Horror Pain Gore Death Productions has reissued the classic debut album from Deceased “Luck Of The Corpse” on CD format. This version includes restored artwork, remastered audio as well as rare bonus tracks. Below is the official description:
True Death Metal from the grave… raw, ugly and proper! Haunting corpses with shrieks of underrated sickness, Luck Of The Corpse is a prime example of just how Death Metal the 80’s could get. Despite it’s release in 1991 as the first band signed to Relapse Records, Deceased’s debut album reanimates tracks primarily written & demoed throughout ’85-’89 and easily stands ground with Possessed, Necrovore, early Death, and demo-era Morbid Angel. This is the album that forged Deceased as one of America’s pioneering, legendary underground bands… a classic debut that still holds up 20+ years later! Features restored artwork taken from the film Black Sabbath, remastered audio and includes the unreleased 1990 Raw Demo plus a never before heard version of Feasting On Skulls recorded in 1998. Up The Tombstones!!!!!!
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If they can have a “National Day of Prayer,”
We can have a National Day of Slayer!
Culture is something you can inherit, or choose. We choose metal as our culture, and Slayer as our ambassador. No other band captures the spirit of metal with such intensity. Every year on June 6, we celebrate the International Day of Slayer to hail this spirit.
How to Celebrate
Listen to Slayer at full blast in your car.
Listen to Slayer at full blast in your home.
Listen to Slayer at full blast at your place of employment.
Listen to Slayer at full blast in any public place you prefer.
DO NOT use headphones! The objective of this day is for everyone within earshot to understand that it is the National Day of Slayer. National holidays in America aren’t just about celebrating; they’re about forcing it upon non-participants.
Taking that participation to a problematic level
Stage a “Slay-out.” Don’t go to work. Listen to Slayer.
Have a huge block party that clogs up a street in your neighborhood. Blast Slayer albums all evening. Get police cruisers and helicopters on the scene. Finish with a full-scale riot.
Spray paint Slayer logos on churches, synagogues, or cemeteries.
Play Slayer covers with your own band (since 99% of your riffs are stolen from Slayer anyway).
The first thing people say, almost like a spell to ward off mistaken appreciation, is that this band is not the same band who cranked out “Fear of Napalm” and “Corporation Pull-In.”
That’s true — and it’s a good thing.
While the old material is as classic as a castle on the Rhine, and will inspire grind-heads for many generations into the future, times have changed and grindcore is trying to adapt to a modern (post-1994) era of metal.
Most options for this are bad as they are limited by strict genre constructions. For example, one can try to be “tr00” kvlt d-beat, or even blurcore, if not falling into the randomness trap that produces carnival music like metalcore, in which no part resembles the others and no sense is made; you’re supposed to appreciate it like the sample platter at your local seafood place. But it’s not fulfilling.
The new Terrorizer album instead wisely takes after Napalm Death’s Fear, Emptiness and Despair, which acknowledges the maturation of the genre by streamlining it and thus giving it a bit more room to grow. It reduces the genre to a minimum but with clear boundaries so that experimentation, not of the surface kind that consists in adding jazz solos and a bassoon and playing the album live on a basketball court, but of the inner kind where melody and form are explored as an emulation of the sounds and emotion of life.
Intelligently, this Terrorizer aims to be a blast of energy that rivals any 5-hour stim supp or purple drank you can find. It’s pure pulsing percussion kinesis, driving forward like the pumping of a panicked heart transitioning to ‘kill’ mode during combat, but without the darkness or cruelty of intent of death metal or black metal. Instead it’s like punk crossed with techno, using the mixture of crust and death metal riffing that has always made grindcore easy to grasp but hard to appreciate in depth.
Within this framework, there’s a lot of variation, including a fair number of melodic hooks that provide emotional content. Anthony Rezhawk’s rasping voice is back in monotone mode, where he sounds impatient and dismissive, as is appropriate for an album about the zombiefication of the human species slowly destroying the planet (whether that’s metaphor or not awaits a detailed reading of the lyrics). Pete Sandoval provides excellent percussion, and under the guidance of these two seasoned songcrafters, the raw power of the new bassist & guitarist is shaped into compelling songs.
This will be one of the best of 2012. People are unwilling to admit this fact now because that requires bucking a social convention in that, (a) “it’s not the old Terrorizer” and (b) it’s rather “pop” in its own sense of not attempting depth, or jagged self-drama, but instead making songs to stand on their own as objects of revelation of the world. The old Terrorizer could not exist now because its members have moved on but also because the world has moved on, in circumstance and in music, and this new album rises to incorporate those changes and make of them an interesting and paranoid tale.
You might ask yourself, “What the heck is that thing?”
According to its creators, it’s an Asp-burger, a neologism of asparagus and burger.
They didn’t understand when I began barking like a seal, rocking back and forth, stimming and solving complex math problems.
As regular users of our forum, or “Aspies,” know, Asperger’s Syndrome is a bullshit psychological catch-all term for mildly autistic people who are also smart.
Currently our psychological establishment, who have absolutely nothing to gain by removing diagnoses and instead prescribing 20 years of therapy at $150 an hour, are considering removing it as a category of mental illness.
In the meantime, it seems to me that society itself is spergin’ out. Would you like more Coca-Cola with that obsessive need for control, or perhaps more television in stead of bouncing your leg up and down, or indeed some sports events to shout random words at?
Graveland “Be Like Valkyria” tshirts have been released. Additional news items:
Graveland “Thunderbolts of the Gods” will include 5 new songs, all bass guitar parts are recorded, I just now must write lyrics and will record vocals, and the album will be ready. The album will probably be released in September 2012!
Next two new Graveland songs are for a split CD with Polish Pagan Metal band Bialy Vitez. Split CD will be released by Eastside Rec.
New polish version of the album “Memory and Destiny” will be released under title “Pamięć i Przeznaczenie”, limited digi pack, totally new mix, re-recorded drum, fiddle re-recorded by Alruna, polish vocals. Digi pack will include bonus stuff
Hammer of Damnation released new official t-shirt of Graveland “Thousand Swords” ! and will release soon tapes of this great album!
Graveland “Following the Voice of Blood.” With the sound of horses the time of revenge drawls nigh. 1000 swords to be drawn to the disposal of the architects of faith and deceit. Pagan villages demolished, disposed of out of fear and lack of control. The bloody revolt will be a strength of wills, where the weak will cower down and heed to the new way. The strong will continue to fight the bloody struggle of their Ancestors. The ancient traditions will carry on through us, as we follow the voice of blood. CD re-issue 2012 by Forever Plagued Rec.
Graveland CDs released by Forever Plagued Records: