Thrashing Rage speed metal compilation

The lads over at A FIST IN THE ASS OF GOD have put together a compilation of undernoticed speed metal bands from the 1980s and 1990s. If you love this stuff, it’s quite good; if you don’t, it’s some of the more interesting edges of the genre so you can finally get “For Whom the Bell Tolls” out of your head.

Here’s the god-ass-packing tracklist:

1. Protector (Germany) “Protector of Death” (1986)
2. Morbid Saint (USA) “Assassin” (1988)
3. Soothsayer (Canada) “Build the Terrorism” (1986)
4. Burnt Offering (USA) “Power of Death” (1989)
5. Hobbs’ Angel Of Death (Australia) “Cold Steel” (1988)
6. Toxodeth (Mexico) “Black Doom” (1988)
7. Dolmen (USA) “The Ritual Night” (1989)
8. Pentagram [Mezarkabul] (Turkey) “Intro (Wreck)/Rotten Dogs” (1990)
9. Messiah (Switzerland) “Hyper Borea” (1987)
10. Ulysses Siren (USA) “Above the Ashes” (1987)
11. Infernäl Mäjesty (Canada) “Into the Unknown” (1988)
12. Sindrome (USA) “Rapture in Blood” (1987)
13. Anacrusis (USA) “Imprisoned” (1988)
14. Sacred Reich (USA) “No Believers” (1987)
15. Nasty Savage (USA) “Fear Beyond the Vision” (1985)
16. Lääz Rockit (USA) “Last Breath” (1987)
17. Demonax (USA) “Evil’s Cast Aside” (1984)
18. Holy Terror (USA) “Debt of Pain” (1988)

Download at this Mediafire link or visit the original blog post for more information.

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Metal contributes to language

Radikult, v., to engage in any grossly directionless, phenomenally incompetent and cosmically purposeless activity. For example: “We got there late, and at that point the only people there were fat neckbeards Radikulting on Segways, so we left.”

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Cianide – Gods of Death (2011)

We who still love metal walk a fine line between the sold out nu-hardcore stylings of metalcore, and the tendency to hop on the bandwagon of the old school too much; the previous Cianide, Hell’s Rebirth, walked too far on the old school side — when a band loses direction, they imitate successful techniques and patterns from the past without knowing what those patterns evoked in the listeners.

Despite pretending the contrary is true, Cianide is intensely emotional music. It brings on the spirit of doom and fate from old Celtic Frost, the fire-blooded desire to seize life by the throat and live the hell out of it of Motörhead, and from ancient death metal and doom metal a contemplative inner sense, a wondering where we fit in this big picture.

Hell’s Rebirth skipped the emotion for the equivalent of lots of songs about being in a death metal. Gods of Death, despite the less-than-promising self-referential title, is a quality mature effort from these veterans. It is not a concept album but a collection of songs that somewhat self-consciously attempt greater internal variation than previous albums, evenly mixing the “Metal Never Bends” style of bounding, energetic death metal of the type early Master did well, and the brooding drone of Hellhammer and the doom-death style it influenced. The songs are still simple; the solos still squiggles of graffiti on walls of unyielding tone.

If anything, this album reverts to the hardcore roots of death metal and eschews the “nu-hardcore” post-1980s prog-punk and pop-punk styles that are so popular in metal now. In both style and substance, Gods of Death is an affirmation of the past and a recognition that style alone did not define it; the spirit and the soul of the artist made 1990s death metal what it was, and they not only live on but move forward on this chunk of oxidizing steel.

-Brett Stevens-

http://www.youtube.com/watch?v=kUxpsvOtlEE&feature=fvst

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How to know your genre is being assimilated

If you needed confirmation the proles are running the show:

Like a stunning, stylized nightmare, Mike Hill’s first ground-rattling growl on Path of Totality is “CHAOS REIGNS.” It’s enough to conjure that memorable scene from Lars Von Trier’s controversial film, Antichrist, in which a self-disemboweling fox cryptically and prophetically utters these two words to Willem Defoe’s character. If anything, it sets the tone for a dark, fully absorbing listen on Tombs’ second album.

