Antifascist and Communists have vowed to commit terrorists acts in protest of Swedish war metal (formerly black metal) band Marduk touring the US for the first time in years. The idiotic communist manlets are accusing Marduk of being a “crypto-fascist” band. They will not stop harassing the band, their fans, and concertgoers until all of them are sent to gulags (where work will set them free) or have hollow-point bullets shot into the back of their skulls in the bowels of police stations.
Slayer are touring North America this fall with lesser eighties speed metal bands Death Angel and Anthrax. I’m still hoping for a SlayExodus tour where the same lineup plays 75% Slayer and 25% Exodux material. Slayer Fan Club members (Does anyone who doesn’t watch the WWF pay to join this?) may preorder tickets now; sales to the general public go on sale Friday.
Kerry King: “It’s always super fun for us to tour with Anthrax. Frank is one of my best friends in the biz!! Put that together with Death Angel, and fans will probably see the best package this year. See you there!”
With more dates to be announced, here is the confirmed itinerary:
9 Jacob’s Pavilion, Cleveland, OH
10 Freedom Hill Amphitheatre, Detroit, MI
12 Sound Academy, Toronto, ON
13 Metropolis, Montreal, QC
15 Stage AE, Pittsburgh, PA
17/18 Rock Allegiance, Chester, PA*
20 Egyptian Room, Indianapolis, IN
22 The Pageant, St. Louis, MO
27 Hard Rock Live, Orlando, FL
28 Fillmore, Miami, FL
30 Horseshoe Casino Tunica, Tunica, MS
3 Norva, Norfolk, VA
5 Tabernacle, Atlanta, GA
7 Gas Monkey Live, Dallas, TX
8 ACL at the Moody Theatre, Austin, TX
10 Fillmore, Denver, CO
11 The Complex, Salt Lake City, UT
13 The Wilma Theatre, Missoula, MT
17 ENMAX Center, Lethbridge, AB
19 South Okanagan Events Centre, Penticton, BC
20 Abbotsford Centre, Abbotsford, BC
23 Reno Events Center, Reno, NV
27 El Paso County Coliseum, El Paso, TX
* Slayer, Anthrax and Death Angel are all on this bill.
The late 80s were an extremely volatile time for metal music. The speed metal movement that had started a handful of years prior was simultaneously peaking and sounding its death rattle. The noises coming from Europe and developing in New England were firing warning shots across the bow of metal as it had been known in full-out, transformational revolution. 1988 saw the release of Bathory Blood Fire Death, Bolt Thrower In Battle There Is No Law, Napalm Death From Enslavement To Obliteration, Carcass Reek Of Putrefaction, and demos from Paradise Lost, Samael, Rotting Christ, Rigor Mortis (pre-Immolation) and Exmortis, just to name a few. One can only imagine that this must have placed tremendous pressure on fledgling speed metal bands as the music world they thought they knew crumbled around them.
Very few of them escaped this period intact. Bands that had issued one or two great albums seemed to perceive that they could not continue as they had been. They saw a fork in the road: either trying to emulate one of the “big four” or struggling to “get harder” to keep up with the tectonic shift death and black metal were creating. Either move alienated the fan base they had built and universally failed as a result. This writer cannot think of one band that consciously changed vocalists and/or styles that got better because of said shift at that time.
This is not a lesson in music history or an album review, but it is important to understand the context of a given release. It is easy today to call up a band, a song, an album, and sample it immediately, piece by piece. Consuming historical output in a vacuum, outside of the understanding of the environment in which it was produced and unleashed, is simply folly. The timeline of modern metal, now at over three solid decades, conveys the idea that there were obvious plateaus and curves, slow and deliberate. However, focusing in closer reveals that there were a great many peaks and valleys along the way, some single high points among a lot of noisy low points.
