paired with playful and energetic drums and vocals that might beat you up for showing too much enthusiasm.

Each song's a strip of stop n'go power violence that throws itself against the momentum it's already created in a musical sort of homage to Isaac Newton and his third law of motion. There's a sick and disgusting guitar that evens out the lack of a bassist and throaty pissed vocals to match. They're not breaking new ground with their riffs, but it's really just about the energy and the vocal delivery that'll put you on your ass.

"Your problems are your own and it's time to fucking deal, I don't give a shit and I can't change how I feel."

"Failed Attempts at Empathy"

It's not often you find a power violence band that 1. can rhyme without sounding retarded and 2. actually have something to say besides "fuck __"(insert whichever antagonist you'd like). Backslider find their strength in crazed attack from every side and a Sheer Terror level of anger. No more excuses for sleeping on this band.

To Live a Lie
2011

Forgotten Lore: Malicious Secrets

2012-02-01T11:00:00.000-05:00

Whether it's the psychotic crap spasm that's their contribution to the excellent From the Entrails to the Dirt 4 way split, their buried EP Apostle of Him or their downright nasty demo from '99, Malicious Secrets werean absolute backdraft of black metal that played the game the way it wanted to. Their pinnacle being three tracks from the aforementioned French black metal love-fest 4 way, Malicous Secrets were always sure to keep an astounding freight train of energy going. At times the band sounds like a free-for-all, each instrument (and voice) fighting for dominance in the span of mere minutes; drums blasting, noodely leads crumbling apart and vocals just ranting on. If you've ever seen Jacob's Ladder, that hospital scene is the film equivalent of this band.

Part III: Send Me To Hell Day of Wine and Thorns

Their last track from the From the Entrails to the Dirt split.

Largely forgotten in the scope of things, Malicious Secrets were a short-lived project of Mutiilation brain baron Meyhna'ch, Tenebras of French weirdos Nuit Nore and most surprisingly, the best part of the band (the guitars) were the work of TND, some dude who played session bass in Celestia for the early part of their career (oh yeah, then there's some shlub who played bass with the great name X Daemon).

I guess true to their name, I've rarely- if ever- seen this band's name in any kind of discussion, review, or whatever else.It's a shame as this small body of work is so jagged, anxiety ridden and at times nonsensical in the best of ways (kinda like Black Flag when they just got noisy). The guitar playing and strange accents/syncopation of the drums are definite highlights and the main catalyst that drives you through meth frenzies like "Part I: Interior Crack Psycho Angel Bitch" (whatever the hell that means) or "Twisted Mental Void."

If you're familiar with related projects, such at Mutiilation, Nuit Noire or even fellow countrymen/splitmates Antaeus there's some similarities. Meyhna'ch's signature drawl is here, even though the drummer's from Nuit Noire, his style here really reminds me of the guy from Antaeus who tends to do these blast beats that fall apart in a fill at the end of each measure. If you're lucky enough to own From the Entrails to the Dirt, then good for you, but if you're not one of the elite few, be sure to get these tracks, as well as the whole split as it's a great showcase of a now aging French scene (Deathspell Omega's the only relevant band there, and they've made great strides since).

Now go and tell your friends.

Tour of Duty: Hockey Canada

2012-01-30T11:00:00.000-05:00

It's hard to remember that Canada has more to offer than Hockey, but when you search hard enough there's a lot of black metal to be found. There's actually quite a diverse amount of sounds and scenes throughout the Maple Leaf land, but I've decided to narrow in on what put them on the map; War Metal.

For those who don't know Blasphemy, it's basically black metal aesthetic, 80's death metal guitars stripped down to simple tremolo riffs and a complete lack of melody or anything nice and an overall need to constantly thud and thud quickly. With that in mind, basically any "war metal" band just sounds like Blasphemy (I'm only partially kidding). While nearly anything J. Reed's involved with will sound similar, this compilation hosts some varied stuff (not all strictly war metal for you nitpickers). That said...

There's Conqueror who I think of having written the one of the most extreme albums ever simply because it always on, always abrasive, doesn't allow room to digest anything, and is just plain torrid.It's an album that I love, yet rarely listen to in its entirety, however contradictory that might sound, War Cult Supremacy's the kind of album that makes you listen to Kenny G for weeks afterwards to even out the violence. There's Axis of Advance and Revenge who also have J.Reed on drums and offer a bit more coherence than Conqueror, but sound very similar. Rites of Thy Degringolade's got a strange uncomfortable and clunky sound to it that's really grown on me, Lust's a complete mess that could be a great if it weren't for some extremely out place and terrible vocals (and their regrettable NS bullshit). Antichrist's a great carbon copy of Blasphemy with a bit more of a penchant for cohesive song structures.

It pains me to leave out great acts like Skagos, Menace Ruine, Akitsa, Trails of Anguish and others, but THE MOTIF MUST STAND.

Download
1.Blasphemy - "Nocturnal Slayer" - Gods of War
2. Conqueror - "Chaos Domination (Conquer the Enslaver)" - War Cult Supremacy
3. Revenge - "Blood of my Blood" - Triumph.Genocide.Antichrist
4.Axis of Advance - "The Torture" - The List
5.Rites of Thy Degringolade - "Of Purist Impurity" - An Ode to Sin
6. Lust - "Spear of Destiny" - Genesis of a Satanic Race
7. Antichrist - "Chopped and Chewed" - Sacrament of Blood
Download

Cerebrate -Demo CS

2012-01-25T15:40:00.000-05:00

The current old school death metal revival is a trend I fully endorse. It's a bit funny to call it a trend as metal, especially death metal such as this, is pretty obscure in the larger picture of things; but it's gained momentum nonetheless.Cerebrate's a pungent musk of 90's Swedish death metal dragged through a dense fog of retrospect and admiration. Comprised of Ash Borer members, Cerebrate have all but a sold out demo cassette to their name (there's a promise of a pro edition to come soon). The demo itself is two tracks of cavernous death metal that's full of riffs, solos, brooding atmosphere and concrete gurgling vocals drenched in the reverb that's to be expected of such an act.

So much more than shameless homage, Cerebrate capture the magic of analogue and a time before "core" was the appropriate suffix to almost everything. Much like the band's black metal project, Cerebrate's cassette contains the bare minimum in terms of information and aesthetic; the track titles as well are simply "I" and "II." And while the production's stripped down, the music itself is dynamic and cataclysmic as songs are aren't content to just rely on one gimmick or one section.Dark tremolo sections lead to punky like stomps and thrashy midpaced sections with some seriously sinister riffs that'd make Incantation proud.

I by cerebratedeath

Tour of Duty: Teutonic Dreariness

2012-01-23T11:00:00.000-05:00

A sociological study unto itself, Germany's bred some of the best depressive black metal over the years. I admit, a label like "depressive" is a bit silly for a bunch of reasons, but it fits as these are some of the bleakest and sordid acts around.Typically, many bands employ absurdly high shrieks (a bit unbearable in terms of Strenbend), thin production, and a focus on repetitive guitar lines that are melancholic and trance inducing. Of course not every band in Germany has these traits, or those on this mixtape for that matter, but they're just some key traits to keep in mind.

When there's a place called "The Black Forest" in your country you're expected to churn out some good black metal.

My favorite of the bunch is Nyktalgia for sure as they're one of the few to mix all the above mentioned traits and inject vigor and interesting craftsmanship. Wigrid's simplistic one man Hoffnungstod is a stellar piece of ritual melody that builds upon Burzum like simplicity and structure. Klage has the muddiest production of the bunch and in its haze is as forlorn as it is trance inducing. There's Anti who has a much slicker and more modern sound (partially because of a drum machine) and ColdWorld who's built upon an act like Wigrid and turned up the production attention and values.

You'll have to excuse the bump in motif, but there are two who might seem a bit out of place, Lunar Aurora and Dark Tribe. Where Dark Tribe's a bizarrely unsettling, chaotic jamboree, Lunar Aurora's a conventional band in comparison as it's catchy and driving black metal with heavy attention to atmosphere.

1. Lunar Aurora - "Aufgewacht" - Mond

2. Lantlôs - "Kalte Tage" - Lantlôs

3.Anti - "Landscape in Minor" - The Insignificance of Life

4. ColdWorld - "Red Snow" - Melancholie²

5. Nyktalgia - "Misere Nobis" - Nyktalgia

6. Wigrid - "Die Entstehung" - Hoffnungstod

7. Klage - "Wurmestugend" - Dystopias Wiege

8. Sterbend - "Dwelling Lifeless" - Dwelling Lifeless

9. Dark Tribe - 'The Seed" - In Jeraspunta - Die Rückkehr der Tollwütigen Bestie

Tour of Duty: Teutonic Dreainess from Perpetual Strife on 8tracks.

2012-01-18T12:03:00.000-05:00

Prevent internet tyranny and censorship.

PROTECT IP / SOPA Breaks The Internet from Fight for the Future on Vimeo.

Mind as Prison - Maryland Grindcore

2012-01-18T11:00:00.001-05:00

Amidst the sea of great DIY acts in Maryland, Mind as Prison claim Maryland for themselves with their recent EP titled Maryland Grindcore. Old school and unadulterated, Mind as Prison blast through muddy and dismally dark grindcore with a dénouement in the shape of a Sick of it All cover (fully fledged with its intro that the bands points out to be wrongfully cut from the track).

At times the putrid bass, hazy guitar, thundering drums and guttural grunts all run askew into a forceful tidal wave that's on one hand awesomely violent, and on another just plain muddy. The production is what it is, but it doesn't hamper the band's sheer aggression and delivery. It's a style of recording that's an honest excuse to lure you into a live show as I can only assume that's where the band truly exceeds. Songs are well thought out plans of attack in terms of structure and rhythm. There's tons of momentum behind every second of the band and when things do slow down it's just the rise before the fall.

Genuine grindcore for those of you sick of overproduce garbage like Rotten Sound and the like; Mind as Prison are fresh faces sticking to an old and true doctrine.

To Live a Lie Records
2011

Tour of Duty: Tvr3 N0rVV3gian Blk Metl

2012-01-16T11:00:00.000-05:00

For the first of this lengthy series, we'll take a look at the birthplace of modern black metal; Norway. I won't bore you with crap you either know, or that can easily be found elsewhere, instead, I hope to show many of the bands (or releases) that get shafted from the limelight.

If you don't like Immortal you're a stone's throw from being mentally incapable of being interesting or cool.

Strid, a band that can arguably be called the fathers of depressive black metal, Mysticum, who were one of the first advances into electronic music from a black metal point of view, Dødheimsgard who took cues from Teutonic thrash as well as Sacrofago but got progressively weirder, then there was Manes who eventually developed into a sound like none other while incorporating symphonic influences, nowhere as simple as early Gehenna. Thorns gained notoriety for all the wrong reasons, before man main Snorre was incarcerated his demo work was light years ahead of every other metal band in the world. Many should know the name Ulver, I've included a demo track of theirs which shows how undeveloped some of their great ideas were.

There's Forgotten Woods who were one of the first to offer a glimpse into the winning combination of black metal and post-rock. There's also Ildjarn who was one of the first to strip black metal down to an oi like stomp and make it as harsh and primitive as possible, and Tulus who win the award for stupidest album cover of the lot (but they played a wickedly brazen and sometimes bizarre style). And, of course, there's Zyklon-B, an all-star outing with Frost (Satyricon) on drums, Draug Aldrahn (Dødheimsgard) singing, Samoth (Emperor) on guitars and bass and fellow band-mate Ihshan on keyboards; maybe the most misanthropic and nihilistic out of all the Norwegian acts.

Download - Tvr3 N0rVV3gian Blk Metl

1. Ildjarn - "Svarte Hjerter" - Norse (1993)
2. Zyklon-B - "Bloodsoil" - Blood Must be Shed (1995)
3. Dødheimsgard - "Lost in Faces" - Monumental Possession (1996)
4. Tulus - "Midtvintermåne"- Pure Black Energy (1996)
5. Ulver - "Tragediens Trone" - Vargnatt (1993)
6. Thorns - "Funeral Marches to the Grave" - Trøndertun (1992)
7. Manes - "Uten Liv Ligger Landet Øde" - Under ein Blodraud Maane (1999)
8. Gehenna - "Angelwings and Ravenclaws" - First Spell (1994)
9. Mysticum - "Crypt of Fear" - In the Streams of Inferno (1996)
10. Strid - "Det Hviskes Blant Sorte Vinder" - Strid (1994)
11. Forgotten Woods - "The Velvet Room" - The Curse of Mankind (1996)

Download - Tvr3 N0rVV3gian Blk Metl

As well as trying to stay with lesser known acts, I've also limited this collection to releases from 1999 and earlier. I would have liked to do earlier than that, but Manes's demo material was just too foggy and poorly produced to include rather than their magnificent debut Under ein Blodraud Maane (probably my favorite effort here).

Momentum - Whetting Occam's Razor

2012-01-11T11:00:00.001-05:00

Momentum's debut Whetting Occam's Razor showcases a style of hardcore that has its head in books and heart in the pit as their lyrics are expansive meditations of not only political matters but also matters of existence and the whole goddamn universe. While the music is driving, melodically intertwined hardcore with a concoction of misanthropy and hope, Whetting Occam's Razor is a fulfilling and ambitious work that hits all points of stimulation, both in ideology as well as musicality.

The music itself is a continually moving and heavy force not without similarities to Fall of Efrafa and Plague Mass (the band does contain members of the aforementioned bands). Where comparisons might be easy to make, Momentum doesn't sound exactly like those two, or any others for that matter. The album lends itself to picky listeners, as well as astute observers of "albums as a whole" as tracks like "Emergence" cement your interest with catchy hooks and a steady pulse while ones like "Miopia" are a fiery burst of hardcore that's just way too short as the curve ball that ends it sounds so great and "Masters" is an epic monolith of a track.

As mentioned earlier,the band is entrenched in various niches of science and political action. Much of their lyrics, topics, and even artwork are inspired largely by Carl Sagan. The band explores the expansiveness and possibilities that exist, or potentially could exist, in the universe. Thankfully though, the music doesn't tread this way and get unwavering and spacey in itself. This ends up being a nice match until the track "Void" and its melodramatic and didactic clip/reading that would make me embarrassed if others listened in.With that in mind, I am grateful that the band strays away from being too "heady" or pretentious, instead they play an emotive and thundering brand of music that offers plenty to think about and more to headbang too.

Overall I continue to enjoy Momentum's release and find myself staying up late with it spinning on my turntable and reading the lyrics to match.

Halo of Flies
Dec. 2011

Around the World... err ... Rundt om i verden

2012-01-10T12:33:00.002-05:00

Rejuvenating my college years radio show, I've decided to undertake a weekly endeavor that'll highlight black metal from around the world entitled: Tour of Duty. Stay turned as next week we'll explore the lesser known acts of Norway.

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;fdsfds&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;
Burzum!? FUCK THAT SHIT- Mysticum!

I'd also like to point out I've fixed the comments section, so there's no longer any approval BS.

Mental Waste - Meltdown

2012-01-08T11:00:00.002-05:00

Mental Waste's Meltdown does as its name surmises, it's an outpouring of voracious hardcore that snaps from mild mannered d-beats to a fed up controlled mess of blast beats.

What this duo has going for them is a perfect control of hardcore (the whole umbrella here) tropes in terms of rhythmic manipulation and quick shifts in attack and style. Songs surge along with just audible enough vocals atop punk riffs and drums that breakout when needed as well as subside when it's time to get a dirge going a'al "Self Hate."

