This promotional contribution from the Social Justice Warrior-ridden Baltimore metal scene is terrible; it sounds like Pig Destroyer meets Christian metalcore. The anonymous local supplier bravely contributed a shocking report of a recent Bestial Evil show in Baltimore.
Oh here she comes. Watch out boy she’ll chew you up. She’s a maneater. – Darryl Hall and John Oates, 1982.
Black Tusk – Pillars of Ash (2016)
A fusion of party rock, screamo, and hardcore punk, Pillars of Ash brings a risible contribution to the rock/punk spectrum that many a beginner is prone to confuse with metal. The relevant question here is whether or not Black Tusk have anything worthwhile to offer to the listener that may not be found in higher quality elsewhere. The answer is a resounding NO. The album plays like a tenuous stream of echoes of 1980s hardcore bands rearranged with Mario Paint.
Tombs – All Empires Fall (2016)
Tombs is described in some places as black or post metal, and while there is some borrowing from black metal techniques in the use of some blast beats and an imitation of traditional black metal vocals, Tombs isn’t isn’t black metal. The post-metal is correctly applied in that this isn’t much more than a poor excuse for pseudo-ambient experiments with haphazardly connected sections being paraded as composition. There are strong references to doom metal, cheap and stompy heavy rock, with post rock being added as the way to get away with 3rd rate writing. All in all, boring, generic, unfocused, and unoriginal background music. Tombs is lounge music.
Howls of Ebb – Cursus Impasse: The Pendlomic Vows (2016)
Entirely random pastiche of metal clichés loosely held together by psychedelic interludes and a drunk vocalist feigning faux lunacy. If a blend of Voivod, galloping heavy metal, canned black metal and fuzz drenched noise rock wah wah soloing wasn’t pointless enough, the band commands and impressively dissociated catalog of occult vocabulary to match.
Nucleus – Sentient (2016)
Nucleus have fun in the studio and they want you, dear listener, to have fun at home with them. If you like Demilich but thought it was too strange, too serious, or too weird to play around your sister then Sentience is the record that delivers all the thrills of Finnish extradimensional insectoid death without danger of unthrashability. All the more perfect for fucking your sister behind the dumpster at the skatepark.
Candelabrum – Necrotelepathy (2016)
Two twenty minute tracks of spooky landscapes, sad vampire vocals, and canned drum patterns. If the goal was to stride the line between hysterical and uncomfortable, this record is a resounding success. Necrotelepathy is more Vampire Diaries metal.
Abyssus – Once Entombed (2016)
Another pizza thrash band with a veneer of death metal fronted by a Greek John Tardy fan. The album art and song titles make adequate use of Death Metal Band Generator. Perfect comedy for those Saturday mornings when you are drunk with fellow “scene veterans.”
Clawhammer Abortion – Slaughter Campaign (2016)
This band took every criticism levied against death metal and wrote an album of it. In order to get through, I turned it into a drinking game: Hear a cliché, drink. The only problem is I passed out drunk after three songs and the Editor took over. He heard so many Sodom breakdowns and generic grindcore riffs that he kicked my ghetto blaster into the campfire. Only the most calcified kidneys and fattiest livers prevail in the Eternal War.
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.
Grindcore band Napalm Death have pulled out of Blastfest 2016 presumably due to the booking of the politically-incorrect to Barney Greenway’s white liberal socialist worldview black metal band Peste Noire. The Norwegian festival’s organizers should be commended for not catering to the socialist reactionaries by canning the less-mainstream artist. Napalm Death have once again proved themselves irrelevant since the Eighties.
As we see many have been speculating about on our page, you were right. Napalm Death has decided to cancel their show at Blastfest next year. We are about the music here, and we welcome everyone with pure intentions to come and have fun in Bergen, but we do respect NDs decision, and welcome them back for another year of course. More bands will be announced soon!
Carcass have been touring almost-nonstop since reuniting and releasing their phoned-into-ProTools excuse to tour, Surgical Steel. Right after supporting Slayer, they have announced yet another set of dates. Despite the mainstream metal openers, this “One Foot in the Grave 2016” might be worth worth checking for grindcore and death metal die hards as Carcass play material from all periods of their career when headlining.
Following a successful assault on our shores alongside label mates SLAYER and TESTAMENT, disinterred British metal icons CARCASS, will return to North America for a headlining tour this summer.! Joining them are southern metal heavy weights CROWBAR, horror thrashers GHOUL, and Los Angeles based metal act NIGHT DEMON.
