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., “Hey Brad, Pek is from Belgium but you identify them as being from Minnesota” and not “Hey Brad, 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 following for Lou, for Kevin, for those who have traded with me over the years, and for you. Hail Autopsy. ************************ ***NEWS*** Volume 5 took far, far longer than anticipated to piece together. No excuse, really. It has just plain been busy. Not only will we have the cassette version of the Husere Grav/TRTRKMMR split, longsleeve shirts, and embroidered patches ready for the TRTRKMMR show in MPLS on April 24, 2010, we now intend to have the Dead Times/TRTRKMMR split cassette completed and available as well. That’s a whole lot of merch…particularly given the fair chance that our set will go down in flames. The DT split will be formatted much like the HG/TRTRKMMR split: individual tracks from each band merged by two collaborative tracks (one started by me and finished by them, the other vice versa). I don’t have too many details yet, but Dead Times and The Body will be playing April 21, 2010 at the Borg Ward in Milwaukee. I know it's a Wednesday night, but it would be unacceptable to miss this. Dave and I are down to our last copies of the final Otesanek 12”. Get in contact if you want one or several. ***CORRECTIONS*** None reported, none admitted. ***FRAGMENTS OF REVIEWS*** “Long Live the Loud” from Exciter (CAN; 1985): After ripping no less than 21 pickslides throughout the song (yes, I counted), the guitarist drives one final one home to bridge into the ending. It’s a pretty amazing display. Gratuitous, yet perfect. Right up there with Demian’s “Face the Crowd” in my “best use of pickslides ever” category. "Another Hit and Run" from Def Leppard (GBR; 1981): After the boisterous chorus, the track tapers down to nothing. It feels like there should be more, but there just plain isn't. And right as you accept the fact that it's over, someone in the band yells (unmic'ed) from way in the back of the studio "ONE TWO THREE" and it rips back into the chorus one more time. So great. Watch out for the Rock Brigade, indeed. “M.S. Bismarck” from Asphyx (NDL; 1992): The intro riff cycles four times. Brash and hostile in tone. Scrubbed with midrange friction, yet discernable in form. And then the bottom drops out. Pick is replaced with steel wool. White noise string scouring twists into endnotes that alternate between a trill and a heavy string bend. A mid-tempo march trudges underneath…accented by Lombardo-eque ride hits. It only goes on for two measures before the first verse, but it’s a glorious 16 fucking seconds. It makes me want to tear people’s throats out and stuff them in their gaping mouths. “Hot Love” from Cheap Trick (USA; 1977): Is it just me, or does it seem like 70% of Dillinger Four’s sound can be traced to this song (esp. the bridge before the chorus)? Maybe that’s why I love them so much. “Face to Face” from Loudness (JAP; 1986): Between this track and the preceding “1000 Eyes,” they somehow managed to out-Accept Accept. It begs an interesting question: How loud will my stereo go? “Nad Vspolokhami Rassveta” from Raven Dark (RUS; 1997): My favorite releases from the BBH are presented as if in the midst of a whiteout Winter storm. Hissing winds and niveous static obscure and deteriorate both form and function. Every now and then though the blizzard eases and a fleeting moment of clarity is offered. Within this stillness, we find the bare essence of the guitarwork revealed: Strong, weathered, quietly proud, melancholic, determined, and introspective. The result of long, harsh periods of frigid isolation…left only with one’s thoughts and the humble faith that others in parallel circumstances exist…and that most will persevere…in time. Interestingly, one of the chord progressions is very similar to one within Elliot Smith’s “Needle in the Hay.” It also ties to a chord progression used in the first track. I likely would never have noticed this if it weren’t for the calm in the front. "Dark Lady" from Scorpions (GER; 1975): I am seriously considering taking the "aaaaahhhhhhhhhhhhhhhhhahaaaahhhhhhhhhhhhhhhhh" after the second verse (it has the best backing pickslides of the three), making an endless loop tape, putting it in a boombox, and blasting it at top volume everywhere I go at all times in all situations. Not only would it answer all existing questions, it would pre-emptively address any further ones which might otherwise arise. “Good Mourning/Black Friday” from Megadeth (USA; 1986): This has been one of my top three favorite Megadeth tracks since I was 13, and for good reason. At the end of the pre-chorus verse Dave sneers “I’m out to destroy you…” All instrumentation drops out. “…AND I WILL CUT YOU DOWN.” There’s a pause and then the guitar comes back in with palm muted speed metal Whiplash-chopper chugging. It’s basically like picking up a running lawnmower and charging into a crowd blade end first (Braindead style). Also, has anyone ever noticed that the cassette version of “Peace Sells” sounds better than any other format? Thank you, XDR. ***REVIEWS*** Bastard Noise (USA; 2009)-The Rogue Astronaut Summer before last I ended up in urgent care. In the midst of the dirt and sweat of the August sun, some new tattoo work had become mildly infected. Instead of following established standard of care (i.e., keep clean, do not touch), I poked and prodded at the distressed area relentlessly. The infection grew worse. I continued with my meddling for another week. The infection grew even worse. I attempted some ill-thought out DIY surgery. The infection became a whole lot worse. Next thing I knew my entire arm was swollen and red. It was difficult to sleep. I couldn’t raise my arm above my head. I developed a 103 F fever. Apparently I was one step shy of going septic. I contacted my guardian angel, Ms. Patsy Selman, and asked if it might be a good idea to have a doctor take a look at it. She cursed me out and then half-literally dragged me to the clinic. The physicians were surprisingly understanding…though seemingly bemused by the fact that someone who works in health care at a hospital would make such an asinine series of poor decisions. They quickly determined that I needed antibiotics, stat. The planned course of action was an intravenous infusion, but it was late in the afternoon and honestly I don’t think they wanted to wait around for the process to run its course. Instead, they opted for an intramuscular shot of antibiotics in my rear end followed by a 10-day course of oral antibiotics. I timidly dropped trou as the nurse prepared the needle. “This may hurt quite a bit,” she said from over my shoulder. The needle went in. It did hurt. Such is the nature of pushing a 20 gauge needle into muscle. I noted aloud that yes, it did hurt…but it wasn’t too bad. “That’s not the shot. This is the shot.” Searing pain tore down my leg, up into my trunk, and all over my shrieking spirit as she leaned into the syringe to force the Elmer’s glue-like substance into my musculature. I felt the sticky solution slowly, aggressively push cells and fibers aside as it forged its path towards dissolution. My breathing heaved and sputtered as the world went white, hot, and hostile. The surge receded and I was left with solid, deep pain in about a quarter of my body. I quietly pulled my pants back up, made an unspirited promise to “try not to do it again,” collected Patsy, and hobbled the full two miles home. I have no doubt that the clinic staff turned to each other and smiled as I limped, severely humbled and slightly wiser, into the distance. Such is the case for this release. Those who are broken seek out these sounds. For their efforts they are given what they think they need, but at the cost of receiving that which they do not know that they need. Proffered empathy astride inflicted humility. Brutal truth. We are left in a wizened, crumpled heap on the floor. Throbbing and dazed, yet comfortingly validated and privileged with glimpses of a new lucidity. Aledriver (USA; 2010)-Sun Falls across the Lefthand Path of Darkness (i.e., the untitled advance