Metal Meowlisha: A Headbanger’s Furball IV live show on December 21, 2013

November 19, 2013 –

metal_meowlisha_a_headbangers_furball_ivHeather and Donald Tardy (Obituary) may operate the world’s most unique charity. Metal Meowlisha consists of metalheads helping cats, and it presents its annual fund-raising concert live in Tampa, FL with Terrorizer, Exhumed, Druid Lord and a host of other bands.

Metal Meowlisha cares for the large number of feral cats loose in Southern Florida. They trap feral cats, neuter/spay them, and return them to the streets so that the population of additional strays is reduced. Metal Meowlisha also provides medical care to strays, feeds 20 colonies of feral cats, and attempts to help lost and injured felines find forever homes.

The concert will be held at the legendary Brass Mug and include a raffle, BBQ by Trevor “T-Bone” Peres of Obituary, and performances by a number of high-profile metal bands. All proceeds go to the Metal Meowlisha (you can also donate via email). Raffle prizes include a Dean Guitar, a bar tab, autographed merch and more.

There are additional reasons to help cats other than the cats themselves. Outdoor cats kill 1.4-3.7 billion birds per year in the US alone. Limiting feral cat numbers through trap-neuter-release and giving them alternate food sources lessens this assault.


Metal Meowlisha: A Headbangers Furball IV [ event ]
Terrorizer, Exhumed, Promethean Horde, Dark Disciple, Druid Lord and others
Saturday December 21, 2013 at 5:00 PM
$10.00 21 & up / $12.00 under 21 / $1.00 w/ canned cat food
The Brass Mug
1450 Skipper Road
Tampa, FL
813-972-8152

Interview with Matt Harvey of Exhumed

September 1, 2013 –

matt_harvey-exhumedNorthern California’s Exhumed made themselves a name back in the late 1990s by fusing Carcass-style grindcore with energetic and melodic death metal of the Swedish style, injecting a lot of punk along the way.

Although this created more of a popular form of death metal than the original underground style, it introduced many new fans to the genre and created a framework for an integration of punk into the style. Its enduring popularity has provided Exhumed with a legion of fans.

We were fortunate to be able to talk to Matt Harvey, who has been “the voice of Exhumed” for almost two decades now. Most of our questions focused on Exhumed’s latest album, Necrocracy, and what the band’s been up to since.

I realize genre names aren’t all that popular, but what genre is Exhumed these days? Are you grindcore, or death metal, or did you invent something new?

I think we are what we’ve always been: Gore Fucking Metal. I don’t know that it’s something completely new, but it’s a combination of all the stuff we’ve always been influenced by, Death Metal, Grindcore, Thrash, NWOBHM, Powerviolence… All the good stuff, haha!

What is the ideal environment in which to enjoy an Exhumed album?

As long as there’s beer and lots of volume, then it’s good. I think that’s up to the individual. For me, I’d say you’d want a 12-pack of beer, some expendable furniture to smash, and a few friends would be the best accoutrements to a listening session.

Necrocracy is quite provocative. It seems to suggest that the world is not as peachy as my television tells me it is. Can you tell me more about the concept of this album?

Yeah, I’d say the world is not that peachy keen. The lyrics still revolve around death and gore, but they use those concepts as a metaphor to discuss a lot of the things going on in the current US political and socio-economic climate. The songs usually revolve around stuff like the destructive influence of corporate greed (Ravening), the gross inequalities inherent in the taxation / medical system (Coins Upon The Eyes), the meaningless pandering of the electoral system (Necrocracy), and the distorted perception that Americans have of their way of life and country’s role in the world (Dysmorphic).

You’re back after a hiatus. What made you personally and all of Exhumed decide to return?

It was one of those thing where it just made sense to do a new record. I had had enough of the break, and was just getting back into writing these kinds of riffs and songs and stuff. And it was one of those things that just kind of came together and took on a life of its own which was pretty awesome.

What are you most looking forward to on tour?

