Like the band with whom it shares members, Cóndor, the hardcore/thrash band Personal Device — the name refers to “antipersonnel devices,” not Fleshlights — makes music with a lot of promise that sells itself short by demonstrating theory instead of creating experiences.
Art contains ideas as much as any essay, and those who deny that are morons, but it is encoded through the sensual, emotional and intellectual experience of appreciating something of great beauty and power. This is how metal makes beauty out of ugliness and reveals to us the forgotten ideas of ancient history in a form we can now recognize. It is also why Christian, Nazi and SJW music falls short, because it is preaching and illustrating theory more than it is taking us on a magic ride through the world of its ideas in application.
Personal Device thrives when the band members get in touch with their inner rebellious but sensible youth. They bash out hardcore-based tunes with metal riff framing, sounding like Emperor covering Iggy Pop or G.G. Allin sometimes, and put these in songs with some breathing room a lot like early Suicidal Tendencies. Riff quality is very good. So is their ability to know when to bring on the power and when to let a rhythm ride to its natural conclusion. Moments on this album, like on Cóndor’s works, are so good they burst with potential and make you think you have discovered a new classic.
It is interrupted however by a tendency to demonstrate. Either they show how they can fit in a blues part, use an unnecessary spoken word piece, or expand song structures to include the non-relevant for the point of making a point, but it breaks the flow of the album and adulterates the good stuff. This also blighted Cóndor Duin: theory is only good when put into practice, in a way that converts the cerebral into the existential and experiential. At the risk of ruining this review by doing the same, I will step off that soap box and summarize.
This is a great album within another album. Many good ideas ooze from the fabric of En Puerto. Their first album however had more of a feeling of a garage project designed just to be music that the musicians — enlightened as they are by theory, and their theoretical background is known to me and quite substantial — found themselves liking, not just in “body” (how it feels and sounds) but in “mind” (what it delivers) and possibly in “soul” (how it makes poetic the condition of life). The best albums do all three, and their first was closer because it was less obsessively engineered in the front-brain and more unleashed from within. Moments of En Puerto do the same, and if they cut the rest out, they’d have an album on par with DRI’s Four of a Kind or Cryptic Slaughter Money Talks. Here’s hoping for album three.
The Belgian frites in Possession stumbled upon Mayhem’s Deathcrush EP on Youtube a few years ago and falsely epiphanized that black metal is Black Flag with blast beats. Deathcrush was heavily hardcore influenced but Mayhem applied speed metal to the primitive sonic violence of Venom and Hellhammer to create a fierce breed of blackened thrash. Possession ignore their idols’ basic compositional achievements in chainsaw gutsfucking by repeating three chord punk riffs for four to six minutes. Celtic Frost, Sodom, and Sepultura theft continually occurs and bores as Possession demonstrate their limits as a house party cover band.
The droning powerchords are not composed into coherent metal songs but placed within autistic perseverations on historical witchery. Each release regales the listener with minutiae on a different witch’s life before lamenting her fiery death for deviant behavior. These incomprehensible lyrics are probably meant to provoke feelings of injustice in bearded liberal ex-punks who tattoo themselves as a sexual display of non-conformity to fat women in Brooklyn.
The problem is few pop-punk Wiccans tolerate unclean vocals, greatly limiting the potential market. Iron Bonehead has rectified this by dousing these waffles in corpse paint and commissioning Chris Moyen to pick the pockets of the Beherit crowd. Those monochrome goats have to sell or else next month’s supply of cost-reduced Fernsehbier will be at risk.
