Megadeth are touring the US with Amon Amarth and a host of other mainstream metal acts this fall. The band tends to turn Dave Mustaine’s vocals way down in the mix so you don’t have to hear how awful he sounds nowadays so this might be worth going to if you really love Megadeth.
The problem with success is that it can become a cage: you get known for doing something that meant a lot to you at the time, but time goes on. You want new horizons. It’s hard to express them, and you see others succeed for doing a lot less.
Suicidal Tendencies launches 13 into a time where metal and punk have both decided to commit suicide by melding so extensively with other genres as to lose their own identities. Melding itself isn’t bad, but when a whole genre does it, it essentially obliterates its unique voice and makes itself another flavor of rock music.
13 escapes Suicidal Tendencies’ past by mixing in a number of alternative, improvisational and extrinsic styles. In particular, you’ll hear island-based world music, Rage Againsst the Machine, and even the keg-party reggae-influenced rock of bands like Sublime, all mixed into what’s essentially a punk band playing metal. The locus of the action has changed: where the original Suicidal Tendencies want to make a point with its songs, these songs want to set up a convivial atmosphere and into that speak some ideas with lyrics. The original songs resembled their content; these songs are a mixture of fun and diverse elements, and expression occurs in the lyrics.
With this album, Suicidal Tendencies demonstrate how an album can be quite good and not satisfy its original audience. I think this will be a huge hit among the alt-rock and nu-metal crowds because it’s more musically interesting than most of the kiddie music. It’s based on firm grooves, catchy melodic vocal hooks, and an insanely over-the-top constant lead guitar jam that gives this music a breadth that is rarely found in music you hear on the radio.
However, for metal fans this one is going to be a failure. It has lost the metal spirit, and it essentially party rock with some metal riffs. The cool guitar work and occasional shredding give this some power, but it doesn’t switch it to the viewpoint a metal fan will appreciate.
Back in 1995 someone cut metal’s balls off. Underground metal (death metal and black metal) had gone to the furthest extremes: denying rock music, smashing down mass religion, and finally, endorsing a Nietzschean natural selection against the will of the herd. There was nowhere left to conquer, except perhaps politically.
As the odious and 99% horribly boring and pointless NSBM movement showed us, however, Nazism was not just captured by a group of unibrow SJW types, but it was boring and not very extreme. Nazism was an attempt to stop the collapse of our civilization, its breakdown by good intentions, and as a result was like a nagging Nanny albeit one that committed horrible genocide, even if relatively mild compared to the USSR and Genghis Khan (elite company).
Metal needed to push further. When war metal combined the dark primitivism of Beherit and Blasphemy with the unrelenting forward drive of high intensity rhythmic death metal bands like Angelcorpse and Hate Eternal, it reduced the “busy” tendencies of those bands but created a type of monotonic texture music that was both comforting and violent. Intolitarian pushes things a step further by using the war metal model to incorporate a more technical version of early Napalm Death style grindcore, and harsh industrial noise.
Starting songs with samples and feedback, Intolitarian then launches into a song pattern like that of war metal but with more idiosyncratic internal structures, eschewing the darker riffs in favor of pure deconstructive chaos riffs in the Napalm Death From Enslavement to Obliteration style. From harsh industrial noise it takes a ton of guitar feedback, fuzz and abrupt samples, but even more importantly, the tendency to hang on a squeal or shriek and then let the chaos surge in again, like waves on a beach put on fast forward before a storm.
Much has been said about the political dimensions of Intolitarian, and nearly all of it is painful nonsense. If this band wanted to be Nazis, they would have just joined up with the usual crew of basement-dwellers who have made “white nationalism” a walking joke like their liberal counterparts for the last fifty years. Intolitarian want to be worse than Nazis. There is no safety in politics with this band. Only a raw need to destroy the walking dead that is our society, and replace with with a feral and atavistic struggle for survival.
Suicidal Allegiance was recorded in 2012 and finally saw release last month through a yet-unnamed van-down-by-the-river underground label. If anything, it is too short; these songs feel like a window into a different world, and one that is more structured than industrial noise and more focused than grindcore with the easy engagement of war metal. Let us hope this provocative and stimulating band continues to refine its attack.
