Carbonized – Demo Collection

December 27, 2013 –

carbonized-carbonized_demo_collection

The Swedish grindcore band Carbonized came from an era when metal was still defining itself, and grew up alongside the more intense death metal acts which were putting Sweden on the map. Carbonized remains somewhat less known because the band embraced weirdness and unconventionality in everything it did, which makes for great art but not a conveniently wrapped-up listening experience.

Through three classic albums — For the Security, Disharmonization, and Screaming Machines — Carbonized put its mark on the death metal and grindcore underground by using outrageous technique and converting ideas from other genres into their metal equivalents. While in too “raw” of a form on the Carbonized releases, these ideas were picked up by other bands in more easily digestible forms and thus made their way into the core of those genres.

Luckily someone has bootlegged the Carbonized demos in the grand tradition of underground metal. The three demos and one EP on this CD chronicle the emergence of Carbonized and, as time goes on, its refinement from a fuzzy concept to a clear personality and eventually, such a strong presence that its songwriting is immediately distinctive even when simpler and less polished than what we expect from the albums.

The “Auto-da-Fe” demo from 1989 shows the band as a primitive grindcore/death metal hybrid that leans toward the kind of epic statement that death metal bands made but without much reliance on tremolo strumming. “Re-Carbonized” from 1990 shows the style most will recognize from For the Security, with detuned guitars and recursive-chug riffing among the broad chord progressions played without embellishment in rigid linear rhythms. This gives the music a stark and birds-eye-view character but also places it outside of where death metal was, musically, at the time. This isn’t riff interplay so much as an advanced layering of verse-chorus pairs. Next is No Canonization which shows a messier and more conventional grindcore band that could have been on par with Napalm Death in the same year. A strong inclination to use melody to counter-balance chromatic riffing gives this an expansive feel. Finally, “Demo 3″ from 1991 shows us a more confident and technically advanced band who have mixed the techniques of death metal into primitive grind and come up with a melodic but structured and semi-theatrical sound. Its essential character and weirdness shines through, which preserves the esoteric feel of this material.

Probably of interest only to Carbonized fanatics or at least Swedish death metal devotees, Demo Collection reveals facets of this band who shared members with Dismember, Therion and Entombed that had been lost to time. For those of us who think For the Security may be one of grindcore’s lost classics, seeing these demos emerge again is both a treat and an invitation to explore the murky history behind this shadowed movement.

Tracklist:

    “Au-to Dafe” Demo 89

  1. Final Chapter
  2. Paradise Lost
  3. Au – to – Dafe
  4. “Recarbonized” Demo 90

  5. Intro
  6. Recarbonized
  7. For the Security
  8. Two Faces
  9. The Monument
  10. No Canonization EP 90

  11. No Canonization
  12. Statues
  13. Au-to – Dafe
  14. “Demo 3″ 1991

  15. Dark Curses
  16. Carnage Mass
  17. Emperors of Death
  18. Purified from Sulphur
  19. Hypnotic Ain
  20. Syndrome

War Master – Blood Dawn

December 26, 2013 –

warmaster-blood_dawn

War Master attempt to create a new form of the classic death metal and grindcore that defined the underground metal period. Taking their name from a Bolt Thrower song, the band might be expected to sound like that august act, but the truth is more nuanced. War Master make a language of their own from pieces of the past.

This language can be confusing because many of these pieces of the past are recognizable, although never entire songs, so that War Master tend to pair an old riff archetype with a new riff of their own creation, or use song structure or aesthetic ideas but apply them with new forms. As a result, parts of this are immediately recognizable and it takes some moments to mentally integrate the past with the current version of the same form.

On Blood Dawn, a fifteen-minute EP, War Master drop back from their smoothly integrated style for a rougher, catchier and more Swedish death metal version of their sound. Applying the classic Swedish distortion, War Master also rely heavily on the bounding riffs of the first couple Entombed and Grave releases, producing an urgent and jubilantly violent sound.