Focusing on the US, 1988 saw some fine thrash releases from Nuclear Assault, Rigor Mortis, Vio-Lence, Wehrmächt, Wasted Youth, Wargasm, and the subject of this writing, Num Skull. Num Skull’s release of Ritually Abused, while not a game-changer, was significant. It toed the line of death metal; one can hear some hints of Immolation in some of the riffs on this album. The spitting delivery and effects on the vocals were very unique and helped set them apart. And, perhaps most importantly, it remains one of the very few releases from a midwestern-US band at that time. The midwest had the proto-death stylings of Macabre and Impetigo, the progressive metal of Anacrusis, the punk of Life Sentence, and the thrash of Zoetrope, but for thrash that edged closely to death metal, Num Skull were it. Ritually Abused caught them at their peak, before they decided they needed to be yet another poor-to-mediocre “brutal” death metal band to be discarded as also-rans. They were extremely talented, high-energy, and unique in a musical world filling up with same-ness.
Fast-forward to 2014. The original Ritually Abused is criminally difficult to find, with the lone CD pressing fetching triple-digits on eBay and in trading circles. When Relapse announced that finally, after much pleading, they were going to reissue it, complete with bonus track, it seemed time to rejoice. A limited-run of 300 units, pressed on purple vinyl, was promised, along with a CD and new apparel. This was an opportunity for younger listeners to hear what was a peak during the swan song of the US thrash movement with some proto-death metal tendencies, and for the label to pay respect to one of their deceased children, Medusa Records, with a release that helped put them on the map.
Upon inspection, the colors on the cover appear richer and the back cover has a new layout. Opening it, there is a basic lyrics sheet and plain sleeve. OK, so it’s not a deluxe reissue — this is not ideal but it is forgivable. After all, at least this piece of history was unearthed and given new life. Dropping the needle, fond memories of youth are replaced with jarring incongruity and disjointedness. What was originally a quick, seductive and declarative introduction of “The End” (“The end is near…”) followed by the huge, rhythmic hook of the title track was now the machine gun blast of “Death And Innocence”. Confused, a listener might consult the track listing again. As written, it shows the familiar order with the addition of a bonus track originally written for one of their demos:
- The End
- Ritually Abused
- Death And Innocence
- No Morals
- Friday’s Child
- Off with Your Head
- The Henchman
- Pirate’s Night
- Turn of a Screw
- Kiss Me, Kill Me
- Rigor Mortis
- Murder By The Minister (Bonus Track)
However, the lists of tracks as present on the disc is as follows:
- Death And Innocence
- No Morals
- Friday’s Child
- Off With Your Head
- The Henchman
- Pirate’s Night
- Turn Of A Screw
- Kiss Me, Kill Me
- Rigor Mortis
- Murder By The Minister (Bonus Track)
- The End
- Ritually Abused
The CD is also thus plagued. Such a clear display of “no fucks given” from the label dismantles the flow and intent of the original album and leaves the listener with a much less effective product. The lack of even basic quality control on this, after over a quarter of a century of waiting, demonstrates the fact that Relapse had no respect for this band or this release, a piece of its history. Relapse passed up an opportunity to finally give this release some deserved love and perhaps atone in some small way for the massive ignoring and lack of promotion payed to this upon its original release in favor of a quick cash-grab from their back catalog.
One wonders what little effort it may have taken to reach out to the band and seek their input and involvement on such a reissue. This has been done repeatedly lately to a high degree of success and satisfaction from fans; albums from Sacrifice, Darkthrone, and Bl’ast are prime examples of how to do proper reissues. Alternately, a few sentences from label leaders or peers about what the band meant to them at the time, initial reactions to hearing the album, etc. — anything — would have been a nice inclusion. At absolute minimum, a simple CD-to-vinyl rip using the 2002 disc as source material, while not giving a proper vinyl sound, would have resulted in a correct track listing and required exactly zero effort. It seems Relapse went out of their way to fuck this up, as though they gave the pressing plant some idea that there was a band called Num Skull that once upon a time had an album entitled Ritually Abused and let them figure out how to press it, never once checking any test pressings prior to collecting money and shipping another product about which they are ambivalent.
