THE THIRD OF THE STORMS: SEMI-RELEVANT RECORD REVIEWS BY AND FOR THOSE WHO FREQUENTLY CAN'T SEE THE FOREST FOR A BLADE OF GRASS AT THE FOOT OF ONE OF THE TREES. Forward, delete, repost, or rewrite as you see fit. Just don't include my e-mail address or full name. No crediting necessary or desired. If anything stated is flat-out wrong (i.e., “Pek is from Belgium but you identify them as being from Minnesota” and not “you say Dehumanizer rules but that record actually totally sucks”), please let me know and I will correct the error. There are no links, downloads, or label contacts, just text. If you aren’t willing to actively seek something out on your own, you don’t deserve to hear it (let alone have it). I offer the followiing for Lou, for Kevin, for those who have traded with me over the years, and for you. Hail Autopsy. *************************************************************************************************************************************************** Portal (AUS; 2009)-Swarth Portal have fully crossed the threshold from the musical to the non-musical. From Trey Azagthoth (the flight of the visionary morbid angel) to Tres Azathoth (the descent and subsequent rise of the thrice-cursed blind idiot-daemon who “…gnaws hungrily in inconceivable, unlighted chambers beyond time and space amidst the muffled, maddening beating of vile drums and the thin monotonous whine of accursed flutes”). Trappings of musical endeavor lay scattered about like shredded flesh…no longer central nor arguably relevant to the monolith which has erupted from within. The niveous-bearded swineherd daemon rises from the center of the splayed chasm…knee-deep in fungal filth…as prophesized by despairing eyes in 1923. Rats rain down in sheets of malice, metaphorically consuming the sultan-beast and his flabby minions but in actuality ingesting the actualization of their collective death. The release undulates accordingly. It is grotesque in the most literal sense (or the most literary, for those well-read in the appropriate texts). Guitars crash and bend and clang and squelch unevenly between channels. Their tone is stripped of melodic resonance and instead bears cold, alienated function. They advance nothing and express little. Nor should they, as they are merely warped layers of precipitated timepoints that form the skin of the beast…the alternate realities…previously only visible to and accessible by the most adept of the spiritual somnambulists. Drums solidly pierce these warbled planes via one linear vector, while vocals forcibly punch through in accordance with another. Bass constitutes a third, but is frequently occluded and partially redacted. A phantom limb? Oblique rotations of the vectors reveal what was suspected all along (and quietly feared, as expressed through hushed whispers and concealed tremblings): No variance explained. No factor defined. Formless to our understanding, yet entirely, undeniably present and deeply imbued with Will. An unintelligible Will which is clearly averse to our interests. Yet we will continue to fixate on the trivialities of our meaningless lives and obligatorily march towards our shapeless doom. Warned, but still unaware. No tragedy here. “Ultimate horror often paralyzes memory in a merciful way.” Stress (BRA; 1982)-self titled Yes, yes, yes. How much pre-1983 Brazilian heavy/speed metal do I have? Just about none. That's because this is allegedly the first Brazilian metal band to release an lp. My only reference point from the time is the first ep (1983) from Vulcano, but this is so far above and beyond it makes no sense to compare. They have different foundations anyway, with early Vulcano drawing more from hard rock and Stress drawing more from the most potent of the NWOBHM. The recording is very raw, very clear, and very dry. Everything is frantic. Individual elements are tight, but the whole is enjoyably loose. The vocals are all-out. Aggressively sung. They don’t necessarily sound like Di'Anno, Lettice (Holocaust), or Hetfield, but they carry the same bad attitude. It’s very interesting to hear the lyrics clearly sung in Portugese…I don’t think I’ve ever heard the language in this context before and it sounds badass, for lack of a better word. Not unlike Italian with hints of Japanese (in the way some of the vowels are roundly emphasized and hefted from the back of the throat). The syllables are rough and tumbling and it compliments the harsh, thin guitar perfectly. The guitar carries plenty of ill will of its own, expressed in ripping NWOBHM licks (i.e., Jaguar as opposed to Witchfynde) and big chords that confidently (almost arrogantly) ring out over speedy verse tempos. It makes me think of Acid and aggressive proto-NWOBHM Priest in that way. Rhythm guitar is present in the solos, but may very well be overdubbed as it falls way in the background when juxtaposed with the lead guitar’s furious (borderline incoherent in the best possible