A supergroup comprised of members of Amebix and Voivod among other bands, Tau Cross emerged just a few years after Amebix returned with a radio heavy metal album named Sonic Mass in 2011 that used the Iron Maiden styled epic take on heavy metal to deliver a traditional Amebix point of view. That album also revisited the second album from the band back in 1987, Monolith, which showed a Motorhead influence repurposing the raw energy of the crust punk from earlier albums. Together, those two albums from after the “pure” crust era of Amebix demonstrate a direction toward heavy metal that combines the best of the early 1980s with the energy and concrete focus of punk. Tau Cross picks up from that point with a more varied approach, spanning from quality indie rock (non-emo) through modern metal like Filter with a host of minor influences as varied as Killing Joke, Metallica, Celtic folk music and Oi punk. This intensely varied album manages the best form of emotion, which is subtly built and keyed by a shift in the entire song, and not just vocals, creating an avalanche effect once it hits its trigger point and all of the previous material starts making sense in that context. Much of this will appeal to fans of Queenrÿche and other bands who specialize in taking mainstream styles, recombining them, and then dominating them with an ethos that originates in underground punk or metal but thrives in a more listenable form. Vocals are often reminiscent of Nirvana crossed with Minor Threat applied by Motorhead at a later Discharge pace, while guitars alternate between high-speed punk in the style of Cro-Mags but with more on-beat energy, but songwriting comes from the same intensely visual style that appeared on Sonic Mass, as if designed for an epic video that leaves the listener wondering for the next few days if they correctly interpreted the song. Song structures are formed of roughly verse-chorus patterning that is interrupted and redirected at key points, with interludes and pauses. Paranoid and cynical, lyrics seem to reflect a sense of total frustration with the modern condition converted into a bittersweet discovery of meaning in opposing it and going another way. First listen to this album let it be written off as hard rock, much like Monolith at first, but Tau Cross shows the benefit of years of experience in songwriting and working with melody, in addition to more flexible tempo changes and supporting instrumentals, and so takes that style in a more powerful direction. In many ways, this album picks up where the modern mainstream metal like Filter should have gone, which is to take the emotionality of alternative rock, the energy of hardcore and the epic structures of early 80s metal and blend them together into something terrifying and beautiful.
Blues hard rock band Ramming Speed have released a new song titled “Don’t Let this Stay Here”.
The band released the following statement regarding the new song’s message:
‘Don’t Let This Stay Here’ is our reaction to the Edward Snowden leaks that confirmed the U.S. government’s saving of all our phone calls, text messages, emails and web searches in giant server farms. To us, that is fucking terrifying and unacceptable, and this is our rallying cry against it.
The citizens building the first top secret atomic bombs in Oak Ridge, Tennessee were told: ‘What you see here, what you do here, what you hear here, when you leave here, let it stay here.’ This song is for the NSA employees that question what they are doing. It’s for the American civilians feeling betrayed by the breaches of privacy, and it’s for the people at our shows singing along and sharing our frustration. Don’t Let This Stay Here. Spread the word.
A list of the band’s currently confirmed tour dates appears below. More shows will likely be added in the coming weeks.
7/17 Eindhoven, NL – Dynamo Metalfest Pre-Party (w/ Gama Bomb)
7/19 Aachen, DE – AZ Aachen
7/20 Dendermonde, BE – JH Zenith ^
7/21 Bleibt-Pratteln, CH – Konzertfabrik Z7 (w/ The Black Dahlia Murder)
7/22 Bologna, IT – Freakout Club (w/ 7 Seconds)
7/23 Milano, IT – Lo Fi *
7/24 Rokycany, CR – Fluff Fest
7/25 Leipzig, DE – Zoro #
7/26 Koblenz, DE – SK2 #
7/27 Stuttgart, DE – Juha West # *
7/29 Bartislava, SK – Randal Club ^
7/30 Vienna, AT – Das Bach #
7/31 Chemnitz, DE – Killed System Festival #
8/1 Berlin, DE – Stateless Society Festival *
8/2 Dresden, DE – Chemiefabrik
8/4 Budapest, HU – Dürer Kert
8/6 Jaromer, CZ – Brutal Assault Fest 2015
8/7 Mannheim, DE – Juz
8/8 Brussels, BE – Garcia Lorca
8/10 Glasgow, UK – Ivory Blacks
8/13 London, UK – The Black Heart
8/14 Leper, BE – Leperfest
8/15 Thiex, FR – Motocultor Open Air
# with Deathrite
^ with DRI
* with Toxic Holocaust
Hardcore punk band Survival offer us a humble release that although meager can give us a lesson on several album-writing guidelines that any metal band should follow. Shayda is a good example that riffs that are usually attributed to this or that subgenre of metal can be used in different contexts to different effects and reach. These Californians also show us the value of self-control, avoiding self-indulgence in favor of a juvenile honesty that is only fitting for a band in their genre.