Where the band does misstep, is a thankfully overlookable issue. The production sounds very digital, as if there was nothing externally played and the guitars, vocals, and bass were all plugged into a computer and given effects in production. Now, am I right? I don't know, but it sounds like that to me and that takes something away from it for me (reminds me a lot Nails in this way). Also, the fact that no credits are given to a drummer makes me assume it's a drum machine (this is something, as a drummer, I am a bit of a fuss about). As I said, I could be wrong; but it sounds like this to me.

But I don't want to dissuade you, this band is great; they've nailed the style of hardcore I love. Great, throaty vocals, punk sections seamlessly jump to quips of blast beats and then back again. The aggression comes through in every facet and that's what punk's about in its simplest form. Mental Waste offer a complete package here as the duo pens honest-to-goodness hardcore reminiscent of the early 90's when the blastbeat wasn't a staple and hardcore was derived from punk, not metal.

You can listen to the entire EP on their Bandcamp as well as check out their previous demo.

2011 From a Vinyl Collecting Nerd

2012-01-06T18:27:00.001-05:00

Here's some records I bought in the past year that didn't only sound great, but were some of the prettiest things I could've gotten. Depending on my budget, I'll try and make this a regular section, more or less for materialistic assholes like myself.

Thou - The Archer and The Owle

Gilead Media

Maybe the most lovelingly made of the bunch, the thick jacket with

a raised design on a pristine white is a real pleasure when you see

it in person. Marble swirl wax with old fashion looking prints of owls is the icing on the cake.

Discordance Axis - The Inalienable Dreamless
Hydra Head

After my friend showed me his original pressing of this record, and further introduced me to the band back when I was just a little shit, I realized this is why I wanted to collect vinyl; for this album alone. Being far outside my budget, it wasn't until "Record Store Day" this year that Hydra Head repressed this beauty and I was able to snag one.

Graf Orlock - The Doombox

Vitriol Records
What else is there to say about a 10" ep and the band's 3 LP effort on a CD all housed inside a cardboard ghetto blaster with an instruction booklet containing lyrics and insight to them. Outlandish; maybe, but reading the liner notes and realizing the band's affinity for 90's action flicks is as much a teenager revery as it is a political statement is very gratifying.

Fell Voices - Fell Voices
Gilead Media

The beatifuly dense artwork courtesy of Rainbath visuals might've been enough for me, but Adam at Gilead didn't stop there. A huge poster, great patch, and nice clean looking card with the info on it round out this heavyweight release.

Gridlink - Orphan/Amber Grey
Hydra Head

If you're gonna pay Hydra Head prices, you're going to expect this level of quality. The jacket is beautiful and ridiculously thick and the red vinyl is a beautiful choice. Beyond that, it's the whole Gridlink discography on one record (including a remastered Amber Grey with added guitar and bass). This was the one I was looking forward to all of 2010, happy to have it.

Teiatanblood - Purging Tongues

Anja Offensive

Teitanblood's DLP Seven Chalices is probably one of my favorite records, not only for the twisted and frightening black/death metal they put out, but the absurd amount of detail and attention given in their truely occult and otherworldly artwork/liner notes. The music on Purging Tongues itself is something I'm still unsure about, but looking at the B side etching on this record is a clear indication of how crazy this band can get.

The End Time: Best Albums of 2011

2012-01-04T14:11:00.007-05:00

2011 has come and gone and from a musical standpoint I think we were quite lucky to have lived through it. Where there was so much to look forward to this year, I found myself very disappointed in what I had deemed future greats (Leviathan's True Traitor, True Whore to name just one), humbled with what I had known to be great (Grindlink's Orphan) and genuinely happy to see the other side of the coin (Wormrot's Dirge). Now, my jibberjabber aside, I've taken a great deal of time to put the following list together, so much so, I'm sure you're all sick of reading "best ofs;" but please, give me the time of day and I promise to make 2012 a special year for you, and you alone.

Without further palaver, here's my favorite full length releases of 2011.

8. Drugs of Faith - Corroded
Corroded's a heart on sleeve effort with such a strong affinity for tempo and rhythm that I can't help but shout its praises. Firmly entrenched in the mid-tempo slop of the best/most prominent bass of the year, the band uses this feeling to centralize the whole effort and slowly build upon it throughout the album. Main man Richard Johnson's clear (not clean), yet virulent vocal delivery is a highlight as the lyrics are some of the most well written, honest, and powerful in the realm of hardcore. Self proclaimed "grind n'roll" is a win.

7. Gride - Záškuby chaosu
Gride are possibly one of the most interesting grindcore bands around, regardless if their previous efforts sounded like this (to my knowledge they hadn't sounded like this) Gride do their best to make the most acceptable curve-balls and freakouts around. Záškuby chaosu highlights this for sure as the band hemorrhages massive amounts of ideas in only 27 minutes and 54 seconds, doing their best to channel fellow countrymen !T.O.O.H.! yet thrash and grind harder then you'd expect from the opening noodle of a track. Gride are pushing the boundaries here and it'll only get more exciting to see where they end up.

6. Looking For an Answer - Eterno Treblinka

Where Gride might be rewriting the rules, Spain's Looking For an Answer are there to enforce the deathgrind rites that have been firmly established and treasured in Spain since Machetazo first threw down. Eterno Treblinka's sound is a tremendous throat-fuck of grindcore that's rited in the muck of mid-nineties death metal and with the flavor of what you'd come to expect from Spanish grindcore (if I can write "throat-fuck," I can make up "rited"). Seconds over 30 minutes long, Eterno Treblinka is full of delicious Repulsion like mid-tempo efforts and scathing fast sections that make Carcass look like chumps. If I didn't already appreciate this scene enough, Looking For an Answer have solidified Spain as ground-zero of filthy, disgusting, grindcore; y'know, the way Matt Olivio would have it.

5. Wormrot - Dirge
I've finally come around to this band and I have Dirge to thank for that. Wormrot's return isn't marked with some ho-hum technical space trip,or rehashed effort, instead they've made things meatier, thrashier, and more rhythmically inclined. With their locks in socks, Wormrot's demeanor is a total ass kicking of a record based in split second shifts in momentum and speed, owing much more to stop n'go acts of the power violence realm rather than where they treaded before with traditional grindcore. "Spot a Pathetic" dripping into "Evolved into Nothing" is the highlight of the album for me as it forces you to do your best spinkick and break something. Overall, Wormrot's more organic approach, better distributed vocals and leanings towards power violence has made this not only better than Abuse, but one of my favorite grind releases in recent memory. For those who see this as a downgrade it's just "Fucking Fierce So What?"

4. Bosse-De-Nage - II
I keep seeing people calling this band weird, or post black metal. If you really had to pigeon hole this San Fransico act, I'd put it in the realm of depressive black metal much like oldies Strid and Diaboli and reformers Nyktalgia, and okay, a hint of stuff like Liturgy. Regardless, Bosse-De-Nage play a simple repetitive style of black metal with harrowing vocals that are as sublime as they are unsettling. Some of the weirdness might come from the vignette-like lyrics and song titles and obvious influences from French Surrealists/Absurdists. Thanks to a robust, yet honest production Bosse-De-Nage complete a modern day reproach to emotive black metal in which the insane vocals and simple, catchy guitars are key.

3. Ulcerate - The Destroyers of All

If Neruosis wanted to play death metal, I think they wouldn't bother as Ulcerate's already taken care of that for them. While I don't like comparisons all that much (such as the one I just made), I think here it gives you, the reader, a clear idea of what to expect, but is also a huge honor to these New Zealanders. The music is a technical eddy of textures and emotions. The band employs just enough dissonance and atonality to a brew of comprehensible sound that's as jarring as it is enthralling. Few bands can do what they've done and fewer can make me like it.

2. Gridlink - Orphan
The quality just continues as Chang, and his superhuman team of androids blast through a Sears catalog worth of brilliant riffs and technical fits in musicianship. Thankfully Chang's lower register is back which just builds upon the already great effort that was Amber Grey. Taking songs that would've been 5 minutes for other bands, Matsubara and Procopio, create a whirlwind of thrashy technical riffs that also contain melody and cram them into pockets of space around only a minute long. Music for the attention challenged, Orphan blisters with with supreme craftsmanship and an adept understanding of quantity.

1. Ash Borer - Ash Borer
Organic and verdant surges clouded in tendril like wisps of simplistic and building riffs create a dense and atmospheric sound that's unmatched. While there's a slew of other black metal acts to compare Ash Borer to, none possess the same skill at creating long, winding tracks that are full of momentum and melodic energy. Powerful and immersive, this is the kind of stuff that transcends every day listening; Ash Borer are a clear cut 1.

Hungry Lungs - S/T

2012-01-03T22:52:00.000-05:00

Hungry Lungs play a muddy and viscous style of hardcore not without a modern metal influx as well an unavoidable crusty presence. Unfortunately, the ep itself is quite short but it's 5 minutes well spent. Melodic leads atop heavy, albeit stock riffs, and surging drums create a pulsing style of hardcore I've come to love. Familiar yet unique enough, Hungry Lungs are a full fledged aural assault relying on a nasty wall of sound, perfect raspy vocals and devastating guitars which are sometimes allowed to play something catchy as hell.

I'm going to have default to comparisons as I'm not so well versed in hardcore, but I'd say they remind me a lot of High on Crime with a touch of Kaospilot and His Hero is Gone.

Despite the lackluster length, Hungry Lungs offer up a strong offering of what I can only hope to be a fruitful campaign. Props for a cool name as well.

Rotten Sound-Cursed

2011-12-29T14:59:00.003-05:00

It only took me one listen to realize Rotten Sound hadn't made any headway since their disappointing Cycles. Calling it a slide might be a bit too much, rather than a fall like 90's Napalm Death, the band has simply repeated themselves and added only tweaks and bugs to their execution with recent releases. That stomach churning guitar tone that was responsible for clearing whole forests back in 2005 with Exit has been diminished to a digital liquid soup with lack of character. The grime that covered every inch in Exit (including the hostile artwork) has been blunted into a fatter, boring-er sound. The vocals have lost whatever punch they had and are some of the most repetitive and uninteresting around (this would be a title fight between Deafeatist in the land of the inane). Songs lack character and definition, possibly a symptom of using such a muddied guitar tone; but somehow all those Swedes back when made it work.

To make things worse, the band finds time to do their best Entombed imitation with "Choose" and it's immediate successor "Hollow." It's beyond me why this band's wasting time with slow sections because they're the same stock riffage the band has come to use (as well as any generic death metal band) in their trip into mediocrity. The song writing's so boring, if you were to play them "Slave" from Exit they'd view it as some superior entity above themselves.

A name that used to mean something, Rotten Sound's content to repeat themselves as long as you're content to listen.

Sweating the Small Stuff: Favorite not-full Lengths of 2011

2011-12-26T13:22:00.003-05:00

Here's a handful of stuff that caught my ear this year. Look forward to a list of full lengths (I'm taking my time to backtrack as well as explore anything I might have missed). Share your thoughts, and please point out what I might've missed ( I always need new music). ~~I've listed my 9 favorite not-full lengths of the year because 9 is the most metal number besides 11~~. Everything's gone topsy turvy since I found out Teitanblood has an ep that's just come out and near impossible to get a hold of. This list reflects that.

9.Suffering Mind/Neon Hole- Split
Our favorite Polish grinders offer up nearly 4 minutes of the most consistent grind around. Neon Hole's not breaking new crust, but the death metaly grind chaos of their side is just enough to keep up with Suffering Kielbasa.
8.Pilgrim - Forsaken Man
Old is new again, as Pilgrim fly under the radar of bands trying to recapture earlier magic of stale genres. Forsaken Man is a well executed and riff barrel of doomy goodness.
7.Short Walk - Don't Be One
A reminder to the scene that power violence started from punk music, Short Walk are off the wall with this light-hearted thrashfest of a release.
6.Mutilation Rites - Demo (2011)
Thrashy chops, memorable compositions and great production show this NYC group's ready for the big leagues. Look for them at the forefront of the usbm scene soon.
5.Ash Borer/Fell Voices - Split 12"
What else is there to say besides there are two of the best black metal bands around? Long, winding, and organic spindles of thread and sewn between the two of these West Coast deities.

4.Vastum - Carnal Law
Vastum's demo/debut showcases a picture perfect reflection of early death metal channeled into one entity. Riffs reminiscent of Dismember, rhythm and attack familiar to Cianide, and an overall gloom that brings to mind Incantation. Far more than worship, Vastum's ritual form of blasphemy belongs at the top of what passes for death metal these days.

3.Protestant - Stalemate
Protestant's proper check in to 2011 has been yet another solid slab of metallic hardcore that's way more fulfilling than you'd expect an EP to be. Dynamic takes like the opener "Nothing Left" have as much to mosh to as there is to pump your fist and sing along to. A mature and well rounded release from a band that's melded the angst and violence of hardcore with the melodies and intricacies of metal.

2.Ruin Lust - Demo
Ruin Lust's Cyclopean sound burns not only in it's visceral songwriting, but also in the pure animosity within each member's respective instrument. Not since Teitanblood's Seven Chalices has a band sounded so powerfully dark and violent with drums like turbulent storms and vocals that coincide with animalistic slaughter. A step above your average Blasphemy worship, Ruin Lust's laconic demo drowns out the light and thunders in the darkness.

1.Massive Attack Vs. Burial - Four Walls/Paradise Circus
~~My favorite non full length of the year belongs~~ enigmatic U.K. electronic artist Burial and his rendition of two Massive Attack tracks. This is somewhat new ground for me, so I can't comment about previous efforts, but Burial's treatment of the two tracks is otherworldly and mesmerizing. The slow, hypnotic beat finds it's way through both tracks as a lone familiar singer sings admist the serene passages of varying noises and glimmers. Simply beautiful and darkly touching, this is one of my favorite releases this year period.

0. Teitanblood - Purging Tongues

I don't even know if this is out here in the States, if I'll even be able to buy it, or whatever; but I'm going to do something completely illogical and say this is the best of the year even though I have only this to go on...

"'Purging Tongues' is the revelation of blood-stained truth from behind the wall of life. Death Metal told in blind voices, guided by mute vision from the bottomless pit."

Putting The Christ Back in Christmas

2011-12-24T15:38:00.000-05:00

There's a million things to be said about the holidays, especially Christmas, but I'll say only one thing.

Enjoy the time you have with the people you enjoy and be sure to do something to that makes you happy.

Oh, and listen to some Christ smashing music.

Gripe Pig Servant

2011-12-16T00:17:00.000-05:00

If you've been hankering old school grindcore touched up with the spit and polish of a post-good Napalm Death world then look no further. Gripe's songwriting is highly entertaining, energetic, and bombastic; definitely their strong point as it's something that sets them heads above others in a subset in where cloning yourself 30 times for an album is quite common.

I really can't get over the opening track's title "Ghetto Rapist," whatever the lyrics might be, it seems at odds both with the style of the band, as well as the other song titles (much of which contain the typical grindcore/punk ethos). To be blunt, the vocals need to be toned way down. Beyond that, the band plays a competent style of grindcore that reminds me a lot of my Turkish love affair with Sakatat ( yet is a bit too clean and rhythmically proficient to have that Warsore/E.N.T. vibe). I sound like I'm not too impressed, but I am. When the guitars come through they absolutely crush and even get hummable at times. And while the complaints I make about the vocals could be made about the drums, I like loud as hell drums and this drummer seems to be a machine that's learned how to dream of sheep. The pieces are on the table, and Gripe's just gotta find what clicks.

Check it out for free over at here.

Coins As Portraits - Form and Structure. Storm and Fracture.