way, e.g, Blessed Death) shredding. In the midst of all of this he incorporates the occasional ‘70s hard rock/proto-metal flourish as well (and maybe even some classic rock n’ roll in the solos). These moments fit in seamlessly and, perhaps more importantly, indicate that those involved are not merely new kids seeking to establish territory but rather a crew of tested motherfuckers with not only an idea of what needs to be done but the tools, experience, and historical understanding necessary to authoritatively drop the iron fist. The bass reflects this humble confidence. Solid, present, and relentless with not even a touch of impudence…yet unspokenly backed by the fury of Hell. Like the presence of a simple, subtle “1%” patch on the front of a biker’s jacket. Or early Motorhead. The rock feel is strongest in the third and fourth tracks, which pull directly from Sabbath, Tull, and the like. Minor references are made to Santana, Hawkwind, and the Stooges as well. They provide a nice moment of respite amongst a bunch of ragers that could potentially blur together if not switched up a bit. It all comes together in the best way possible. This record simply cannot be played loud enough. Old Yron (ITA; 1989)-self titled Wow. I’m running low on new words and superlatives to describe all this incredible ‘80s Italian heavy metal I’ve been getting lately. Much of what I’ve said about the sound and spirit of early Dark Quarterer applies here. So much so that I was convinced upon first listen that the bands shared members (not the case). In many ways, this record takes the foundation of the 1984-1986 Dark Quarterer material, tones down the Judas Priest/Scorpions, and turns up the early Maiden. The result is less doomy and more aggressive (other than the fifth track, which dooms and broods somewhere in between “Revelations” and “The Veils of Negative Existence”). It’s “speedy,” without necessarily being universally “speed metal.” The riffs vary between heavy and speed metal (the first part of the first riff on the third track harkens Bathory’s “Necromansy”…maybe even the Ghostrider demo) and almost serve as rest points between leads and solos. The latter rip in and out with reckless abandon…sometimes right in the middle of a verse. The best part is there’s no rhythm guitar, so the bass and drums are left to patiently carry the momentum and the general harmony while the guitar explodes through Tourette’s-like tirades (i.e., a less-precise Alcatrazz-era Malmsteen but without the ego). Like good, old friends, the bass and drums accept the burden and the fantastic responsibility of keeping everything on track…even in the midst of hairpin turns at excessive speed. The result is fully successful and has that incredible “everyone-involved-is-playing-for-their-lives” feeling that is seriously starting to make me wonder if some sort of Faustian transaction may have taken place in Italy right around 1983. Maybe they really are playing for their lives? Hard to say. The recording has a slightly muddy, raw, demo feel (from what I understand, the master tapes were lost and this recent reissue was actually ripped straight from the vinyl at the band’s request!) that suits the release perfectly. For a late-‘80s release, it has few of the hallmarks of its contemporaries and could easily be mistaken for a product of the first half of the decade. Certain elements of the aggressive playing style expose a post-1986 genesis (esp. after Necrodeath and Bulldozer had made their mark), but this is very easily forgotten once you get caught up in it. Nothing but the highest praise for this one. Another unheard, unrated classic. Nitefall (USA; 2009)-Red Moon Rising I have to say, Lou’s obsession with doomy heavy metal is treating me very well. Very well indeed (thanks again man!). The record sets the mood nicely with a dark riff that is actually quite similar to the main guitar line for “South of Heaven.” Similar high-quality riffs follow. There are touches of Candlemass (their namesake) and NWOBHM (esp. Maiden and Witchfinder General), but the record feels solidly American. Trouble, Dream Death, Pentagram, Cirith Ungol, Saint Vitus…the presence is felt. As far as the recording goes, it’s very clean and tight. All of the elements are clear and prominent. The bass has a solid, natural tone that is surprisingly upfront and highly active. I hear Steve Harris in some of the harmonizations (which are pretty awesome), but maybe more “Handle with Care”-era Lilker during the straightforward bulldozer riffs. The guitar has a thick, smooth distortion that sustains strongly yet crunches nicely for the chugging parts (which there are many of). Solos are highly proficient, though mildly subdued in tone (I like the slight reverb but they could stand to be overdriven a little from time to time). I love that the solos shift slightly in style from track to track and that they are technical yet always dedicated to the purpose of