At their genesis, one likes to think that most record labels start with the idea of giving voice to deserving artists that would otherwise go unheard and unnoticed by other labels. In the mind of the listener, a label also bears the responsibility of curator of a slice of music history. Dear reader, what is the half life of such a fantasy? At what point does a label simply become a business with no artistic integrity left in their empty souls? At what point does churning out album after album of whatever flavor of the day fits best into the accepted formula that will sell enough product to turn a profit become more attractive than unleashing quality, moving music? Some rhetorical questions without answers, but one would think re-issuing a “lost” gem that requires minimal investment of money or time would be a simple feat if the label had one cell of shit-giving left.
What are Sadistic Metal Reviews? It’s when we decide that good things should happen to good people and bad things should happen to boring music. Most music is either imitating a trend, or totally without purpose or content, and that makes it boring. We can find trends and purposeless noise anywhere, for free. We are cruel to the stupid, and periodically, find something worthwhile to hold up above the river of feces…
It’s grandad’s heavy metal, kids, but with a rhythmic kick and Alice in Chains vocals. A Pantera influence in the bouncy riffing represents a modern retrospective on glam and heavy metal from the 1970s. Droning diminished scale choruses and a similar riffs stacked in a way that is both not random and not song development fleshes out the mix. Songwriting emphasizes the Big Pop Industry tendencies toward hooky choruses and distracting, somewhat aggressive verses with emphasis on stitching out the chorus rhythm in as many forms as possible, so in case you missed it the previous sixty times it will pop up again to remind you that you’re listening to “music.” People have made heavy metal version of power pop before (like Yes’ 90125) but they aimed for quality; this aims for conformity with someone snapping their fingers and being ironic behind the scenes. Warmed-over 1970s riffs 1990s influences make this a classic record company attempt to make the present generations worship the cast-offs of the past. Despite attempts to be edgy, this is a museum piece from the Hall of Boredom.
There’s no death metal to be found on this supposedly “brutal death metal” release, nor any concept of songwriting. Choppy, percussive riffs are thrown next to nu-mu thudding in random sequences that do nothing but “groove.” It comes off as variations of rhythm guitar picking exercises played on an 8-string guitar and stitched together in ProTools. Like most of these rhythms, it’s only a matter of time before the “out there” becomes the predictable, so there’s no promise in these flights of fancy, only a return to something as mundane as the cycling rhythm of a diesel truck engine with a loose belt. Occasionally, an actual riff gets played for almost three seconds before more inconsequential rhythm chugging comes in to pacify the indie/Hot Topic demographic who use this stuff as a surrogate to nurture relationships with other idiots by sharing an interest in “wacky muzak” that makes them “different and unique”, but under the surface, is Korn with tremolo picking.
Life is an IQ test. Your choices determine really how smart you are. If you picked this band, you failed. These guys should hang up the electrics, strap on acoustics and do children’s television. This is sing-song music for people without direction in life. Even when I was a clueless 14-year-old buying his first albums with grubby pennies I would not have considered this dung-heap of bad musical stereotypes. It sounds like the kind of stuff that characters at Disneyland would sing, or maybe a bad world music band from the background of a car commercial. It’s catchy vocal rhythms over guitars that basically serve as slaves to pounding out the catchy vocal rhythm, but it’s repetitive catchiness. It’s all hook to the degree that there’s no sweet spot, only cloying repetition. Most bands of this nature are basically bad heavy metal with jingle music at its core. Barmageddon is basically a grindcore take on the kind of simplistic fare that got called “Pirate Metal” recently. I propose a new name: Headshot Metal. If you get caught listening to this, you should be shot through the face with a high-powered rifle. It’s an insult to anyone in the genre who tries to get anything right.