2011-12-07T12:50:00.004-05:00

Have you ever rolled your sleeves and walked into a mess of a room prepared to tackle it, then looked at it a bit too long and completely space out and not do a thing? I ask, because I had a similar feeling upon first listening to Coins As Portraits. But, like the mess in question, when I got into the thick of it, I found all kinds of things I had forgotten about, lost, or simply never appreciated. The uneasy, disjointed jazzy grind that Coins As Portraits plays reminds me a bit of those tech hardcore bands that were all the rage in the early 2000's, bands like Ion Dissonance and the like, but without the necessary bro-ness and floor punching sections (thankfully).

Instead, with CAP (props for a cool acronym) you get highly playful grindcore that I can only compare to !T.O.O.H.! a band I had largely admired but nearly forgotten about. All of that said, the band's songwriting and technical chops is as much the flag they carry and the sword they fall on. My attention starts to wander after a couple songs as each song is next to impossible to discern one from the other. And while this is true, tracks like "The Human Predicament: Part II" and "Solipsism" standout with oddball moments of melody that sounds tragically simple amongst the sea of start-stop riffs and blast beats and encircling vocals that give little, if any, room to breathe.

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://coinsasportraits.bandcamp.com/album/form-and-structure-storm-and-fracture"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Form and structure. Storm and fracture. by Coins As Portraits&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;
Check out the last track "Solipsism."

CAP definitely have something going here and from a musicianship perspective it's quite impressive ( the swing section during "Solipsism" is damn cool). There is a seamless blend of varied musical schools of thought and disciplines underneath the umbrella of blast beats and frantic screams. Much in the way Swarrrm, and aforementioned !T.O.O.H.! and other have played with the confines of a genre that was birthed with 30 second songs, Coins As Portraits play challenging grindcore that is nothing short of intimidating. The band could benefit from a little more moments of normalcy and melody, (using the expected in the unexpected has worked wonders before) but benefits from a just polished enough production and enough variance and discernability to keep you listening through the 15 minute window of Pollock meets Monk.

I also can't ignore the wittiness the band employs as both their name, and the title of this ep, Form and Structure. Storm and Fracture., is not only a fun play on words, but extremely fitting for their style of erratically familial music that plays extensively with form and mood.

Check it out from Fading Halo Records or Asiluum

Leviathan - True Traitor, True Whore

2011-12-06T15:58:00.001-05:00

Where solo act Leviathan has found success in the past in densely harrowing, vulgar, and paradoxically beautiful efforts, he seems to over look it with his latest release True Traitor, True Whore. Personal impetus aside, the album appears to be a connect the dots effort in order to make an overall homogeneous, digestible, and painfully overproduced work that leaves a die-hard like me disappointed.

Much to blame is the production, not only in sound and style, but in the sheer amount of effects and things at hand for Wrest to over complicate and distract with. Right from the beginning there is this laughable gibberish which goes into a great curve ball riff that's then torn apart by a very violent and thrashing riff. I get it, he wants to play with the listener's expectations and contradict whatever might be pleasant and melodic sounding with violent and unsettling sounds; but it's just so forced sounding. This works well on some tracks, "Her Circle is the Noose" and "Blood Red and True", but for the most part, every song seems to follow the same idea and strains my interest.

My favorite track from the album

The album is a strange form of retrogression as it borrows not only previously used ideas and tropes from Leviathan's back catalog, but also previous songs ("Shed this Skin" and "Blood Red and True"). The variance between tracks themselves is little, if any. They all jump from typical black metal sections to overproduced hazes of effects and creepy effects, in some way, shape, or form. Previous efforts had such strong writing chops and attention to structure, in that sense, True Traitor, True Whore feels much more like a pop album, where each track was conceived on its own and only the production with a vague agenda to keep them together.

While Wrest deserves the attention he's got for this record, I think it would've been more appropriate some five years ago. Sheer talent and good ideas don't save Leviathan from this overproduced (literal) nightmare of an album that lacks the atmospheric brilliance of prior releases and pushes the envelope of digestible dissonance black metal to another level. The simple, ending track shown above "Blood Red and True" manages to build upon a simple, plodding riff which shows Wrest's talent for not only creating dense and creepy songs, but also something rhythmic and hypnotic.

Will I buy it? Probably on vinyl, because as both a fan and a collector, it has been Leviathan that first spurred me to collect records. Will I listen to it? Doubtful.

Drought

2011-11-29T13:18:00.001-05:00

My creative energies haven't been there as of late and I haven't done much in the way of exploring new music. If you're bothering at all to read this, then I thank you greatly; this isn't the kind of gig I'd carry on for my own entertainment.

To keep on tab with me, and maybe inspire me to respond or facilitate something I've been listening a lot to Polish favorites Self Hate and Suffering Mind, and usbm acts Ash Borer, Fell Voices, and the new Leviathan album which I'll talk about at greater length sometime soon.

There's few albums that I really like that I can't give a concrete answer for. One of which being Self Hate's At the Beginning God Created Fear, another being Conqueror's War Cult Supremacy. I think something both albums contain is an incredible amount of ferocity, speed, and bat-shit vocals. To the former of the bands, the production definitely helps as it's absurdly heavy and viscous, so muddy at times I'd normally complain about it, but here, I'm loving it. It feels at times that things might just spiral out of control and that anxiety of wondering if the band can make it out of the song alive makes it all the more enjoyable.

The aura that At the Beginning... evokes is rare, it reminds me a bit of old Phobia and Brutal Truth, but a lot heavier and darker. I couldn't help but think, if this band were American, they'd be as revered as the other two previously mentioned.

Anyway, I'm finding more and more to like out of Central European acts like those mentioned, there's something great going on their besides hockey, sausage, and beer, and it's their grindcore. I plead to for you to listen to Gride, Lycanthrophy, and Wojtyla.

Frightmare on Thrash Street

2011-10-27T16:35:00.001-04:00

Halloween has, and always will be, my favorite holiday. From when I first demanded a hockey mask to my college days dressed in a full suit of armor made from beer cans (that's right), there hasn't been a Halloween that hasn't gotten me into movie marathons and music to match. No music, however, has fit the bill as well as Frightmare.

I've decided to dissect each track from their debut, Midnight Murder Mania, and watch each film referred to and let you guys know what I think 'bout 'dem.

Without further adieu, here's...

Midnight Movie Mania

Need a hand? hahahahahahahaha

It doesn't take much more than decent characters and good special effects/violent deaths to make a slasher work; this, without a doubt, is what The Burning's (1981) all about. "Cropsy" kicks Midnight Murder Mania with a clip that tells you all you need to know; kids burned a man beyond recognition and he shouldn't hold it against them. Yeah right. "This man's cooked. A fuckin' Big Mac." Scariest part is seeing a young Jason Alexander's ass; yikes.

As the second track kicks in, we take cue from Deranged: Confessions of a Necrophile (1974).One of the more well executed low budget horror movies I've seen, Deranged, is loosely based upon the story of Ed Gein and follows this killer as he tries find solace after his mother's death. Scenes of him carrying around decaying corpses and having dinner with them a'la Texas Chainsaw Massacre are an odd mix of disturbing and silly. Main actor, Roberts Blossom does a great job of being that creepy, isolated weirdo who secretly talks to the corpse of his mother and others.

As promised, these chicks get 'drilled'

Slumber Party Massacre (1982) makes a lot more sense when you find out that the writer intended it to be slasher parody; but the producers turned it into a serious slasher (as serious as it could be) and it sucks. There really isn't much here for anyone that's not a boy and twelve years old, and, oh, not in the 80's. Massacre is outdated and one of the few completely trite movies Frightmare picks to pay homage too. Every action the stupid teens take is illogical and against any sense of self-preservation. I wish this was taken as a joke because then it could have been very aware for its time (and funny too; I guess...).

That's right, take that Bacon!

Possibly the best slasher ever made, Friday the 13th(1980), is also one of the best tracks on the record. A name everyone knows, the combination of a genuinely good twist, effective music, and excellent pacing make this not only a must see for horror fans, but for everyone. If you watch the previously mentioned The Burning, or probably half the slashers out there, you'll see Friday the 13th's influence.

"Slasher Holocaust" is a thrashy track that doesn't relate to any particular movie that I know of. Given the title, as well as the other songs, I assume it's a general homage to the slashers found on this list. We'll just move on.

It's been awhile since I've seen The Prowler (1981), and it hasn't been the easiest to find. What I do remember are some excellent effects/sequences by a name I'm tired of typing by now. Much like The Burning, The Prowler's mostly just a slasher money shot of well done death sequences.

"Be My Bloody Valentine" is not only the best track on the album, but maybe my favorite of the films here. My Bloody Valentine (1981) has an outstanding setting (an old mine shaft) and some of the best killings on film. Choice clip, choice riffs; this is probably the catchiest and thrashiest track on the album.

Black Christmas (1974) was one of the better surprises here as it actually is frightening and creepy at times and does a good job to build suspense. A sorority house terrorized by unsettling phone calls and a maniac killer, sounds like fun right? Thankfully it doesn't submit itself to just boobs and blood like some others might. Really awesome trashy song to go with it that has quite the buildup.

While"The Ripper" opens up with a clip, I can't make out what it's from. I'm sorry to disappoint. But I can tell you it's a 'ripping' (get it?) track that continues this album's amazing fluidity and riff catalog and has this awesome moment that I can only explain by equating its momentum to that of someone in mid-swing pulling back and swinging again (an axe of course).

Kablam!!

"Frank Zito, The Maniac" takes its name from another Savini project, The Maniac (1980), which features the best shotgun death ever. The film does do a good job of making you feel uneasy and catching the dirty 70's New York that no one wants to remember.Alright overall, but nothing to it besides the phenomenal effects by Mr. Savini and lead man Spinelli's performance as yet another creepy serial killer with mommy issues.

"Devilock" takes cue from The Misfits, a band much like Frightmare in the respect that they had to show their love for their favorite childhood/adolescent horror movies by writing songs about them. The cover itself is okay, a bit one dimensional, but fun nonetheless (especially for a Misfit fan like myself). While the other songs pay homage to movies, this does the same thing to an important band.

In the end, this album, as well as this list, becomes a pretty good collection of important early slashers, none later than 1982. For people who have never appreciated slasher films, then I say give a few of these a try. These films are best watched with a group of friends and a beer or two in hand. There's a real art to the pacing, dipiction, and suspense of death in film, and some of these are a perfect example.

Beyond the films themselves, this album is an amazing combination of thrash and death metal not without a touch of grind. Melodic leads, gutturally to raspy vocals, blasting drums and plenty of riffs make this a very well rounded release. For fans of any of Maniac Neil's other projects, Ghoul, and old deaththrash like Sadus and Cancer. This was a lot of fun, and it's gotten me in the mood to watch millions of slashers and horror movies.

Standing on the Edge of the World... songs Ad Infinitum

2011-10-20T19:22:00.000-04:00

The premise of long songs gets me in a fit most of the time. Bands endlessly plucking away for 20 minutes at an accoustic guitar before the song gets underway is just more of a reason why I love mp3s. Like anything, it can be done well, and on the converse, it can be done poorly. Somewhere, in the middle of all of this, I find songs/albums like Corrupted's "El Mundo Frio."

Spanning an hour and eleven minutes, the one song album translates to "The Cold World," a fitting title, for such a desolate song. But like I mentioned earlier, this album in particular finds itself in an odd spot as it meanders, gets heavy, meanders, gets heavy, meanders....etc etc. And while I like the song, for the most part, I can't help but wonder what it'd sound like if it dropped some of distant guitar plucking in between the heavy sections, ones that castrate and usurp the power of these landslide like sections. Thankfully, this doesn't happen too much in the realm of faster music, but sometimes it does, and sometimes it works.

One man grindoctopus Parlamentarisk Sodomi put together "Klæbukrønikene (De Anarkistiske An(n)aler)" a Pollock-like ten minute grind marathon which starts with a silly, circus like keyboard section and continues into grind infinity. I don't have a problem with this song except I think it could have done without the keyboards. Also, the fact that it's a grindcore song placing around ten minutes makes it feel like a novelty. I particularly don't like novelty, unless it's something along the lines of Wehrmacht or such (you'd never catch them with a ten minute song!). I hope this doesn't make me sound like some bible thumping old timer whose shut down the town dance, I just get annoyed by joke bands, or serious bands with stupid jokes.

Where long songs are a given to work is obvious. Drone and the slower of spectrum of things almost require you to get in distance contests. For the most part I accept it, but some bands outstay their welcome and seem to repeat the same crap ad nauseum for no other reason than to build the song. Like the idiot kid in your presechool who built the most inane legos/lincoln log contraptions, those drone/doom/whatever bands haven't discovered that it's not always the size that matters. The same could be said about grind bands putting out an album with 150 songs under 30mins (or whatever the specifics are), but i digress.

The Makai are a band that comes to mind when song length is in question. Their Embrace the Shroud of a Blackened Sky which is a one song, crusty-black metal hardcore whatever track that spans two LP sides and is as varied as a ten song album could be. I love this album, I find it flows very well and there is never a moment i pick the needle up to skip ahead. On the converse,many black metal bands will go for a ten minute song or something even longer, when it could be separated and made more digestible (Deathspell Omega I'm looking at you). Whether it be my prejudice, my predispositions, or whatever else, I usually find myself more amenable to black metal dirges that top ten minutes as opposed to stripped down doom/sludge acts, or bands that obviously use place holders like noise and whatever else to bridge together a track that shouldn't be so long.

How do y'all feel about long songs? I put together what I'll deem the Perpetual Strife Marathon; see if you can make it through ( I decided against something like El Mundo Frio because that's just silly, as well as anything 20+mins/ easy options like sludge or whatever).

Like my Paint skills?

Perpetual Strife Marathon

1. "Deuteronomy" - The Endless Blockade - The Red List (split w. Man Is the Bastard)

2."Ţesarul De Lumini" - Negură Bunget - Om

3."Fade to Black" - Sludgetallica - Ride the Lightning (45rpm record slowed to 33rpm)

4. "IX : Der Einsiedler" - Urfaust - Einsiedler

5. "Klæbukrønikene (De Anarkistiske An(n)aler)" - Parlamentarisk Sodomi - De Anarkistiske An(n)aler

6. "Memory Leak" - Nadja - Truth Becomes Death

7. "Black Prophecies" - Dark Angel - Darkness Descends

Hobos, Trolls, Samuari, and Sean Bean

2011-10-19T10:00:00.005-04:00

With Halloween coming soon, and an arduous project for that said holiday up my sleeve, I've been watching a lot movies. Recently, I've watched a slew of a great, somewhat under the radar releases from Magnet Releasing, a subset of Magnolia Distribution, who is a U.S distributor for slightly off-beat, foreign, or violent/grindhouse releases. The few I've watched, Rubber, 13 Assassins, I Saw the Devil, Hobo With a Shotgun, Black Death,The House of the Devil, Trollhunter and the ones I plan to see Tucker and Dale vs Evil, The Last Circus, are all high quality indie flicks with the approach, production, and execution that the movies many of the pay homage to lacked.

13 Assassins

As I said, some flirt with the mainstream, for instance 13 Assassins is an excellent samurai flick that would make Korosawa proud and is done by the Japanese master Takishi Miike (Ichi the Killer, Audition). Similarly, Black Death, featuring Boromir/Lord Snow/005 (Sean Bean, the man who dies in every movie he's ever been in) is a solid medieval action flick filled with tons of great fights. Rubber is a hip, playfully self-aware black comedy that focuses on a serial killer car tire and Hobo With a Shotgun hides nothing in its technicolor glory and shotgun executions. The biggest surprise for me was House of the Devil, a 2009 release that looks like it was done in the early 80's (this is purposeful). It's an excellent haunted house/slasher that's as good an homage as it is a current release. The latest, for me that is, is I Saw the Devil, which convinces me that ever single Korean is obsessed with revenge. The film was an excellent, and very disturbing revenge tale much like Old Boy, but thankfully original in its own way.