lp) When Aledriver first started, the band was frequently labeled as “peace punk” on fliers. This was clearly incorrect (and sadly indicative of the Philadelphia punk scene’s limited vocabulary), and we joked that the band could better be described as “epic Born Against.” Years later, I would argue that this is still the case. The recorded material shares much variance with Born Against’s final, Tonie Joy-backed tracks from the Man is the Bastard split (“$5 an Hour” and “My Favorite Housing Project,” in particular), as well as moments from the earlier releases (e.g., “Eulogy,” “Well Fed Fuck,” “Shroud”). This is not to say that the release “sounds like Born Against” or any of their stylistic successors (e.g., Man Afraid)…too many other circles are involved in the auditory Venn diagram. There’s the bleak, rumbling despair of Amebix, Antisect, and Axegrinder…the expansive vision of Zorn (GER) and “Descent of Man”-era Jobbykrust…the driving narrative of early New Model Army and The Pogues…the melodic sensibility of Husker Du and the Wipers…the morose sobriety of The Mob (GBR) and Zounds…the folkish grounding of “Vinterskugge”-era Isengard and later-years Oi Polloi…and so on. It all precipitates in a thundering three-pronged display of momentum where each member’s presence is clearly and boldly established. The only current comparison I can think of would be Complications. Given the equal footing of the guitar and bass, the lines from the two form strands which are then interwoven and knotted into complex yet understandable patterns…akin to a sonic Celtic knotwork of sorts. The approach reminds me of what bands like Ulver (early) and Leatherface do with two guitars…only with one guitar replaced by a bass. The guitar alternates between strings of notes and solid riffs (and octaves), but never dedicates fully to either approach. An active feel results. The bass is equally dynamic, and engaging, intricate patterns and harmonic touchpoints are revealed once its activities are superimposed over the efforts of the guitar and vice versa. Mike’s vocals are gruff and emotive throughout. Using “All Out Attack” as a keystone, he tempers the aggression with the ragged desperation of the Baron (Amebix), the weathered nuance of Frankie Stubbs (Leatherface), and the determined instability of Sam McPheeters. Steve offers his own lines with equal gruffness, but less variation in expression...his focus feels more based in power and anger. The complimentary difference is subtle at first, but clear upon repeated listenings (esp. during overlapping trade-offs and backing shouts). Sean’s drumming is organic in sound and executed with a potent release of energy…the residual radiations of which spark unexpected flourishes and split-second change-ups. Mark and I were blasting the “Life on the Line” lp from Eddie and the Hot Rods the other day and I was taken by the way that the drummer effortlessly inserted tight, kinetic rolls and fills into otherwise basic 1977 punk rhythms. Though the rough framework isn’t nearly as straightforward as in that particular example, that’s exactly what Sean does here and the underlying character of the release is deepened and embellished in consequence. From time to time the songs veer off on unexpected lefthand paths…sometimes into the darkness, sometimes into the light. I doubt 2.5 Children, Inc. had any impact on the band, but several of the non sequiturs bear resemblance to their unashamed unpredictability. Unusual sounds and samples add to this feeling as well. There’s a strange sample that falls under the middle of “Gardens” that I can’t quite place. It almost sounds like they took one of the bomb blast samples from the No Sanctuary demo (which were, of course, stolen from the Bullet in the Head lp), reversed it, and slowed it down. Probably not the case, but the use of some sort of impact or implosion sample would certainly make sense. At one point in the early years of Otesanek, Mike and I became obsessed with the concept of falling satellites. Human ambition and hubris denied by Nature and returned thousandfold ("The digital angels that we gods so carefully placed in the sky have rebelled..."). Our logical query was thus: Could the displacement of mass from the Earth’s surface (or certain portions of the surface, such as the Equator) affect its rotation? How might this affect gravity? If gravity increased, could this potentially return everything that was sent out into orbit back from whence it came? We posed our questions to an astrophysicist who we located on the Internet (and who seemed less-than-excited and justifiably a bit wary to be answering overzealous questions about various doomsday scenarios from two guys who clearly had too much time on their hands). After multiple iterations of speculation from both sides, we finally ushered him into a dark, uncomfortable corner wherein he was not willing to say that what we had hypothesized was absolutely not possible. Triumphant, the scenario was embraced and explicated on the Otesanek demo. It was later re-imagined under instrumental terms by Until the Next Disaster. This version of events was then covered and reworked by No Sanctuary. Eight or nine years post-genesis, we find the concept again here: “Wailing…for all the sirens cries…we can’t tear our eyes from what was…our sun only hanging there…terrible and cold. The harder we push, the louder the cry…as another strike rains from the charred sky.” The exploration of the idea of sunfall here contains none of Cherryh’s adaptive speculation…only end-game finality. Other lyrical accounts of a falling apocalypse presented throughout the release adopt a more anthropomorphic tone: “Anger launched in flight. Machines aimed back to earth. Raining death, they’ve locked out the night. Orion's Blade! Andromeda's Wrath!” Such words hint towards Reynolds’ depictions of sentient weaponry and, perhaps more accurately, Lem’s visions of weaponry left to evolve in isolation on its own terms. The respective scenarios halfheartedly beg the rhetorical question: Who are we really fighting? The nefarious “them?” Or is it us? By all accounts, the instigator of destruction is the latter… the unchecked human initiative towards “progress.” It is of no matter. The repercussions will be no less severe either way. Perhaps the real questions are these: Are we ready to face the inevitable? Are we ready to face ourselves? Or will we take it willfully blind, on our knees? A societal march into the sea. This line of introspective inquiry is subtly breached within the poignant dirge of “The Farthest Shore.” The song is a point of reflection on the lp…a shift in sonic and conceptual inertia away from the urgency of previous tales of death and destruction. The track depicts a father explaining to his child the collective futility of man…the commonly-accepted illusions and the impending self-defeat. Difficult words, made even more so when pressed against young ears unaccustomed (and naturally unreceptive) to such concepts of innate fallibility and disappointment. Within the connotations of the narrative we sense an attempt to express micro-level hope and to validate the next-of-kin’s existence, while at the same time acknowledging the macro-level doom against which all of this is precariously balanced. The spirit of the track is particularly haunting because it is undoubtedly a conversation Mike will have with his own young son, in due time. I know that he knows this, and the vocals shudder with empathy, sadness, and weariness…with Trumbo-like dread…or perhaps with the solemn situational acquiescence of a bystander watching a parade hobble by as the band plays “Waltzing Matilda.” Yet all of this is humbly accepted to some extent, and thus yields a certain confidence…and with it an unwavering dedication to secure and embrace the relative safety and objectivity of the farthest shores. The poetry of the verses recalls the doomed eloquence of Leslie Weitz (“...the salty claws of the ocean tear screams from the throats of cities”), which is natural given the latent interconnectedness of the record. All aspects of the release are saturated with multi-layered references. Allusions