the track (as opposed to dedicated to themselves for their own means and motivations). It is the mark of the accomplished guitarist who is truly comfortable with his craft. Vocals are clean-sung and well-executed with plenty of Dickensonian influence but with an equal amount of personal character. I’m glad the three demos that comprise this lp finally got an official release. The band is an unrated classic for sure. Raspberry Bulbs (USA; 2009)-Finally Burst…with Fluid demo Huh. I was fully expecting some fuzzy, blown-out '70s jams here…probably because the name made me think of Fresh Blueberry Pancake. Sadly, not even close. I guess the closest subgenre by default would be garage rock (as in, “primal rock played in a garage”). The drums are a basic, bouncy 1-2-1-2 beat (up front in the “Realities of War” style). The guitar is downstrum and clean. The vocals are distorted and rasped. Occasionally spoken. Honestly, I’m not sure what the intent is here. I understand that the project involves someone or other from Bone Awl, but to me it sounds more like it was made by folks who heard Bone Awl for the first time at No Fun Fest and decided they wanted to have a go at the “style.” Unfortunately, it’s not that simple. I see Bone Awl not only as an exploration of primitive violence, but as an actualization of it…much like Ildjarn’s “Strength and Anger" Parts 1 and 8, wherein one single, unchanging chord is mercilessly smashed upon for three minutes straight. Every hit of the drum and the guitar represents violence because it is violent. The vocals are a fevered declaration of what is being done and why. The end result bears less similarity with music and more with a fist repeatedly striking a table in the midst of a diatribe. Or a skull. The implications of the whole are far greater than the sum of the rudimentary parts. The whole of the demo here actually feels less than the collection of its aforementioned parts. The guitar is weak in tone and relatively low in volume. Riffing shares much variance with Bone Awl, but also wanders into the melodies of indie rock and the playing style of garage rock (esp. the occasional halting palm muting). At least one of the tracks recalls a bit of Bikini Kill (specifically, "Rebel Girl"), but again without the legitimate rage that made Bikini Kill so crucial. The vocals feel non-committed. Possibly upset, possibly screaming for the sake of screaming. The drums don’t care either way and simply jog forward. Head down, indifferent. Stripped of violence, there is nothing but threadbare, ultra-basic repetition. I want to like it, but find it pretty okay at best. The closest referent I can come up with is limp garage rock. Maybe that’s the point? Or maybe I’m missing something entirely? Regardless, if we're headed for the garage I’d rather listen to MOTO. Virus (NOR; 2008)-The Black Flux Well this is an interesting one. Not quite like anything else I’ve heard lately, nor anything else in general (other than Ved Buens Ende, which the band contains members of). It has a number of elements that could tie it to a lot of the dark rock that has been coming out of the black metal scene as of late (e.g., EgoNoir, Lik, Urfaust, Lonndom), but it’s significantly different. Maybe even fundamentally so. Like the aforementioned, Virus pulls spirit from the darkest of the late-70s and early-80s goth and new wave…reflected in the use of clean, flat-affect vocals, crisp, barely-distorted guitars, and round, slightly proggish bass. Unlike the aforementioned (other than Urfaust, that is), Virus assembles the components in a twisted, unorthodox manner that is clearly executed with blackened vision and purpose. Guitars ring out and scatter and bend and swirl over time-shifting rhythms. Stripped of the sorts of distortion other black metal bands tend to use as a mask (or crutch), technical competency is undeniably salient. The bass seemingly wanders (“Initiates’ wandering did not differ from ordinary travels for study except that their itinerary, though apparently haphazard, rigorously coincided with the adept’s most secret aspirations and gifts…”; O.V. de L. Milosz). Overall, the VBE foundation is clear. At times, the result sounds surprisingly like some of the semi-linear math rock Crank! Records put out in the mid-90s (e.g., Ethel Meserve, Vireous Humor). Other times, a connection is heard with early (i.e., demos-era) Thorns and possibly those who later obsessed over said demos (e.g., Watain). A strong, mid-years Die Kreuzen feel is present, but it may very well be attributable to Die Kreuzen as channeled through Voivod (or both). I hear other voices (perhaps later Enslaved and fragments of 90s AMREP), but it’s difficult to establish whether they are actually present or if they are ghosts of presupposition. Regardless, the record is a highly unusual, convoluted piece of creative darkness and proponents of VBE will be pleased. It is both engaging and perplexing in