Free beer and seeing friends in different cities and states. Same as always! Plus I get a lot of reading done on tour, haha!

Do you think metal’s in bad shape? A lot of people seem to think it has become redundant. What do you think about modern metal, metalcore, etc?

I actually think metal is really healthy. There’s all kinds of niches and sub-genres all over the place, and every form of metal, from 70s proto-metal to the most modern math-rock stuff has an audience. If you think about it, the first Sabbath record came out over 40 years ago, and in order for the genre to move forward and stay viable, creatively and commercially, it has to change and evolve. Me personally, I’m really only into 70s / 80s / early 90s metal, but I’m in my late thirties. By the time my Dad was my age, I was thirteen, and it seems silly to think that a thirteen or fifteen year old kid is going to be into the same music as a guy that’s 37 years old. It’s easy to be nostalgic or think that one specific generation has “nailed it” and everything else is false – people into Blue Oyster Cult and Thin Lizzy thought “Kill ‘em All” was just noise when it came out, people into Exodus and Slayer thought “Scum” was crap when it came out too. Things move forward. You don’t have to like it all, but you have to accept that it’s the way things work. While a lot of the modern stuff isn’t my personal cup of tea, it’s good that things keep moving forward and the genre stays viable.

How do you think Exhumed has grown and dare I say…… “progressed” ….over the years?

We’e always had the same kind of riffs and stuff, based our shit around the Repulsion / Terrorizer / Carcass / Napalm Death / Death / Autopsy template, but we’ve definitely gotten better at structuring songs, incorporating melody, using tasteful guitar solos and shit like that. It’s all been a very slow and gradual, so sometimes it seems to me like we haven’t progressed at all, but then I listen to some of our old stuff and I realize that we have come a bit of a ways through the years, which again, is a positive thing.

Are you planning to continue for another album or more, after Necrocracy?

We don’t have any plans of stopping, if that’s what you mean, haha! I have an idea for the next album title already, but we’ll jump off that bridge when we get to it, haha!

What do you think made death metal and grindcore what they were? Did it take a state of mind to make music like that? Can it return?

I don’t think it can ever “return” or be the way that it was, which is as it should be. At the same time, the same spirit of wanting to play more intense music, pushing the boundaries, it’s still alive, it just manifests itself differently because of the context of the times. There are still tons of great grind bands out there, Nails is awesome, Teething is great, and those bands are about as traditional grind as it gets. Same with Death Metal, there’s a resurgence of bands playing in the older style that’s awesome to see. There’s at least a nostalgia and a place for that kind of music that isn’t going away and that’s awesome and gratifying to see.

The song “Coins Upon The Eyes” is super-catchy and yet really abrasive. How do you write material like that? Do you just think up a riff, or sit down and design it?

We actually have a bunch of multi-colored balls that represent different riffs, then we throw the balls into a pool full of seals, and whatever order the seals flip the balls back to us is the order that we play the riffs in. It’s basically a foolproof hit factory!

Honestly we just think of things in terms of songs, not in terms of “brutality” or something ephemeral or subjective. With “Coins,” it’s almost like what we did with Waxwork, where you have one main riff (the chorus) and most of the other riffs build from the note choices and movement within the main theme. From there, the pre-chorus and the guitar solo parts serve as the contrast points, being in different keys with different rhythmic structures to build tension.

Of course, it’s not quite so scientific when you’re coming up with the riffs, there’s a fair amount of playing from the gut that kind of pulls you in the direction that the song wants to go. After you have something that works, you can analyze it, and that analysis will help you know what works next time around. I’m a big adherent to the pop songwriting philosophy and we try to always include some hooky choruses and catchy stuff in every song.

That’s really the ultimate goal, now that we know how to be heavy and brutal and all that stuff – whatever that means, haha!

Exhumed kick off North American tour with release of Necrocracy

August 7, 2013 –

exhumed-necrocracyExhumed, the band that combined up-beat Swedish death like later Fleshcrawl with the crepitant grind of Carcass but gave it the bounce of more punk-oriented grindcore bands, has returned from the dead and unleashed Necrocracy, an infectiously catchy but hard-hitting slab of recreational grind that should keep listeners in motion.