to allusions. From personal conversations to previous bands to gaming culture to obscure sci-fi (and sci-fact) writings to homebrewing to our favorite punk songs. Layers of densely woven fabric draped upon layers of densely woven fabric. I had nothing to do with the actual creation of this release, yet I feel like I am deeply embedded within it. We created our own world of sorts in the years we all spent together in West Philadelphia…this is in many ways an objectification of it. Yet it is not merely a document or an end-product…it is a contribution. Few people will hear the record and less will care, but I cannot express my appreciation enough. Ninnixu (USA; 2008)-Collection This is quite a collection of nasty primitive simplicity. Drum machine, bass, vocals, keys, and a whole lot of distortion and muck. The overall approach is base and rudimentary. So much so that anyone with even a passing interest in music could potentially have created it. Despite this, 98% of bands who decidedly pursue the style fail. It is, I believe, because most folks who attempt such noise do not truly understand nor empathize with the constructs which underlie this filth. They know too much, and are too comfortable with this knowledge to disembed themselves from the safety and security of their respective subjective frameworks to glimpse or infer a larger truth. It lies beyond anger and hate. It extrapolates depravity and impregnates it with universal disgust and nihilistic despair. It takes seeming negatives and rotates and reintegrates them to form random positives and neutralities. The resulting point resides at the fringe of comprehension where “music” bears little relevance. It teeters on the edge of obliteration and immolation, but maintains a tenacious grasp on subjectivity. At least for now. Such is this release. The heavy bass combined with basic rhythm points to Ildjarn, but really there is little similarity beyond that…recent Havohej and Profanatica might be better comparisons. The faster moments hint towards demo-era Domini Inferi and Hellhouse, the slower ones to old Mortician (esp. the first few tracks). I hear a touches of Blasphemy, Parabellum, LLN (esp. Aäkon Këëtrëh), and VON as well. It’s a disgusting and disgusted mess. Sometimes wet and splattered, sometimes sharp and splintered. The body of work feels diseased…as if it exhales black breath. The sickness becomes increasingly all-consuming as the release progresses (regresses) from relative lucidity to smudged obscurity. Unpleasant noise falls between the tracks, over them, under them, and all-throughout. This can serve to enhance particular portions, or to blur other ones out entirely (the latter moments kind of remind me of Streicher). The whole bleeds and rots. It stares into space. Full, pain-colored sentience betrayed by the muddied visage of deranged eyes and slackened jaw. I am entirely thankful that this noise exists. Ythogtha (USA; 2007)-False Faith A perfect counterpart to the Ninnixu material. Similarly harsh and depraved, yet based more in cold, shredded treble and metallic clattering than in murky waste. Like dozens of planes of translucent and mirrored glass, lain one atop the next and then shattered. Or shallow pools of purified water, flash-frozen into sheets with liquid nitrogen and then dropped flatly on the floor. The shrieking onslaught approaches that of Torch of War (or perhaps the first couple tracks on the Nyogthaeblisz lp). Noise and feedback scrub away the definition of the notes and chords, frequently leaving only striated and mottled hiss and squelch in their place. Nothing escapes unscathed, and anything not deteriorated by the guitar tone nor derided by the cymbals is slashed down by the shiny blade of the vocal distortion. Vargr might be another useful parallel, in that sense. The songs are briefly stated…most falling between 30 seconds and a minute. I very, very much like this approach. It gives the bursts a visceral surging feel…far more violent than if they had allowed the listener to become desensitized over unnecessarily-long song structures. The tracks are further broken up by relatively reflective junk noise and synth interludes. The result feels inhuman and non-musical, yet volatile and charged with self-aware anger. Like an unstable 100-year old glass window pane, patiently waiting to administer a lesson of time and experience to an unsuspecting soul in twinkling shards and deep red humility. This release points not only to that potentiality, but depicts the actuality. Atomizer (AUS; 2009)-Caustic Music for the Spiritually Bankrupt I remember when this first came out, Boo picked up the vinyl right away. I asked him about it and his review was simply that it was “badass,” “unusual,” and that “[I] would not like it. At all.” It was a fair assessment…my receptiveness to unorthodoxies within blackened thrash (and metal in general) has historically been hit or miss at best. At the same time, Boo made the same call about the latest Fucked Up record and it turned out that I liked that release quite a bit. Regardless, I deferred my intent to seek out the record and ultimately forgot to do so entirely. Many months later I found myself in communication with Jason from Atomizer over an unrelated matter. He asked if I had heard the new record, and I sheepishly admitted that I had not. He graciously posted one over shortly thereafter for my consideration (thanks again man!). As expected, the release contains the unexpected and the overall approach no longer strictly adheres to the classic, raging Australian style that they were previously known for (ala Destroyer 666, Grenade, Gospel of the Horns, Nocturnal Graves). Yes, there are elements of this…but these elements are simply that: elements amongst other elements. And the other elements are more widely disparate and urgently salient than ever before. There is classic heavy metal guitarwork. There are traditional folk melodies and rhythmic structures. There are abstract noise components. There are hints of early-to-mid-80s goth and dark rock. It’s an odd accumulation, yet the varied pieces are integrated quite seamlessly. It creates the sense that there is a larger-level concept present…a feeling which is then validated by the lyrics and the liner notes. Musically, the record is well-executed and well-produced. From what I understand, Jason played drums on the previous three Atomizer full-lengths. In this case, he brought in Gryphon from Astriaal to assume that particular role while he addressed everything else. It was a wise decision. Gryphon’s work on the Astriaal releases borders on stunning and he was successfully able to contribute both technical competency and an intangible finesse here. In doing so, it allowed Jason to concentrate fully on the other aspects. His guitarwork is tight and energetic…even emotive at times. The bass is clean, solid, and relatively unobtrusive. It’s certainly present if focused upon, but generally serves a decidedly supportive role in the background. Vocals range from a flat, morose dismissal to a spoken admonishment (slightly cocky and mildly disgusted in tone) to a sung-spoken growl torn off the back of the throat. I can’t quite place why, but there’s a certain feel to the overall end result that reminds me of “Rust in Peace.” Maybe it’s the high level of musical competency combined with the clear and balanced production? Or the use of creative and aggressive melody within relatively ambitious and expansive song structures? Or the occasional similarities with the low and snarling aspects of Mustaine’s narrative vocal approach? It’s likely a combination of all of the above, the sum of which nicely compliments the conceptual and lyrical content. The album is rich in narrative and prose which is, in turn, rife with metaphor and allegory. Sometimes first person, other times second and third. It’s an interesting approach, as it actively engages the listener while at the same time placing this connection within personal and objective contexts. I do not particularly care for the frequent use of colloquialisms, but also understand that this is perfectly suitable for the loose storytelling