With Path of Totality, out June 7, the Brooklyn metal trio takes its disparate influences and distills an expansive palette using thick, controlled brushstrokes. The industrial sledgehammer of Godflesh meets the blast-beated darkness of early Darkthrone in “To Cross the Land,” while “Vermillion” intones a sinister psychedelic swirl over an impressive rhythm section preparing for war. The atmospheric Goth-rock of The Cure presides over “Passageways” and “Black Heaven,” as the dead-eyed stare of Swans — the members of Tombs are admittedly huge fans — lurks in unlit corridors. But while the band’s wide-ranging music libraries are on display, Path of Totality functions as something new, mostly because its extremity is tempered by a dynamic push and pull, accentuated by the spacious production of John Congleton, whose diverse clientele includes Explosions in the Sky, Baroness, Modest Mouse and St. Vincent. – National People’s Radio

Wow, look it has lots of different stuff in it. Translation: no direction.

Looks like a big-name indie producer made it. Translation: “post-metal” means indie with slow drums and distortion.

It’s on NPR. Translation: it’s OK by government and industry, thus as far from underground as you can get, no matter how underground it pretends to be.

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Terrorizer to release new album in 2012

From the Morbid Angel myspace:

TERRORIZER is back with a new album and the line-up consists of Pete on drums, Anthony Rezhawk, David Vincent on Bass and Katina Culture on guitar. The new album is in its final stage of production and will be out early 2012.

No word on whether they’ll do a 28 second cover of “Radikult.”

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Beherit – At the Devil’s Studio 1990

I am really glad this recording is not the final form these songs took, but I am equally glad to be able to hear them in this form. Most people will compare this to The Oath of Black Blood, but it reminds me more of the later EPs, although it’s in the style of The Oath of Black Blood.

On those later EPs Beherit experimented with the sonic form of its material, not changing the song structures as much as the pacing and the use of guitar noise, drone and other techniques. What emerged on the Osmose release of The Oath of Black Blood (a compilation of demos assembled by the label into an album) was more monolithic and primitive, in the raw style of Blasphemy which was inherited almost certainly from a cross between early Bathory and early Napalm Death.

But some time later what came forth on Drawing Down the Moon removed the chaos in favor of a clear, simple, direct and ominously infectious statement of power; it matured, for lack of a better word, and cut out the ambiguity to make a purposeful and morbid statement of dark power.

At the Devil’s Studio attempts to take the early monolithic style and tweak it sonically to gain effect, and it does so by making a dark immersive world of hanging sheets of resonant sound, but it loses the sinister abstraction and aloofness of the second album.

However, it gives these songs a new dimension, and makes it like hearing them for the first or second time, which alone will induce me to buy this thing and keep it close at hand.

-Brett Stevens-

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Classic BLASPHEMY interview

Journalist Nathan Birk went in investigation of the Blasphemy phenomenon, and was able to wrest an interview from these guys 20+ years past their original works of hateful, apostatic skinhead black metal/grindcore crossover. Excerpts from the interview are published on the Zero Tolerance blog. Some insights:

Both Blasphemy albums are equally classic in my opinion, but why do you think Fallen Angel Of Doom resounds so powerfully with so many people over a number of generations?

DeathLord: Blasphemy were focused only on Blasphemy during the Fallen Angel Of Doom era. Soon after that, even as early as the Gods Of War era, their energies were spread to other interests.

Black Winds: Let me put it to you this way – I wrote the song ‘Blood Upon The Altar’ from Gods Of War after a bottle and a half of tequila!

Maybe… because Fallen Angel of Doom is the far better album.

