I didn’t read the whole thing, just wanted to leave this here:
– The Highline is a bar located in the widely known “Gay Neighborhood” of Capital Hill in Seattle, WA.
– Gay Pride weekend was taking place during this show.
– Owning a bar (or any business) in this kind of a neighborhood is different.
– Sure there’s the whole “I GERT MAH FREEDOM ERV SPEECH”, but come on, with everything going on lately and the environment this neighborhood was trying to provide for this weekend, it only makes perfect sense for the management to make such a decision.
If the lazy piece of shit had bothered to read the article or the actual complaints, he would have realized that homosexuals weren’t the ones complaining. The whiners like “666 YOLO SWAG 666” were crusty, white heterosexual women who felt Fornicator’s incomprehensible lyrics threatened their communist worldviews. I highly doubt a death metal show would be appealing to the stereotypical gay pride festival marcher outside of the leather jackets. Actually, “666 YOLO SWAG 666” is the only person implying that Fornicator actually wanted to physically harm homosexuals like the closeted Islamic fundamentalist turned terrorist in Orlando. Continue pumping Drake “666 YOLO SWAG 666”.
Article by Max Bloodworth.
Erick Shute, the vocalist on brutal death metal band Pyrexia‘s last two albums, has been arrested in Pennsylvania today after supposedly murdering three outside of West Virginia’s Cacapon Resort State Park.14 Comments
Modern death metal is a cesspool. Riffless atonal texture and rehashed generic riffs combine into a poppy carnival of random boring bullshit to feed the typical underground record label ponzi scheme. Rare was the new release anything worth the attention of any older fans even over a decade ago in 2005. Coming years after their heroes in Morbid Angel, Incantation, and Immolation stopped releasing worthy or even interesting material (but before they went “radikult”), Dead Congregation’s debut EP, Purifying Consecrated Ground, showed a powerful potential that awed many into submission.26 Comments
Tags: 2005, Black Metal, blackened death metal, Brutal Death Metal, dead congregation, death metal, EP, Martyrdoom Productions, nuclear war now! productions, Nuclear Winter Records, Purifying Consecrated Ground, review
Article by Corey M.
Too many death metal bands these days are attempting and failing utterly to convey the more obscure, ghastly effects of Onward to Golgotha or early Gorguts rather than the grisly, gory, in-your-face ripping and grinding style that was more prevalent at the time of those classics. Emanations from the Crypt is revitalizing to these ears as there is no effort made whatsoever to “enhance” the “atmosphere” of the music with excessive reverb or eight-hundred layers of guitar tracks; there is only brutality and aggression. Early Deeds of Flesh is an obvious inspiration for this juggernaut album as the guitar riffs squirm and shred through gnarly contortions, while the drums attempt to restrain and sensibly contextualize their wild leaps and bounds. The vocals are very convincing growls and gurgles that switch up just when needed to suggest a shift in dynamics, much like Infester used theirs and never attempt to take control or drive the music. Also present is some of Deicide‘s spirit announcing itself through the jittery, psychotically antagonistic riffs that seem to only represent melody tenuously. Embalmer’s Emanations from the Crypt some of the best death metal on the brutal end of the spectrum since Scalpel‘s Sorrow and Skin.14 Comments
Article by Corey M.
Deathcult – Demo 12 (2012)
Critically indistinct Entombedcore complete with oversaturated guitar fuzz, random d-beats and weirdly laid-back vocals coming from the distant corner of a dirty, empty, boring warehouse interior. From a pop-rock songwriting position, there is a lot of good to find here, as songs have clearly defined segments that are never too long or too short, and there are lots of brief build-up bits that anticipate a transition into a section with a different feel than whatever was last heard. Goldilocks metal – never “too” anything, always “just right” – shows that the musicians are not so drug-addled or retarded that they can’t put together songs better than your average punk band. However, since Deathcult play death metal, the listening experience is extremely boring. Death metal lends itself to whiplash-inducing extreme dynamic shifts in tempo or key because the overall intensity and tone of the music holds the songs together and covers the different modes of expression that an imaginative band can explore. Like a deadly car chase, death metal speeds up, slows down, and takes drastic turns in disorienting routes, but all for the sake of accomplishing something. Deathcult would rather take a leisurely Sunday cruise.