I Saw the Devil

I guess I'm happy to see consistently good movies and more so surprised that a one company has such a good eye for these releases. It makes me think of labels like Profound Lore, Gilead, Halo of Flies, and back in the day, Earache, Peaceville, Roadrunner, who inspired enough confidence that I would buy simply based on their track record.

I recommend each film, unless you have a weak stomach, otherwise they cover a wide breadth of action/horror, all with their own unique eccentricities.There's something about them that I guess is reminiscent of my taste in music. Some are very good, but are purposefully predictable or cliche (Hobo with a Shotgun, Black Death) reminding me of bands like Coffins or Insect Warfare who are far from reinventing the wheel, but do what they do almost perfectly. Others, like Trollhunter are goofy, good premises that are a fun watch and never claim to be anything else, much like thrash bands like Municipal Waste. Maybe the same way people thumb their noses at one of the previously mentioned bands because of their familiarity, or lack of mind-blowing originality that is nearly impossible to find, these films, and the music I like get scrutinized a bit too much and should simply be enjoyed because they invoke something in you. Whether you're twirling your hair to a band like Midnight or cheering on a shotgun wielding hobo, you're still having a good time.

The scenes of this fat Norwegian man yelling "troll" make this movie alone worth it.

Let me Count the Ways... A Grindcore Numbers Game

2011-10-18T14:09:00.000-04:00

One album is the only full length release from Insect Warfare, arguably one of the best grindcore bands this century whose singer, Rahi, has joined up with Hatred Surge which is back to having Two vocalists, but dropped the male/female combo like stalwarts Despise You and crusties Nausea, meaning there have been Three different singers before their latest split with fellow Austin Four-piece Mammoth Grinder whose only been around for Five years and made a big splash with their second full-length, Extinction of Humanity in 2009, which featured artwork by Joe Petagno, notable for his work with Motorhead, except their Sixth album,

Ironfist which German thrashers Sodom covered the title track on their seminal album Persecution Mania that had a re-released including "Sodomy and Lust" which is covered by Tacheless on their 2009 album Freiheit but originally released on Sodom's 198Seven release Expurse of Sodomy which was the same year Napalm Death's all important Scum came out, who have had Eight guitarists in their 30 year career, only matched by Anthrax who've also had eight members for two positions (vocals and guitars), one of whom, Dan Lilker (credited as a guitarist before anything was recorded) formed grindcore legends Brutal Truth who formed Nine years after Anthrax did and released their second album Ten years before Insect Warfare formed in 2004.

Bam

SLUDGETOBERFEST- A Down-tuned Odyssey

2011-10-12T17:21:00.000-04:00

As the days grow shorter, the nights colder, and the mornings more invasive, a proper soundtrack is in order for the occasion. Sludge, a genre I came to unfortunately late, has been a mainstay in my musical diet for a good while now. Whether it was when I first heard Dystopia, or finally got around to Eyehategod, never has a name epitomized [sludge] a sound so well.

I've compiled this digital tape in hopes to not only share my fondness for the following bands, but also in hopes of inciting people to find something new and discuss it, embrace it, and reinvent it. Sludge is a fickle thing for me because I dislike many mainstays of the genre (Down, Crowbar, Acid Bath) yet I consider it a favorite genre of mine.

Anyway, enjoy this scratch at the sewage lid, and feel free to share. I opted for the more vile and brooding bands, as well as made an exception for Coffins.

Sludgetoberfest Mixtape

"The Frozen Styx" Coffins Buried Death
"Empty" Corrupted Corrupted/Cripple Bastards
"Hands That Mold" Dystopia Human = Garbage
"Anxiety Hangover" Eyehategod Dopesick
"Disciples of Nothingness" Fleshpress Pillars
Birth of Cousins Goatsblood Drull
Depression Grief Dismal
Lethe Hell Hell
Boss Keloid Iron Monkey Our Problem
Wroll Moloch Tears That Soak A Callous Heart
Stasis Noothgrush Failing Early, Failing Often
Master Failure Salome Terminal
The Work Ethic Myth Thou Peasant
Dust Wake Up On Fire Wake Up On Fire
Exit Zenocide Zenocide

I have no idea why blogspot is being a complete cunt about this formatting, but whatever; I'm not spending more time trying to fix it.

When Cliches Go Right

2011-10-11T16:10:00.000-04:00

With your beer goggles firmly affixed, Midnight's at its best this time around. The band's honest brand of heavy metal gone black is a complete homage to bands like Venom, Motorhead, Mercyful Fate, and finds itself best amongst friends, clinking beers and waves of hair in constant motion. A cleaner production this time around, Satanic Royalty begins with perfect pacing as the title track eases you into the driving NWOBH influenced "You Can't Stop Steel." Catchy leads, hook driven rhythm guitars, sing-along lyrics and pumping drums pen Midnight as catchy and credible as heavy metal can get.

Highlights include the aforementioned track as well as the following track, "Rip This Hell" which are both similar nods to Lemmy and co and eventually "Violence on Violence" which retains a very early thrash feel.The album stomps along, never moving far from a driving mid-pace rhythm, until the lone dud of the album, "Black Damnation" which sounds like stock 80's jukebox hard-rock with raspy vocals. For a band that does a good job with repeating familiar sounds and tropes, maybe this track does it too well and simply becomes flat.

As only as Hell's Headbanger's can do, Midnight is a retro-act with just enough of a modern distinction to make it an easy pick for parties, car rides, or a venture to physical therapy for whiplash.

Album drops Novemeber 8th.

Inquisition and Mortuary Drape to Play NYC in Decemeber

2011-10-11T10:26:00.001-04:00

Pretty fuggin' cool if you ask me, black metal shriekaholics Inquisition team up with Italy's trailblzaers Mortuary Drape to play in Drape's first ever North American show. Put together by my friend over at BBQ Booking, this promises to be a rare and unholy show.

Taken from the barbeque pit...

For our fourth volume, we are extremely proud to announce the return of Washington-via-Colombia's black magick leaders Inquisition to New York City. The band—drummer Incubus and vocalist/guitarist Dagon—have been relentlessly creating their unique brand of black metal for over two decades and have been consistently evolving from Anxious Death, the band's debut EP from 1990, to their latest opus, last year's Ominous Doctrines of the Perpetual Mystical Macrocosm... Joining Inquisition will be none other than legendary Italian cult Mortuary Drape (!), which will be the band's first-ever appearance on North American soil. The band's 1994 debut LP, All the Witches Dance, and 1997's sophomore release, Secret Sudaria, are not only some of our personal favorite records ever, but they pioneered the sound and aesthetics of modern-day black metal.

Crawl out from whatever rock you're under and put away your Burzum tapes, this promises to be a unique performance. The show is December 2nd at the Studio in Webster Hall.

Thou, The Body, Alakhest @ ABC No Rio 10/8/11

2011-10-09T13:35:00.001-04:00

Yesterday I cuaght ABC No Rio's weekly matinee that caters to punk/metal acts. One of New York's best venues, and possibly the oldest DIY venue in the States, it was the perfect setting for Baton Rogue sludgophiles Thou.

I came into the gig a bit late and missed the first act ( some band from New Jersey that had members of Burnt by the Sun and Dillinger Escape Plan). Luckily I caught a bit of Alkahest's set which quickly won over my girlfriend and I (her first CD purchase since middle school). The band's brand of atmospheric sludge a'la Mouth of the Architect with a much heavier touch (not to mention painfully awesome/dynamic vocals) sounded so overwhelming and great in such a small place. Catchy and building guitar leads upon thundering drums, competent bass lines, and a guiding rhythm guitar had me zoning out (in a good way of course) and wishing for more.

The Body was up next, hailing from Rhode Island, the duo had one of the oddest looking drum sets I'd ever seen and refused to use a mic for singing. I admire the idea (if this was what it was) but it was silly as he just sounded like he was yelling randomly and just barely got above the guitars and drums. The band itself sounded heavy for heaviness's sake. The crowd swayed to and fro to the plodding thunder of indistinguishable and monotonous riffs and seemed to like it. I wasn't won over, but the band seems to have quite a following and maybe this gig didn't live up to the band's recorded material.

Next up, Thou took the stage in a very humble manner and kicked things off a set full of energetic songs embracing their punk side, as well as my favorite track "They Stretch out Their hands," and ending with one of the most fun covers I've ever heard, "Sabotage" by the Beastie Boys. The crowd was nuts before the cover, and with the cover the small setting turned into a moving pit of people singing along as front man Byran tossed himself throughout the crowd. While I liked the band's set list better last month at The Bell House, the energy and smaller venue was a lot better here at ABC. The band really shined in the crowded smaller space and proved to be one of the most energetic and fun bands I have ever seen.

A must see, and a must hear band, Thou kicked ass once again.

Thou | NYC @ Abc No Rio | 08 Oct 2011 from (((unartig))) on Vimeo.

Forgotten Lore: ABC Weapons

2011-10-05T21:08:00.001-04:00

My discovery of ABC Weapons was the product of a summer with too much time and one dedicated to finding music. Luckily, I came across the now defunct ABC Weapons of Melbourne, Australia. Formed in 2003, dead by 2008, these boys put out only two EPs and are trying to get an unreleased album out posthumously.

The style the band plays is a furious d-beat driven ensemble of blistering guitar leads and barked vocals on top of typical punky like chord progressions. A very metal, yet dynamic approach to a commonly replicated sound.

Similar to the band they take their name from (*cough* G.I.S.M *cough*), ABC Weapons have guitar leads that would fit in much more with the melodic thrash crowd than any punk group. It's a big statement to make, but take a mid-era Wolfpack/brigade effort and make it more melodic, dynamic, and better and essentially you've got ABC Weapons. The Process of Decay has always been a top player in my month to month listening. It's such a great mixture of melodic, catchy leads and hooks along with furious vocals and surging d-beats that get me in a Doom kinda mood.

It's rare to find such a release that is perfect in of itself, and that's just the case with The Process of Decay, without fault or any need, it's definitely one of my favorite EPs.

For fans of Muga, Martyrdod, His Hero is Gone, Wolfpack/bridge, Nux Vomica, etc.

Up the punx!

An Autumn For Crippled Children - Everything

2011-10-05T01:46:00.001-04:00

Covers like this are usually a good indication of what you're in for.

While it might sound like some small town fundraiser started in memory of Timmy the octoplegic, it is, in fact, the name of a symphonically driven black metal band out of the Netherlands (we'll stick with ACC to make life easier). A dense and claustrophobic production coupled with trite keyboards, made it a surprise to find out that this isn't a one man black metal band, but rather a three piece (there are credits to a drummer, but I don't believe that these are real drums).

To get right to it, Everything is the latest release from this band. The album itself is a very spotty record that jumps from keyboard driven sections that are boring and over the top to dense, powerful walls of steel wool, shoe gaze-y guitars gone scary and forlorn. This sums up the first two tracks as "Forever Never Fails" is as poppy as black metal could ever get and then "Formlessness" explores a very post-rock influenced sound and, for the most part, lacks keyboards. Halfway through the second track reminds me a lot of Xasthur on a good day and Alcest circa Le Secret. This is a very powerful, and well done section that shows the potential behind ACC if they focused their energy on atmosphere and the guitar.

This is pretty much how the rest of the album carries on as the band jumps from silly, synth driven tracks that sound amateurish and over the top, to dreary slicing guitars, mangled screams and dense sections where they all come together.

There was a period in my life where I listened to almost anything labeled black metal and when I found bands like Xasthur to be the creme dela creme, with ACC I feel like I'm back there again. There are countless, forgettable bands that did what ACC do and have never been thought of again by myself, and there are others such as Caïna and Lifelover who have what makes ACC interesting without what makes them not. ACC do somethings right, but the merry elves keyboards and the drum machine really kill what what does work. The band would be far better suited to bask in dense, droning sections and pour out into post-rock like explosions.

The album leaves me thinking "well, maybe next time they'll get it right." Truth be told, I don't care if there is a next time. If Slayer went right from Haunting the Chapel to Seasons in the Abyss I would say "they had something going, but lost it somehow." What's there is there, and what An Autumn for Crippled Children have is nothing worth revisiting as handfuls have done it better, and continue to do so.

Soundtracks for the Deaf: SWANS Live

2011-10-02T17:47:00.000-04:00

"Byah Byah Byah, hey hey hey"

Swans, formed in 1982 and recently revived, showed no sign of age or weakness last Wednesday at The Music Hall of Williamsburg (albeit minor setbacks as front-man Micheal Gira blew out two amps). Notorious for their live performances the band set out to live up to their painfully loud legacy of making concert goers pay with their hearing.

Swans are a band I've only come into recently. Having first heard them by way of Nadja covering them I didn't know about their heavier, dirtier side until recently. That said, I am, by no means an avid fan, expert or even knowledgeable about the band. I think such a statement would speak volumes about the band as a person like me was completely blown away by their performance.

Openers Sir Richard Bishop and Wovenhand attracted a crowd, but as solo performers upon a large stage they looked out of place. The rustic, eerie folk of Wovenhand would have fared much better in a small coffee shop, log cabin, or wild cave and the fretboard wizardry of Sir Richard Bishop felt a bit flat without anything to back him up. I'm sure these two are great on record, or a proper venue, but they were a bit boring up on that large stage.

As expected, the show was the loudest and most overwhelming concert I've ever been to in my life. It wasn't just feedback and the droning sections that got me, or the drummer's fury upon a rack-mounted bass drum, but every little nuance of the band formed a huge, fractured sound that came together and split apart in such a way that was as beautiful as it was ugly. Gira flailed around and looked utterly possessed as the band occupied the stage for two plus hours. Most of the set list I assume to be from their most recent work, although I recognized the last track as it was from Soundtracks for the Blind. Employing well over a dozen different instruments, no keyboards, and a very well put together sound, Swans were just enough messy to be authentic and organic without being sloppy or bad in anyway.

I was so enamored by the band and this beautiful screened poster that I opted for the wrong date. Much nicer than the one done for us New Yorkers.

Chaotic, cathartic, loud, and overwhelming, Swans proved to be more of an experience than an event.

DRIVE Sountrack

2011-09-27T01:36:00.002-04:00

I'm not sure of the merit in doing a soundtrack review, but the accompaniment to Nicolas Winding Refn's film Drive has had me hooked since I saw it. Maybe my attraction to the soundtrack is based more in the film and my associations with the songs featured, or maybe because it's a realm of music I'm not too familiar with. Regardless of whether my enjoyment of the soundtrack is based in nostalgia or not, I've found myself unable to avoid it.

What's included in the soundtrack are five songs songs done by various groups and the score composed by Cliff Martinez (drummer for Red Hot Chili Pepper, Captain Beefheart. Composer of Traffic, Solaris (2002), The Lincoln Lawyer, amongst many others). The cream of the crop for me are the first three tracks, which are simple, bobbing pseudo disco pop that's a mix between 80's dance music and new wave with a modern feel relying heavily on synthesizer and vocals.

Composed pieces by Martinez are stark, minimalist electronic pieces that ebb and flow with building intensity and subsiding emotion. These tracks are in contrast to the previously mentioned three which feature vocals and have a driving pulse to them as well as the black sheep of the bunch, a track by Italian composer Riz Ortolani featuring the harrowly powerful vocals of Katyna Ranieri. Martinez's efforts don't fare as well as the rest of the tracks simply because they're meant to have a visual accompaniment.