Destruction are touring the US this year. The not as legendary as Sodom German speed metal band are bringing along z-list death metal bands Warbringer and Jungle Rot. Do people who love Sodom, Destructor, and Kreator love Jungle Rot? How many middle-aged men and party thrashers in Suicidal Tendencies hats also wear cargo shorts? Seeing this tour gives you the chance to find out. Will Schmier’s voice be as haggard as his appearance? Will Destruction’s drums be as fake as modern Kreator’s?
Slayer are playing the 2017 iteration of the Download rock festival in France on the Plessis-Pâté / Brétigny sur Orge / Cœur d’Essonne BA217 air base, which is a thirty minute drive from Paris according to the festival organizers. Every other band at this festival is some lame rock or pseudo-metal turd pusher but at least they probably do not smoke bath salts like the French president. Probably not. You can never be sure of the substances some of these degenerates ingest given how awful their music is.
Continue reading Slayer Playing Download Festival 2017
Sepultura‘s Morbid Visions is my favorite thirty year old album. Released in Brazil on November 10th, 1986, Morbid Visions saw Sepultura slither past the primitive Hellhammer, Celtic Frost, and Sodom worship of their initial Bestial Devastation extended play (included as a bonus on almost all CD versions of Morbid Visions) and into ultraviolent, progressive but still primitive, death and black metal.
Dave Lombardo – formerly of Slayer, currently with Suicidal Tendencies, and one of the best metal drummers of all time – will man the kit for the Misfits at Riotfest this Sunday according to his Funbook page:
I’ll be performing this Friday with SUICIDAL TENDENCIES – OFFICIAL and then Sunday with the Misfits at Riot Fest !!!
Megadeth‘s management dropped rehashed speed metal band Havok from being the first openers everyone will skip on Megadeth’s major fall mainstream metal tour with Amon Amarth, Metal Church, and Suicidal Tendencies for refusing to sign a contract. Continue reading Dave Mustaine Tells Off MetalSucks
Like the band with whom it shares members, Cóndor, the hardcore/thrash band Personal Device — the name refers to “antipersonnel devices,” not Fleshlights — makes music with a lot of promise that sells itself short by demonstrating theory instead of creating experiences.
Art contains ideas as much as any essay, and those who deny that are morons, but it is encoded through the sensual, emotional and intellectual experience of appreciating something of great beauty and power. This is how metal makes beauty out of ugliness and reveals to us the forgotten ideas of ancient history in a form we can now recognize. It is also why Christian, Nazi and SJW music falls short, because it is preaching and illustrating theory more than it is taking us on a magic ride through the world of its ideas in application.
Personal Device thrives when the band members get in touch with their inner rebellious but sensible youth. They bash out hardcore-based tunes with metal riff framing, sounding like Emperor covering Iggy Pop or G.G. Allin sometimes, and put these in songs with some breathing room a lot like early Suicidal Tendencies. Riff quality is very good. So is their ability to know when to bring on the power and when to let a rhythm ride to its natural conclusion. Moments on this album, like on Cóndor’s works, are so good they burst with potential and make you think you have discovered a new classic.
It is interrupted however by a tendency to demonstrate. Either they show how they can fit in a blues part, use an unnecessary spoken word piece, or expand song structures to include the non-relevant for the point of making a point, but it breaks the flow of the album and adulterates the good stuff. This also blighted Cóndor Duin: theory is only good when put into practice, in a way that converts the cerebral into the existential and experiential. At the risk of ruining this review by doing the same, I will step off that soap box and summarize.
This is a great album within another album. Many good ideas ooze from the fabric of En Puerto. Their first album however had more of a feeling of a garage project designed just to be music that the musicians — enlightened as they are by theory, and their theoretical background is known to me and quite substantial — found themselves liking, not just in “body” (how it feels and sounds) but in “mind” (what it delivers) and possibly in “soul” (how it makes poetic the condition of life). The best albums do all three, and their first was closer because it was less obsessively engineered in the front-brain and more unleashed from within. Moments of En Puerto do the same, and if they cut the rest out, they’d have an album on par with DRI’s Four of a Kind or Cryptic Slaughter Money Talks. Here’s hoping for album three.