Following an early career of more grind-influenced music, the band began to see the possibilities in more energetic and listenable ventures, and so began to mix enthusiastic heavy metal into the grind and then blur the grindcore technique with a fair amount of death metal. Like many revival movements, this aims to put a modern superstructure into the aesthetics of the past.

Necrocracy represents the kind of thrill that came with later Ministry albums. Speed, excess and unflagging energy combined to make a record that could both motivate you to drive 120 mph down a lonely road, or socialize with friends while shouting lyrics about masticating corpses. The band kicks off a US tour this October.

EXHUMED w/ Dying Fetus

10/04/ Mojo 13 Wilmington, DE
10/05/ The Soapbox Wilmington, NC
10/06/ Back Booth Orlando, FL
10/07/ The Orpheum Tampa, FL
10/09/ Fitzgerald’s Houston, TX
10/10/ Red 7 Austin, TX
10/11/ Trees Dallas, TX
10/12/ Chameleon Room Oklahoma City, OK
10/13/ Warehouse 21 Santa Fe, NM
10/14/ Rocky Point Tempe, AZ
10/15/ Observatory Santa Ana, CA
10/16/ The Whisky W. Hollywood, CA
10/17/ DNA Lounge San Francisco, CA
10/18/ Branx Portland, OR
10/19/ Studio Seven Seattle, WA
10/20/ Rickshaw Theater Vancouver, BC
10/22/ Republik Calgary, AB
10/23/ Pawn Shop Edmonton, AB
10/24/ Riddell Centre Regina, SK
10/25/ Park Theater Winnipeg, MB
10/26/ Station-4 St Paul, MN
10/27/ Reggie’s Chicago, IL
10/29/ Peabodys Cleveland, OH
10/30/ Chance Theater Poughkeepsie, NY
10/31/ Palladium Worcester, MA
11/01/ Gramercy Theater New York, NY
11/02/ Empire Springfield, VA

Exhumed – Necrocracy

July 9, 2013 –

exhumed-necrocracyFounded by a group of career metalheads, Exhumed started with a simple mission: make grind, but make it entertaining and participatory like the better heavy metal of the past few generations. While they were initially known as a Carcass clone, that comparison involves the vocals, while the guitar music is itself quite different.

Necrocracy continues the tradition with some very professional songwriting. The technique is pure death metal, grindcore and smatterings of punk and speed metal; under that surface, what lurks is old school heavy metal combined with Swedish-style melodic songwriting (which interestingly was also discernible on the debut).

As part of that professionalism, Exhumed fit each song into a series of gratifications: a good introduction, pounding verses, surging choruses, fireworks for solos and then a transition through a minor key melody into a triumphant return to the verse, plus an optional outro. This formula — adopted in part from glam ballads — propelled speed metal and heavy metal bands to the stratosphere. It’s doing something similar for Exhumed.

What makes Necrocracy hold together is that each song is composed of only necessary parts toward achieving this goal, which could be roughly described as half wanting to be a fun grindcore band, and half wanting to be a professional metal band with MTV-ready songs. Much like Amebix recently saw the utility of this format for reaching the slumbering masses, Exhumed use it to inject some death metal into the melange of hard rock, punk, speed metal, grind/death and heavy metal that makes up their songs.

It is probably not wise for old school death metal fans to rush to this album. It has more in common with grindcore and album-oriented stadium heavy metal, since it relies on the verse-chorus and derives much of its effect from application of known songwriting technique instead of straying into odd structures, bizarre twists, and experimental riffs. Its choruses are hooky, its verses catchy and chanty, and the heavy production and technique hides a band that could go toe-to-toe with the big heavy metal bands of the 1980s through 2000s. Their audience is its audience, updated a bit.