approach. The tales spin and reel, provoke and reflect. A most obvious comparison would be Shane McGowan’s approach within the Pogues, but there is a darker, more sober strand woven within that to me offers more parallels with Justin Sullivan’s work in New Model Army. In the midst of such literary lenswork and logomantic tapestry, we find brief moments of naked clarity: For someday one may rise One to turn this world on its head It’ll take more than perversion of dogma and virtue To be the catalyst. A strong suicide/execution motif runs through the record. Given the above-noted lyric, it’s an interesting juxtaposition. It is clear that this release represents (and actualizes) the death of Atomizer. But what does that mean, exactly? That this is an intentional suicide? A deliberate end to an entity that can no longer go on under its current manifestation…in terms of both form (e.g., band with a logo that includes a pentagram and a Possessed reference) and function (i.e., traditional Aussie blackened deathrash)? Or that the death is externally inflicted? Killed by the aggressively-imposed adherence to convention of a comfortably-established scene, and the willful stagnation that results? I can only assume that it is both (minor themes of reluctance point quietly to a forced hand), and that the being (engendro?) which will inevitably ascend from these ashes will bear little outward resemblance to its previous incarnation. This is not to say that bridges have been burnt nor connections severed, as the dedication to the underlying spirit and latent motivation of Atomizer and black metal in general could not be clearer. Rather, these intangibles will surely serve to breathe animation, then sentience, and finally Will into the nascent neurological network and coalescing vasculature of the succeeding corporeal form. I very much look forward to facing this monstrosity. Atomizer, RIP. Phoenix, rising. Valenta (CZE; 1991)-Queen Alexandres demo One can never have enough late-‘80s and early-‘90s Czech black metal. The evil spirit was so undeniably strong and pervasive at the time. It consistently manifested in filthy, raw, and twisted form…immediately identifiable by its self-inflicted marks and scars and unwavering dedication to purpose. As with many of the other early-‘90s releases, the Valenta demo sounds like it could very well have been recorded in the early or mid-‘80s. The difference in recording between this and the 666 demo from 1983 is negligible at best. There are, of course, clear advances in playing style and technique, but the ancient essence is fully intact. The intro is a long, dramatic narrative supported by haunting keys and unusual sounds. It is an effective combination of ritual and classic horror…made all the more sinister by the idiosyncrasies and textured emphases of the Czech tongue. Comparisons with early Master’s Hammer, Necrocock, and Root are apt (and inevitable), as are ones with Antonius Rex, Jacula, Death SS, and elements of Horrific Child. From there, it’s a mid-tempo march to the end. The tracks have a proud, punchy feel. This is enhanced by the vocals, which are rhythmically spit over the top. Words and syllables are abrupt and short, yet connected by sinewy rolled “r”s and tenaciously-held vowels. The guitars are thin and brash. Their riffing style is unique, despite clearly drawing from their Czech predecessors and contemporaries and also from the classics (esp. Bathory and Hellhammer). The subtle use of string bends in the third track is brilliant, as is the general use of harmonized palm muting (it appears from time to time throughout the release, but really condensates towards the end of the final track). Hints of Maiden appear from time to time in the leads. Unobtrusive, ambient choral keys offer quiet harmonization and fill the spaces between the jagged chords with ghastly washes of sound. The drums and bass are fairly utilitarian, though no less crucial than any of the other instrumentation. Each piece has its voice and its purpose…all of which is clearly presented in the simple-yet-effective mix. It is a perfect representation of everything that obsessively draws me to Czech black metal. Another unheard classic. Alle Totmachen! (GER; 2009)-Demo 2009 A total blur. Two steps over the line from music to noise. The songs are far too long for noisecore (most fall around 2 minutes), but there are certainly any number of parallels. I very much like the rearranging of priorities. Are there drums? I don’t know. Riffs? Maybe. Barking dogs? Definitely. Each track is a saturated blast of derangement. Rabid vocals retch and attack in uncontrollable fits of distortion and delay. Guitars are present, yet difficult to isolate in terms of purpose. They meander and then suddenly lunge forward. The overall feel reminds me of the extremities of 1984 Japan. Like if Evil (BRA) covered Gudon or State Children and put it out as a flexi. Great stuff…I definitely need more of this. Züül (USA; 2010)-Out of Time As much as I tried, I just plain can’t get into this one. This took me by surprise as it has a lot going for it and I expected to love it. The pace is driving and the approach is rocking. There is clear NWOBHM influence with solid amounts of early Maiden. Maybe a little Acid mixed in. Despite this, the recording feels exceptionally restrained. Tame, even. I’ve been listening to the first Ostrogoth 12” (which is similar in style but executed with far more passion…”rock fever,” one might say) a lot lately, so maybe that’s causing the record to seem paler than it actually is? Maybe, maybe not. The riffs, leads, and solos are very well-played, but entirely stock…almost like a contrived sequencing of semi-generic “heavy metal” pieces. I’m reminded of the Fucking Champs in that way. Technique aside, I don’t at all like the guitar tone. It’s not the least bit metal (which is fine), but it doesn’t have a classic ‘70s hard rock or proto-metal feel either. What remains is a basic modern rock guitar sound. Clean, bright, and full with little to no character. The vocals have a similar lukewarm modern feel. Competently cleansung, but never overdriven and offered with minimal emotional investment. At one point he sings “warrior…it’s your time to die” and it sounds like he could be ordering soup at a busy restaurant. How is that even possible with a line like that? The non-committed approach recalls "To the Center"-era Nebula (or "King of the Road"-era Fu Manchu) from time to time, but such detachment makes sense in that sort of stoner-rock context. Not so much here. The drums and bass are unremarkable, though the latter does include some good Harris-style harmonizations. Everything combined, the release sounds to me like fabricated after-school special hard rock. Or like the Foo Fighters covering one of the less-aggressive NWOBHM bands…maybe Witchfynde or Tygers of Pan Tang. I wish it didn’t. Axeman (USA; 2010)-Arrive demo Holy shit. Once again, the Black Twilight Circle does not disappoint. This is a vast departure from the LLN-inspired work I typically associate with the Circle. This is, as the name indicates, full-on Amebix (and Axegrinder, Deviated Instinct, Antisect, etc.) tribute. The key here is that it’s not played in the typical dumbed-down, Americanized style (e.g., Sanctum, Hellshock, Stormcrow). Rather, it is vomited out in the nastiest, filthiest manner possible. Like Seviss or Vermyapre Kommando taking “Monolith” as a foundation and building from there. All of the elements combine as they should: Ambient keys, Baron-esque vocals, galloping chugging, lyrical urgency, derailing drumming, despairing atmosphere, and so on. As the release progresses, it incrementally departs from the bleak punk framework (while still maintaining visible traces) and moves towards primitive black metal. Shades of Hellhammer and VON give way to bolder hues of Sarcofago, Holocausto, and Blasphemy. By the end, the release is fully drenched in blackdeath metal sound and spirit…pummeling and retching in bestial disgust. The vocals lose all indications of human desperation and become little more than instinctual guttural roars. I suppose there might be glimpses of the