Overall this is probably the only soundtrack I've ever sought out and listened to in its entirety. I'm almost positive that my enjoyment of the movie plays a large roll in my enjoyment of the music as many tracks are in tune with powerful and enthralling scenes of the film.

The soundtrack, when hand in hand with the actual film is a perfect match and does nothing but highlight what Refn and company are pushing for you to feel.

1. Nightcall - Kavinsky & Lovefoxxx
2. Under Your Spell - Desire
3. A Real Hero (feat. Electric Youth) - College
4. Oh My Love (feat. Katyna Ranieri) - Riz Ortolani
5. Tick of the Clock - Chromatics
6. Rubber Head - Cliff Martinez
7. I Drive - Cliff Martinez
8. He Had a Good Time - Cliff Martinez
9. They Broke His Pelvis - Cliff Martinez
10. Kick Your Teeth - Cliff Martinez
11. Where's the Deluxe Version? - Cliff Martinez
12. See You in Four - Cliff Martinez
13. After The Chase - Cliff Martinez
14. Hammer - Cliff Martinez
15. Wrong Floor - Cliff Martinez
16. Skull Crushing - Cliff Martinez
17. My Name on a Car - Cliff Martinez
18. On The Beach - Cliff Martinez
19. Bride of Deluxe - Cliff Martinez

Ruin Lust- Unittled

2011-09-22T10:00:00.001-04:00

Ruin Lust's set at The Brooklyn Union Pool Hall last Saturday was one of the most driven and intense performances I've seen in awhile.This artillery barrage of a show forced me to pick up what I can only assume to be their only release, a titleless demo cassette.

Usually a band has either its recorded experience to live up to, or vice versa; here, Ruin Lust had the latter. What you get with this cassette is 5 tracks of uncompromising black metal that is as heavy as it is fast. Nothing atmospheric, nothing artsy or progressive, instead, it's a vehement, laconic curbstomping that starts as quickly as it ends.

Critics often make the mistake of using absolutes when they're ignorant of what else exists, I myself have probably made the mistake. I say this because I remember reading ages ago a copy of Revolver which stated Nirvana was the 19th heaviest band of all time (Obituary was 45th, just for comparison's sake). So I keep that in mind when people say "heavy" as it's lost its meaning, just like "epic." Well, for what it's worth, I can assure you that Ruin Lust is one of the heaviest bands I've heard in recent memory. The ferocity of Conqueror's s War Cult Supremacy meets a more level headed production and an uncompromising desire to offer something that countless Blasphemy clones can't; decent song writing and varied song structure. Dramatic build ups and primal grunts fly right into Blasphemy pounds (all drums are hit at the same time as fast as possible) as the most perfect guitar tone saws meaty, wet riffs in rapid fire succession. Much like successful grindcore bands, the emphasis on rhythm and structure propels Ruin Lust through dirge like build ups into razor walls of sound and brooding intensity.

While I talked with their drummer briefly about an upcoming Fell Voices release (one of his many projects), I'll be honest in saying I'm much more excited to see what happens with Ruin Lust and hopefully we can see a full length down the road.

Yes I have to bring up Blasphemy, no Ruin Lust isn't some trite clone. Catch the band if you can and look around for their demo, I'm sure it's out there somewhere to buy.

Show Saga Pat III: Urfaust, Black Anvil, Krallice, and Ruin Lust @ The Union Pool Hall

2011-09-21T13:56:00.000-04:00

If my ear drums weren't already aching, last Saturday brought another session of top class metal that I was fortunate enough to catch.

Ruin Lust. Courtesy of Brooklyn Vegan.

The night kicked off with the unassuming three piece Ruin Lust. Comprised of members of Fell Voices, Ruin Lust are a far cry from the lengthy and spectral sound of the adforemntioned band. Instead, drummer Mike, pounded his tiny drumset like some frenized berzerker, grunting and screaming all the way. Accurate to call "war metal" but unfairly pigeon-holing the band, Ruin Lust were 100% that night and showed a level of aggression, power and sheer force that no other band matched up to. Well excuted, Ruin Lust set the bar high for the night.

I skipped out on Krallice and hit the bar as I know their shtick, but I overheard they were spot on and the same goes for Black Anvil. The latter interests me far more than the former, but corn on the cob got in the way of seeing the band (the venue has a taco truck situated in its outside portion).

Urfaust

Urfaust came to the stage, humble and on point, rocking right off the bat. The slow, droning chords matched with the unmistakable and truly ethereal vocals of singer/guitarist IX were held together by the rudimentary backbeat of drummer VRDRBR and successfully recreated the trance like quality that the band has perfected after nearly seven years.The crowd moshed as slowly and drunkenly as they could, much to the dismay of some, and to the delight of others. Faint attempts to recreate the German lyrics echoed in the tightly packed venue and people even bought drinks for the guys. The night was topped with a bunch of songs I can't pronounce and pinpoint as many bleed together. Much of the set seemed to be from their latest full length, Der freiwillige Bettler. No ego kept the band from the crowd and they, to much applause, dedicated a track to the late Peter Steele (of Type O Negative fame; Brooklyn's pride and joy) and even haggled the crowd for requests (to which someone called out a tune already played, and silence as the bands titles were intimidating enough to read let alone shout).

I was suspiscious of Urfaust's ability to recreate some of the most absorbing and atmospheric music in the extreme music scene, but they succeeded without the help of keyboards or addiontal members. An impressive show and a fortunate occurrence as the band rarely makes it to this side of the Atlantic.

Look for a review of the Ruin Lust cassette I snagged at the show sometime in the future.

Show Saga Part II: Wolves in the Throne Room, Thou, and Krallice @ The Bell House

2011-09-20T15:26:00.000-04:00

The day after I lost a third of my weight in sweat from the Despise You show I made my way over to The Bell House primarily to catch Thou. For starters, the Bell House was a lot larger than I thought it'd be. Complete with a full size barroom and a whole seperate concernt venue with lodge-like roofing and a full stage, the venue seemed a bit out of place for the night's show. Needless to say this wasn't my ideal venue, but I was still excited to see one of my favorite bands.

Krallice kicked things off with an older song ("Dimensional Bleedthrough" I think) which was surprisingly good. I've seen the band 3 (or 4? I can't recall) times now and they've done an excellent job in sounding tighter and more energetic since I caught them two years ago with A Storm of Light and Wolves in the Throne Room. Unfortunately, the rest of the set suffered as their newer songs showcase more attention to vocals (deeper, less interesting ones), heavier and more technical riffs and structures that really detract from the hypnotic melodies that were so absorbing from their s/t. They got a good response from the crowd and I heard mixed things while waiting at the bar.

Thou

Thou, as I expected, dominated the show, putting Krallice in their place as openers, and distracting me from the headliner as they couldn't be lived up to. Beyond the cohesion between the band, their spot on execution and excellent sound, their set-list was worth it alone. Starting with my favorite song "They Stretch out Their hands," and eventually "Burning Black Coals And Dark Memories," "Here I Stand Head In Hand" (possibly my third favorite of theirs) and ending with a very honest and energetic cover of Black Sabbath's "Into the Void." While the stage was too big for them (they're the kind of band that thrives in small settings) they lived up to my expectations and easily stole the show.

Thou - Burning Black Coals And Dark Memories from (((unartig))) on Vimeo.

Wolves in the Throne Room are a far cry from the band I obsessed over with their first release. Whether it's the relative stardom they've accomplished, or maybe my own shifts in taste, the band bored me this time around. I fondly recall them playing Brooklyn nearly 4 years ago (right around the release of Two Hunters) and thought they were one of the best acts I had ever seen. That show was such a clash compared to this one as they practically played in the crowd and let their music speak for itself that time. However, in recent years, the band's employed incense, smoke, banners, candles, and other gimmicks that feed into this "natural aesthetic" that just seems a bit silly in such a big venue like The Bell House. Rumored to be a possible fairwell tour, I'm happy I was able to catch them, but I'm happier to think of a time when they were a small outfit with only two releases and no gimmicks.

Wolves in the Throne Room | NYC @ The Bell House | 12 Sep 2011 from (((unartig))) on Vimeo.

Thou and WITTR continued on two days later to Death By Audio (this time with support by the excellent Mutilation Rites). Unfortunately I missed the show, but I assume Thou really shined in the small death trap that is Death By Audio.

Monday Night Violence: Backslider

2011-09-19T23:25:00.001-04:00

Two man fastcore act Backslider hail from my most hated sports city in the world and were one of the high points of the Despise You show I caught last week. One part one part stop and one part go, Backslider prove to be as mosh oriented as they are confusing. Songs abruptly shift from slow jams to breakneck blasts to precision stops then a jumble of the previous formula.

Formed in 2009 and with only a handful of splits, demos, and eps under their belt, Backslider stay strong with the promise of three new eps from trusted labels Deep Six, To live a Lie (it's imperative you check their front page as it's one of the most glorious pieces of art I've ever seen), and Cowabunga Records.

As I mentioned earlier, more so than the Infest vocals, the riffs, or the drum work, it's the song structure and the band's tendency to play in salvos, correct themselves, rearm, and start it all over again. This lead to newcomers to the band, as well as regulars, awkwardly head banging or moshing to silence or a complete different tempo than they expected throughout the aforementioned show.

Where the band rarely stays at one tempo or rhythm, the music isn't anything too jarring or annoying, instead it's an ammusing approach that not too many bands employ. "Amusing" might sound belittling, but it isn't meant to be. Rather, it's a way of making the music itself enjoyable and playful, something few (if any) hardcore bands do.

They're the kind of band that will be out of place with a full length, but right at home on any split possible. Definitely worth checking out, and more fun live as this band's built for the pit (if only their average song was longer than 30 seconds).

Show Saga Part I: 9/11 Despise You, Magrudergrind, Blackslider, The Communion, and Defeatist

2011-09-18T13:25:00.001-04:00

Photo courtesy of Brooklyn Vegan

The past week has been a blur for me. I haven't seen his many bands since I went to maryland Deathfest two years ago.We'll start with last Sunday as Despise You and company completely ripped Shea Stadium (what passes for a venue) apart.

Now with 30% more china cymbal

An homage to New York's favorite losers, Shea Stadium is situated in the unhip part of Williamsburg that's still just old warehouses. Up a narrow stair case and you're inside what looks like a squat, complete with old, torn furniture, crusties, and absolutely no ventilation. First I saw Defeatist who has a new album out soon that you can hear here. I've done the band a favor and renamed them "China Cymbal" as that's all that band seems to do. Their brand of technical stop n' go grindcore came through somewhat clearly as the crowd stood still through their china filled set.This is my third time seeing them and they still haven't clicked with me; oh well.

The Communion were a nice change of pace playing a style of sludge similar to Dystopia (while no where as good of course). Awkward 9/11 references and singer aside, the band poured themselves out to what seemed to be an indifferent crowd.

Philly's Backslider got people moving and did quite a lot for just two guys. Maybe the sleeper of the show, I really enjoyed this two man act's penchant for moshy hardcore-tinged grindcore that provided plenty of breaks to pick up change and hammer punch your way through the crowd.

Magrudergrind were themselves, I don't really know what to say after I've seen this band five times now.They play fast, they play loud, they've got more energy than half the bands out there and they're pros at what they do/ This wasn't there best, and from what I could tell there was a lack of older jams which means it was much more grindy: bring back the Spazz vocals and mosh parts!

Guess which dude is me. Photo courtesy of Brooklyn Vegan

Despise You however, boy oh boy, this is what I was waiting for; everything their recorded material promised to be and more. Despise You had a few slip ups but proved to be one of the best bands I've ever seen. They played thrity two songs covering old classics like "No More...Feelings," "Bullshit Reflections," "I End Me" as well as newer tracks like "Roll Call," "Fear's Song," and "All the Regimes you Hold Most Dear" from their recent split with Agorphobic Nosebleed.

Wildly energetic, complete with mics to the crowd and what seemed like a genuinely fun time between the old band mates, Despise You were without fault and any signs of slowing down. Needless to say I was blown away, everything came together with their cover of D.R.I.'s "Couch Slouch" which had Magrudergrind drummer in the pit and the whole floor singing along.

Part II and III to come shortly, Thou, Wolves in The Throne Room, Ruin Lust, Urfaust, etc.

New LEVIATHAN Album Announced: True Traitor, True Whore

2011-09-13T14:45:00.001-04:00

True Traitor, True Whore

Just announced via Profound Lore, the turbulent and mysterious one man act Leviathan will have a new album out soon, titled "True Traitor, True Whore." Instantly, people might think the title refers to charges brought against main man Wrest (Jef Whitehead) for sexually assaulting his girlfriend with a tattoo gun. Regardless of whether that's the case or not, the title isn't all too inspiring as it lacks his old knack for bizarrely unsettling titles like Tentacles of Whorror or A Silhouette in Splinters.

To further my pessimism, Sanford Parker is credited with Engineering duties. You might know him from his awful band Minsk, his help in derailing Nachtmystium, as well as his handful of other instances of mediocre and slick production (Krieg's lackluster comeback, Twilight's awful new incarnation, etc).

Now

So, with all that negativity you'd think I just have some bone to pick, but I have proof; lo and behold "Her Circle is the Noose." What does this tell us? Well, for one, my allegations against Sanford Parker stand true and two; Wrest seems to be continuing his creepy meandering style that really came through in Massive Conspiracy Against All Life. I guess this is a logical continuation from Wrest's last recorded work (I think Sic Luceat Lux was recorded before Massive Conspiracy Against All Life).

Then

The track is good, don't get me wrong, but it's no return to form and no trailblazing. For anyone who's listened to Leviathan's split with Sapthuran, otherwise known as The Blind Wound or even the split with Xasthur, you'd know Wrest has it in him to create some extremely potent, moving, and darkly melodic stuff. With this leaked track, he seems to be straying further from the melodic nuisances that made me such a fan and rather building upon the creepiness explored in ambient works A Silhouette in Splinters and the last full length.

Of course I'll be buying this, but my hope is that there's something more potent than this, something that grabs at you and suffocates you in a dismal and etheral breech like what we've seen in the past.

Here's the track listing...

1.   True Whorror
2.   Her Circle Is The Noose
3.   Brought Up To The Bottom
4.   Contrary Pulse
5.   Shed This Skin
6.   Every Orifice Yawning Her Price
7.   Harlot Rises
8.   Blood Red And True

Two tracks are oldies, "Shed this Skin" which is similar to "Her Circle is the Noose" as it's a midpace meandering track that was plagued with his silly bedroom production from years prior and "Blood Red and True" which could be a perfect fit here on this album (and due for a touch up).

Due out Novemeber 8th, this promises to be a big fuggin' deal.

Lifelover's Jonas Berqvist aka "B" is dead

2011-09-12T16:03:00.002-04:00

Taken from Phropecy Productions

"On the night of the 9th September, Jonas Bergqvist a.k.a. 'B', founding member, main composer, and guitarist of Lifelover, died unexpectedly. The cause of his death is still unclear and has yet to be established.

The message of Jonas's passing came as a surprise to the Prophecy team. Hence, we lack the appropriate words for this tragic event. To us, Jonas wasn't just a very creative artist, but also a pleasant and enthusiastic person. It is for certain that we won't be the only ones missing his character, his passion, and his unique musical language.
In the face of this tragic loss, we would very much like to extend our heartfelt condolence towards Jonas's family, his friends, and the remaining musicians of Lifelover."

I'll skip sentiments, as I don't know what I could really say beyond that this is awful and my wishes go out to his family and friends. I guess in a time like this it's only proper to celebrate their life rather than mourn their death.

