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Party thrash goes mainstream

April 17, 2013 –

Apparently, rapper 50 Cent is a Municipal Waste fan. From the great info-dump that is Facebook:

50_cent-municipal_waste

Interview with Birth AD

March 25, 2013 –

birth_ad-band_photo

Whenever society gets too complacent and considers itself to be a success, Birth AD pops up out of a nearby container and reminds it that civilization is failing, most people are idiots and we’re probably all doomed. The difference is that Birth AD is funny and has good music, while just about anyone else criticizing society is a bore.

Coming to us from Austin, TX, Birth AD is a continuation of the crossover movement called thrash from back in the 1980s; if you remember how everyone and their brother wore a DRI shirt when they went to the skate park, you remember this movement. It was a cross between hardcore songs and metal riffs, and the result was unique and spoke clearly to the fears of the age.

While there have always been retro-bands looking back toward this style, Birth AD took up the style while looking forward, and have carried it into a new dimension of what it always could become. We’re very fortunate to have Jeff AD to speak with today.

What were your influences in formulating your style, and how did you update it without having it be assimilated by newer forms of music?

There aren’t any new entries that motivated me, it was all the classics. SOD, DRI, Dr. Know, Fearless Iranians From Hell, Cro-Mags, Nuclear Assault, and other usual suspects were touchstones. I willfully refused to let my material reflect any late-model sounds. Why would I? I was there when the sound was at its peak (admittedly I wasn’t even a teenager yet, but it still counts).

I felt like a lot of bands from that period had one really crucial album and then fizzled or stumbled. Bands like SOD and the Cro-Mags were effectively lightning in a bottle in that they each made one massively influential album and then fell apart. There was so much potential, so much more to be said, and I wanted to create something that was a direct continuation of those great releases, free from the adulterants of current conventions. Crossover is a very specific hybrid, and a band simply cannot invoke the term without cultivating a handful of necessary elements.

You’re about to launch your first full-length album, I Blame You, on Dark Descent sub-label Unspeakable Axe records. Can you tell us what’s going to be on the album?

We pulled a Dealin’ With It and re-recorded the entire EP, along with several new songs. Alex Perialas helmed the recording at his world-famous (and gold record laden) studio, Pyramid Sound in Ithaca, New York. We recorded in January 2012, so it has sat in stasis for a bit while we figured out where to put it. Part of this was because I wanted to work with Alex without exception, and January was the time he had available. It’s a good thing we did it when we did, as he subsequently got into a property battle with the city and the whole endeavor would have been shot to hell.

What do you think makes a great crossover thrash album or song?

It has to be memorable and catchy while communicating a coherent idea. DRI was my primary model because they were always good at writing clever lyrics that sent clear and pointed messages. It also helps to be succinct. If you make it past the four-minute mark, you’re doing it wrong.

Why do you think there’s so much interest now in older styles of metal?

It’s natural to look back on 40 years of metal and its variants and wanting to explore it all, especially if you were too young to take part the first time around. In a way, this phenomenon benefits Birth AD quite well, because we’re a new band with an old sound that younger fans can claim as their own. Outside of that, pretty much everything good in the genre has effectively been done, so it’s hard to re-invent the wheel. I don’t blame anyone for wanting to stick with the known quantities to ensure their money is well spent.

When are you guys going to finally dig up Cryptic Slaughter and Fearless Iranians From Hell, and do a tour with them and DRI?

We’ve played with DRI before, which was a massively good time. As for Fearless and Cryptic, I’ll get back to you on that once I get the time machine operational. Can you imagine what it would be like if hessians harnessed time travel? “We’ve got a Celtic Frost concert in 1986 to see, we’ll kill Hitler later!”

Why do you think “crossover” thrash arose when it did?

I think it was because so many metal band and hardcore bands liked each other’s stuff and it became imperative for a middle ground to be created. SOD was effectively a one-off tribute to bands like Dr. Know and Agnostic Front, but they ended up sparking a whole new phenomenon because their musicianship was so elevated and the production was so good. In any event, it needed to happen, but after that most bands involved went fully into the metal end of things and lost the punk and hardcore elements that made it qualify as crossover. Birth AD was created in the name of preserving that rarefied sound without the inevitable departures made by our forebears.