burlier of the English crust in there (e.g., Hellbastard), but despite their physical dirt and stench those bands never sank to the level of spiritual uncleanliness and depravity expulsed here. It’s based in a fundamental difference in perspective. One of the things that I find most intriguing about the release is the high level of musical competency in the guitar. There’s a certain delicacy and finesse to it that reminds me of classical guitar playing. At the same time, the guitarist places no undue attention on his efforts. The intricate parts play an understated role (which quietly defers to the bold riffing), and are frequently deprecated by grime and hiss. This is common to any number of the Crepusculo Negro projects and it makes me wonder if the same guitarist is involved here as in Volahn and Ashdautus. Excellent on all fronts. Stormheit (FIN; 2009)-Kvenland My knowledge of Finnish culture is admittedly lacking. In my ignorance, I would have guessed this to be Norwegian…probably because my only exposure to the sorts of traditional melodies within has previously come from Norway. The guitars are full of icy treble and spring-thaw midrange and have a solidity to them that is often neglected in the upper reaches. I love that the pickstrikes release a subtle, high-pitched overtone. That particular sonic artifact always reminds be of “Vorvater”-era Bilskirner and in this case adds a nice, folksy rawness to a guitar tone that is not overly raw otherwise (it kind of reminds me of smoothly sanded down woodgrain, actually). The bass is warm, clean, and proggish. It bubbles actively and effectively adds complex harmonic depth to what would otherwise be relatively basic folk melodies. Perhaps like adding rich historical and anecdotal footnotes to the pages of a time-worn fable. Drums are tight and well-played. They certainly could have taken a traditional path, but went with a decidedly “rock” perspective instead. It gives the tracks higher momentum and an underlying sense of modernity. Given this, I very much appreciate that they did not simply attempt to contemporize or amplify the past. There’s a feeling of active, well-thought out integration. Too many bands approach this type of music with loud guitars, oompa rhythms, and “hey” chants. They fixate on the most simpleminded trappings of culture and the result is inevitably garbage (e.g., Finntroll). This release avoids such crassness by focusing instead on the more understated elements…collective vision as tempered by situational reality…the quiet passing of words and rituals from one generation to the next…the symbiotic (and antagonistic) relationship between a people and an environment. Unfortunately, I am not quite able to move past the vocals. This is just a matter of personal preference…they are competently sung and are well-integrated into the mix and the melodies within. No complaints there. My issue is more with the tone. It reminds me very much of the approach that Snake hinted towards on “Killing Technology,” developed within “Dimension Hatröss,” and then fully embraced for “Nothingface.” Die Kreuzen has a similar feel in their later years. I find it acceptable for those two bands alone, for some reason. It’s not necessarily “nasal” or “snotty,” but I am unable to listen to it without thinking of certain mid-90s Vagrant and Fat Wreck Chords bands (and, I hate to say this, Weird Al). I think I would have enjoyed this much more with a lower, deep-sourced baritone voice (e.g., Storm or perhaps Isengard). That’s just me though (and I acknowledge my preference would definitely have made for a more conventional sounding record). Otherwise, a very interesting and well-constructed release. Strongblood (USA; 2009)-Crooked Cross demo Not much to it, but I like it. Basic drums, basic riffs, conventional vocals. Everything is raw and simultaneously clear and loud. Rhythms slow from time to time, but generally fall into a mid-tempo 1-2-1-2 jog that recalls Vordr and Bone Awl and such. I hear some Hellhammer in the slower parts and maybe a touch of Satanic Warmaster and Clandestine Blaze. There’s also a slight punk/oi feel that makes me think of Malveillance. That particular influence is most clear in the fourth track, which has full-on ’77-'78 style melodies and rock n’ roll flourishes. I’m guessing it’s a cover. The guitar is simple and functional throughout, as is the bass. The latter is quite visible…which I appreciate as it is frequently buried or ignored by others who take a similar approach. Vocals are aggressive and have a searing distortion to them. The effect has an odd noisegate on it which cuts out the split-second the vocal signal ends. I don’t particularly care for the cleansed feel it gives and probably would have eased the gate or added some delay. That’s just me though. My only real complaint is the length of the songs. None of the tracks are under 3 minutes. And a 10-minute opening track? Seriously? There’s a reason why Ildjarn tracks rarely broke 2 minutes. This sort of approach needs to be inflicted in short, concentrated bursts. Every 30 seconds over 2 minutes decreases the potency of the anger within by half. Trim the excessive excess, tighten the focus, and rough up the surface and this has the potential to be pretty great. Arphaxat (FRA; 2008)-Loudon la Maudite I first heard this record a while back with essentially zero information about what it was and who had created it. The first thing that struck me was the bass tone. It is odd, very present in the mix, and colored with an effect that I recognized but couldn’t quite place (I’m thinking it's the same one Adrenaline O.D. used on “Humungousfungusamongus,” believe it or not). The big bass plays off of what I initially thought was a thin-toned guitar, and thereby makes for a mildly unusual sound that is almost akin to some of the early-80s UK peace punk. As a result, I encountered little indication the project was French (though I suppose there were some shared elements with Peste Noire that could have served as clues). Lou then told me that a) it was a new project of one of the founding members of Deathspell Omega and b) that there was no guitar on the record. I was confused. I listened to it again and determined that I would never have guessed the latter if I had not been told. Intrigued, I hypothesized that what I thought was guitar was actually just residual high-end distortion, a second super-distorted bass, or perhaps the result of using some sort of A-B set-up (like the guitarist from Antaeus used in Sublime Cadaveric Decomposition). Lou then checked in with Shaxul, who kindly explained that there are two distorted bass tracks and one clean bass track on the recording. The distorted ones were used for guitar-style strumming and leads(!), and the clean one for normal bass duties. He then confirmed that no guitars have been or ever will be involved in the project. I was pretty taken aback, as I was at the time exploring the feasibility of a twin-bass, guitarless project. This made it clear that it was indeed doable and that the results had the potential to be pretty great, as that potential was certainly fulfilled here in conjunction with the other instrumentation. The vocals are an entirely-appropriate midrange rasp. The drums are clear and raw and nicely propel the sizzling darkness of the distorted bass forward as it straddles the fat roll of the standard bass. A few folkish melodies emerge from time to time (hence the earlier Peste Noire reference)…I’m not sure if these are attributable to dark rock influences or perhaps to something more traditional. After dozens of plays, I’m curious as to whether there is any stated concept or vision behind the unorthodoxies of the overall approach. Or maybe it’s just an effort to try something significantly different for the sake of trying something significantly different? Regardless, I like this a whole lot…and the more I listen, the more I like it. Lamento Funebre (ECU; 2008)-Odas Muertas Many thanks to Lou for putting this one in my hands…apparently it was quite a trial to secure. His efforts were well-worth it, of course. Nasty, nasty Ecuadorian filth of the most primitive