The result is a new style for War Master that is both more hasty and, by being more raw, a bit more accessible and yet more fanatically old school. This compares favorably to the latest Autopsy which takes a similar approach. Simplified song forms, although not the verse-chorus loops of pop fame, plus catchy riffs like the most compelling heavy metal at high speed, guide these songs to immediate enjoyment.

While Blood Dawn shows this band with new personnel and new strengths, it loses some of what made Pyramid of the Necropolis so powerful, which was its tight-fitting and intricate structures. If history is any guide, War Master will explore this new direction and slowly work it into form so that they can be more articulate with this new — yet older — voice.

Blood – Live in Speyer

December 23, 2013 –

blood-germany-grindcore

To love grindcore is to love the genre “as you find it.” That is, it doesn’t make sense to go around wishing why there isn’t more progressive symphonic grindcore with world music influences. Grindcore is grindcore.

There’s plenty of room within that genre however. The only rules are brutal punk/metal fusion chromatic riffing and a certain spirit that keeps intensity high and doesn’t deviate into either holiday carols or life-affirming waiting room jazz.

Germany’s Blood have been a secret of the genre for years. Like other minimalist grindcore they specialize in the riff itself, a form of art that is closer to sculpture than music as they use rhythm and direction relative to previous notes to wrest expressive phrasal forms out of chromatic strikes.

Luckily, someone recently uploaded this amazing Blood concert (“show” for you hipsters) in Speyer, Germany. Check it out, and vomit blood!

Grindcore: origins of a genre

December 19, 2013 –

repulsion-horrified

Very few people have any idea what grindcore means at this point because of the high degree of crossover between grindcore and death metal. Not just one way, but both: grind bands becoming deathy in the Napalm Death style, and death metal bands becoming grindy as happened from Suffocation onward.

But what wasgrindcore? History might show us that punk and metal were birthed in the early 1970s and spend the next three decades crossing over. This resembles a quarter-century negotiation as to what aspects of each to keep in the hybrid with the other. Early hybrids included speed metal, which used uptempo punk rhythms, and thrash, which combined metal riffs with punk songs. Grindcore was a logical extension of thrash.

Thrash — exemplified by Dirty Rotten Imbeciles, Cryptic Slaughter and Corrosion of Conformity — grew out of the “thrasher” community which was composed of skateboarders. These were a 1980s movement that existed in the abandoned areas of modern cities where skating was undetected if not permissible. Anarchistic, but also pragmatist, they were like the ultimate hybrid between the individualistic and hierarchical impulses behind human politics. Thrash bands as a result tended to direct their criticism toward society itself and were less likely to hover on one side of the political spectrum or the other, despite having a huge background influence by the almost-universally anarchist punk movement. We can only assume the additional influences on thrash came from metal, which was more likely to take a historical and impersonal view of life, where punk was much more personal and present-tense.

Where the bands that prompted the early speed metal and thrash hybrids were punk hardcore (The Exploited, Cro-Mags, Black Flag, Minor Threat, GBH) and early crustcore (Discharge, Amebix) bands, thrash in turn spurred hardcore on to become faster and more extreme, resulting in shorter songs with more metal-like (more chord changes, more internal texture) riffs. The later punk hardcore bands like Void, Faith and Siege prompted a gnarlier sound, picking up on the distorted vocals which has become a staple of the previous punk generation, perhaps prompted by Motorhead and Lemmy Kilmister’s incomprehensible gargled-glass screaming.

From this inspiration, a movement caught on in the late mid-1980s. Fronted by bands like Repulsion and Napalm Death, it quickly diversified and spread worldwide. However, like punk before it, grindcore did not have much staying power. The more one streamlines and simplifies, the fewer variations exist, until most things can be described as a modification to an archetype. At that point, bands lose the ability to distinguish themselves and thus realize their talents are better applied elsewhere if they wish to distinguish themselves. Nevertheless, between 1986 and 1990 the foundational masters of grindcore emerged in the form of Repulsion (1984), Napalm Death (1985), Terrorizer (1989), Blood (1989) and Carbonized (1990).