While Blasphemy have certainly wielded a global influence on new generations of black/death metal, it seems the biggest pockets of influence are situated in the US, Canada, Australia, and parts of South America and South East Asia – to what do you attribute this to? That Blasphemy wield influence on countries that are…well, less purely ‘white’?

DeathLord: Where do you get this information?! I can find you 25 Burzum clones from Brazil and another 10 from Australia! Also, Burzum record sales are better than Blasphemy record sales in every country you mentioned, so explain why these “less purely white” people are into that style? All metal, all genres, is a worldwide phenomenon. You are obviously speaking about Europe in this question, yet we get the most requests to bring our live ritual out there and I get the most orders for Blasphemy merchandise from there, too. And to add to this, it doesn’t get more ‘white’ than Finland, yet I hear Beherit, Satanic Evil, early Impaled Nazarene, Archgoat, and newer bands like OfDoom and Black Feast, etc, that have a distinct bestial sound with a Blasphemy influence. Blasphemy are indeed “global” and equally listened to, per capita, in all regions of the world. I know this firsthand through my distro and contacts.

Black Winds: The South Americans are probably the biggest black metallers in the world. If we played a show down there with Mystifier or Impurity or someone, there would be thousands there! Traditional Sodomizer’s band Tyrants Blood just played down there, and it was crazy! We don’t notice skin colour, only how black metal people are.

He ducked the question with a false comparison.

So, how would you address charges of Blasphemy ‘resting on your laurels’? Meaning, playing those reunion shows but without any new material in almost two decades…?

Black Winds: Tough. If you don’t like it, don’t come and see it.

DeathLord: Have you ever noticed that people go crazy at a show when the band plays their old songs and are bored to tears when they do a set of newer material? Well, we don’t only hype up the crowd with a few old tunes, we play them ALL! They are eaten up with total frenzy for the entire duration of the live ritual! But, to answer your question, we’re Blasphemy and we do whatever the fuck we want! We don’t answer to any “charges” against us.

Well, it’s sensible. If you’re not going to be able to write newer material that’s better than the old stuff, you should just play the old stuff.

Interesting how bands like BEHERIT continued improving, BURZUM sold out worse than Metallica after peaking late, and ENSLAVED have become something entirely different, namely a hard rock/jam band. BLASPHEMY have stayed true to their roots, even if their answers in this interview aren’t entirely logical. Birk asks the right questions; he could ask all the old stuff, but instead he asked them about their place in the metal canon, and got some intriguing answers.

Read the interview here: Crime (and Powerlifting) Pays — An Interview with Blasphemy

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Ripping Corpse – Dreaming with the Dead

Though the barrier of moral pretense that’s raised in the minds of those who live in fear of this world can be seen as the work of social or religious conditioning, it isn’t necessarily intrinsic to systems of thought that wish to superimpose theories of order upon nature. Rather, the impulse is an artifice of the ego, in assuring it’s own physical safety and metaphysical sanctity, whether the origin of this is ascribed to a divinity or otherwise and then marketed to the masses. This monochromatic rendering of a world half engulfed by the shadow of such a barrier disregards the interdependent balance of elements, the opposite and equal value of death to that of life, and begins to symbolise a holy war against the unknown, just as the actual structure has represented conflicts throughout human history, from Hadrian’s Wall to the West Bank. Maybe Demoltion Hammer one year later recorded the soundtrack to the destruction of these architectural demarcators but Ripping Corpse pinpointed the mental plane with one of the apex recordings of both these tri-state bands’ style of corpse-shredding Speed/Death Metal.

Dreaming with the Dead doesn’t so much harmoniously reconcile life’s opposite extremes, though, as it reveals their arbitrary placement on the spectrum of phenomenon and deconstructs such division with the characteristic absurdism of Death Metal and Lovecraftian inhuman consciousness. The thematic outline of the album is even marked by a transition from the pulp ‘escapism’ of subconscious terrors on one hand to social commentary on the other, as though returning from the Abyss to expose the hypocrisy of so-called civilised men who indulge in normalised forms of depravity while pouring scorn over uncivilised ‘savagery’. The musical elements that Ripping Corpse fuse on the album illustrates this idea further, overlaying the quasi-neoclassical shredding posibilities opened up by European Speed Metal bands such as the socially conscious Destruction with perverse melodies and sequences of increasingly fractured riffing typical of Death Metal at the time.