its intricacies, and I feel strongly drawn to it as a result. There is much to be explored within. Steeler (GER; 1986)-Strike Back I've been listening to a whole lot of stuff like this lately (i.e., since I was 8), so you can imagine how stoked I was to find a still-shrinkwrapped copy of this classic lp for five bucks over at Downtown Books a couple weeks back. It stands solidly and unashamedly on that line between heavy metal and hard-edged glam rock...a sub-subgenre I like to call "COCKAROCKAROLLA." The classics of the style are clear: "Metal Heart." "The Last Command." "Under Lock and Key." "Defenders of the Faith." "Diary of a Madman." I don't try to explain it to people. It is fist banging, hair-in-the-air, hands-on-the-air-guitar para-metal. It is larger than life, yet still grounded in self-defeating metal values. If you're not into it now, you never will be. This particular lp has some seriously great riffs, power-melodies, and twin-guitar harmonizing that put it a step or two above most of the rest. On par with the classics, in fact. Lots and lots of Accept is involved. H-Bomb comes to mind. On top of that, it's technically proficient and aggressive with just the right amount of sleaze. It's basically the lp Armour wishes they could have written (though to be fair they are doing a highly admirable job trying). Please note, this is NOT the US Steeler which, aside from being Malmsteen's first band, included members of W.A.S.P and Keel. It's almost counterintuitive that that band didn't rock as hard as this one. Bone Awl (USA; 2007)-Almost Dead Man Bone Awl have been a favorite of mine since the Bog Bodies demo (2003) was first released. They’re blunt, simple, and intriguingly opaque. They’ve long been labeled an “Ildjarn rip-off” and quite clearly take a decent amount of influence from that source, but personally I feel they draw more from Seviss. Nothing about them is as obvious as it seems. I never really understood how the hype around them developed…they’re basically everything that most people hate. Sometimes I suspect that people have a need to pick one or two inaccessible things to fawn over in order to justify the rest of the weak bullshit they generally listen to. Anyway, the band’s multitude of releases has been highly consistent and this one is no exception. It includes one long “instrumental” (is it really an instrumental if it’s just one riff played repeatedly for six minutes?) followed by eight short ragers. As always, there’s an impressive array of riffs and an underlying potency. The vocals are a bit low and there’s one track where the drum and guitar rhythms get so closely syncopated that the track loses its momentum, but other than that it’s great. It’s especially great after just having seen them in Chicago a month or so back. My neck was sore for three days after their truly ripping set. As I listen to the tape I can practically feel the banging motion long after it stopped (the “vestigial-bang,” perhaps). There’s something to be said for that. Blood of Kingu (UKR; 2007)-De Occulta Philosophia Well, this is an unusual blend. Subdued Eastern European black metal punctuated by free-standing neo-tribal instrumental tracks. The black metal tracks are very Ukranian sounding. Roughly akin to Underdark, mid-years Astrofaes, Drudkh, and any number of the others. Lots of churning riffing. Melodies build and fall…sometimes grasping epic strains, sometimes remaining solidly conventional. The pace shifts between blasting and trudging. I find it most effective in the mid-tempo march which is, of course, where the Eastern Europeans tend to excel. It’s all more than competently played, yet for some reason the production is highly compressed. Almost oppressed. Or pressed flat. The instrumentals contrast sharply, with potent pops and thumps from the hand drums and loud blurts and wails from various horns. These pieces primarily have a Middle-Eastern feel. I can’t help but hear (perhaps in my own ignorance) aboriginal sounds as well. I personally don’t particularly care for the instrumentals, but they are well-played and I can only assume support and advance the band and/or record concept. Surprisingly, the most striking aspect of the record is not the instrumentals but the vocals. They are truly deathlike. Disembodied moans, completely devoid of affect and spirit. Not quasi-robotic in the Inquisition or Immortal style, but rather emitted in more of a ritualistic “walking dead” approach. It’s genuinely unnerving and it provides the black metal tracks a distinct, unmistakable identity they might not otherwise have had. Interesting stuff. Oblong Box (USA: 2008)-13th Floor ep I have long found the 13th floor to be an intriguing socio-historical concept. As old towers fall and new ones arise, fewer and fewer people will remember a not-so-distant time when superstition usurped logic and the 13th floor was frequently, purposefully omitted from a building’s structure. Not