How influential do you think “crossover” thrash was on genres like death metal and black metal?

That’s a revealing question in that I don’t think it had much impact at all. Death metal bands were more influenced by proper speed metal like Slayer and Dark Angel, while Black Metal was influenced by the European groups like Celtic Frost, Venom, Bathory, et al. Those bands deal in fantasy and the abstract, while thrash is steeped in the rigors of daily life. Crossover is something of a specialized entry, much like a cheetah in that it really gets the job done in one very specific way.

What’s next for Birth AD?

I’m going to be a grandstanding pain in the ass about this album and see where it takes us. I want to tour and spread the word. I think the time is right. In the meantime, I’ll be causing problems and beating up on hipsters as usual. I urge everyone to do the same.

Birth A.D. – I Blame You

March 21, 2013 –

birth_a_d-i_blame_youBack in the 1980s thrasher music — a hybrid of punk and metal listened to by skateboarders — was big. In the 2000s, Birth A.D. has resurrected this style not through retro-nostalgia but by picking it up where it left off and taking it further.

Thrash grew up from simple short and fast punk songs with metal riffs and reached its peak with S.O.D.’s Speak English or Die and D.R.I.‘s Crossover. These albums packed the intensity of the blur-speed earlier work into lengthier songs with more emotional depth and variation. Birth A.D. picked up from that point with their first EP, Stillbirth of a Nation, which kept the chunky riffing but added melodic vocals and song structures customized to the topic of each song.

Returning with wisdom and more vitriol, I Blame You shows Birth A.D. reforming their style. The album comprises songs from Stillbirth of a Nation matched to new material which is tighter, faster and harder-hitting. It hits both with ripping riffs and militant time changes, but also with a greater internal contrast between themes which gives these songs a greater poetic intensity.

Lyrically, Birth A.D. emerges straight from the thrash tradition, which is to criticize our society as having made a wrong turn somewhere and now heading for doom. The lyrics defy categorization unless you imagine a systems architect looking at modern society as a whole and suggesting changes that management has overlooked for its own reasons. Of note is “Popular War” which criticizes the tendency of people to really enjoy killing other people when it’s easy, fail-safe and creates a good opportunity for business.

The original thrash movement burned out because it burned too bright. It had a lot to say, but instead of drawing it out into long dramatic pieces, it blasted us with rapid-fire alienation. Easily understood, it was rarely understood, because it was too radical. Birth A.D. bring this idea back not by imitating it, but by upholding its spirit, which makes for an exhilarating and violent listening experience.

Birth A.D. “I Blame You” available for pre-order

March 15, 2013 –

birth_a_d-i_blame_youBirth A.D., the “continuation thrash” band that picked up where DRI’s Four of a Kind and SOD’s Speak English Or Die left off and then took the style to new levels of insanity, will unleash its full-length album I Blame You on April 1, 2013.

However, you can make sure you get it as soon as possible by placing a pre-order ($10) with Dark Descent’s sub-label, Unspeakable Axe records, who will be sending this slab of vigilant virulence out to the stores and distros that get it into your sweaty hand.

In other words, get it from the source. Produced by legendary 80s metal and crossover producer Alex Perialas, this disc showcases the best of Birth A.D.‘s work to date, including some tracks from their killer EP Stillbirth of a Nation as well as new material.

Expect this to be out the door very quickly and taking over the world of metal-punk crossover music. Unlike the “retro” musicians who re-live the past by imitating it from a distance, Birth A.D. lives the past by bringing its spirit and technique into the future. The result is heartening for anyone who wanted metal to recover its intestinal fortitude and sense of honest humor.

Birth A.D. – I Blame You to see release in 2013

March 6, 2013 –

birth_a_d-i_blame_youDark Descent Records has formed a new sub-label called Unspeakable Axe Records which will release thrash band Birth A.D.‘s first full-length, I Blame You.