Carrying on the tradition of making metal music that pushes past what is socially acceptable, Exhumed return with an onslaught of cynicism about humanity that takes joy in its own dire predictions. Energetic and necrotically enthusiastic, Necrocracy pumps out the energy and the engaging heavy metal tropes in a voice that is all its own, and will serve as a great introduction for many to these genres.

Necrocracy will be released on August 6, 2013 via Relapse Records and can be pre-ordered here. Catch Exhumed on tour:

EXHUMED European Takeover 2013 [remaining dates]:

  • 7/17/2013 Vlamrock – As, Belgium
  • 7/23/2013 Metal Days – Tolmin, Slovenia
  • 7/24/2013 Garage – Munich, Germany
  • 7/25/2013 Eisenwahn – Obersinn, Germany

EXHUMED w/ Dying Fetus, Devourment, Waking The Cadaver

  • (10/4 – 10/19), Abiotic,Rivers Of Nihil (10/26 – 11/2):
  • 10/04/2013 Mojo 13 – Wilmington, DE
  • 10/05/2013 The Soapbox – Wilmington, NC
  • 10/06/2013 Back Booth – Orlando, FL
  • 10/07/2013 The Orpheum – Tampa, FL
  • 10/09/2013 Fitzgerald’s – Houston, TX
  • 10/10/2013 Red 7 – Austin, TX
  • 10/11/2013 Trees – Dallas, TX
  • 10/12/2013 Chameleon Room – Oklahoma City, OK
  • 10/13/2013 Warehouse 21 – Santa Fe, NM
  • 10/14/2013 Rocky Point – Tempe, AZ
  • 10/15/2013 Observatory – Santa Ana, CA
  • 10/16/2013 The Whisky – W. Hollywood, CA
  • 10/17/2013 DNA Lounge – San Francisco, CA
  • 10/18/2013 Branx – Portland, OR
  • 10/19/2013 Studio Seven – Seattle, WA
  • 10/20/2013 Rickshaw Theater – Vancouver, BC
  • 10/22/2013 Republik – Calgary, AB
  • 10/23/2013 Pawn Shop – Edmonton, AB
  • 10/24/2013 Riddell Centre – Regina, SK
  • 10/25/2013 Park Theater – Winnipeg, MB
  • 10/26/2013 Station-4 – St Paul, MN
  • 10/27/2013 Reggie’s – Chicago, IL
  • 10/29/2013 Peabodys – Cleveland, OH
  • 10/30/2013 Chance Theater – Poughkeepsie, NY
  • 10/31/2013 Palladium – Worcester, MA
  • 11/01/2013 Gramercy Theater – New York, NY
  • 11/02/2013 Empire – Springfield, VA

Exhumed – Necrocracy release date announced

June 13, 2013 –

exhumed-necrocracyHitting upon the fortunate idea to mix early death metal and the early years of Carcass, then kick up the tempo and work in some melody in the style the Swedes pioneered, Exhumed found a language through which they could make what they really wanted to create, which as Motorhead-style roadhouse tunes.

Having returned from a lengthy sabbatical, Exhumed gets ready to unleash Necrocracy, which can be pre-ordered here. Commented Matt Harvey, vocalist and gutslinger, “We’re super pumped that 2013 will see the release of Necrocracy. We think it’s our heaviest record to date and we can’t wait to start playing the new tunes on the road. The album is a bit hookier and meatier than All Guts… and we hope all you maniacs enjoy it.”

Necrocracy “stinks like the rotting flesh of a nation waiting for revolution,” says the press release on this album, which pretty much describes the mood in America at this point. If it’s anything like the past releases from this band, it will be workmanlike and surprisingly internally similar but not so that you’d notice, since like Motorhead tunes, songs rotate around a simple melody and rhythm and are remarkably convincing at that.

Exhumed begin “European Takeover” tour 2013

May 9, 2013 –

exhumed-all_guts_no_gloryOne of the first bands to combine high-energy grindcore like Terrorizer with simplified death metal like second album Entombed, Exhumed created an audience for their unique and gore-splattered approach. After years apart, they have returned and are embarking on a European Takeover to support their latest release, a song called “The Beginning After the End” on the Patlapse Tribute Compilation, a tribute to Relapse staffer Pat Egan.