physically (that which was named the 14th floor was, of course, actually the 13th floor), but psychologically. Emotionally. This release dwells in the subtleties of latent superstition. It steeps like tea leaves…first wafting essence in discernable patterns, later diffusing into an accepted presence. In the early stages, clear, defined fears present and are verbally articulated over ominous groans. Disorienting, shifting, hard-panned waves of drone emerge from the words and beg for embrace. Once accepted, the panning waves shed their warm, comforting vestments and are exposed as ghosts. Chilling and morose. Their moans and distant chatterings are punctuated by a bestial grunting of sorts. The wild boar is not visible amongst the overgrowth, but its threat is undeniable. As time passes and the assumed threat fails to actualize, we discover that what we once thought was the snorting of an angry beast is actually the sounds of one weighty implement ground upon another in a mortar-and-pestle-like fashion. Perhaps nothing more than an accumulation of innocuous machinery, churning in the distance. The substance of the superstition is revealed as illusion…a byproduct of misattribution. But we still fear it…if for no other reason than because we were taught to fear it. Because it is comfortable to fear it. And, whether we wish to admit it to ourselves or not, because we fear not fearing it. The superstition is fully embedded and the sounds saturate accordingly. Nothing discernable remains…simply a deep, dulled taint that serves nothing yet colors everything. Witch (USA; 2008)-Damnation Very nice. This is a collection of sorts (12”s, demos, live) and the recordings span from 1984 to 1988 or so. Starts out with a ripping NWOBHM-style riff and rocks it out from there. There are definitely parts of the sound that remind me of Metallica’s very early take on the British, but it doesn’t have quite the aggression or meanness (and I highly doubt Metallica would have even considered recording a track called “Wet and Wild”…maybe now, but definitely not back then). Rather, this has quite a bit of serious rock to it which coaxes out some undeniable sass in the riffing. In that way, comparisons with early Def Leppard are probably a bit more apt…maybe if they recorded a more aggressive, Americanized version of “On Through the Night” under “High n’ Dry” recording values. Or if Dokken were less proficient and more obsessed with Blitzkrieg in their early years. Or maybe even a combination of early Anvil, early Exciter, and Diamond Head. I’m sure that there are plenty of obscure references that are significantly more accurate, but I can’t think of any at the moment. The vocals are solid and occasionally of remind me Dee Snyder…especially when he rounds out words with rough emphasis. That’s a semi-educated guess though. I’ll have to consult the Ellisyclopedia Glammetallium next time I see him and report back. The guitarwork is good, though not amazing. There are some great riffs for sure, but the solos are pretty stock and are always accompanied by bland rhythm riffing. It got me thinking. After several discussions with Boo I believe the following to be true: More guitarists could stand to stop, take a long hard look at the material they are about to commit to tape, and then ask themselves “WWTND76?” That is, “What would Ted Nugent do back in 1976?” The answer is most assuredly not “record a competent-yet-tame solo and then drop a generic rhythm guitar track underneath to fill space.” Check the live videos…you’ll see what I’m talking about. Anyway. After a couple passes, I started to get the feeling that it was actually one guitarist who had overdubbed his solos in the studio. There wasn’t any interplay or harmonization (the hallmarks of the twin-guitar attack) and the solos almost seemed like they really were pasted on top of the rhythm guitar. This suspicion was later validated during the live tracks towards the end of the cd, wherein the rhythm guitar drops out during each solo (i.e., one guitar). I kind of prefer this, and found myself enjoying the demo and live tracks even more than the studio tracks. The 12”s feel a bit restrained and pre-meditated in comparison to the fuck-it-let’s-rock-it-out approach of the other material. All good, though. Pek (BEL; 2006)-Vomit Upon the Priest demo Yes. The Beherit corpsepaint on the cover and the general aesthetic of the tape led me to believe that this would be black metal of some sort, but I was pleased to find anti-Christian death metal of the old style instead. The vocals are excellent and remind me very much of Necros Christos, both in sound and inflection. He even drops them through an oscillator (I think?) from time to time, which recalls some of the best (and most psychotic) moments of Gism’s “Detestation” lp. It works well over the thrashy riffing. Guitars are fast, brash, and full of Slayerisms. The feel is not unlike that of Slaughter