Upon viewing this title, the prospective listener might be intrigued to ask “what is this new gospel?” Answer: the gospel of insincere mediocrity. Half-assed guitar riffs combine the worst elements of a moron’s interpretation of hardcore (autistic caveman rhythms) and speed metal (obvious riff sequences) with a fruity veneer of constipated teenager vocals. Tracks start nowhere and lead nowhere, with nothing connecting one moment to the next; a stream of irrelevance. Expect plenty of repetition which Lamb of God, like all metalcore bands, tries to disguise by being as random as possible. You know who else uses that strategy? Nu-metal bands. This is basically a kissing cousin to nu-metal anyway. It’s music designed for distracted teenagers to distract themselves further until it’s time for a lifetime career in something brainless to match their braindead approach to life. How anybody with above a single-digit IQ could enjoy this escapes me. Sadly for all of us, this title is accurate: the future of America is a populace that considers this a valuable piece of music.
Anal blasphemy starts off with three tracks of simple death metal with a strong melodic hook. It is however rather straightforward in structure which leaves creates a sense of uniformity. Riffs are very similar. The final track uses a melodic lead-picked counter-riff which adds some depth but ultimately these songs are one step removed from their beginnings, so despite the compelling rhythm and melodic hooks they might not survive repeated listens. Forbidden Eye produces a more lush approach to melodic metal which is clearly in the droning black metal camp, but avoids the pure sugar-coated repetition common to the Eastern European variant. Its weakness is that there is not much in the way of a unique voice; we’ve heard these tropes before and recognize the song patterns well. If you can imagine a Dawn or Naglfar approach with more intensive drumming that is roughly what you’ll get here, well-executed but undistinctive both melodically and stylistically.
The rock ‘n’ roll industry is a successful industry that attracts players who are highly professional. They know what the product is, and how to do do the minimum to achieve it; this practice, otherwise known as shaving margins, is based on the idea that the other guy will cut his costs to the minimum too in order to both lower price to make the product more competitive and maximize his own profit. If two guys make a widget, and one does it for five bucks less, that’s pure profit. In the same way, rock ‘n’ roll is based on fast turnover and following current trends so you can catch the media wave. I hear death metal is big now, like trendy. This album attempts a facial similarity to death metal with the whispery vocals of Unique Leader bands and lots of runaway blast beats followed by metalcore riffs, but after a while, they drop this and out come to the jazzy riffs based on a scale bent to a series of offbeats of offbeats in a complex pattern, and the soft-strummed ballad chord progressions and melodic hooks. The problem is that the guitar rhythms, like those of the vocals in hip-hop, are based on subdividing a rhythm and thus rapidly become highly repetitive, both internally and between songs. The result is that it all all fades into the background, as should this rather unambitious and directionless release.
A “thinking man” band name written in a sterile font and a “politically informed” album cover. Is this more metalcore in death metal clothing? You bet. While this band is claiming influence from Deeds of Flesh and other Unique Leader bands for legitimacy, this has more in common with Necrophagist or The Black Dahlia Murder. Mechanical groove riffs are “spiced up” with sweep arpeggios and generic Slaughter of the Soul riffs appear over blast beats for the “brutality”. This is boring music with nothing to offer. Perhaps musicians this good need a better concept to work with than shouting out Alex Jones podcasts over Guitar World lessons from metalcore guitarists played at 220 bpm. I couldn’t tell the difference between this album and any other modern tek-deaf release. If these guys were to spend less time on conspiracy websites and more time thinking about why people still turn to their old Morbid Angel and Immolation albums instead of these tek-deaf bands (or how to structure their music to not be a series of discontinuous parts), maybe they could create something useful. Otherwise, this is Origin with propaganda attached looking to steal some time from metal fans while keeping Xanax addled brofist D&B homeys (Rings of Saturn fans) satisfied with more inconsequential ADHD music which will be forgotten a week later.