Lifelover was a band that I came to enjoy greatly, and while I times they're brand of melodramatic popesque black metal seemed a bit too over the top, the band created a truly unique sound that merged catchy melodic hooks of post-punk/pop music, with the absolutely dismal aesthetic and production of black metal. And yet, at times, whether in jest or not, the band could sound up-beat and true to their name. A must for fans of Alcest, Amesoeurs, Lantos, etc.

Hopefully Lifelover will remain a relevant band beyond this tragic loss.

Ash Borer - MMIX - MMXI

2011-09-10T19:35:00.003-04:00

"‘I love humanity,’ he said, ‘but I wonder at myself. The more I love humanity in general, the less I love man in particular[...]yet I am incapable of living in the same room with any one for two days together, as I know by experience. As soon as any one is near me, his personality disturbs my self-complacency and restricts my freedom. In twenty-four hours I begin to hate the best of men: one because he's too long over his dinner; another because he has a cold and keeps on blowing his nose. I become hostile to people the moment they come close to me. But it has always happened that the more I detest men individually the more ardent becomes my love for humanity.’ ”

Perhaps, just perhaps, more than any other style of music, black metal contains this similar paradox as outlined by Dostoevsky in The Brothers Karamazov. Now, we're not talking the highfalutin crap that Liturgy claims with its brand of "transcendental black metal" (don't click the link if you actually enjoy their music; it's devastating) but more so the eventual paradox of being a misanthrope yet keeping friends. A celebration of life is obvious in black metal's very Romantic tropes revolving around nature as well as its disdain for life revolving around, well, death. Does this mean Shelley would of liked black metal? I don't know, but what I do know is in its infancy, black metal never strove to make something "beautiful," "enthralling," or "somber." Instead, early acts (first and most second wave) looked to the morbid, the occult and sinister nature of things, mostly for shock value, but eventually in some sort of pseudo post-teenage angst as we saw with bands like Burzum. To avoid a history lesson I'll sum it up by saying, like anything that's given time to develop, evolve, or mature, black metal has explored such a wide variety of emotions and topics that bands like Ash Borer fully embody in a multifaceted sound in terms of emotion. On the surface, to be so ugly because of its hollow production, craggy/fuzzy guitars, cacophonous drums and distant screams, Ash Borer ultimately create something sublime in the face of what some might call "harsh."

The whole west coast of the States seems to be a hotbed for brilliant black metal. Some will go on for ages about the absolutely mediocre Weakling, while others overlook the genius of acts like Leviathan and Ceremonial Castings and the current groups like Fell Voices, Leech, and of course Ash Borer. And while I like all the bands mentioned , it's Ash Borer's recent collection done by Land of Decay that's got me absolutely hooked.

von Trier's Antichrist is a nice visual companion to Ash Borer

The sound of celebration and loss come together as one with Ash Borer's collected works. At times triumphant and harmonious, other times somber and bleak, Ash Borer are able to explore and conceptualize the sounds of the human heart, both in strife and in joy. The beauty the band possess is much in the same vein that Eliot's The Waste Land is hauntingly beautiful. Melodic nuisances surge back and forth, to crumble and decay, then to build up once again to momentous breaks. Invoking damp soil beneath your feet, fluttering wings in the distance and decayed timber; Ash Borer create long, winding songs that are completely absorbing and mysterious.

I probably sound like I've been drinking Chai tea all day and reading poetry, but I'm dead serious about all that Ash Borer invoke and achieve. The band is on the cusp at the most fruitful time for black metal in America and I can only hope they continue to elaborate on their sound and approach.

Short Walk- Don't Be One

2011-09-07T23:24:00.001-04:00

Who knew good 'ol Bill Shakesbeer was actually referring to power violence when he famously said "brevity is the soul of wit?" Fortunately for us, Short Walk sticks to Bill's words by keeping things short and sweet with their new tape Don't be One which is twelve tracks of blistering hardcore that's just under seven minutes.

Now, I'm not saying Short Walk are ready to sew leather elbow patches on their tweed jackets, I'm just saying they're heading in the right direction. While each song may only be around thirty seconds long, they cover a myriad of tempos and riffs which are mostly smushed in between balls to the wall blast beats. Take "Dude Machine" which starts with the music equivalent of "keep away" and then goes right into a flurry of blast beats and shouts.

The band seamlessly manipulates rhythm and momentum to create energetic and attention grabbing songs. In a song I can only assume to pertain to everyone's least favorite footwear (up there with Crocs) "Uggs (Kill Yourself" shines through as the highlight of the tape with it's continually shifting rhythms and sheer moshability. The band kinda reminds me a bit of Ceremony if they were a little more interesting and higher octane and Insect Warfare's deceptive ability to play something familiar sounding but better (well in their case, perfect). The songs seem to contain the sense of humor and criticism we usually see in hardcore (taking shots as clothing styles and their scenes, songs about moshing, and some fuck yous) which isn't a bad thing at all, just more to solidify the band as being completely amenable to any fans of the style.

&lt;p&gt;&amp;lt;a href="http://shortwalk.bandcamp.com/album/dont-be-one"&amp;gt;Don't Be One by Short Walk&amp;lt;/a&amp;gt;&lt;/p&gt;

Perfect music for people with attention issues, Short Walk's fluidity and excellent execution doesn't break any new ground but simply rocks. And while six minutes might be too little to judge a band on, Short Walk clearly demonstrate a style of hardcore that is best suited for the pit and begs to be expanded upon.

I like this band, and I like a lot of other good things, so you should do what I say and listen to their tracks via their facecamp, or bookband, or whatever.

If you need further proof of my good taste here's a quick list of things I like that everyone should agree is good.

The Simpsons
Maker's Mark
Friday the 13th
Reign in Blood
Louis C.K.
Ice cream sandwiches

Enough?

Check the band out, WALK don't run for this one, yuck yuck yuck yuck (I don't even know how that makes sense, I just needed to put one pun in about their name to make me feel good about myself).

Monday Night Violence: Spazz

2011-09-05T23:19:00.005-04:00

Up there with the rest of the guys, Spazz made their name known through the 90's as one of the best, most endearing and important power violence bands. If Infest, Capitalist Causalities, and Dropdead were a bit too serious for you and all you wanted to do was skate and talk about kung-fun movies, Spazz was, and still is, there for you.

Started in 1992, Spazz quickly set out to record numerous splits and EPs as well as a handful of LPs in the short span of a few years.Beyond the actual band, drummer Max Ward's 625 Thrash as well as bassist Chris Dodge's Slap-a-Ham record labels became two of the best, and most important labels for the burgeoning hardcore/power violence scene (and very relevant today as harboring some of the best and rarest releases around). Beyond the history, the band never slacked on quality and consistently released energetic, fun, and spontaneous music.

Like the previously mentioned bands Spazz were an act that helped define the genre and scene that had come about. Beyond that, Spazz developed their sound to embody the up-beat nature of the 80's Californian skate punks that became lost as power violence moved towards the heavier and more serious realms of things. This isn't to impose absolutes, or define quality, but rather to say, in the end, that Spazz found a special place in my heart (and no doubt others) with their goofy brand of skate punk influenced power violence.

Of course Assholeparade comes to mind, as does Charles Bronson when Spazz's style is called into analysis, but no band nailed it as perfectly as our favorite movie quoting West Coasters whose penchant for hip-hop and skate culture mixed with kung-fu movies and an unending sense of humor and aggression made the band perfect for all occasions. Crush, Kill, Destroy is infallible as it has the perfect mixture of inane 90's anti-gangster PSAs, one of my favorite vocal ensembles and some completely ripping music that is as brief as it is attention grabbing and fun. "Let's fucking go" is an inside joke of sorts as it sample's Man is the Fatherless Son's song "H.S.M.P," and goes on to be better than anything the band without a father has done. And while sometimes innumerable amounts of samples becomes a distraction from the music, Spazz never fell prey to this as they had you laughing right into a severe case of whiplash only to find yourself still smiling and excited for more.

The employment of random instruments, whether sampled or not, offers a complete curve ball in the silly mess that is Spazz. "Turnbuckle Trechary" has big bandeqsue horn, bob up and down out of no where.

The humor isn't just limited to the nonsensical song titles, boss samples from anything from The Simpsons and Airplane!, to obscure black metal bands, melodramatic public service announcements and nearly everything in between, but also the Barneyesque bellowing yells and the playful compositions and dramatic shifts in individual songs that can be found throughout their discography. Few bands possessed the ability to instill a sense of invigorating energy and humor without getting tired and trite.

For a band that's not so serious, I shouldn't be either. I fucking love this band for their consistency and movie taste.

"Billy... have you ever been in a Turkish prison?"

My goal in life is to write an accompaniment to Spazz's discography that highlights the material sampled. One day...

Essential Listening

Crush, Kill, Destroy
Possessed to Skate Compilation
La Revancha
Sweatin' to Oldies Compilation

Forgotten Lore: Torgeist

2011-08-31T13:15:00.003-04:00

Torgeist were an obscure, short lived French black metal band that belonged to the Les Légions Noires ("The Black Legion" for you non Francophones). Started in 1992 and dead by 1996, Torgeist left their mark with a meager 4 releases (pretty much the norm for these short lived, incestuous bands). A peculiar thing about the Les Légions Noires is that from its start sometime in the early 90's until its demise right before the turn of the century, only one band was able to muster out a full length album (it being Vampires of Black Imperial Blood by the only "successful" LLN band Mütiilation). History lessons aside, there was something that always caught me about this lo-fi obscure outfit.

One listen to Devoted to Satan and you've probably made up your mind about the band. One of the better recording jobs for a LLN band (listen to Vlade if you want an idea of how awful production could be or better yet La Morte Luna by Vlad Tepes) Devoted to Satan is more primitive and evil sounding than the melodic acts of Mütiilation or Vlad Tepes. Death metal like mid tempo drumming pinned to scratchy hazy guitars and surprisingly audiable and effective bass creates and surging headbangable sound that many of the LLN strayed away from. The title track from the demo is one of my favorite songs, especially the melodramatic and haunting intro.

Thankfully Time of Sabbath offers a better production job as opposed to Black Legions Metal (a split with Vlad Tepes containing the same tracklist but poorer sound). In comparison to acts now, Torgiest might seem needless raw, unimaginative, or stale, but when I first heard them amidst my exploration of black metal I was fascinated by the paradoxical production and their ultra rhythmic approach, not to mention its hard to ignore the whole LLN thing (although in all actuallity it was probably just a poor attempt to follow their idols up North). Fun a real fun time, listen to the 1994 Rehearsal Tape and try and enjoy those ridiculous vocals. And yet, as much as I can knock this band I keep listening to them, and enjoying them as they act as an interesting time piece for black metal's development and departure from death and thrash metal

Obvious links to acts like Torgeist and Vlad Tepes exist in black metal's current incarnation (Akitsa, Peste Noire, Celestia to name a few) and the importance of the LLN should never be discounted. Fans of noisy, disruptive, and painfully bad production will flock to bands like Torgeist but won't appreciate what's hidden under all the fuzz and thinned out cymbals.

Be weary if you plan on buying anything LLN, especially pieces that claim to be originals as they are one of the most highly sought after groups of releases in the metal community. There exist numerous bootlegs of almost every bands and one of the only reliable sources I could think of would be Drakkar, a label very closely associated with the LLN. If you find yourself thinking Emperor got too clean, or things now seem a bit too easily done, then Torgiest is a band for you.

Live Evil

2011-08-31T00:12:00.001-04:00

I've been trying to come up with a good list of live albums worth your time. It's hard as so many bands seem to have the mic in their back pocket so it sounds like complete crap. Granted this is not definitive, in fact I hope to add to it as time goes on. The only criteria is that the recorded material has to have been live, whether in a studio or on a stage.

Here's a temporal list of some of the best live albums period. Tell me what yours are? And, for the most part, I stayed away from bands like Unholy Grave who seem to record just about anything.

Nasum - Doombringer

A real testament to the band's prowess and legacy, the posthumous live album recorded in 2004 in Oaska Japan and released in 2008 might be Nasum at their finest. The untimely death of singer Mieszko became a focal point for the metal community, not only to mourn one of the most promising members of a grindcore band, but also the hundreds of thousands who died as the result of the Indian Ocean earthquake in December of 2004. It's hard to think of this as a live album as it has one of the fullest, and best production jobs the band has ever done. Maybe a bit enhanced in post production (we're talking Scott Hall here after all), Doombringer shows a varied, focused, and extremely potent Nasum playing some of their best material. Older, rawer tracks like "Lцpandebandsprincipen" never sounded better while more recent tracks such as "I Hate People" and "Doombringer" sound so much more powerful. Personal favorites "Corrosion," "This is...," and the obligatory jumpdafuckup of the discography "Inhale/Exhale" easily propel this to being not only one of the best live albums, but one of the best grindcore albums.

Destruction - Live Without Sense
Destruction, possibly the most worthy of the Teutonic thrash acts, deliver not only their best release, but one of the best live albums in metal histography. Having heard this my expectations were set extremely high when I was on my way to see them some 3 years ago. All I can say is they were met. All the requirements are here "Curse the Gods," "Mad Butcher," "Bestial Invasion"(possibly the greatest metal riff ever written?), "Eternal Ban," and the amazing Glenn Miller outro "In the Mood" that's just badass. Well rounded production, no interference, intense crowd and Schimer's quintessential 80's thrash voice knock the figurative socks off anyone who appreciates thrash metal.

Misfits - Evil Live

Quintessential release for one of the best, and most influential punk bands ever, Evil Live features one of the best lineups and one of the best performances of the band, along with some of their best songs (some personal favorites are missing, but what can you do?). There's a hazy, tinny touch to the recording, especially in Gelnn's voice and Doyle's guitar, but that's just part of the charm for this 30 year old release. "Astro Zombies," "Horror Business," "Ghouls Night Out" and "We Are 138" with punk's most lovable actor/comic/poet/tv host/renaissance man ends it on a high note. The sloppiness of some of the performances only highlights the fun and enjoyment of the release.

Extreme Noise Terror - Peel Sessions
For a band with a seemingly endless amount of songs and variants of those songs, the Peel Sessions are a fortunate collection of Extreme Noise Terror at their best. The name John Peel should be recognizable as he was a huge force in getting handfuls of great bands recognition, not just in the U.K. but all over the world. That aside, for being a characteristically sloppy and all over the place band, E.N.T sound their best this time around as both the production and performance seem fitting for the band. Necessary tracks such as "Conned Through Life," "Work for Never," "Deceived," "Murder" and one of my favorite covers "I'm a Blood Fool" (Cockney Rejects) turn this album into a "best of."

Cradle of Filth - Live Bait for the Dead

To many, Cradle of Filth were the epitome of cliche mall metal and the death knell for contemporary black metal. While I'll never say I like the band's personality, antics, banter, or the majority of their catalog, Live Bait for the Dead, has been a favorite of mine since I first heard it. From the robust production, to the perfect set list, Cradle of Filth show why at one time the guys from Emperor liked them and how a loyal and devoted metal head like me could appreciate something so tongue in cheek. Simply put, it's the riffs. The band's affinity for Priest and Maiden is clear in their leads and riff work and the Dani does his best to be tolerable. Say what you will about this band, but much like melodramatic movies and books, Cradle of Filth have their worth.

Discordance Axis - Pikadourei

Sometimes grindcore becomes more about the energy than the music, and even rarer than that is when both the music and the energy are on par, or rather feed into each other. Pikadourei is a shinning example of a band playing their grinding hearts out and managing to do so with an amazing set list and precision. While some of the higher frequencies get muddied, and many riffs fall into abstract feedback, it adds to the controlled chaos DxAx always did so well. Having first seen this, rather than hear the cd, I have a different memory of this. The visual aspect is mostly shot and cut like a snuff film and edited in a confusing and psychotic way (seemingly so that Chang's posture jumps from standing to laying on the floor, from shirt wearing to shirtless, and beyond!) that fits right in with the band and their performance. While it doesn't compare with the likes of their proper releases, it's one of the most driven live performances recorded.