variety. The spirit of Les Legions Noires holds possession. A haunting instrumental establishes the mood. Quiet, rudimentary, and slightly disoriented by delay. Not as frayed as Moëvöt nor as involved as early Funereal Moon, but similar to both in the enveloping nature of its darkness. Forward motion ensues in lurching cadence. The drums are raw and clear. They stomp and clank along in variably accurate time. Certainly not the clocklike march of a soldier…more the awkward shuffle of the dead. Sour chords present a visage of pain and despair, yet offer no sustenance or empathy via warmth of tone or depth. It reminds me of early Mutiilation in that way. Vocals are rough and colored with a gruffness that I have come to associate with Central America. Interestingly, the voice has more of a “flat” feel to it…as if he enunciates with open, sides-pulled-back mouth rather than rounding his lips. It’s little more than an exhalation of dust. The resulting sound is drained of all vitality and compliments the riffing effectively. I very much like (and sadly, can empathize with) this pale-faced stumble. Sometimes the world goes dim. Words fail and are rendered as invisible as the air that might otherwise carry them. Nothing has meaning, nor depth. There is substance, but not essence. There is sentience, but not conscience. There is animation, but not life. I feel that here. Sick Seed (FIN; 2009)-The Great Corrupter I had been curious about this one for a while as I think it's the guy from Gelsomina. The tracks are an unpleasant and unsettling mix of junk noise, bass dirge, and vocals. The junk thunks and clatters a bit, but primarily shudders and rumbles. It merges with the grumbling bass and from time to time they exchange roles…the bass becoming noise and the noise bass. Vocals are hostile and accusatory…projected and barked in a classic power electronics manner. They are both supported and antagonized by sovereign-minded feedback. It is metallic, rusty, and in need of oil…sometimes pointing to passing trains and other times to tin whistles and worn brake pads. The rage contained within is undeniable, but feels muted by the recording. Everything is dulled and blunted. Distant and muddied. It almost sounds like a live set that was recorded with a limited-range microphone that only registers mid-level values. I think that this contributes to the aura of unease, but at the expense of harshness and a truly confrontational spirit. I would prefer to hear this with the extremities of the bass and treble intact as I can’t help but find it underwhelming in their absence. Grinning Death’s Head (USA; 2009)-No Afterlife Despite the NS-sounding name, something about the feel of the recording reminded me of Mark McCoy’s more recent projects (Ancestors, Altars). This was later validated when I just happened to check the Youth Attack page and there it was right there…first item in the distro. I kind of liked it when the releases connected to that label were more unpredictable, but whatever. This record has a strong rehearsal quality to it. So much so that it’s hard to believe it was pressed to vinyl. Raw, thin, and distant (i.e., across-the-room tapedeck recording). The intro guitar has an odd delay to it that I’m not entirely sure I like as it elicits a cheap digital feel. The tone appears to remain as the first real track initiates, but seems to diffuse into the other instrumentation (esp. the overly-loud cymbals and the vocal effects). The result is a surging wash of treble blanketed over frantic drums, high-gain downstrumming, and distorted, rasped vocals (ala "Goétie"-era Akitsa). The riffing probably fits with what many folks consider to be black metal these days (certain points are reminiscent of Bone Awl backed with a more involved drumming style), but I hear more early-80s hardcore in it. “Condensed Flesh”-era Void comes to mind at times. The acerbic vocals blend in nicely. There may or may not be bass. Overall, it’s decent. I probably wouldn’t listen to it again, though. Goatpenis (BRA; 2010)-Biochemterrorism Hm. I don’t understand what’s going on here. I’ve never been a big fan to say the least, but have occasionally been able to look past their shortcomings (e.g., the excruciatingly dumb name, the bewildering South American NS politics, the blatant mishandling of firearms in their band pictures, etc.) due to one fact alone: The sheer magnitude of the bestial filth. Listen to their contribution to the Death Squadron split. It’s sick. Like a more violent, unhinged Blasphemy at times. What we have here bears no resemblance to that whatsoever. It’s thin and weak. The recording is somehow both raw and processed. Guitars are melodic and harmonized…drawing shamelessly from Dissection and early Ulver with lots and lots of Scandinavian-style guitar lines. The drums are dry and relatively low. They sound like a full kit during the mid-tempo marches, but are reduced to nothing more than cymbal treble and maybe a touch of snare during the frequent blasting. It’s clear that he’s not hitting the drums particularly hard during these portions…I think that makes them sound lower in the mix than they actually are. The vocals are deep (almost pitchshifted sounding, but I don’t think they are) and loud. They sound absurd over the delicate guitar lines and cymbal-blur. The bass level is low and it makes little effort to supplement the guitars or bolster the rhythms to counteract the volume of the vocals. Overall, it sounds a bit like if Arghoslent were less competent musicians who were more obsessed with Dissection than Maiden. I have no idea why they took things in this direction. I have no need for it whatsoever. Vetala (PRT; 2010)-Satanic Morbid Metal This was an exceedingly pleasant surprise. It would appear that the malefic and malodorous spirit of Les Legions Noires has permeated a plot in the sonic soil of Portugal (As Legiões Negras?), leaving it dry, crumbled, and drained of all essence and vitality. The derangement presents both naked and hollow. Undeniable, yet inexplicable. It simply is, and must be managed (and possibly contained) on these terms for the sake of safety…not treatment. The guitar alternates between distorted and clean tones, the former sounding relatively standard (based on raw black metal conventions) and the latter recalling the oft-maligned Brenoritvrezorkre approach. Ragged strings pull across the tracks in a quasi-musical manner. The vocals wail and caterwaul, grumble and spit. Combined with the other instrumentation, the release tumbles and clatters in violent disarray. Perhaps the final gasps of outward frustration before catatonic malaise sets in. It should go without saying that this will appeal to only the most obsessed of the LLN supporters. Those few will find much validation within. Psychic Possessor (BRA; 1988)-Toxin Diffusion Pretty badass name, no? I don’t think I’d be exaggerating to call this a TOTAL RIFF ONSLAUGHT. It’s very chunky, with lots and lots of moshy E-chord chugging. There’s a nice variety though and plenty of false harmonics and speedpicking parts are brought in to support the cause. The Celtic Frost, early Sepultura, and P.U.S influences are clear. Sextrash and Headhunter DC too, along with Altars-era Morbid Angel and Hell Awaits-era Slayer…maybe even hints of early Death Angel and Megadeth. The guitarist does an admirable job, but the depth of the tracks could easily be improved if a second guitar had been added. For one, it would add both power and harmonization. The drums have a tighter sound to them than I’d like and the bass is an unremarkable cleantone, so some sort of reinforcement is necessary here and would have been appreciated. For two, it would open the tracks up for soloing. As it stands, there is none…which is kind of odd for this style. I got to the end and felt like there was something missing. It took a minute to figure out, but I realized I needed to hear some sort of Kerry King soloing to take it over the top. Another surprise was that the vocals don’t sound overly Brazilian (that’s not a criticism, just a curiosity). There are strong Cavalera elements, but I tend to hear more of a German approach (e.g., Tom