Occasionally I’m amazed that something actually got signed because it’s so terrible and then later I see it on the bestseller list. The taste of the herd will never fail to shock and amaze, mainly because what they like is simple: (1) the same old stuff but (2) in some radical new format that’s easy to see through so they can appreciate the sameness of it. Modern society is about anonymity and personal convenience, so why not music that you can project yourself upon, that requires you to know or feel absolutely nothing except the most transient of emotions? Caliban have it for. Ranty Pantera verses over djent-inspired harmonically-immobile riffs lead to sung alt-rock style choruses with lots of hook and lengthy vocalizations, but essentially no melodic development. As a result this is super-repetitive in that its song structure is circular to the point of linearity and the songs at their core consist of two-note clusters in riffs stacked up against four-note chorus vocal lines. Every now and then they get tricky and play rhythm games with riffs that were well-known before Metallica formed. The main factor that kills me is the repetition. It’s as if the whole album is a conspiracy of details designed to hide the fact that it’s basically the words of a drunk, repeating himself unsteadily and then doubling his volume and saying the same thing. This might be good music to listen while doing laundry or some other task that numbs the brain because the effect of this music is to validate tedium, repetition and simplistic pounding. Unless your brain fell out long ago, avoid this reeking turd.
I always wondered what would happen to the formal nationalists in metal. We knew that founding bands like Bathory, Darkthrone, Burzum, Mayhem, Immortal, et al were nationalistic in the sense of national pride and perhaps more. But it’s a leap from that to connect with the organized far-right parties and mentality, and for a long time, NSBM seemed like it would remain in that world. Then hipsters started like Arghoslent and Burzum and so now being a Nazi is a “lifestyle choice” like being vegan or buying a Prius… the hardcore nationalist music has changed too, as this album from Blutkult shows us. It’s a three-way split between the old Skrewdriver-styled sentimental punk music, Renaissance Faire styled Celtic-y noodly melodic music, and the droning of punk-influenced black metal such as Absurd. As someone of profoundly anti-racist and egalitarian character, I find this to be alarmingly catchy and emotional. Die letzten deutschen Ritter brings out feelings of hope in me, and I don’t like it. It’s like a surge of elegance and an old world emerging from the ruins of this one. But that makes me uneasy, as do the Wehrmacht soldiers on the cover, the black suns and the vocal samples that sound like the man with the funny moustache himself. Regardless, this is where Graveland and Absurd have been trying to go for years. If they got rid of the stupid spoken intros and just focused on letting the music rip, this might be a really compelling release.
While their current output is being lambasted for being radio friendly rock/metal, this “technical death metal” debut album is given unwarranted praise for being some kind of masterwork. Too bad this is just metalcore. Chugging groove riffs played in mechanical stop-start sequences make room for AOR “extreme” stadium metal melodies like Soilwork, and little else. While the playing is adept, the music is annoying and makes their latest album sound favorable by comparison for being honest commercial radio muzak that’s not congested with unnecessary ornamentation and fake aggression. If Nevermore made a mash up between Soilwork at it’s most commercial and Meshuggah at it’s most mechanical while Chimaira make MTV edits out of the recordings, you might end up with an album like this: sub-par music, but at least they know how to play. Too bad they sound like any other generic metalcore band signed to Century Media circa the 2000s with growl vocals (done in the metalcore faux-aggressive style). A terrible excuse for metal that without a doubt brings great shame to Finland.
As you may have read on this site, recently Jill Funerus (bassist/vocalist for FUNERUS) who is also the wife of John McEntee from Incantation ran into a spate of health problems. In addition to battling neuropathy and diabetes, she suffered a heart attack and related kidney dysfunction, but has pulled through.
We congratulate her on having survived such an intense health challenge. However, neither she nor her husband have health insurance and thus, they’re facing some intense bills for the surgery, medicine and several days she spent at the hospital.
The metal community is banding together to help them. Through the hands of Brian Pattison, one-half of the Glorious Times team, a benefit show has been established with 100% of the profits going to Jill Funerus’ medical bills.
Jill Funerus Benefit
Thursday, October 17 at 7:00pm EDT
The Forvm in Buffalo, New York
4224 Maple Rd Buffalo, NY 14226
If you can’t make the show, like many of us who are thousands of miles away, you can send money via paypal to firstname.lastname@example.org. If you are from a metal band or have something else you can donate for sale/raffle at the benefit, please message the Glorious Times team via email@example.com. See also the Facebook event listing.