Feral – For Those Who Live in Darkness(2016)
Feral play very modern black metal that gracefully sidesteps any overtly “post-” tendencies. Techniques range from long, blasting, tremolo lines of melody ala early Dark Funeral, to third-wave-era slightly heavy-metal(ish) rock-out moments, but these are not disparate components and actually transition from one to another quite smoothly. With this apparent lack of negative aspects, how could For Those Who Live in Darkness be bad? Surely it would be inoffensively mediocre at worst, wouldn’t you think? Perhaps, but this is actually worse than outright bad metal. While black metal can be a wellspring of energy that the listener may draw from strength in solitude, this music only presents a void, a vacuum that sucks in energy and emotion, leaving the listener not just dissatisfied but drained of spirit and motivation. The obliviously anti-Christian rants, tortured-artist vocals, and paint-by-numbers minor chord patterns are as impotent and flaccid as a male to female transsexual’s surgically inverted “penis”. The target audience of Feral are early-twenty-something, excessively made-up women who can often be seen chain-smoking outside of music venues when they are not posting soulless monochrome photos of their favorite (local) bands on whatever social media platform is hippest at the moment.
Phalloplasty – Necrophagic Funeral Ritual (2012)
Somehow, this (presumably) one-man goregrind/brutal death metal act comes off as even less intense and brutal than NOFX or Lagwagon. The obviously programmed drums cycle through various irrelevant beats sequenced with all the imagination of a mineral or other inert object. The guitars, which are typically the highlight of even the worst knuckle-dragging brutal music, are bright and featherweight-sounding, completely nullifying any intended brutality. I give the composer/guitarist kudos for at least making the guitar riffs audible but in this case it works against the music. The chord sequences are pop-punk-simple and amelodically bland. There is barely any low-end in the music subverting the brutal paradigm again for the worse. Truly it is baffling that a musician who at least has the capacity to program drum sequences and record guitar riffs would fail this hard at making music in the one genre that demands so little of its participants. Phalloplasty should immediately check himself into a group home or a mental institution. I will happily fund his care with my tax dollars so long as nothing of this sort gets released again. I recommends a hollow-point bullet to the back of the skull. -D.M.
Qrixkuor – Three Devils Dance (2016)
Qrixkuor cut-and-paste various subterranean, tremolo-picked riffs and wailing, atonal leads from early ’90s death metal but lack the ability to convincingly replicate the intensity of Morbid Angel or Immolation. What we get instead is a pleasantly nostalgic but grainy and not particularly detailed mashup, “low-resolution” in that you can zoom-in and discover that what appears to be a detailed image from afar breaks down into incongruent little bits when viewed up-close. This style of production (or reproduction, as it were) has already been used to little effect by the likes of Mitochondrion and Antediluvian, two of the better bands that wrote effective riffs but buried them in intentionally obscure mixing methods. Unlike any of the aforementioned bands’ releases, however, Three Devils Dance leaves one with a distinct non-impression, and the poor mixing is only one cause for this. The other is the autistically organized compositions which run for far (FAR) too long: The first track is nearly ten minutes in length and the next two make up a half-hour together. The band’s goal to disorient the listener with an overwhelming inundation of indistinct waves of riffs. It worked as after several back-to-back listens, I could only remember one or two segments of melody with any clarity. Qrixkuor should take another cue from their idols and realize that death metal songs have the most impact when everything is said succinctly. Suffocation packed more information into a four-minute song than you hear in the entire forty minutes of Three Devils Dance.
Insision take on the dying underground by combining brutal death metal, early technical death metal and adding in mild touches of modern death metal, creating a sound that hammers its listeners with intensity but works melodic leads and song construction into the mix for variety and depth. The result is a cornucopia of charging riffs and melodic turnarounds, in a style similar to later Gorguts mixed with Deeds of Flesh.
The band makes skillful use of dynamics to intensify songs and carefully presents each as a standalone concept. Guttural vocals ride the rhythm riff but break away to freestyle over the more open patterns. This allows Insision to work atmosphere into the blasting and otherwise violent guitar work. Fans of classic German speed metal like Destruction and Kreator will notice similarities as the album goes on; like the best from those bands, Terminal Reckoning uses single chord riffs with chromatic fills for pure rhythm effect.
If this album could improve, it would be in more internal diversity of riff and pace. Its use of melody thrusts aside the modern metal conventions and instead serves to develop songs, which avoids the becalming effect of too much similarity, and the interplay of vocals and guitar follows the mid-80s style instead of trying to constantly contrast the riffs. That and its inherent aggressive attack allows this album to escape the modern metal doldrums and bring back much of what fans adored in old school, technical and brutal death metal.
Thanks to Cátia Cunha from Against PR, Sevared Records and Insision, we can present to you the following streaming track from Terminal Reckoning6 Comments