2016 is over. The funderground mentality continued spreading forth, infesting metal over the last year just the same as it had in the decades past the genre’s artistic high-point in the early nineties. Rehashes of past greats pandering to a lowest common denominator audience continue to dominate the release schedules of metal labels all too willing to please the lemmings with music fit to safely ignore during drunken socializing. Ever-flowing streams of posers are desperate to be rock stars, pumping out plagiarism, and paying their way to record deals. File sharing and streaming reducing the cost of hearing new music to essentially nothing has led fans to constantly consume whatever is new regardless of quality. However the purging is at last at hand. The day of doom is here. The filth who have lied and corrupted the underground must be cleansed while the commendable elite few will remain.
Mortalized was the other grindcore band of Gridlink guitarist and riff master Takafumi Matsubara. 呪われた …Complete Mortality is the total and complete collection of everything the Japanese grindcore legends ever recorded. Since Mortalized is a grindcore band, Complete Mortality is effectively a giant collection of effective riffs in various styles: grindcore, death metal, heavy metal, black metal, Gothenburg, hardcore, post-hardcore, crust, speed metal, you name it and Matsubara probably had an original riff resembling that style of metal or hardcore on this release. Complete Mortality is a true riff bible from the mind of an incredibly creative and talented guitarist.
As the continent was before Britannic penal colonization, Australian black and death metal scene was and is still mostly an undeveloped desert of unexceptional crossover thrash posturing as “war metal”, blackened cheeseball beer metal, AC/DC clones with unclean vocals, and experimental technical deaf metal/post-hardcore/jazz fusion hybrids. Martire rode forth from obscurity to restore fruit and flower to the wasteland, fertilizing the barren bush wielding fire and sword.
Blasphemy suddenly released a live album today. The CD of Desecration of Sao Paulo now. Check the usual distros if you’re a war metal, bestial maniac. Hopefully this will sound better than Fallen Angel of Doom if you care to revisit Blasphemy’s material.
Bolt Thrower have finally officially broken up after going on hiatus following the death of their long-term drummer Martin “Kiddie” Kearns. Vocalist Karl Willets forming Memorian with original, still-living drummer Andy Whale heralded this. Bolt Thrower had not released an album in over a decade and their studio output had been a pale shadow of their 1980s grindcore peak. The band released a statement on their website:
Longhena is grindcore that is actually musical. Takafumi Matsubara (Mortalized) became the sole guitarist after Orphan and brought a longer, more narrative, heavy metal sense of songwriting to Gridlink’s hyper proficient blend of their musical influences. The riffing varies from post-hardcore chord progressions to New Wave of British Heavy Metal harmonies of the type originated by Thin Lizzy. Somewhat shocking for a grindcore band not Carcass or Bolt Thrower, Matsubara actually progressive his riffs to tell short narratives in short, cyclical compositions varying from one to three minutes in length, usually climaxing in a bittersweet, often melancholic solo. The drumming is blasting, inspired, and semi-tasteful, with fills that feel almost as if they are about to go off the rails but return to be properly enslaved by the riffing. Vocals are reminiscent of Assuck with lyrical topics ranging from nuclear holocaust to anime and lamentations of the destruction of the player-controlled spaceship in shoot ’em up arcade game. All melodically and lyrically reflect upon listeners certain Buddhist mental concepts of the emptiness, nothingness, and meaninglessness of human existence and suffering.
Conqueror wanted to be a part of the “scene” but did not have musical ideas. The band discovered that the muddied sound of early Beherit and Blasphemy circa Fallen Angel of Doom could be used to obfuscate their dearth of ideas. Furthermore the hostility between the Norwegian scene and the rest of black metal could be amplified under false pretenses while not offering any truly satisfying alternative themselves. Basically, point to candy assed pop drivel like Dark Funeral but go to the other end of the spectrum entirely with a paper thin wall of television white noise with a drunken chipmunk howling nonsense. Conqueror’s “music” is structured which ironically stands contra to the concept of all out war. A little anarchy would at the very least allow the essence of battle to bubble up from the pot. Instead it’s a tame morass of very low effort grindcore riffs and mostly incomprehensible low E-string noodling. The best that can be said about Conqueror is that J. Reed has an identifiable sound.
Starting in the mid to late Eighties, many of the originators of death and black metal started to commercialize their music into straight speed metal for mass appeal to a bar show, beer metal audience; social concert goers in the uniforms of leather jackets, band tees, and high tops who treated shows as a time to socialize and shoot the shit with their friends while listening to typical bands that never challenged their musical preconceptions or startled them away from their ritualized moshing. Just a few years prior, many of these types would’ve been the same idiots seen in Heavy Metal Parking Lot. While most of their peers moved on from Judas Priest to Motley Crue and Guns ‘n’ Roses, many listened to what was considered an “acceptable” fusion of heavy metal and radio rock played by groups like post-Ride the Lightning Metallica, Anthrax, and Testament.
Some compare this to Mortician but to these ears, it sounds more like a Cathedral, Cianide and Asphyx crossover. Where Mortician adopted slowed-down grindcore stylings to death metal, Nothing Left bring a pure grindcore approach to the type of pummeling, rhythm-driven riffing that powers Cianide or Asphyx, and adds the droning doomy feel of later doom bands like Cathedral.