List of bands supporting the Jill Funerus benefit:
- Abolishment of flesh
- Bernd Backhaus
- Black Bear Printing
- Blood Coven
- Butchered Records
- Cannibal Corpse
- Cardiac Arrest
- Capathian Funeral
- Chuck “Patchmaster General” Parsons
- Circle of Dead Children
- Dark Descent Records
- Demented Dream States
- Dismemberment (OH)
- Druid Lord
- Fleshbound Productions
- Full Blown A.I.D.S.
- Glorious Times
- Grave Descent
- Gutter Christ
- Jaymz Delisle
- Jeff Standish
- Legacy of Death Productions
- Liquified Guts
- Low Road Revival
- Malevolent Creation
- Mat Romero
- Mike Browning (Incubus)
- Misery Index
- Music Matters
- New Order Records
- Nokturnel Eclipse
- Pathos Productions
- Prime Evil
- Radiation Sickness
- Randy Kastner
- Sam Biles
- Signature Riff
- Stevo (Impetigo, Tombstones)
- Tainted Entertainment
- Vile Records
- Visions of the Night
First, a quick update on Jill Funerus and her health challenges. She had 100% blockage in one artery and less in another, but the damage was still extensive enough to cause a heart attack and kidney problems.
She went into surgery about 22 hours ago. However, she does not have health insurance and neither does her husband. Thus, she’s going to face some heft medical bills when this is all over.
To counter those bills, the Glorious Times team have partnered with death metal bands across the world to throw a fundraiser. Bands will donate items for a raffle, and perform, with the proceeds going to Jill for payment of her medical bills.
If you, dear reader, wish to help her out in this time of need, you can send funds via PayPal to firstname.lastname@example.org. Here’s the list of bands who have pledged donations for the Jill Funerus benefit:
- Cardiac Arrest
- Mike Browning (Incubus)
- Druid Lord
If you are a band, label or distro and want to help out with the Jill Funerus benefit, please send an email to email@example.com.
Otherwise, check back here or on the Glorious Times Facebook.
Legendary moshers Slayer, who combined NWOBHM and hardcore punk to invent their own style of music which bridged speed metal and the nascent death metal movement, along with Hellhammer and Bathory creating the sound of underground metal, are back on tour.
Slayer‘s five-week North American tour shows the band with replacement musicians — guitarist Gary Holt and drummer Paul Bostaph — replacing musicians Jeff Hanneman and Dave Lombardo, respectively. The band was shaken by Hanneman’s untimely death earlier this year and have been struggling to return to routine.
This is Slayer‘s first North American tour in two years and will include the band’s previously announced return to New York’s Theatre at Madison Square Garden and the Hollywood Palladium, venues the band hasn’t performed at in 25 years.
Tickets for all dates on Slayer‘s U.S. tour, go on sale beginning this Friday, September 6. Click here for complete on-sale dates and ticketing information.
22 Sullivan Sports Arena, Anchorage, AK
25 The Joint at Hard Rock Hotel & Casino, Las Vegas, NV
28 Hollywood Palladium, Hollywood, CA
30 Events Center @ San Jose State, San Jose, CA
1WAMU Center, Seattle, WA
3Stampede Corrall, Calgary, AB
4Shaw Center, Edmonton, AB
5Praireland Park Center, Saskatoon, SK
7MTS Center, Winnipeg, MB
8 Myth, Minneapolis, MN
10 FunFunFun Fest, Austin, TX
12 Bayou Music Center, Houston, TX
13 South Side Ballroom, Dallas, TX
15 Aragon Ballroom, Chicago, IL
16 The Fillmore, Detroit, MI
17 LC Pavilion, Columbus, OH
19 The Fillmore, Washington, D.C.
20 Stage AE, Pittsburgh, PA
21Ricoh Colibsum, Toronto, ON
23CEPSUM/University of Montreal, Montreal, QC
24Pavilion de la Jeunesse, Quebec, QC
26 Oakdale Theatre, Wallingford, CT
27 Theatre @ MSG, New York, NY
29 Susquehanna Bank Center, Camden, NJ
30 Tsongas Arena, Boston, MA
Alan Moses from Glorious Times (A Pictorial of the Death Metal Scene 1984-1991) has announced that less than 40 copies of their book remain for purchase.