Sunn 0))) - Dømkirke

Drone's equivalent of P-Funk, Sunn 0))) bring together their friends Attila, Steve Moore, and Lasse Marhaug together for one of their most profound and enthralling releases. Recorded live in the Bergan Cathedral in Norway, which dates back to the 1600's (and previous incarnations to the 12th century), Dømkirke sounds like some awkward miscue as if Sunn 0))) and co. were allowed to perform Sunday mass for the crowd.The setting becomes part of the record, as anyone who has heard music in a church before knows it sounds like nothing else. Low organ notes hush a respectful crowd and Attila is given the spot light as he croons the crowd with his distinct bastardization of operatic vocals throughout "Why Dost Thou Hide Thyself in Clouds?" Subsequent tracks allow O'Malley and Anderson whip out the big guns as they do their best to hone the cold atmospheric sound of Norway's prodigal children. There's not much else to say about this except for that the beautiful church organs are probably the best things ever to happen to drone since Nadja re-recorded Bliss Torn from Emptiness.

Horna/Behexen Split

The catalyst for this list, Horna's split with Behexen ranks as my favorite release by both bands, but also in terms of live productions. Recorded live in studio, the split features both bands in their prime (in fact, this is the only thing Behexen has ever done that's worthwhile). That said, the one-take setting of the album shines through as drum sticks start songs and Corvus's vocals retain an unmatched dominance as they shriek and growl and sound completely possessed. An organic and simple production matched with Horna's best effort at song writing create their finest moment. On the other side, Behexen offer one amazing track ("Ritual of Flesh and Blood") and two mediocre, which means this is amazing by their standards. Melodically intertwined with the utmost vehemence and unholiness, Horna prove themselves to be absolute masters.

Honorable mentions go to my handful of bootleg Immortal live recordings (especially the one where Abbath tells everyone to shut up), Iron Lung/Pig Heart Transplant/Walls's Public Humiliation, the 4,000 jazz records I'd like to list but would involve way too much, and this....

Yeah I'm sure I forgot a lot... so let me know! What are your favorite live recordings?

Interlude

2011-08-30T15:10:00.000-04:00

With the advent of hurricane paranoia, I found myself trapped, in doors, for the weekend and due to my situation couldn't work on this illustrious blog (plus a huge workload yesterday that I'm still feeling today). That said, here's a little place filler (Sorry for the lack of a MNV!!! Next week, I promise).

From our good friend Adam over at Gilead Media, we have exclusive original artwork from RAINBATH Visual. Having done artwork for Ash Borer, Fell Voices, and Deafheaven I have seen a lot of this stuff and absolutely love it. A little out of my price range, but hopefully not yours. Check it out on EBAY.

The fall proves to be an exciting time here in NYC, beyond the beautiful weather I'm waiting for, we get to have lots of shows. Swans, Wolves in the Throne Room and Thou, Despise You, etc. So come out if you're in the area.

Got a nice list in the making, keep your eyes peeled.

And if you're a hockey fan like me, check this out. He's not much of a goalie, and apparently he likes "4-5 songs" by Maiden, but whatever. Cool as hell.

Converge @ House of Vans, Brooklyn. W. Krallice & Touche Amore

2011-08-25T11:18:00.001-04:00

I'll get down to brass tax immediately. I'm not a big Converge fan, I had never listened to Touche Amore before and I was too busy drinking as much free beer as I could to listen to Krallice. With all of that said, I can't think of a better show to end the summer with.

Note the cartons of water; this was pretty hip.

Things started innocently enough waiting on line an hour and a half before the show began and drinking secret whiskey The show, being free and all, plead with its future guests not to line up before 5pm (it opened at 7pm). After enough waiting to get inside the awesomely huge skating venue, it was time to wait for free Heineken Light (hey, it was free). The place was great as it's a huge indoors/outdoors skate park that catered to the crowd pretty well.

From the little I heard Krallice actually sounded pretty good. I say it that way because being such a huge fan of the first LP I was completely dismayed upon hearing the second LP and seeing them live two years ago at one of the sloppiest/poorly set up shows I've seen. So unfortunately I chose to spend time with my friends outside who didn't care for Krallice.

I had never heard Touche Amore but they put on quite a set. Whenever I think of a screamo band, I pictured this band unbeknownst to me. Their stage presence and show were energetic, livid and not without letting the crowd take over for some verses. They were pretty good, although some porter-potty line talk with a bunch of angered guys lead me to believe this was far from their best performance. The drummer even got away with some blast beats; so I was satisfied.

Converge singer Jacob Bannon taunts the crowd atop an amp.

Finally Converge took the stage and started things off with a song I actually know by the band (I think it was "Heartache" off of No Heroes). For only having two albums of theirs, I knew a hell of a lot of songs. Converge is a band I've always deeply admired, yet never really cared for. Having sucvh a diverse and large fanbase speaks well of a band, especially in the extreme music scene. Beyond that, as successful as they may be, they've never tried to appease anyone (label or fanbase) and have always done their own thing. So whether you like the band or not, there's a huge level of respect to be given to the band. This was my second time seeing them (you'll quickly find out most people at their shows have seen them upwards of five times, typically). As mentioned earlier with Touche Amore, the sound wasn't all that great and Jacob's love for swallowing the mic made every scream completely incomprehensible (more so than expected). Beyond that, the band played a tight, energetic and a relatively short set full of crowd favorites and many new ones from their most recent LP Axe to Fall.

While I've been seeing shows for over ten years, mostly in the NYC area, I had completely forgotten the testosterone driven frenzy that a band like Converge may bring. Teeth were knocked out in front of me, a guy congratulated by his friend for knocking an unsuspecting kid to the ground with a rabbit punch, broken noses, etc. This by far wasn't the most violent show I've seen, but isn't that silly in of itself that I have to give that disclaimer? I love moshing, I'm not knocking it, nor am I saying anything about the band, but rather the machismo driven idiocy that perpetuates people doing kung-fu spin kicks, windmills and cartwheel kicks into a tightly packed group of individuals. Give me any stock grindcore/ thrash band, and I'll be in the pit. The focus seems to have shifted from an abundance of energy and excitement to an excuse to fight, and show off your "dance moves."

That tangent aside, no one can complain about a free show, especially with acts such as these. Free beer to boot and you've got the quintessential summer show. Good jobs Vans and Heineken, showing you suites know how to rock out too.

Protestant Preview

2011-08-24T15:08:00.004-04:00

Milwaukee's Protestant power strong as they stay true to their name with a similar work ethic and a slew of upcomming releases. First, and almost ready, we have the Stalemate 10" loaded with 6 songs of metallic hardcore that shouldn't surprise followers of the band. In the not-so-far future we're promised a split with Poland's most important act Suffering Mind (prove me wrong) and another split with Maritime (I'm unsure as to which Maritime we're talking about... that'll become more clear the closer we are).

Cory, head of Halo of Flies, as well as guitarist/vocalist for the band was nice enough to send me a preview of the up coming 10". While I think The Antagonist and The Hate/The Hollow might be my favorite offerings from the band, the new material is nothing to scoff at. "Nothing Left" starts off with a battery of drums that quickly jumps into the cathartic flow of d-beats which set the back drop for the rest of the ep. The second half of the ep showcases my three favorite songs as well as a shift to a more melodic and driven sound. "Corners" and "Swindle" quickly became my two favorite songs as their reliance on simple melodic hooks intertwined in the thundering drums and bulldozer bass is right up my ally. The melodic hook amongst the sea of cymbal crashes and throaty growls that end "Corners" was the first thing that really struck me about the EP and made me replay it. "Swindle" ends a powerful strive of post-rockish gutiars strumming endlessly as some of the best/most fitting lyrics the band has put together come out.

lest we forget what we had

what we thought they did

lest we forget who'll we'll be

when we're sitting broken with all the rest

Maybe a thematic tie to one of my favorite songs off of Judgements, "Revenge," Protestant are at their best here. Beyond the simple, important fact that the songs are damn good, the production sounds amazing. This is the fullest, warmest, and most well rounded I've heard the band yet. Needless to say I'm very excited about all of this.

Worth it's weight in salt, gold, cash, or blood, Protestant thankfully show no signs of letting up. While I have no inkling as to what the two upcoming splits have in store, I can only hope that maybe a little Polish influence can be instilled on these vehement hardcore dudes.

Catch them on a brief run over the West Coast that can be looked up here when details become announced.

Protestant at The Borg Ward (1/13/11) from Bullart. on Vimeo.

Monday Night Violence: Iron Lung

2011-08-22T17:54:00.001-04:00

Seattle based duo Iron Lung are one of the best purveyors of power violence today. Right off the bat, one of Iron Lung's best qualities is their ingenuity when it comes to song writing and style. Playful at times, dismally oppressive at others, this guitar drum duo create so much with so little that a first time listener will find it hard to believe that this band recreates 100% of their recorded material live. Characteristically dissonant, fast, and uncomfortable sounding, Iron Lung find themselves incomparable.

Songs like "Arc Lamp" and "Pushing Life" showcase the musicality playfulness between drummer Ward and guitarist Kortland between the weird plopping riff in the middle of "Pushing Life" or the awesome stop start workout of "Arc Lamp." Cold Storage offers a great starting point for new comers as it's a catch all of some of their best work (not to mention many of the original sources being out of print). In addition to the two mentioned previously, "Body Enclosing," "Spirophore," and "Mechanical Assistance" are essential tracks from the band.

Major shifts are obvious, mostly in terms of production when comparing their early days and their sound today. Sexless/No Sex is an incredibly overwhelming and well throughout record that leaves little room to breath. Tracks jump from one to another as if they were afraid you might turn the record off after one song (the jump from "Future Corpse" to "Sexless/No Sex" is one of my favorite build ups). As mentioned earlier, the craftsmanship is a pinnacle as their songs are so dynamic and fulfilling. While traces exist, one of the only things I've found Iron Lung to have dropped over the years are the incredibly bleak atmospheric intros that sound reminiscent of outdated medical equipment and large apparati associated with fatal diseases. Beyond that, later material sounds a bit closer the hardcore spectrum of things and offers a much fuller and warmer production.

I was fortunate to catch the band back in 2010 when they played the pre-fest show for Maryland Deathfest. Needless to say they were the highlight of the night, as well as one of the best bands that weekend. Drummer/Singer Jensen Ward was a surprisingly funny guy offering some stand-up like banter between songs. I was pleasantly surprised to see Ward handle singing and playing drums so well (I figure this is harder than it looks).And while the set couldn't have been longer than 30 minutes, they did all they needed to to do with some of my favorite songs.

Beyond their amazing live show, as a drummer, Ward is one of my favorite players. Rarely is a drummer in the spectrum of punk as imaginative as he is. Whether it's playful beats, off-time sounding accents, or dexterous fills, he has such a huge personality that comes through in his drum playing. "Pushing Life," "Arc Lamp," and "Concentric Circulator" are just some examples.

Another highlight to the band has to be their penchant for collaborations. There is Public Humiliation which is a collaboration between Ward and Kortland's side projects, Pig Heart Transplant and Walls (respectively) and was recorded live back in 2008. The former is noise act of sorts while the latter is a hardcore act. I love live recordings, and this one just so happens to be great. This was throughout, yet a bit spontaneous sounding. Another collaboration with the Gulf Coast act Hatred Surge is great as well, although they mesh so well it doesn't sound as varied as Public Humiliation does.

Intrusive, sporadic, creative and jarring, Iron Lung strive strong as one of the most interesting, challenging, and simply good bands around (never-mind the genre).

Essential Discography

Tentacled Breathing (split w. Teen Cthulhu) 7"

Demonstrations In Pressure and Volume 7"

Life. Iron Lung. Death. LP/CD

Sexless//No Sex – LP/CD

Broken- A Collaboration (w. Hatred Surge) 7"

Public Humiliation- A Collaboration (w. Walls and Pig Heart Transplant) LP

CONFORMCONFORMCONFORMCONFORM

2011-08-16T21:32:00.001-04:00

Check out the Facebook page for quibbles and updates. Check the Last fm to see what I've been listening to (too bad I can't get it to record my tapes/records).

Plenty of reviews in the works. Interviews shortly.

Meanwhile. Huge update at Gilead, check that out.

Tours

Thou, some dates with Wolves in the Throne Room

Despise You w. Magrudergrind

Grave w. Blood Red Throne

Enslaved w. Ghost & Alcest

Converge

Victims

Swans

Forgotten Lore: Mohoram Atta

2011-08-16T19:46:00.007-04:00

How many times have you bought a split, record or, downloaded something without knowing the band and become completely infatuated with that said band? Now, how many times have you had to suffer the disappointment of realizing that band doesn't exist anymore? This was the story for me when I received my copy of Thou's split with Mohoram Atta entitled The Degradation of Life nearly two years ago.

While I bought the split for Thou's portion, I quickly became enthralled by Mohoram Atta's side. My inability to successfully coherence friends into a band, and as well as to do anything except play the drums had left an undying hunger for two of my favorite styles of music/aesthetics to be successfully combined. I dug through so many bands just to find the perfect mixture of melodic hardcore and black metal, some close (think Martyrdöd) some lacking the His Hero is Gone/ melodic touch I was looking for (think Infernal Stronghold or any recent Mark McCoy project, etc) and some just bad.

All of that said, I was astounded at the end of Mohoram Atta's split with Thou hearing the track "Forever Sleep" as it completely blew me away. A somber melodic riff put to building drums and an ajoining second guitar continue to build to one of the most epic crashes I've heard. Picture a song like Envy's "A Warm Room" covered by a black metal band and you have "Forever Sleep" in a nutshell.

This comparison isn't to discredit Mohoram Atta's originality, quite the opposite actually. Few times does a band capture exactly what's been humming in your head, or rather, offer something you've always wanted subconsciously, something you can't find and something that's always a goal. As high strung as that sounds, it's true as Mohoram Atta were able to cover a wide breadth of emotion and dynamics. From the mournful cascading mountain of a song like "Forever Sleep" to scathing and melodically driven tracks like "Birthright" or "Cull, " and one such as "Weight of Existence" which encapsulates them both, Mohoram Atta covered every single aspect of their sound.

I would have to say their work on the split with Thou is my favorite. Having been fortunate enough to pick up Desolate Motherfuckers when I was in the U.K. I'd say that's a second favorite, and lastly, out of what I know to exist, is The Weight of Existence demo. The band, at times, employed three guitarists and apparently had an amazing stage presence.

It's a shame this band didn't continue. However, members have found their way into some great bands. Drummer Mike plays drums in the awesome black metal act Fell Voices, his solo project Sleepwalker (another good black metal act) and Resin Hits. Singer Brandon has Yarn and Sea, a cute acoustic band with a female singer (not too bad actually) as well as Wolfgöd who play a glam inspired style of hard heavy metal. There's probably a handful I'm missing, but a lot of my information is from word of mouth, crosschecking members lists on Myspaces and Facebooks, etc.

Keep an eye out for any of their releases, or their member's bands.

Monday Night Violence: Lycanthrophy

2011-08-15T12:19:00.003-04:00

If the Czech Republic didn't already bless us with great hockey players with better haircuts, good beer, sausages, and one of the most humorous authors in the world, then we've been truly blessed with Lycanthrophy.