Vocalist Matt Harvey said, “We’re psyched to be back in the olde world for the Summer, exploring every available nook and cranny of Europe and subsequently filling them with empty beer cans, barf, and a hellish racket. We’re here to spread the word about our upcoming record that’s coming out in August, play some killer underground festivals, and enjoy some more flavorful beer for a change. It’s also killer to finally be in Europe with our ever-present staff physician, Dr. Philthy, which will allow us to do our full stage show in Europe for the first time, so it should be a good time for all in attendance. We’re here for quite a while, so we may even accidentally acquire a little class and culture. But probably not. See you all in the front!”

Exhumed will release a follow-up to 2011’s All Guts, No Glory as a full-length set for release via Relapse Records later this summer. The album was recorded at Arcane Digital Recording in Chandler, Arizona with Ryan Butler (Misery Index, Landmine Marathon, Phobia). All drums were tracked at Trench Studios in Corona, California with John Haddad (Hirax, Abysmal Dawn, Intronaut). Commented Harvey: “‘The Beginning After The End’ is something we did during the latest recording sessions, so it will give folks some idea of the sound and vibe of the new record.

    EXHUMED European Takeover 2013

  • 5/08/2013 The Exchange – Bristol, United Kingdom
  • 5/09/2013 Star And Garter – Manchester, United Kingdom
  • 5/10/2013 Franceed Zepplins – Cork, Ireland
  • 5/11/2013 The Pint – Dublin, Ireland
  • 5/12/2013 Voodoo – Belgiumfast, United Kingdom
  • 5/13/2013 Audio – Glasgow, United Kingdom
  • 5/14/2013 Trillians – Newcastle, United Kingdom
  • 5/15/2013 The Hairy Dog – Derby, United Kingdom
  • 5/16/2013 The Garage Upstairs – London, United Kingdom
  • 5/17/2013 May Day Mosh Day – Stockholm, Sweden
  • 5/23/2013 Dna – Brussels, Belgium
  • 5/24/2013 K19 – Kassel, Germany
  • 5/25/2013 Extreme Fest – Hünxe, Germany
  • 6/01/2013 Kulturfabrik – Lyss, Switzerland
  • 6/02/2013 Korigan – Luynes, France
  • 6/03/2013 Le Saint Des Seins – Toulouse, France
  • 6/04/2013 Estraperlo Club – Badalona, Spain
  • 6/05/2013 Tba – Zaragoza, Spain
  • 6/06/2013 Sala Barracudas – Madrid, Spain
  • 6/07/2013 Tba – Valencia, Spain
  • 6/08/2013 Sala La Trinchera – Malaga, Spain
  • 6/09/2013 Open Air Areeiro – Areeiro, Portugal
  • 6/10/2013 Tba – Ponferrada, Spain
  • 6/11/2013 The Class – Gijon, Spain
  • 6/12/2013 Tba – Donosti, Spain
  • 6/14/2013 Tba – Paris, France
  • 6/15/2013 Tavernu Du Theatre – La Louvière, Belgium
  • 6/17/2013 Jc Cerberus Hengelo – Hengelo, Netherlands
  • 6/18/2013 Hafenklang – Hamburg, Germany
  • 6/22/2013 Metal Fest Open Air Poland – Jaworzno, Poland
  • 6/23/2013 Kilkim Zaibu – Varniai, Lithuania
  • 7/05/2013 In Flammen Open Air – Torgau, Germany
  • 7/06/2013 Obscene Extreme Afterparty – Trutnov, Czech Republic
  • 7/17/2013 Vlamrock – As, Belgium
  • 7/23/2013 Metal Days – Tolmin, Slovenia
  • 7/24/2013 Garage – Munich, Germany
  • 7/25/2013 Eisenwahn – Obersinn, Germany