A collaboration between zine enthusiasts Alan Moses (Buttface zine) and Brian Pattison (Chainsaw Abortions zine), this relic features rare photographs and stories from the bands themselves. There are no outside influences to censor or alter what is displayed.
Acheron – Autopsy – Baphomet – Brutality – Cannibal Corpse – Cryptic Slaughter – Dark Angel – Deceased – Deicide – Derketa – Disharmonic Orchestra – Exmortis – Groovy Aardvark – Hellwitch – Hideous Mangleus – Immolation – Impetigo – Incantation – Incubus – Insanity – Lethal Aggression – Malevolent Creation – Massacre – Massappeal – Master – Morbid Angel – Napalm Death – Nocturnus – Nuclear Death – Overthrow – Paineater – Possessed – Prime Evil – Revenant – Righteous Pigs – Ripping Corpse – Sacrifice – Sepultura – Slaughter – Soothsayer – Terrorain – Tirant Sin – Unseen Terror – Vomit – Wehrmacht – Where’s The Pope?
The rumor mill has been pirouetting around Glorious Times, and there was a leak that a new book “Glorious Times 2” is in the works.
Information for purchasing the remaining copies is located at their blogspot page.
Click on the cover picture above to see the flyer featuring Chris Reifert for the new edition of “Glorious Times”.
We reviewed Glorious Times: A Pictorial History of the Death Metal Scene 1984-1991 before, describing how it is a collection of first-hand retrospectives on the formative years of the underground metal scene that is motivating people to restore these older values in newer metal music.
Thanks to the rising interest in the book, what was once a limited edition has returned as what we hope is a regular product. Check it out:
After MUCH tenuous effort, we are extremely proud to announce that our revised and extended edition of ‘Glorious Times’ is currently finished, and now in the hands of our new printer.
Bigger and better than before! 160 pages of massively rare and mostly unseen photographs, tied together with sentiment and reflections from the very people who lived the era – the GLORIOUS TIMES.
Bands featured: Acheron, Autopsy, Baphomet, Brutality, Cannibal Corpse, Cryptic Slaughter, Dark Angel, Death, Deceased, Deicide, Derketa, Disharmonic Orchestra, Exmortis, Groovy Aardvark, Hellwitch, Hideous Mangleus, Immolation, Impetigo, Incantation, Incubus, Insanity, Lethal Aggression, Malevolent Creation, Massacre, Massappeal, Master, Morbid Angel, Napalm Death, Nocturnus, Nokturnel, Nuclear Death, Overthrow, Paineater, Possessed, Prime Evil, Revenant, Righteous Pigs, Ripping Corpse, Sacrifice, Slaughter, Soothsayer, Terrorain, Tirant Sin, Unseen Terror, Vomit, Wehrmacht and Where’s The Pope?
Price per copy is $30 plus $3 shipping and handling.
Payment can be made by PayPal to firstname.lastname@example.org
This book is not designed to be perfect or even convenient armchair reading for the detached casual audience. It’s for the diehards. It’s power is in the content; not all of it, because some metal bands cannot even be edited into coherence, and the coverage of the evolution of the first generation of death metal. After this, death metal picked up steam, became a known style and had a different set of challenges. But if you want to watch it emerging from the primordial soup of speed metal, punk, thrash and extra-musical influences (Lovecraft) here’s a good chance.
I find it interesting — and I mean this in a good way — how nerdly and awesome these early founders are. Some are partying/mayhem types, but most of the rest strike me as intelligent, curious, introspective people who got failed by modern society because it’s a dying shroud of a pleasant illusion. These people aren’t hipsters and literati, but they think about life, and find meaning in concepts and art. That puts them ahead of most of this moribund species.