Lord, Mutilated (FRA), Necrovore, Amon (USA), early Morbid Angel, and so on, yet the addition of the deep-sourced vocals differentiates it nicely. The gestalt is sodden with darkness, yet raggedly aggressive in tone. My only complaint is that the demo was either recorded or dubbed at low levels. It’s difficult to blast at vomit-inducing levels when normal volume requires that it be turned up to 8. Great, otherwise. *UPDATE* I blasted the tape at top volume (literally…I buried the knob) on the way to work today and am now pretty sure that there is no oscillator effect on the vocals. From what I can tell, the effect I thought I was hearing is actually an artifact of the layering of two vocal tracks. The slightly differing cadences of the mid-range voice and the guttural voice elicit interplay between the inflections and nodes, thereby producing a warbled sum that sounds very much like a syphilitic vagina oscillator. This typically falls at the end of a verse (for emphasis). Very cool. Dark Quarterer (ITA; 1988)-The Etruscan Prophecy I have heard these guys described as “doomy” by a number of sources, but I don’t hear it. It’s definitely moody, fully epic, and the pace frequently falls between the slow and mid-tempos, but there simply isn’t any doom riffing and the subject matter is tangentially doom-related at best. The approach is more along the lines of Cirith Ungol (i.e., slow-to-mid-tempo, powerful). I can only assume that either a) folks are projecting the efforts of their Italian contemporaries (e.g., Black Hole, Death SS, Sacrilege) onto them or b) the band’s previous work was significantly more doomy (which is quite possible, given that they’ve been playing since 1974). Anyway, none of this detracts from the power of the album itself. This is just plain a great epic heavy metal record. The vocalist’s range is highly impressive…it’s identifiable yet also clearly shaped by Halford, Dirkschneider, King Diamond, and so on. Most importantly, it carries intrigue and emphasis without necessarily being “dramatic.” The riffing is solidly metal, with tasty hard rock licks intermittently thrown in as well. There’s no real guitar interplay (there’s only one guitarist), but sometimes I forget that isn’t always necessary. I should note that there are a couple ballads involved (the second one is actually quite good and involves some skilled classical guitar playing). Personally, I would not have gone straight into a ballad for the second track, but whatever. It may serve a narrative or conceptual purpose at that point in the record for all I know. Hooded Menace (FIN; 2007)-The Eyeless Horde demo I ignored these guys for an unacceptable amount of time based solely on their name. “Hooded Menace” sounds like a band that 25 ta Life or Comin’ Correct would have put out a split 7” with in ’96, which is in concept, needless to say, totally unacceptable. So I (foolishly) assumed the band was no good, at best. Little did I know, the name is actually a reference to the almighty Blind Dead quadrant of Spanish zombie films (okay, okay…”almighty” excepting the third one). Equally importantly, the band contains at least one of the members of the early 90s death metal band, Phlegethon. Once I was informed of these key pieces of information, I picked up the 2lp (twice, actually…the jackasses at USPS destroyed the first copy I ordered) and have been sold ever since. This release contains the first two tracks they recorded, both of which later appeared in cleaned up form on the 2lp. I love that the band draws from the classic Finnish funeral doom style (e.g., Thergothon, Faltomy), but enmeshes unorthodoxies that allow it its own identity. In particular, the riffing makes frequent use of sour chords and amelodic note combinations which are both coherent and sensible, but at the same time cold and alienated. It strips away the mournful feel that funeral doom is often associated with and leaves nothing but the grim remnants. In doing so, it represents not the flowers on the ground nor the tears on the warm cheeks of the living, but the dry, hardened bones… veiled by withered vestments and entombed within solemn, black-patina walls of heavy granite. Some may rise, the rest shall crumble. Blessed Death (USA; 1984)-1984 demo Ned made my day with this one for sure. Blessed Death have been a longtime favorite and I had never even considered that there might be an early demo out there somewhere. I think that this particular demo is now being tacked onto the tail end of the cd reissue of “Kill or Be Killed” (I don’t know if the reissue demo tracks were remixed or remastered or anything), but the version I have is one that Ned has had for years and years and clearly comes from the source. Anyway, I’m of the belief that “Kill or Be Killed” (1985) is one of the more underrated speed metal classics of the ‘80s. It’s dirty, aggressive, and mean. Dark and dank. It involves identical twin brothers and twin guitar