“One Foot In The Grave 2016”
CARCASS, CROWBAR, GHOUL, NIGHT DEMON
07/16/16 Chicago, IL – Chicago Open Air Festival
07/17/16 Lawrence, KS – Granada Theater
07/19/16 Denver, CO – Bluebird Theatre
07/20/16 Salt Lake City, UT – The Complex
07/22/16 Sacramento, CA – Ace Of Spades
07/23/16 Santa Ana, CA – The Observatory
07/24/16 Los Angeles, CA – The Roxy Theater
07/25/16 Phoenix, AZ – Club Red
07/26/16 El Paso, TX – Tricky Falls
07/27/16 Albuquerque, NM – Sunshine Theater
07/29/16 Memphis, TN – New Daisy Theatre
07/30/16 Louisville, KY – Mercury Ballroom
07/31/16 Columbus, OH – Park Street Saloon
08/01/16 Baltimore, MD – Baltimore Sound Stage
08/02/16 Richmond, VA – Broadberry
08/03/16 Philadelphia, PA – Underground Arts
08/04/16 New York, NY – Gramercy Theatre
08/05/16 New Haven, CT – Toad’s Place
08/06/16 Montreal, QC – Heavy MTL Festival (Carcass only)
Keep in mind that Carcass are still entertaining when shitfaced:
I love used book stores — generally libraries, thrifts and small independents — because the chase is greater than the catch, and finding a rarity or just something fun to read is an inexhaustible thrill. A selection of old books gives a distinct perspective not just of writing but of history.
Each time I look over the dusty spines, castoffs of previous generations or well-loved volumes containing advice relied upon by those who came before, I am reminded how human history is a lattice of ideas. Each great thinker is a nodal point from which others branch, re-combining with other ideas or adding their own. And each writer boils down to one idea, usually, with the greatest having a handful.
The rest is a support system for that. To take a great idea and fling it out into the world requires a book, a third of which is introduction, a third explaining the idea in depth and a final third gesturing at relevance and shouting down the inevitable counter-arguments. Then the author spends the rest of his/her career amplifying on that idea or chasing its elusive ultimate form. Then, RIP and all of that boils down to a sentence of summary that most people know.
Think of Charles Malthus (“utilized resources expand algebraically, but population grows exponentially”) or even Adam Smith (“the self-interest of the many results in a balance”). Metal bands are remembered the same way: Black Sabbath (“used horror movie aesthetics on heavy rock to invent proto-metal”) or Suffocation (“used death metal textural complexity with speed metal choppy strumming styles”).
And Carcass? They will forever be remembered as the guys who made clumsy grindcore based around medical lyrics. This is too bad, as their real strength was to expand the grindcore song structure to include longer riffing that often emulated Second World War era popular music, even if unconsciously.
In fact, most of their success comes from the fact that they did everything unconsciously. On the surface, they were having a laugh with gore lyrics and sloppy grind. The first album, Reek of Putrefaction, is entirely unselfconscious in this way. It does not want to be anyone’s friend, or appeal to an audience. It is just having fun and accidentally unleashes the subconscious mind through a biting parody of society and its fear of disease and death.
It was that awkward and offhand element that caught the imagination of an audience. That, and the ripping tunes: the first Carcass album made grindcore complex enough for songs to be distinctive, but kept its rumbling chaotic surface that hid the structure. This made it heavier than most of what was out there at the time and inspired a thousand imaginations.
After that point, however, the Carcass story tapers off. Every album since then has been the band trying to re-interpret its original unintentional success, but to expand it by making the music more like Led Zeppelin and Metallica so that it can be “serious.” And therein is the problem: this band suffers a deep neurosis and when it tries to be serious, it fails. When just drunk and goofing around, these guys are able to reach into the unsocialized parts of their minds and come up with something good.
Symphonies of Sickness came out shortly after Reek of Putrefaction, but already shows us a more self-conscious band. The title is cute, the songs more obviously melodic and prone to borrow hard rock riffs, and the production still vicious but in a controlled way. Everything about the second Carcass album is a managed environment designed to manipulate appearance just like the neat rows of houses in the suburbs, political speeches and advertisements for security companies. The band reversed its raw approach and joined what they mocked.
After that, it has been all downhill. The Tools of the Trade EP showed us the new Carcass: melodic songs, death metal riffs and none of the grindcore urgency or organic appeal. It was all very much a product of the conscious mind trying to be serious so that other people would like it. Necroticism — Descanting the Insalubrious shat the bed with more of the same. For the time, it fit in competitively with death metal, and I listened to it then, but found over the years that I reached for it less and less.