Fighting the conspirations of ill health, amounting to months of delays, the much anticipated return of Slayer to England’s capital was in ominous syncronicity with the most auspicious time of the year for disciples of their church. As the Hessian-led International Day of Slayer falls upon us once again, last week’s early blasphemy proved to be an highly adequate preparation. The Slayer we all exhalt on this site was a mystical entity and their music excoriated the flesh of society’s body of lies and delusions, revealing the inner, beating heart of darkness and measurer of our mortal lives. They were also the progenitors of Death Metal, without whom many of the cults that feature in our catacombs may not have ever manifested with as advanced a template. The heat of the Spring sun, optimal for decomposition, drew the wehrmacht to Kentish Town’s Forum for an evening where the secrets of the dead promised to be revealed.
That, they would be, but not before some distractions within a chronology of events that would befit any highlight reel of modernity’s undoing, beginning with the supporting band from Sweden. The Haunted’s line-up consisted of some familiar faces, not just because they’ve been around for 10 years or so, initially Swedish Hardcore influenced Thrash before becoming the post-At The Gates band of Swedeath-influenced Speed Metal that they’re now famous for. Lead guitarist, Anders Bjorler of past-At The Gates fame, sporting a Disfear shirt in reference to both Swedish Hardcore and former bandmate Tomas Lindberg, launched with the band straight into ‘Bury Your Dead’, a signature track from their second album. Their set would mix old and new with some energy but the only problem from them is that their music sucks. This grammy-award winning combination of cliched galloping, groovy riffs interspersed with familiar and incoherently fragmented bursts of Swedish Death Metal melody, resulting in little to no melodic fluency is made even worse when the newer tracks demonstrate their love of pure nu-metal guitarwork. You know a set is bad when, despite it’s relative brevity and insignificance, every second of tedium feels absolutely unmitigated. They exit the stage with a warm crowd reception behind them but the diabolic concoction of Metal madness to follow boils the venue over with the hellish crepitance of anticipation.
Plumes of smoke veil the scene of everybody’s attention in stages of trademarked descent through noxious tributaries of the underworld. Led by battery commando Dave Lombardo, Slayer finally materialise from amidst the scarlet haze and open with ‘World Painted Blood, rendered near-flawlessy with Tom Araya’s completely static frame being the only, negligible sight to conflict with the fact that they’re still a well-oiled machine. Unlike other bands of such age and well-earned veneration, Slayer at least seem to understand the difference in purpose and spirit between their new and old recordings, rather than just the wear and tear of discographical order and simply ‘mixing it up’. The set was split roughly 50/50 in terms of timing, so there was quite some wait for the veterans to get their nu-material out of the way. The three standing band members would then congregate in a Seance-like circle formation around the beaten kit of Lombardo, ritually manifesting the schism and unleashing the demons of ancient times, channelling the wails of feedback as they did in their youth. Thus, the show really exploded with a rupturous performance of ‘Hell Awaits’ sending the violent hordes into a possessed frenzy. King and Hanneman were in brilliant, conversational form, damned to strike all the right notes and give a real sense of narrative familiarity to the chaotic and atonal guitar solos. Araya’s exoteric shouting was laid to rest and the invoked Mephistopheles conferred upon him sadistic scorn, the true voice of his priestly years, befitting such apocalyptic sermons as ‘Seasons in the Abyss’, ‘Mandatory Suicide’ and ‘Raining Blood’. The opening riff to ‘South of Heaven’ was possibly given it’s finest rendition to date, as the audio technicians menaced the sound with Kali-Yugic siddhis and lava on loan from Azagthoth. The song of the night was undoubtedly the pollutant ‘Chemical Warfare’, performed with as much vigour as on record way back in 1984. The intelligent, layered riff progressions that played out a multidimensional, mythologised communication of death, paranoia and destruction confounded the crowd but struck them hard, with the anthemic, holocaust winds of ‘Angel of Death’ to follow, releasing a tide of hatred and malevolence, and the highly multicultural crowd rose in unison to sing for the benefit of the Aryan race. The band known only as Slayer departed after covering the most recogniseable songs from ‘Haunting the Chapel’ through to ‘Seasons…’, reinforcing the memories of their greatness and perpetuating the echoes of their cryptic, Satanic messages.