assaults. It includes songs about nuclear disaster, knights, and killing cops. As far as I’m concerned, it is the objectification of the Hessian lifestyle. This tape captures them at their rawest and, consequently, sounds like it came straight out of the garage. Everything is brash and prickly. And loud. The tracks are pretty true to their lp counterparts (all of the tracks on the demo were later re-recorded for the “Kill or Be Killed” lp), but are clearly less disciplined and perhaps more deranged. The solo on “Pig Slaughter” is a great example. Instead of using the Hanneman/King solo trade-off style they effectively use elsewhere on other tracks, they just plain shred two solos at the same time. The result is coherent enough to grasp, yet disorienting enough to feel dangerous. The lp version is great but doesn’t quite capture that same feel. The other tracks rage just as hard. Early Metallica, Slayer, and Overkill influence is clear in the riffing. The vocals shout and metalwail…less restrained than say, Overkill or Artillery, but still along those lines in style. Mayhem Inc. might be a better comparison. Regardless, I’m stoked to have this and look forward to playing it at top volume frequently. Undimensional (USA; 2008)-self titled demo I had no idea what to expect with this one. Dark, late-70s French style chamber prog was my first guess. Maybe some sort of spacey ambient. Or something along the lines of Darkspace or Trist. Wrong on just about all accounts, as usual. It’s very dark, very sinister black metal. The kind that is foreboding, but without necessarily being outwardly aggressive or hostile. Something about the atmosphere reminds me of the latest Nastrond record or perhaps portions of the Negative Plane lp (the similarity with the former amplified slightly by the parallel use of a drum machine). The bass has a big, weighty, distorted sound that I often associate with Seized but could also be labeled “Lilker” in nature. It lumbers around, ominously, and it is not entirely clear if it merely heralds doom or if it intends to actualize it. The guitar seems to stand on level ground with the bass…sometimes emerging, sometimes deferring, but always conspiring. The vocals are a ragged, back-of-the-throat rasp that surges and retches. Organ-style keys are pervasive and the consistency of their sound, style, and note progressions seems to add a running black mass motif to the record. I love that everything is sonically clear but the overall feeling is murky…it’s that fascinating point where the feeling evoked by the combined melodies, harmonics, and rhythmic structures steps forth and takes precedence over the actual sound of the instruments themselves. Funereal Moon/Circle of Ghosts (MEX/CAN; 2009)-From Darkness They Are split The early Funereal Moon releases are untouchable. Unquestionable in their devotion to darkness and filth, yet unorthodox in their avenues of expression (akin, in my mind, to the early works of other visionaries such as Mortuary Drape, Root, Anubi, Master’s Hammer, and so on). On one level, nothing has changed here. This release is decidedly and willfully nasty, sinister, and unusual. On another level, everything has changed. It’s as if the aforementioned aspects of the band have been expanded exponentially to the point that, at first glance, they are barely recognizable. Comparisons with the crooked, seemingly non-intuitive developmental paths of Havohej and Beherit (new lp excluded) might be fair in that sense. In this case, filthy rolling basslines are dropped over primitive (read: Casio keyboard) drum machine tracks. The more accessible moments point to classic goth and death rock (e.g., early Sisters of Mercy), but the less-structured portions scuttle the influence and force the whole to sink into something far more deranged. Distant noise washes in and out, while vocal verses (almost more spoken word than musical) express disdain, disgust, and Satanic devotion through whispers, croaks, moans, and rasps. There are parallels with Kadotus 609 in its minimalism. Depending on one’s perspective, this could easily be seen as terrifying or laughably absurd. I find it unsettling. Circle of Ghosts take a more conventional doomy black metal approach. Plodding, sorrowfully melodic. There’s nothing remarkable about it per se, but I really, really like the guitar tone. It’s not at all heavy, but still maintains depth. Like Varg’s “Filosofem” tone imbued with an extra dimension. Or, perhaps more fittingly (given their heritage), like two feet of fallen powder on a bitter-cold day. Windswept drifts rise and fall into the distance in accordance with the layered melodies and the harmonizations within. The vocals desperately push through said snow and the drums (programmed) frequently fall a foot or more beneath the surface. I very much like the effect. For me, it helps to obscure the fact that the guitars are not at all well-played and the recording bears