There are a few moments in Shayda where one will recognize the predominance of an influence from 1908s hardcore punk bands , but then one will stumble over a happy punk riff, and then one or two brief moments that will flash by with the taste of deathcore breakdowns and even a little 90s hard rock. These are encased at very specific points and are only used extremely measuredly to push the song forward or twist it for a moment with a different taste only to warp back into focus. Their are also a few samples from a movie or a narration that are used as introductions or interludes in the middle of the album with incredibly effective results.
A major highlight of the album from the songwriting point of view is how aware these guys are of the “useful life” of an idea in the context of a style. According to its nature, punk is a genre of simple, direct and clear expression which does not lend itself to infinite variations of the pseudo-mathematical Bachean type. To remain fresh yet not start diverging, the length of the songs is necessarily short. Each of them gives the listener a very clear and single-minded idea. But as a whole Shayda provides a multifaceted experience that remains both consistent and coherent.
Like big brothers Blood, Survival dominate their tools of choice in their genre and work well within their limitations, creating a memorable and musically solid work that can and should be appreciated regardless of taste.
Abyssion is an industrial metal band hailing from Finland, a land that typically has been cradle to some of the most pensive underground metal. Abyssion plays music in that same spirit while remaining pretty accessible, making transparent music that can be absorbed on first listen by any experienced listener. There more of the indie and the Oi! than the traditional black metal in this music.
While some may feel the temptation to describe this in relation to Burzum based on the music’s most superficial traits and on passing and distracted observations, Abyssion’s Luonnon harmonia ja vihreä liekki has a lot more in common with Darkthrone’s early black metal albums. The difference with either is still clear to anyone intimately acquainted with Burzum or Darkthrone. Burzum’s developmental variations have no parallel in Abyssion’s music, which works with straight-up repetition and synth distraction. Even in contrast with Darkthrone’s dense riffing, Abyssion appears more sparse as it is a more blatant attempt at creating atmosphere.
Here in lies the trap: the artist is not trying to create music but the effect of the music. When music becomes about the effect, an imbalance is created through which the music is no longer solid, nor is the effect lasting, since it is self-referential and insincere. Still, Abyssion’s offering is consistent in style and faithful to a spirit. Recommended as a gateway band for fans of Muse into the spirit of underground metal.
Thrash band Survival have released their third album and is available at bandcamp.
Shayda is an album that should be listened to as a unit and not as a collection of songs. As such it is concept-oriented. Each idea remains as long as it is needed. No gimmick, no over-stretching of ideas. Survival also escapes the monochromatic expression of most bands in this genre and delivers a variety of expressions within a voice further unified in this album by its concept.
Punk/hardcore band, Obliterations, have announced additional dates to their previously-announced impending Eastern North American tour with While Lung, including a set at this year’s ultra massive NXNE Festival. Additional Obliterationsshows are being added to the routing to be announced as the tour begins, at which time the band will also release their next official video from Poison Everything, being finalized for the track Scapegoat.