I feared becoming like an old punker I met back in the early 1990s. “Carcass, great band, but they lost it after the first album,” he said. I knew these guys, I felt. They were like the old bearded dudes in robes who stood on streetcorners in the 1960s with signs saying THE END IS NEAR. They were walking stereotypes: the bitter old “truist” who only likes the demos and maybe the first album for any band, and will tell you to stop listening to that commercial shit you’re pimping and look up some rare, expensive and ineptly-packaged 7″ or cassette instead.
But the old guy — at probably 35, already a curmudgeon-in-training — had a point: most bands have only one idea. In metal and punk, bands are artists first and musicians second; they become musicians to express some idea or feeling. They intuit that musicians become experts in making music that people like and as a result, the external form dictates the content and it becomes about like everything else: technically correct, artistically empty like all the other products, fast food and celebrity autobiographies.
Carcass went on to get a PhD in bed-shitting with Heartwork, which was a decent speed metal album with some nice technical touches, but lacked any purpose so became overly “emo.” After that, the grindcore audience fled and the hard rock audience — this was pre-nu-metal days — was scared off by the vocals, so the Carcass brand went into free fall. The band launched a bitter final salvo with Swan Song in which they realized that their responsible, middle class daylight personalities always wanted to just be Led Zeppelin because that is how you work hard and succeed in rock ‘n’ roll as a career!
I fall between your average suburban music fan and the old crusty punk. Perhaps the Peel Sessions, “Flesh Ripping Sonic Torment” demo and a few scattered 7″ and live shows are the “real” Carcass, but the first album is real enough for me. After that, the band gets self-conscious and soon there is a stinky speedbump under the sheets. But Reek of Putrefaction is great and every person who enjoys quality outsider music should hear it.
Back in 1995 someone cut metal’s balls off. Underground metal (death metal and black metal) had gone to the furthest extremes: denying rock music, smashing down mass religion, and finally, endorsing a Nietzschean natural selection against the will of the herd. There was nowhere left to conquer, except perhaps politically.
As the odious and 99% horribly boring and pointless NSBM movement showed us, however, Nazism was not just captured by a group of unibrow SJW types, but it was boring and not very extreme. Nazism was an attempt to stop the collapse of our civilization, its breakdown by good intentions, and as a result was like a nagging Nanny albeit one that committed horrible genocide, even if relatively mild compared to the USSR and Genghis Khan (elite company).
Metal needed to push further. When war metal combined the dark primitivism of Beherit and Blasphemy with the unrelenting forward drive of high intensity rhythmic death metal bands like Angelcorpse and Hate Eternal, it reduced the “busy” tendencies of those bands but created a type of monotonic texture music that was both comforting and violent. Intolitarian pushes things a step further by using the war metal model to incorporate a more technical version of early Napalm Death style grindcore, and harsh industrial noise.
Starting songs with samples and feedback, Intolitarian then launches into a song pattern like that of war metal but with more idiosyncratic internal structures, eschewing the darker riffs in favor of pure deconstructive chaos riffs in the Napalm Death From Enslavement to Obliteration style. From harsh industrial noise it takes a ton of guitar feedback, fuzz and abrupt samples, but even more importantly, the tendency to hang on a squeal or shriek and then let the chaos surge in again, like waves on a beach put on fast forward before a storm.
Much has been said about the political dimensions of Intolitarian, and nearly all of it is painful nonsense. If this band wanted to be Nazis, they would have just joined up with the usual crew of basement-dwellers who have made “white nationalism” a walking joke like their liberal counterparts for the last fifty years. Intolitarian want to be worse than Nazis. There is no safety in politics with this band. Only a raw need to destroy the walking dead that is our society, and replace with with a feral and atavistic struggle for survival.
Suicidal Allegiance was recorded in 2012 and finally saw release last month through a yet-unnamed van-down-by-the-river underground label. If anything, it is too short; these songs feel like a window into a different world, and one that is more structured than industrial noise and more focused than grindcore with the easy engagement of war metal. Let us hope this provocative and stimulating band continues to refine its attack.
Following up on Vic Records’ reissue of Christbait a couple months ago, Dunkelheit Produktionen from Germany is preparing a reissue of that album’s followup. O Agios Pethane also got a good review from the Dark Legions Archives at some point in the past and is presumably a worthy continuation of the band’s career in a similar style. The album is currently available for preorder from Dunkelheit’s online store and will be officially available on March 20th, 2016. Like its predecesssor, it should serve as a historic example of well written grindcore/death metal, although any band seeking to draw inspiration from it may need to also pull from other sources in order to produce something valuable.
