Review contributed to Death Metal Underground by Jon Browning.
This Ends Here / The Conqueror Worm is a not totally godawful, self-titled punk split from the bands of the same names. You won’t want to shoot half of them after listening to it if you’re that bored you know. This Ends Hear’s a-side consists of atmospheric d-beating crossover similar to Discharge crossed with Celtic Frost to create punk with the same tempo as 1990s post-hardcore and atmospheric sludge with none of the outright guitar wank and junkie idiocy. While listeners have probably heard the standard d-beat rhythms, the influence from the stranger, melodic side of speed metal (Sabbat and the Brazilians) and later post-hardcore gives them strength beyond the robotic machine punk guitar wank of bands like Martyrdod. This Ends Here would do well to get rid of most of their bluesier attempts at atmosphere in future material or better integrated it into flowing compositions similar to the better Celtic Frost influenced death metal like Autopsy and Obituary – Cause of Death you know.
Metalheads tend to be wary of punk, recognizing it only for its role as an influence on metal. This attitude obscures the fact that the best of punk is worth exploring on its own terms and merits, starting with perhaps the greatest influence of punk technique and heightened aesthetics in that genre, hardcore punk‘s The Misfits.
Birth A.D., the “continuation thrash” band that picked up where DRI’s Four of a Kind and SOD’s Speak English Or Die left off and then took the style to new levels of insanity, will unleash its full-length album I Blame You on April 1, 2013.
However, you can make sure you get it as soon as possible by placing a pre-order ($10) with Dark Descent’s sub-label, Unspeakable Axe records, who will be sending this slab of vigilant virulence out to the stores and distros that get it into your sweaty hand.
In other words, get it from the source. Produced by legendary 80s metal and crossover producer Alex Perialas, this disc showcases the best of Birth A.D.‘s work to date, including some tracks from their killer EP Stillbirth of a Nation as well as new material.
Expect this to be out the door very quickly and taking over the world of metal-punk crossover music. Unlike the “retro” musicians who re-live the past by imitating it from a distance, Birth A.D. lives the past by bringing its spirit and technique into the future. The result is heartening for anyone who wanted metal to recover its intestinal fortitude and sense of honest humor.
The Canadian province of Québec seems to be situated upon some geographically freakish turf that exudes such a phenomenal electromagnetism as to twist and convolute whatever waveforms happen to waft into its borders. Psuedoscientific petrology aside, Dead Brain Cells are one such Canadian faction that reinterpreted the equatorial American sounds of skatethrash and reassembled its raw energy into a hyperborean bizzarerie, with an ambition in expressing the absurd crises symptomatic of a classically Huxleyan, oblivious society lured into the grip of an Orwellian tyranny by the mesmeric attractions of self-pleasure.
Taking aesthetic inspiration from the cruelly intelligent, modern firearms cacophony of Slayer’s ‘Chemical Warfare’ but fashioning riffs over the roguish, bursting structures typified by crossover acts Suicidal Tendencies and Corrosion of Conformity, Dead Brain Cells had paradoxically succeeded in applying scientific methods to truculent vandalism. Vocals, in compliment to the factorial churn and tumble of the instruments, are delivered in a robotic rant like the outcries of a citizen-turned-automaton denigrated by a lifetime of vacuous routine; lyrics are remarkably coherent and incisive considering the band’s Québécois nationality, of course with the mother tongue of French being a perennial obstacle for all aspiring Hessians allied under the fleur-de-lis. However, it is clear from DBC’s rather involved compositional style that their telos was not merely in writing protest music, but in establishing engaging, punkishly dynamic narratives such that every song is represented as its own vignette of dystopia — a sensibility that would be incorporated into the region’s burgeoning death metal movement, with vestiges apparent in such seminal works as Considered Dead and From This Day Forward.
This eponymous debut remains one of the exceptional examples of quality crossover thrash from outside of the U.S.A. and England; it’s also required listening for any avid scholars of Canadian death metal, in order to better understand the music’s gestation from heavy, quirky progressive rock to complex and sublimely dissonant killing noise.
A planet defaced with death and decay An atmosphere of hate Cities destroyed Their meanings forgotten And fertile lands lay waste A planet once prosperous Its future looked bright But an immature race had evolved Given time and the knowledge They soon could destroy The planet on which they revolved Not one life would be spared It wouldn’t happen again Because there is no second chance
On first listen some would easily assume that this release were a mere product of nostalgia of underground metal of the 1980′s, at least indicated so by the production and indication that are present here. However this is death/speed/black metal firmly rooted in the underground crossover tradition of the 80′s and retains a firmly Australian sound to it. A good description of Vomitor‘s output would be the the epic thrashing of national pioneers Slaughter Lord and the crusty, retrograde execution and production that was witnessed on Spear Of Longinus‘ brilliant ‘Domni Satnasi’ album. Seeing as Vomitor have two members of SOL in their line-up this overlap is of no surprise, and gives Bleeding The Priest a similar quality of riffcraft and execution, which is atavistic but is well versed in older styles of metal. The attitude of this release evokes German speed metal, doing the early works of Sodom and Kreator strong justice, and the manner in which catchy guitar sequences are utilised sometimes evokes Razor, had they been influenced by Possessed rather than Motorhead. A thoroughly consistent work, Bleeding The Priest stands strongly as a milestone of Australian metal, a like a few other traditionalist acts within this genre serves as proof of ability to make new waves from trodden water, rather than being a ‘re-hash’. Very good.
Coming from the anarcho-punk school of musical and ideological tradition, and finally releasing this, their debut full length in 1985, Amebix had already released a series of excellent EP’s in the early half of the decade. The unique character of their music was a sound that fused the violent hardcore punk of Discharge with the circulative, repetitious song structures that were a staple of post-punk acts such as Killing Joke and Public Image Ltd. Escaping the social-activist themes that were a staple of hardcore, and transcending the melancholia and fatalism that was a common theme of post-punk, Amebix took on board the musical apparatus of both substyles and turned towards a contemplative, naturalistic direction that subverted the generalisation of how we associate themes with forms. Inspiration comes additionally from the NWOBHM of early Motorhead and Judas Priest in the crunching, percussive guitar playing that made itself a staple of speed metal and subsequently death metal. Drums batter clearly as if to stadium anthems, and boom with an echo one would clearly associate with said decade. Droning riffs make an appearance and have a harmonic depth to them that evoke the archaic and the dystopian much like Burzum and Godflesh simultaneously would do in their most prominent work. Whereas the metal subgenres of the 1980′s slowly influenced one anothers musical language, Amebix single handedly introduced new themes and formats that would become the structural basis of future acts to come, and alongside their compilation album No Sanctuary, this important work deserves it’s applause.