Various Artists – A Day of Death 1990

December 16, 2013 –

a_day_of_death-flier

The Glorious Times team recorded the “A Day of Death” concert from 1990 and made it available as a free download in MP3 or FLAC format. Basically an abridged version of the show, A Day of Death 1990 shows founders of the underground at their best.

Opening with Autopsy, A Day of Death 1990 begins with “In the Grip of Winter.” This version sounds rougher than the Mental Funeral variant that later became the norm, and more like an earlier recording I’d heard on an EP. This is followed by Repulsion banging out “The Stench of Burning Death” (later found on Horrified) pretty much exactly as it is on the album, which fits with the band’s reputation for being immaculately rehearsed. After that, Deceased lights up the soundboard with “Decrepit Coma,” which is tightly played but loud owing to the recording conditions.

After that, the first of two Cannibal Corpse tracks comes up; Cannibal Corpse are one of those bands like Venom, Pantera, Cradle of Filth and Meshuggah that strike me as historically important in popularizing a genre but perhaps culpable in eroding its meaning. Incantation follows with both “Profanation” and “Unholy Massacre.” These are live and a little unsteady and without the bass-intense production of Onward to Golgotha, which reveals these songs further but makes them even stronger as they stand up without the intense sound. After that, another Cannibal Corpse song and Deceased with “Haunted Cerebellum,” which is the really catchy song from their first album and is executed with potent verve and energy. Another Repulsion song, “House of Freaks,” which was not on their album, follows; it is more uptempo and a bit more hardcore than death metal. The set finishes out with Autopsy and “Severed Survival” which is a more deliberate and menacing version of this messy death metal classic.

This live album is great for three reasons: first, it’s a glimpse into the history of this genre with some of the most active players visible; second, it’s done in true underground style and given away free, since these bands have the albums to sell to finance their bands; finally, it’s killer and you’d buy it anyway even if it were $15 and said RELAPSE on it. A Day of Death 1990 is more like being at the Smithsonian Death Metal Hall than being transported via time machine, and it doesn’t sound its age so much as sound the level of equipment available, but it shoves forward these classic recordings in a way that makes death metal both more obscure and more accessible at the same time.

Assück – Blindspot

December 11, 2013 –

assück-blindspotGrindcore as a genre started out incredibly strong but unfortunately has grown stale with copycat bands and hipsters. By remembering those who made the genre great, we may inspire the genre to create great works once more.

An early runner in the grindcore genre, Florida’s Assück were one of the first bands to fuse grindcore’s rhythmic intensity and youthful energy with elements of the phrasal and percussive riffing of death metal. The combination would later become “deathgrind.” Assück additionally was staffed by remarkably proficient musicians.

Blindspot was released in 1992, a year after their landmark debut, Anticapital. This short EP shows a continuation of Assück’s style from the album, but nevertheless maintains interest throughout, due in no small part to the enthralling percussion. Drumming displays a wide breadth of styles masterfully integrated into the framework of simple grindcore rhythms. Often, it will interact directly with the riffs, mirroring the attack of each chord with a percussive element. The riffing is a potent fusion of hardcore punk power chord bashing, harsh dissonance, and death metal inspired chunkiness. Vocals are a hardcore­inspired growl, similar in ways to Napalm Death or Blood’s vocals.

This entire release is over in about seven minutes, but that is all that is required. What many modern grind bands can learn from this EP is how complete the release sounds. Despite how short it is, if it had gone on a few minutes longer it would be tedious? had it been shorter there would have been development issues in the songwriting. This is the true essence of grindcore – composing not just short songs, but short songs that are coherent in their structure and intent. By striking a balance between grindcore’s chaotic extremity and death metal’s emphasis on coherent riff construction, Assück has continued to remain a fan favorite and influence. This EP only helps to cement their legacy.