Obliterations Tour Dates:
6/06/2015 The Studio At Webster Hall – New York, NY
6/08/2015 DC9 – Washington DC w/ White Lung
6/09/2015 Rumba Café – Columbus, OH w/ White Lung
6/10/2015 The Demo – St. Louis, MO w/ White Lung
6/11/2015 7th Street Entry – Minneapolis, MN w/ White Lung
6/12/2015 Underground Lounge – Chicago, IL
6/13/2015 PJ’s Lager House – Detroit, MI w/ White Lung
6/14/2015 Beachland Ballroom – Cleveland, OH w/ White Lung
6/15/2015 Mohawk Place – Buffalo, NY w/ White Lung
6/16/2015 Great Scott – Allston, MA w/ White Lung
6/17/2015 Bar Le Ritz PDB – Montreal, QC w/ White Lung
6/18/2015 Ottawa Explosion Weekend – Ottawa, ON w/ White Lung
6/20/2015 Lee’s Place – Toronto, ON @ NXNE w/ Girl Band, Mission Of Burma, California X, Grooms [info]
Obliterations released Poison Everything through Southern Lord in October 2014.
Stream and purchase Poison EverythingHERE, and scope their video for “Mind Ain’t Right” at THIS LOCATION.
Yes, this is a metal blog, and yes, this is a punk album and also yes, people who try to be ironic are annoying. Nausea Condemned to the System is worth your time if you enjoy energetic and powerful music of any kind. Born out of a punk album, this half-hour terror extends to grindcore and the type of speed metal touches that influenced later 80s hardcore. Unlike most hybrids of this nature, Nausea fuses its influences into a singular voice.
Condemned to the System distinguishes it from thousands that wish to be like it by maintaining a high degree of internal contrast, dialogue between riffs, and compelling tempo changes in songs that develop from a central conflict and by doing so avoid the dual extremes of riff salad and endless loop that make many minimalistic albums as boring as listening to a diesel engine idle. Instead, these songs launch into verse chorus pairs shaped around a central conflict with discursive and transitional material allowing the central loop to take more form. Grindcore-style layering of riffs and instruments gives these songs additional power.
For punk purists, there may be too much emphasis on muted chords used to end phrases, and for metal purists, there may be too many straight-up punk riffs of the 1970s style, but when looked at from a distance, the singular voice of this band emerges. Tempos stay high and vocals incoherent, keeping the guitars and drums as the center of the band with guitars leading and drums producing a pulsing violence behind. Avoiding technical playing entirely, Nausea focus on paring down their songs until a unique form emerges, then playing it with full intensity. The result is an album of short glimpses of life portrayed with the manic intensity of a paranoiac on a four-gallon coffee break, capturing the alienation of punk without self-pity and the willpower of metal without posturing.
Much like Nordic pioneers Ildjarn, Infamous combines the sounds of Oi and hardcore punk with black metal, but takes an approach similar to that of the Southern European black metal scene: longer melodies and song constructions building up to a triumphant explosion of rage.
Infamous uses longer melodies in the recursive style of RAC bands, which builds off a simple series of intervals a phrase with quite a bit of range, achieving an effect that inverts the drone of rock/blues into a diminishing melodic interval that expands into the stronger whole note and chromatic scales. Adding to this the band dig into a vast lexicon of black metal styles and produce a language all their own, choosing one progression (much like Enslaved) to guide the song and then branching to variations and oppositional phrases to build tension before a reunion, often with a sentimental lead guitar figure over the top. This creates an immersive sound which is both highly emotional and devoid of association with the comfortable sounds of music centered on humans, sounding more like ancient processionals filtered through violent punk bands and translated into black metal. The resulting atmosphere suspends disbelief and creates a fantastic world in which themes come alive as if on a stage.
With Abisso, Infamous improve over their debut Of Suicide and Silence by varying the form of each song more and as a result differentiating melodies through their development. In addition, higher speed drumming and guitar strum gives this EP a greater intensity without falling into sawing chaos. In many ways, it presages the wider changes which were to occur with the next full-length, Rovine e Disperazione, which took the band further into Ildjarn territory. For those who appreciate the pure spirit of black metal as it explores more of one of its foundational influences, this half-hour detour into an unearthly existence will provide savage enjoyment and contemplation.