many of the negative marks of direct-to-computer recording. At least for the first couple tracks…the suspension of disbelief fades from there on. I may be imagining this, but the sound seems to shift slightly with the third song and then again into the fourth and fifth tracks. By the end, the shortcomings are glaringly obvious. Regardless, that doesn’t diminish my enjoyment of the first half of their tracks, nor my belief that there’s plenty of potential throughout. The Krushers (ITA; 2007)-Omonimo I’ve been listening to this one quite a bit lately. Rough, raw, gruff, and thrashy (occasionally punkish) death metal of the old style. Parts bring Abscess, Death Strike, Doomed, and the like to mind, but there is way more speedpicking involved. Like the In League with Satan lp, it has a number of elements that I normally would reject from the outset. Most notably, the use of a drum machine (though they do switch to live drums from the seventh track on for what appears to be a live set) and the use of a few dumbed-down mosh riffs (which, when juxtaposed with speedpicking, occasionally brings State of Conviction to mind…believe it or not). But, like the In League with Satan lp, I can’t get enough of it. The deadened spirit is intact and the dirt is palpable. The guitars have a nasty, ragged tone that fits the style perfectly. It’s so filthy sounding. I love when that particular tone is used for low speedpicking (e.g., The Last One on Earth), which there is plenty of on this. The vocals are loud, gruff, commanding, and reverbed-out. A number of Tom G. Warrior style vocal punctuations are successfully incorporated as well. High-rasped backing vocals add emphasis and depth from time to time (not unlike early Exhumed). The bass is pretty straightforward and generally seems to follow the guitars, though it does harmonize nicely when the guitars hit the upper register. Overall, the album is rough and definitely a little sloppy. But as I’ve said before, that is exactly what I look for in death metal. Death metal should be exhumed. Unearthed, its decay and deterioration exposed. This reflects that nicely. Dark Quarterer (ITA; 1987)-self titled Oh man. As much as I liked The Etruscan Prophecy (1988), it definitely left me wondering where all the doominess was that folks tend to mention in association with this band. Well, here it is…just a few years earlier. This record is stunning. It mixes a strong, mid-70s Judas Priest and Scorpions influence with raw early-80s Manilla Road (i.e., Metal, Invasion) and epic Italian darkness. The combination is perfectly rough and underproduced (the tracks were recorded in 1984 and 1986). It almost has a demo quality to it, especially when the vocals blow out the levels. The songs are expansive, ranging from six to ten minutes each. This allows them to build, fall, and repeatedly shift direction…thereby creating a winding narrative feel that compliments the narrative nature of the lyrics. The stories are intricate and involved (and admittedly a bit confusing due to the language barrier), and share visions of fallen giants, the flight of Death, and the attempt to usurp the throne of Satan. Gianni is a skilled storyteller and presents the vocals with both passion and intrigue. I primarily hear Halford and Meiner influence in his inflections, but there are certainly touches of Dickenson and maybe even Byford. It’s almost hard to believe he pulls it all off while simultaneously playing bass, as the quality of the bass playing is not diminished in the least as a result. It is solid, visible, and highly effective in its ability to drive and harmonize. The guitar plays off of this incredibly, effortlessly spitting out quality riff after quality riff. Sometimes dark, sometimes introspective…other times angry. The soloing is relentless. It’s fully fluid, but does not necessarily take the path of least resistance as an undisturbed stream of water might. It not only flows, but splashes…thereby sending it in unexpected directions that make perfect sense in retrospect. This unpredictability is emphasized by the drums. They draw plenty from heavy metal pounding, but also from jazz (or perhaps prog) and its intricate fills and change-ups. The kit has a stiff, dry sound (other than a few oddly reverbed parts) that cleanly cuts through the mix without sacrificing the expression of any of the other elements. All in all, this is an underrated (unrated) classic. It should be revered alongside “Sad Wings of Destiny,” “Metal,” “In Trance,” and so on. Seriously, “Colossus of Argil” may be one of the best heavy metal songs I have ever heard. It is truly incredible in every respect. Everyone involved puts everything they have into it at every moment. There’s a point about six minutes in where Gianni fully redlines the vocal track when reintroducing the verse at a critical moment. It’s so fucking glorious it practically had me in tears. This is the music that keeps me alive.