Micro-songs: the shortest songs in heavy metal

November 23, 2013 –

no_time_for_pop_songsAbout a decade ago, the trend of flash fiction or micro-stories seized the literary world by storm. The reasoning was that as people did more of their reading via phones and portable computers, they would want shorter, harder-hitting fiction.

Of course, metal was there first.

Heavy metal has a long tradition of making short and fast songs that derive intensity by compressing an idea and then unleashing it like a jack-in-the-box with razor blades for teeth. This tradition spans multiple metal genres and decades.

Generally three and a half minutes is considered the ideal length for a pop song, give or take a half-minute. Many bands, especially in more “serious” genres like AOR, progressive rock, jazz and metal, tend to write five minute or longer songs. Micro-songs on the other hand clock in well under two minutes, often under one.

According to many bands, writing a short song is harder than writing a long one. When the song goes by quickly, song structure is more transparent. There aren’t comforting layers of conventions, like guitar solos and ballady choruses, that can be used to disguise an emptiness within.

It’s just the songwriter versus the void.

Here’s a (brief) run through of heavy metal (and hybrids) who made flash-audio or micro-songs.

  1. Dirty Rotten Imbeciles (DRI) – “Money Stinks” (0:46)

  2. Corrosion of Conformity (COC) – “Nothing’s Gonna Change” (1:07)

  3. Disharmonic Orchestra – “Interposition” (1:59)

  4. Napalm Death – “You Suffer” (0:02)

  5. Blood – “Sodomize the Weak” (1:38)

  6. Insect Warfare – “Oxygen Corrosion” (0:54)

  7. Gridlink – “Asuka” (0:35)

  8. Fallen Christ – “World of Darkness” (1:57)

  9. Carcass – “Genital Grinder” (1:32)

  10. Chronical Diarrhoea – “Attack of the Blur Demons” (0:55)

  11. Agathocles – “Well of Happiness” (1:10)

Impaled re-records debut album as The Dead Still Dead Remain

September 11, 2013 –

impaled-the_dead_still_dead_remainThirteen years ago, gore-grind band Impaled released their first album, The Dead Shall Dead Remain. Since that initial pressing, the album has been unavailable to fans because of legal disputes over ownership. The only chance to hear it was to buy an original copy.

To work around that problem, Impaled have re-recorded their debut album as The Dead Still Dead Remain. This does away with legal hurdles and allows the band to improve on the performance and production of the original. Recorded and mixed by Vinnie Wojno (Testament), the new recording “simply sounds better” according to guitarist Jason Kocol.

The Dead Still Dead Remain stays musically faithful to the original and also features the return of vocalist Leon del Muerte, who says, “it was like the last thirteen years of backstabbing and spitefulness never happened!” With updated cover artwork in the spirit of the original, The Dead Still Dead Remain resurrects a long lost work of the gore-grind genre.

Impaled’s The Dead Still Dead Remain can be pre-ordered at WillowTip Records.

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!

Agathocles to release split with Hogra on Unholy Anarchy Records

August 15, 2013 –

agathocles-hogra-splitIn conjunction with At War With False Noise (UK), Jerkoff Records (USA) and Blackseed Records (USA), Unholy Anarchy Records will release a split 7″ by Belgian grind/mincecore gods AGATHOCLES and Pittsburgh power electronics outfit HOGRA.

AGATHOCLES have for over two decades created abrasive but creative grind. During that time, the band has appeared on well over 100 split 7″ releases, as well as numerous comps, EPs, demos and full-length albums. The Agathocles/Hogra split sees the legendary trio take an unexpected departure from their traditional and patented mincecore style of grind and unleash two tracks that were written to complement the power electronics of Pittsburgh’s HOGRA, who have built a solid catalog of splits, tapes and EPs over the past year.

Those who were around in the 1990s may remember Agathocles’ Theatric Symbolisation of Life, an artistic yet not reality-removed album of inventive grindcore. The band have since then continued to tour, release and antagonize, providing us with enjoyable music in the meantime.