Although the adverse effect of retaining such past influences would be that some later songs still structure themselves around anthemic choruses – a burden that most of Ripping Corpse’s contemporaries had already evolved far beyond – the band manages to employ enough compexity in their compositions to keep up with the demands of their vision. The sound of the guitars may be construed as being weak or mixed poorly, but this lighter texture lends itself well to the progression of riffs from measured punctuations of rhythm to insane variations by way of fucked up artificial harmonics and blastbeaten tremolo sequences. Tempo blurs the lines of what is considered primitive, though the act may be embellished with the jewels of modern society or justified in the name of some ideology. As layers of humanity are removed from the conscious mind, lead guitars erratically and uncontrollably rip through passages and bring a microcosmic level of culmination within a song, like the fleeting screams of demons being exorcised from a long tortured soul.

There is some continuity to be heard in the first album of Erik Rutan’s much later Hate Eternal, which is a far more sizeable contribution than his involvement in Morbid Angel, however, Ripping Corpse clearly struck an evolutionary dead-end with Dreaming with the Dead. Yet for all it’s antiquated aspects, the focus and engineering of the music manages to highlight the illusions which obstruct mankind from understanding the world around him because he chose to no longer belong in such a world.

-ObscuraHessian-

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Seth Putnam (1968-2011)

We were sad to hear of the passing of Seth Putnam, vocalist/guitarist for Anal Cunt and Vaginal Jesus, recently. Mr. Putnam was a top-notch troll who poked fun at the parts of life we were afraid to bring to light.

In honor of his life, here are some interesting quotations of his from the interview we did with him a few years back in Heidenlarm Zine #4:

there is no “cut and dry” approach to what i like and dislike. a lot of bands i originally hated end up being some of my favorite bands (village people,culture club,morbid angel,etc). i tend to not like too much after 1985 though.

i don’t really pay attention to what goes on in the world very much. i’m not that interested. i’ve had times when i had some interest here and there, but not in a long time. i think the worst thing going on is forced multiculturalism and wiggers. if you compare t.v. and popular things now to even as short as 20 years ago, everything is completely different.

it’s a miracle if i see anyone at an “underground” show that i’d see in the early 80’s. whether you like it or not, underground music is a fad for most people. the ones who stick with it are the ones that i will usually talk to (if i am friends with them). getting upset about people not “being into it” anymore is useless, because i know most of these people will be lawyers in a couple of years.

i hate people and i try to be not involved with society as much as possible. just about everything anyone says makes me angry. the world has gotten so much gayer in the last few years. i try my best to have no idea what’s going on in the world. – Heidenlarm Zine #4

We’ll miss you, and that famed acerbic wit, Seth.

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Vote for The Best Death Metal Album Of All Time

One of the other old school metal sites is Brian N. Russ’ BNRmetal.com. If you’ve read these pages for awhile, you know that Vijay Prozak and our other writers enjoy this site for its pithy characterizations of several generations of metal.

It’s a far better resource than Metal-Archives, who are so upset by old school sites that they censor both BNRmetal and anus.com on their forum, and the odious wikipedia which was clearly written by marketers and truly clueless “fans” of mainstream music that wants to be “bad” like that underground music. In fact, it’s where my research often starts for new bands, followed by going to a blogspot and downloading the damn thing.

BNRmetal.com is now holding a contest, “Vote for The Best Death Metal Album Of All Time,” which pairs some old favorites against each other:

versus


versus


If you have any strong opinions on this issue, go here to vote for BNRmetal.com’s best album of all time.

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