So famous that you might’ve just heard of them right now for the first time. Magrudergrind is back after a hiatus with an album that makes a potent case for keeping simplicity tightly under wraps so that we don’t risk every band with half a half-hearted interest in songwriting nabbing it from the medicine cabinet and hoarding it all for themselves.
I don’t exactly listen to much straight up ‘grindcore’, which adds to the holes in my listening experience, but II sounds pretty much like what I’d expect any half-proficient band in the genre to put out. It’s understandably a little slicker than most of the formative efforts in the genre (Napalm Death, Carcass, Repulsion, etc.), although from what I’ve heard this album trades in some of the bits of schlock comedy that “distinguished” previous Magrudergrind content from its contemporaries for more standard, basic, banal grindcore. On some scales, this is really a perfect 5/10 album; it’s exactly what I expected aesthetically, it does nothing particularly interesting, and it doesn’t even have the temerity to offend me even slightly lest I end up shaming Magrudergrind on the internet; does this sound like anybody we know? II is basically the equivalent of a blank cassette waiting to be recorded to for the first time, but like most albums of little musical merit, we can at least learn a few lessons from the circumstances surrounding it.
As I hinted at in the intro, Magrudergrind’s latest is a very simplistic album that isn’t far removed from the starkest, most deconstructive efforts in its genre. The problem working in such a limited palette is that most of the time, it’s only a sign of low effort; it takes surprising amounts of skill, ambition, or at least luck, to cut down your music and still retain some shred of coherence and communicative value. Grindcore, as a genre, is especially vulnerable to the dark side of these tendencies; once you reach maximum violence and intensity there isn’t much left to do in the confines of the genre. The various famous bands of the genre all found their coping mechanisms; I’m personally most familiar with Carcass’s rapid pivot towards pop music. Magrudergrind’s, on the other hand, was apparently to go on hiatus for a few years and then return when everyone had forgotten not only them, but also the very knowledge that they had forgotten about Magrudergrind.
A small distro portraying Skopje’s (Macedonia) gloominess and fucked up street reality through records and gigs since the early 2000s, FUCK YOGA has since grown into a label that makes obscure hardcore and metal gems somehow available to the few heterodox freaks roaming this city. Its presence has grown during the years. Today, it is home to some of the more obscure acts that seem to have acquired a cult following in the margins of hardcore and slow-paced metal. California’s Noothgrush and even Boston doomsters Grief have gone through FUCK YOGA.
We’ll dive inside and try to dissect everything up in an interview with Ivan Kocev, the man behind this freakish abomination.
1. Ivan, you seem to be heavily attached to gruesome acts of human abhorrence. Well, at least one’s first impression is similar, whilst viewing Fuck Yoga through the lenses of conventional societal pattern.
I accept it as part of nature’s condition, hidden behind the veil of social conventions. It is important to familiarize oneself with all aspects of existence in order to gain more knowledge and bring more truthful judgments further in life.
2. What’s up with you and yoga anyway? Why all the hate dude?
When we were plastering posters for shows, they were often being covered by a yoga class. What also contributed to choosing the name was the “instant enlightenment” vibe that radiated from these people… I also read that the purpose of yoga was “becoming one with the great power that you were never actually apart from” or something like that, which I found bullshit at that time. So over 10 years later, the name remained- it’s not something I actively live by.
3. You pretty much nailed it with a few issues lately. Apartment 213, Noothgrush, Grief…some pretty cult stuff right there. How did you manage lurking them into your lair? Isn’t there a shitload of labels, some highly reputable I might add, in these guys’ states?
I’m a big fan of the mid-90’s mutant hardcore. It might as well have been the final progressive effort of sonic alchemy in it’s respective genre- acknowledging the past, yet branching out into unorthodox forms. Of course-with varying degrees of success, but the general feeling of actual creation and boldness was highly inspiring to my younger self. The bands you mentioned would have no trouble finding a “bigger” label then FUCK YOGA to release their records, but standard scaling doesn’t necessarily apply in this world anyway. They might be considered “cult” nowadays, albeit most of their records were issued on labels strongly rooted in the underground. I cultivate the DIY spirit while providing a very decent representation of their body of work. I salute staying underground by choice, not by necessity.