Angelripper). A good record overall, albeit disappointing in that it could and should have been way better (particularly given the name). Sump (GBR; 2009)-self titled demo This demo sits at a point of ambivalence for me. It’s not depraved enough for primitive black metal nor belligerent enough for noisy hardcore or crasher crust. Consequently, I can’t decide if I like it or not. There are plenty of great Ildjarn and Void clones out there…why settle for a watered-down blend of the two? This music is far too simple not to take it as far as possible one direction or the other. Anyway, the first track sets out in clearly Bone Awl influenced style (or maybe Raspberry Bulbs). Raw, upfront 1-2-1-2 drums. Syncopated, downstrum, gain-distorted guitar. An emphasis on riffing. Ragged, blown-out vocals. It’s a good enough start. From there, the vocals are tempered down to more of a early-80s hardcore shout. The riffs adopt a bit more punk melody and structure. There are even some gang vocals. I lost interest right around that point. I imagine this would appeal to punk folks who want to be able to like Bone Awl but will not allow themselves to do so because they read that Bone Awl “might be NS” on the Profane Existence internet forum. I don’t mean that to imply as much judgment as it might sound…it’s just an interesting phenomenon. Regardless, I foresee a yet-to-be-conceived surge of far-less-than-stellar releases as a result. Just wait until after Chaos in Tejas. Just wait. As a side note, the third track has a chorus that sounds like “State Violence State Control.” It’s not, but it sounds kind of like it is. Witch Tomb (USA; 2009)-Crippled Messiah Great stuff. The odd, melancholy intro effectively distracted me from that which was about to come. I was trying to place it…something about it reminded me of Close Encounters of the Third Kind. Something else of Godspeed! You Black Emperor. The tones carried both breath and friction…perhaps like a pump organ though more likely just heavily chorused, delayed, and deteriorated guitar. Even as a fuzzed-out, borderline-disgusting basstone emerged I found myself entirely focused on the layering and swelling of the melodic notes. And then the bottom dropped out. Straight into a full-on Blasphemial Warlust style blastbeat attack. Filth spews everywhere and coats and saturates everything. The scumfuck bass that had previously revealed its presence now imposes its presence. Guitars bend and forge their Will, then aggress it. In the midst of it all, the commander arrives and barks orders to his legions. Unleash, regroup. He is flanked by rumbling tanks which belch and vomit guttural refuse, thereby adding generalized emphasis to his mandate. Abstract and semi-structured interludes provide time for rest. Possibly reflection. But in this world there is no night or day. Only the advancement of the hatred surge. And it continues as it sees fit, when it sees fit. Many sick riffs are employed in the process. Running for Cover (USA; 2008)-Dark Well Other than some of the Iron Lung, Endless Blockade, SFA, and Hatred Surge output, I can’t say that there have been many recent releases from the powerviolence subgenre that I’ve taken much interest in. Most bands that attempt the style don’t have the potency, the creativity, or some combination of the two to make it worth listening to. That said, Dark Well surprised me as one of my most favorite releases of 2008 (it was actually recorded in 2005 I think?). I’m not sure where to start. The overall recording mix is perfect for the style. Every element is clear and salient. Every element has attack, or bite. Every element contributes in both sound and spirit to the violence. The drums fully punish. I suppose it wouldn’t be powerviolence if they didn’t, but man, they really destroy. Each part of the kit is clear, dry, and loud. In particular, the hard pop of the snare and the stiff clang of the ride bring out a sense of deranged aggression (and occasional disorientation, like with a passing train). The vocals are a mid range bark…sharp, pointed, and highly effective. Well-phrased, with low, classic powerviolence style alter-ego back-ups. The guitar seems a little low in the mix (relatively…it’s still very present), but I like the effect this has. It allows the drum and bass to take priority, thereby adding visceral power to the violence. At the same time, it still serves vital purpose by harmonizing with the bass, adding another layer of distortion, and providing historical rooting via old-style hardcore riffing. The bass on the other hand stumbles dumbly, like an old man groping for the bathroom light switch in the dark. It begs the question of why Pat didn’t just play bass and let Dave do something better suited to his abilities (e.g., work the merch table). I’m kidding of course. Kidding Dave! The bass pushes serious weight and acts as a true Skull Servant. Dedicated, yet ambitious and innovative…almost exploratory in its Skull Crushing. The end result is the creation of something that is new and truly unique, but with full respect and native spirit intact. It perhaps reflects the difference between being a Skull Servant and a derivative, mindless skull slave. As a whole, the record explodes and recedes. Of the 20 tracks, only 3 break a minute. No less than 8 are under 35 seconds. It would be relentless, if not for a couple unusual, highly engaging instrumental (mostly bass and noise) pursuits that morph out of structured parts (I love how the final instrumental is foreshadowed early in the last track). They could be described as “experimental,” but the end effect contains none of the self-awareness or pretension that is often a by-product of musical experimentation. Rather, the instrumentals give the feel that the band has tapped into something larger than themselves…as if they accidentally received alien search transmissions and were able to broadcast the content via their instruments. I think the juxtaposition is pretty incredible. It’s too easy for a band to simply lose itself in human rage. It’s a much larger task to explore, validate, and objectify the emotion and then place it in an infinitely larger context. As a side note, is it me or does the first riff of the first track sound a lot like the breakdown to “Yes Ma’am” from DRI? I guess it’s really just the first two notes and the timing of it, but I can almost hear Kurt singing “please classify me” in the background. Grunt (FIN; 2009)-Documentation 3cd Admittedly, I hesitated before picking this up. Three cds (with a 3cd pricetag) filled with various 2005-2008 live footage from around Europe. I was kind of wary that the live recordings might be distant, muddy, or any of the other typical live limitations that could detract from the potency that I’ve come to need and expect from Grunt. Not so much the case, here. The recordings are well done and the clarity is generally intact. It would be difficult to go through all of the material present as it covers well over three hours and really anyone who knows Grunt knows what to expect. Junk noise collides with electronics. Abstract solidifies into semi-structure, then crumbles. Cycles (I hesitate to refer to them as “rhythms,” as there is nothing musical present nor intended) emerge and recede while vocals antagonize and denigrate. Mikko’s voice is distinct, but from time to time offers hints of the classic Whitehouse attack. Perhaps I only hear that because of the context, who knows. My favorite moments are those in which a cycle is identified, locked in, and fixated upon…only to be torn to shreds by the acerbic edge and bestial mockery of the vocal assault. It’s as if the unstructured shatterclatter represents the wilderness through which the aggressor walks. Various facets of the wild are attended to in correlation with their relevance. Few hold or demand focus. Of highest relevance is the prey, which, once spotted, is fixated upon with the greatest of intensity. Its shape becomes clear, its nature apparent. Thus established, the ambush begins. Relentless, merciless ‘till death. As a side note, the cds come in a sturdy, black, heavy cardboard case with some sort of a pressed plastic