Taken from their Myspace, Lycanthrophy formed in 1998 and quickly produced a demo and played what/where they could. Fast-forward nearly 12 years later and we finally have their first full length, simply titled Lycanthrophy. Their s/t completely blows anything they've done out of the water. While there's no drastic change in sound, everything from the production to the exact moment the vocals change is perfect.

I came upon Lycanthrophy by chance after my interest in Suffering Mind had been piqued by their, self-titled LP. Suffering Mind's split with Lycanthrophy ranks among one of my most played 7"s. Besides Suffering Mind's offering, Lycanthrophy's endless barrage style appealed to me right off the bat. Furthermore, the somewhat recent addition of a female vocalist was a huge vat of icing to be shoveled directly into my mouth, skipping the cake.

Lycanthrophy's style and delivery is completely unrelenting which makes impossible (and pointless) to pin them to either grindcore or power violence. Punk sections shift to blistering blast beats without a second's notice, frenzied guitar riffs strum out to punk power chord progressions. Measure to measure is like a roller-coaster fashioned after the slimmest W's you've ever seen.

Having never made it across the Atlantic (to my knowledge) there is still hope! Until then, if you find yourself in Europe they seem to get around plenty. On a side note, connecting last week's band of choice, Lycanthrophy covers "No More Feelings" on their split cassette with Neni Uniku. While the cover's nothing much to speak of (the singer sounds like he swallowed the mic and is singing into a sock), it's still a funny coincidence.

For fans of Agathocles, Warsore, Crossed Out, Yacøpsæ, Gride, and Dropdead.

Essential Discography

Split 7" w. Suffering Mind
Split 7" w. F.U.B.A.R
Split 7" w. Gride
Split LP/CD w. Saywhy?
Lycanthrophy

Good luck finding their stuff this side of the Atlantic. I was able to snag the s/t on Discogs, and the split with F.U.B.A.R and the one with Suffering Mind, seem readily available here.

True/FALSE

2011-08-14T16:43:00.001-04:00

Lo and behold, another promising young black metal band pushed into the limelight by our friends at Gilead Media and Howling Mine. If Fell Voices, Krallice, Ash Borer or Barghest don't ring a bell than you've got your day set for you.

False's ferocious, non-stop, high stake style of playing paired together with omnipresent vocals and unexpected, but strangely welcomed synth accompaniments round out False's unique sound. While the two songs span roughly 25minutes, it's unfair to compare them to bands such as Wolves in the Throne Room, Fell Voices, or Leech. Instead, False employs what I can only think of describing as "upbeat" melodies (see the beginning of "Key of Passive Suffering"). Furthermore, unlike other long-song black metal bands, False doesn't rely on atmosphere and repetition, but rather impact and melody. Taken from Gilead despot Adam,

"I first heard about FALSE while sitting around a coffee house in Madison, WI with Bryan and Andy from Thou. They had just played Minneapolis the night prior, where FALSE closer[sic] the show, and everyone in Thou was entirely and completely blown away by how intense and relentless FALSE were live. Just going off their description & the obvious impact left upon them, I knew I had to hear FALSE immediately."

Relentless would probably the best adjective to describe False as the two songs don't skip a beat in transition and even the slow(er) parts of the songs surge with such urgency it's easy to take the guys from Thou at their word. And while this is all true, there's something that doesn't quite sit right with me.

I can't pinpoint exactly what it is, but I'm not a fan of the vocals.It might be the tonality or delivery of them, but for whatever reason I can't get into them. Beyond that, my other complaint lies in the cheesy at times synth effects. Throughout "The Key of Passive Suffering" they feel a bit too over the top and flounder in a middle ground of not quite symphonic black metal. That said, everything seems to click perfectly in "Sleepmaker" where the keys sound a bit more subdued and less over the top.

Listen to the full b-side which is streaming at NPR

Limited shirt printed by Adam of Gilead Media to go with your new LP. Looks beautiful.

Pre-orders up over at Gilead, as well as all the awesome merch we've come to expect to be spoiled with from the label.

False-"Untitled"2011

Krallice- "Untitled"2009

There's something in the drinking water of Gilead. With 3 black metal albums released in the pass year simply called "Untitled" and the Krallice repress done in '09 by the same name. Also note the similar covers.

Parting words from the band about themselves and their sound.

"Black Metal for post-apocalyptic desolation. Reject the promise of progress and the encompassing void that constitutes fulfillment. Solace in desecration."

Forgotten Lore: Frontier

2011-08-11T11:30:00.004-04:00

A little more than a year ago I was fortunate enough to stumble upon Frontier's 4 song demo on a media sharing site. Not expecting much from a completely unknown 3 piece based out of Massachusetts I found the longest ladder I could find and slowly crept down from my extremely high horse (very high). Lo and behold, my snobbery was unwarranted and, as usual, my pessimism wrong. Frontier's little 4 track demo (only 10 made), spanning roughly 24 minutes, happens to be one of the best pieces of black metal I've heard in the past 10 years.

An extremely well rounded, warm, and full production allows for the band's prowess in writing and musicianship to shine through. Impossible to compare to any other band, yet pragmatically familiar sounding, Frontier offer a brilliant mixture of ferocity, melody, emotion and energy. Painfully strained vocals, varied and driving match the melodic guitarwork and complex drumbeats, fills, and accents. Beyond all of that, each track transgresses whatever pigeon hole might aim to falter their run and keeps the momentum up and our interest piqued.

As the demo is nearly impossible to get a hold of, the band happily advocates it's download.

Unfortunately, the band never made it past that one little demo. Exact reasons unknown, it can only be assumed that the situation just didn't work out. That being that, guitarist Marvin Quinones has his one man raw black metal band Sangre y Tierre and bassist/singer Mark Pechak has gone on to form Desolate Wind.

Be happy to have something, but I wouldn't blame you to be upset at having nothing to look forward to.

Battles in the NORTHLESS

2011-08-10T11:30:00.000-04:00

Beer capital doomernuaghts Northless set off on a anti-confederacy tour beginning this Saturday in Indianapolis, and moving its way through Pennsylvania, New York, Connecticut, Ohio, and ending with two shows in Illinois on the 20th. I hoep to catch at least one of the shows in NYC (and I'll be sure to post some dribble here).

If you haven't checked out their most recent release, a slickly produced titan of a record released through our friends at Gilead Media, Clandestine Abuse, you're missing out. Having found itself featured in Maximum Rock and Roll, Metal Sucks, Decibel Magazine, A.V. Club Milwaukee, Northless seem to have gotten around quite well (and rightfully so). More important than any reviews, hype or anything else worthless; they got a burger named after themselves. Take that!

Look forward to a CD release of Clandestine Abuse soon from Siege of Power, especially if that heavy DLP was just too much for your non-burger eating arms. And if it wasn't, Halo of Flies is repressing that fatty for you.

Here are the dates

Saturday Aug 13 - 9:00pm

Indianapolis, IN - The Dojo

Sunday Aug 14 - 7:00pm

Philadelphia, PA - The Olive Garden - w/ Bubonic Bear, Callous and Mollusk

Monday Aug 15 - 8:30pm

NYC - Lit Lounge - w/ Mortals, Demilitia

Tuesday Aug 16 - 9:00pm

Brooklyn, NY - The Charleston - w/ TBA

Wednesday Aug 17 - 9:00pm

Wallingford, CT - Cherry St. Station - w/ Victims (SWE), Misanthropic Noise, Katahdin and Krakatoa

Thursday Aug 18 - 9:00pm

Albany, NY - Valentine's - w/ Planet Eater and Maggot Brain

Friday Aug 19 - 9:00pm

Columbus, OH - The Ravari Room - w/ Before The Eyewall

Saturday Aug 20 - 4:00pm

Chicago, IL - Reckless Records Instore

Saturday Aug 20 - 9:00pm

Chicago, IL - Bottom Lounge - w/ Hunters, Coffinworm

Northless homepage

Resuming Ending the Circle of Life...

2011-08-09T02:09:00.003-04:00

British melancholic black metalers Lyrinx released an EP back in 2009 titled Ending the Circle of Life. Seemingly insignificant in the sea of depressive black metal, what was then (and maybe still is) popular, Lyrinx unjustly fell to the wayside as bands such as Xasthur, Shining, and an unfathomable amount of USBM became the toast of the bedroom scene.

Ending the Circle of Life skipped over banal keyboards, absurd whining vocals, and the overall stiffness that came with doing the whole goddamn album on a computer (not to mention my biggest enemy, drum machines). And while they fall prey to conventions of the genre (over the top titles) they do hit the nail on the head.

Much like Nyktalgia, Lynrix (post-Nihilistic Purity) rely on core elements; a modest production and well written and performed music. The strength of Ending the Circle of Life was the song writing as each of the two tracks covered an enormous gap of time and distance as they progressed like larvae to a dried up moth. "No Failure in Suicide" sways back and forth utilizing a brilliantly catchy guitar riff and great drumming until it builds up into a mid tempo blast beat and a complete outpouring of emotion and energy. The song finally struck me as I worked one day, nearly ten hours straight on an awful silk-screening project, as it must have played in my playlist for a major portion of those ten hours. Every time I rediscover this EP it is amazing how content I feel with just these two songs.

With all of this in mind, after nearly two years of silence, Lyrinx are set to release their full length in late 2011 through Avantgarde Music, entitled Restriction and Failure.

If I lived in the U.K I'd be pretty depressed too.

Taken from Avantgarde Music's page, and written by members of Lyrinx, about the upcoming album they had this to say:

"This album focuses on the drone-like soul destroying nature of capitalism (or the system), and provides and analysis of the illusory nature of reality. Consciousness could be considered to be a miracle, yet the human spirit is divided and crushed by process, tax, and social structures...Musically this album will represent the old (Nihilistic Purity), and new (Ending the Circle of Life) but will also include elements of progressive metal and post-rock melancholy"

While I'm sold on the gimmick (it's nice to see a black metal band say something political that isn't in support of National Socialism (although this treads dangerously close)), the idea of progressive metal and post-rock makes me think of later Amesoeurs. I have a problem particularly with the "progressive" tag, but we'll just have to wait and see.

Demo Fodder: PILGRIM- Forsaken Man

2011-08-09T01:10:00.003-04:00

When a band's name is Pilgrim I think you know what you're in for; the long list of cross totin' 17-18th century iconography filled bands begins and starts under the banner of doom metal. Pilgrim's not so different, their slow, warm and fuzzy style of doom fits right in with big boys Witchfinder General, Reverend Bizarre, or Saint Vitus yet it thankfully contains it's own, unique murky sound.

With the lengthy intro aside, "Forsaken Man" carries along a catchy vapor-like melody that slithers through the repetitive ritualistic drums. Chants reminiscent of pagan rituals, distant haunting vocals sung in a brazen style and an eventual mid-tempo breakout halfway through "Quest" rounds out this two song cassette. Our main concern, as doom loving metal heads, are the riffs. How many riffs? Are they good riffs? WWIW? (what would Iommi write) and can I slowly nod until I pass out from a pool of blood forming in the back cavity of my burned out brain? Well the answer to all is yes (even if it doesn't make sense, I don't care). Pilgrim lets the doom riffs slide and repeat when needed, much like buttering hot corn.

...

All of that inane banter aside, the riff work fits right where it needs to; catchy and melodic enough, heavy and distorted enough, and nothing too over the top or boring. Pilgrim hit all the right parts of the doom palate.

Traditional doom never really gets me. I love Sabbath of course, but bands like Witchfinder General, St. Vitus, Pentagram are enjoyable, but never compelling enough for me. Thankfully, Pilgrim escapes this as they know every important note, sequence, and mood to create a fulfilling two song tape that makes any sane person demand more.

Note excessive beard hair and polarized effect. DOOOOM
Listen to the tracks here, then buy the tape through Electric Assault Records

Monday Night Violence: Despise You

2011-08-08T15:02:00.005-04:00

Monday Night (Power) Violence will focus on one power violence band each week and highlight their releases, their career, and maybe something you didn't know. Fittingly, kicking off this tirade I'll start with Despise You, my favorite, all time, power violence band.

If we were interesting enough, or maybe just crazy enough, we'd have a dictionary that had sounds to explain definitions. If one were to look up the word "animosity" in such a dictionary I, without a doubt, believe they'd hear a track by West Coast stalwarts Despise You.

Truly embodying the hardcore ethos in their lyrics, vocals, performances and song structures, Despise You offer one of the heaviest, non-compromising sounds around. The metallic abuse and their affinity for metal act as a catalyst in providing one of the most brutal, angry, and simply voracious sounds around. Pair that up with two vocalists who are equally pissed and you have the foundations of one of the best power violence acts around. Songs like "Career Overview" or "Culpa Mia" are so painfully honest sounding, making it impossible to look over Despise You's genuine nature and dismal outlook.

Having just released a split with techno-spazz grindcore fiends Agoraphobic Nosebleed, entitled And on and on... Despise You haven't let their 15 plus year career show through in a negative way. Couple that with an upcoming East Coast tour (something I'm more excited about then anything) and Despise You have themselves locked in as a consistent, blasting and buzzing reminder on how to get your anger out.

If there was ever a more perfect compilation than West Side Horizons, then my day to day listening would be dramatically skewed since I first found the release. Their tracks on the quintessential comp Possessed to Skate offers some of their best work, including "Mental Winter" and "Cry to the Bleeding Sky" (not to mention it's 'best of'' as it teams up giants like Spazz and Assholeparade with Despise You and other big acts such as Charles Bronson).

Going back to their recent split, it has one of my favorite Despise you tracks; "Roll Call" which features more "fuck yous" than anything I've heard since Toxic Narcotic. Along with "Roll Call" tracks like "I End Me," "No More...Feelings," "Bullshit Reflection," and "Hand me Down Existencia" are essential listening (among some other 80+ songs). Other bonuses are their covers, all of which are excellent. Their cover of Posssessed's "Burning in Hell" has to be my favorite. True to form, the songs covered spread a wide breadth also including Circle Jerks and D.R.I.

Despise You's influence is unmistakable, from other girl/guy acts such as Hatred Surge to fellow west coasters In Disgust, the proof is in the pudding.

Do yourself a favor and at least get West Side Horizons, and check them out at the following dates with Magrudergrind.

Essential Listening

And on and on... (split with Agoraphobic Nosebleed)

West Side Horizons (collection of the unreleased split LP with Man is the Bastard, Stapled Shut 7" split, Left Back/Let Down compilation double 7", PCP Scapegoat 7", Split 7" w. Suppression, Reality Part #1 compilation 7", Split 7" w Crom, and an Unreleased track).

Possessed to Skate split LP

MOLOCH- Possession

2011-08-07T02:49:00.001-04:00

U.K. sludge tyrants Moloch finally released their first full length entitled Possession through German label Vendetta Records. Not for the faint of heart, Possession makes its way through roughly 31 minutes of plodding, visceral sludge that's as reminiscent of stalwarts Eyehategod and contemporaries Salome.

By momentum alone, Moloch's made me a fan. The fevered yells time into the tectonic drum shifts as they themselves time into waves of feedback that keep the listener stupefied as the sheer power and volume of the music treads that deliciously sludgy line of what's too loud.

For a band that rarely finds a mid-tempo they sound very comfortable in the little giddy-up sections as the drums ride and the guitar plays a very NOLA-esque riff. That said, it's not common place as the band's bread and butter are the march like pushes I've hinted at before. The drums themselves are so immense that I picture the drummer fully raising his arms above his head before each hit for the loudest hit possible.

By far one of the most intense, overwhelming, and bowel-shakingly enjoyable releases this year. The band exudes such a level of dismal nihilism with its sound, stark and minimal artwork and the voracious vocals that always penetrate the listener above all else. Be sure to get your hands on this one.