4. I guess you’re exposed to much of the sensibility of this genre. You collaborate, tour and run a label. You’ve grown to understand the scene from within. Do you think it is an all inclusive club that has built itself upon an egalitarian belief of indisputable equality? Or has this been the distorted image that we have been served by potential pests? My question seeks to disclose if ubermen who breed elite ideas are still present within these circles.
It is up to the individual to choose on which of the many conflicting attributes it pays attention to. You don’t have to look hard to come upon hypocrisy and shallowness in the underground- why would it would be devoid of? I encourage self-sufficiency, yet it’s funny how the bigger picture you see, roles start morphing. It is important to learn from experience and stay alert.
5. What are some of the shittiest bands out there that have been bringing a lot heat lately? I’m all obsessed with negative lists and would really want to hear your opinion.
I am not following “the heat” really. As time becomes more precious for me, I have to spread it out as productive as possible.
6. How do we kill this whole revival trend that has been busting our balls? Resurrection is cool sometimes, but if every idiot is given the opportunity to bring stuff back to life, pretty soon we might even see Christian metal bands or some fucked up shit like that rocking the scene.
Simply judge for yourself instead being told what’s good for you. Easier said than done, I know… If your acceptance filter can handle a copy of a copy of a copy- who cares? I try not to focus on what I dislike, rather use my effort in directions that excite me. The underground will always survive through mutation- some will lose sight, interest or power- but it implodes forever.
7. Are you a fan of population reduction? I am. Who do you think is doing the job well in aiding the process?
It’s difficult to imagine oneself as a 1/7 billionth part of a system. I try not to get too global, it feels depowering. I believe in eye-to-eye centrifugal action, as a real change needs a strong core. Much more efficient then just poking all over the place.
8. What’s on your schedule with Fuck Yoga?
Any day now (late November `15) I’m releasing a new batch of records; GRIEF s/t 12” and “dismal” LP/CD, MOSS “sinister history vol.1” (the first in the series of several records spanning the early, obscure years of the band), DESPISE YOU “west side horizons” LP, and BILLY BAO “communisation” LP. Next would be a NEW WORLD 3”/4” record, SETE STAR SEPT “vinyl collection” CD and HERPES “medellin” 7” repress. 2016 will see records by BASTARD NOISE, DAZD, GOLI DECA…
9. Do you think we’re battling an inside war against our own when facing the fury of SJWs who are censoring us with their PC crap? Fucking hipster pieces of trash!
I will have to disappoint you again with my detachment from cliques. I do not practice any organized political belief- It takes a lot of skill and practice to become independent. I can’t completely deny my social presence, and I am continually learning how to minimize compromise in favor of saving energy for the long run.
10. Briefly explain everything I missed out due to this interview being conducted by me in my utmost hung-over state. I didn’t ask you anything about Fuck Yoga’s roots, plans, presence etc. Neither did I ask you about the 3-4 bands you’re currently in (there’s at least one of them that I dig). Hell, you run a bizarre label somewhere in Southeastern Europe, where such things are true rarities and I didn’t ask you anything the domestic situation – that’s pretty lame of me; I bet it’s fun to hear some bone chilling stories of Balkan underground. Plus you’re organizing this festival in December and I totally skipped that. Preach the gospel!
Here’s what bands I’m currently involved in: GOLI DECA – the music is slow, but not “doom”- it’s devoid of the traditional rock/metal attributes- along the lines of what SWANS were doing on the first few records. VKOZUREN is musically comparable to early BURZUM- primitive and escapist.
The longest running, yet still unnamed band is somewhat a continuation of my previous band, POTOP- only more feral and surreal. I have used musical influences from WINTER, DISEMBOWELMENT, (early) MORBID ANGEL, EARTH 2, (early) DEAD CAN DANCE. Another unnamed, featuring Oleg Chunihin also of the band above and GOLI DECA, is trance-like bass-driven micro-compositions- think HELLHAMMER, BARATHRUM… There are a couple of rehearsal clips online, studio recordings and eventual releases are planned for 2016. MILITANT ZAZA is the name of the mini-fest we’re organizing for the first time this year, with exclusive performances by VERMAPYRE (nightmarish horror soundtracks), REGLER (the new project of BRAINBOMBS/ BILLY BAO personnel), PROPOVED (amazing ancient heavy doom from Serbia) and GOLI DECA. The idea was to organize an event covering different points of the extreme music specter, focusing on the fringes. Thank you for your interest and effort, it’s much appreciated.