laminate outer layer. It’s pretty cool looking (and almost looks like something a physician might carry syringes or scalpels in), and very unique. TSOL (USA; 1986)-Revenge It always surprises me just how controversial this lp can be. Just last summer I was at a backyard barbecue and was talking to some kid who had never heard the record about how great it is. I was definitely a few beers in and was significantly more impassioned about it than I probably normally would have been. I noticed this guy just on the edge of earshot getting increasingly agitated. After about 10 minutes of listening to me go on and on about the record, he finally stormed over and cut me off: “I’ve been standing here trying to hold my tongue and I can’t do it anymore…I just can’t do it. That record SUCKS. IT REALLY, REALLY SUCKS.” Things escalated quickly from there and I nearly precipitated a fistfight (no exaggeration) by then pointing out that Blitz’ “Killing Dream” lp rules as well. We argued loudly for another 10 minutes while the rest of the folks in the yard watched the spectacle uncomfortably from the periphery. His mind blew shortly thereafter from exasperated disbelief and the conflict resolved in an “agree to disagree” compromise later on at the bar. I also ended up having to buy him a beer. It came up again a few months later at a show where I was proudly wearing a “Revenge”-era TSOL shirt that my pal Mark (also a big fan of the record, and, in fact, the person who introduced me to it) gave me. I heard two guys whispering back and forth behind me: “Is that from ‘Revenge?’” “No, he wouldn’t.” “It must be ‘Hit and Run?’” “I hope not.” Even my longtime partner in crime McMike has publicly dissed the record, making the highly debatable claim that it is vastly inferior to Toxic Reasons’ “Within these Walls” lp. Anyway, point of all of this is that a lot of people just plain don’t like this record (particularly aging punkers in their 30s, it would seem). It’s understandable, but not necessarily fair. The key is that you can’t go into it expecting “Abolish Government” or “Property is Theft.” It also helps not to think of it as “the record before ‘Hit and Run,’” as that record really does suck. Instead, it’s best to consider that TSOL were always a moody, goth-inspired punk band. The early material focused on the punk, and the later records focus on the goth. By the time “Revenge” came out they had really honed their dark rock sound but without losing the rough punk edge. Blackened buzzsaw guitar co-mingles with moody acoustic ballads (with plenty of Danzig influence in the vocals). I like to think of it as Southern Death Cult crossed with Samhain. More aggressive than the former, yet more brooding than the latter. With any number of black metal folks (e.g., Lik, EgoNoir, Lonndom, Lifelover) taking a renewed interest in dark and gothic rock, it seems kind of odd that more people aren’t into this record or the one before it (“Change Today”). I suspect that there may be too much outright punk in it (as opposed to gloomier, more disjointed goth like Christian Death, Sisters of Mercy, or Joy Division) for the black metal legions. Yet still not enough punk for the punks. Sometimes you can’t win. Metaconqueror (USA; 2008)-Of Steel, Stone and Fire Huh. I misread the cd Lou gave me and thought it said "Metalconqueror." Between that and the album title, I was expecting Manilla Road style epic speed metal. But it turns out there's no "L," and consequently no speed or metal. Not a problem, just a surprise. Instead, we have some really dark atmospheric material with low, pitchshifted (similar to "Dead by Dawn"), occasionally oscillated (e.g., Deathpile) vocals. It's an unusual approach, and I can't think of anything else quite like it other than Black Mayonnaise. But this is substantially more abstract than Black Mayonnaise, as the latter relies heavily on huge sludge basslines and programmed rhythms. Metaconqueror has neither, and is significantly more minimal. Just vocals thundering over black, cloudy soundscapes. The best parallel description I can provide is the moment in Hellraiser II when they first emerge from the tunnels and see the infinite expanse of Hell with Leviathan slowly rotating at its center. This is the auditory representation of that, and effectively so. Nightmare as reality. I think that it was created by the person behind Steel Hook Prosthesis, which makes sense. Armatus (GER; 2008)-Armee der Schwarzen Stiefel You know, sometimes I have to step back and ask myself why I like this kind of stuff so much. It’s totally incompetent. It’s juvenile. It’s bewildering that someone would actually put it out (let alone Werewolf). I don’t even know where to start. The drums are a total disaster. They sound like a bunch of pots and pans, but I’m actually kind of a fan of that approach. I suppose the real base-level problem is that they are poorly played both in terms of timing and style. This is then compounded multi-fold by adding a full second and a half of delay to the entire drum track. As such, every hit of every piece of the kit rings out three or four times…thereby creating off-time polyrhythms within an already off-time main rhythm. The end result is baffling. The whole thing stumbles around like a wounded sheep. Admirably, the fuzzed-out guitar tries to follow along. Sometimes it does, sometimes it doesn’t. The riffs are so simple that it really doesn’t matter. They’re good though (I like the tone, too), and as a side note the riff they use for the first track sounds a lot like “Zona Luce” from Contropotere. The vocals are very loud, way delayed, and are sung in a gruff manner. They are distinctly German for the most part, but every now and then recall a South American tone. There may or may not be bass. The third track has something that resembles bass for about five seconds, but I honestly think it’s a guitar being played as a bass. Random samples ring out in random places. The intro samples make sense (I suppose), but most of the others sound like they were pasted on at the last minute (“You think we should synch up the gun blasts with the flow of the track? What about the marching?” “Fuck it man…we need to get this shit out to the FANS. RIGHT NOW.”). Most seem war or Nazi-oriented, but it’s hard to say as all are in German. The closer I listen, the more I think they just added a second and a half of delay to the whole damned thing and then put samples over the top. It’s truly bizarre. Like the black metal equivalent of a Mortville release. Or a bunch of glue-huffing junior high kids covering Luftwaffe Raid songs. Weird, fucked up noise. All said, I could listen to this cd all day. Maybe it’s a character flaw. Leadhaze (UKR; 2008)-Black Water Path For some reason I was thinking there were folks from Drudkh and Hate Forest in this. Turns out that’s not true at all, but because of my misunderstanding I was expecting something along those two lines…either churning Nature metal or epic ancestor metal…and was surprised to find something entirely different. The guitar is ultra-thin and buzzing, as expected, but it’s not playing quasi-metal shoegaze chords (well, I guess it does in isolated spots)…it’s playing heavy fucking metal! There are classic heavy metal riffs (two thirds of the way into the third track they fully rip the verse riff to “Blitzkrieg”…I had my fist in the air at my desk at work), old-school death metal guitar lines, and primal black metal speedpicking parts. I then realized that outside of the vocal dialect, this doesn’t sound Ukrainian at all. It sounds Greek. Total 1992-1994 style Greek blackened death metal (e.g., Rotting Christ, Zephyrous, Varathron, Kawir, Devisor, Thou Art Lord, Horrified, Necromantia, Zemial). All of the elements are there: 1) Thin heavy metal guitar with plenty of palm muted chugging, 2) round, present, non-distorted bass, 3) subtle atmospheric keys, 4) moody, doomy parts, 5) guttural back-up vocals, 6) utilitarian drumming, and 7) a general, strong-yet-not-annoying sense of melody. The only thing missing is a rough, dirty recording. This is definitely a little clean for my tastes. Not a big issue, though. Great stuff for sure.