Birth A.D. formed in 2008 and released their first EP named Stillbirth of a Nation in 2009, creating their music in a continuation of the original 1980s thrash style pioneered by DRI, COC, DBC, Cryptic Slaughter, MDC and Fearless Iranians From Hell.

Produced by legendary thrash-era knob-twister Alex Perialas, I Blame You shows the band at their most vitriolic and powerful. The band has this to say: “Joining forces with Unspeakable Axe and Dark Descent proved to be the best choice for Birth A.D., as they are about the bands, the music, and doing things the old way (that is, the right way). We plan to cause even more problems with their support!”

I Blame You is scheduled to be released late spring/early summer 2013.

Evil Army/Birth AD live dates, 2013:

Thursday, April 4 – O’Briens Pub, Allston, NY
Friday, April 5 – The Acheron, Brooklyn, NY
Saturday, April 6 – Kung Fu Necktie, Philadelphia, PA
Sunday, April 7 – The Sidebar, Baltimore, MD

For more information, check out the Birth A.D. website and Facebook page.

July 16th, 2011 – A Day of Death, Buffalo NY

October 2, 2011 –

When the stars are right, when the planets of alien coordinates align in perfect syzygy, when the arcane progress of dark matter warps the cosmos into gravitations of sinister consequence, the Dead Gods may once again rise from their eonian slumber… but only if the proper rites are set in motion by those giftedly prescient of mortals. Chainsaw Abortion-ist Brian Pattison was one such a prophet who had succeeded before in the act: 1990′s Day of Death, an atrocity survived by none but a fanatical few, and the tale obscurely recounted within the scripture known as Glorious Times. Now 21 earth-years after that most notorious of receptions in the death metal saga, a wiser but no less maniacal Pattison determined the time was ripe for another extra-dimensional conjuration, with no less a death-god than Kam Lee in mind as his ultimate summoned entity. Naturally, the Buffalo territory of New York would again provide the setting, with the chosen temple for this installment being the rather profoundly-named Club Infinity.

An unprecedentedly cavernous venue, Club Infinity can house up to 500 or so bacchants before it becomes a legal deathtrap — yet attendance for the day must have been less than half of that numeral. Apparently, the local Buffalonians who would normally haunt the premises for their fix of alcohol and loud noises had absconded to a different corner of the land, lured up and away by the promise of an outdoor barbeque/live music festival of some sort. As it were, only the blackest-hearted diehards heeded the call to this cursed slice of suburbia, where memories from beyond time would once again climax in a lurid celebration of the horrific, the macabre, the rapacious and warfaring facets of existence from which fleeting mortality truly derives its meaning. Our lives — and indeed our deaths — would bear the distinct and indelible imprint of this Day as a scar that never heals, and whose free-flowing ichor blazes a sanguinary trail across ages…

Lethal Aggression: New Jersey’s crossover-thrash godfathers themselves had been the honorary headliners for the pre-Day of Death celebration, which of course had been successfully realized the previous Friday night; but for Saturday’s Day of Death proper, Lethal Aggression actually re-emerged from their dens — bleary-eyed and wracked with raging katzenjammer — at an ungodly brunch hour to be the very-fucking-first band in the proceedings, which was a display of tenacity mostly lost on the scant gathering of earlybirds. What followed was a forthright little blitzkrieg of their trademarked “drugcore” anti-anthems, which was made all the more special for the occasion with the return of classic-era guitarist Dave Gutierrez (though he may have been initially unrecognizable due to his new blue-dyed and bespiked hair), who additionally was commendable for drawing the wicked Lovecraft-inspired design for the Day of Death T-shirts. Towards the end of their timeslot, though, it became clear that vocalist John Saltz had most anticipated getting to the last song on the list — “No Scene” — as he had accidently launched into that whole vocal line during the beginning of penultimate song “Spooge”, causing the band to screech to a stop and start all over. In retrospect, the mixup should not have been too surprising, as the apathy-decrying, poseur-scourging lyric matter (the key verse being, “All you do is come to shows, sit around and stare”) was uncomfortably relevant enough to boil our blood. And this was an absolutely necessary kick-in-the-ass to start everything off on the right track.

Hubris: Being the first of four local bands to open up a 13-band procession is a task about as unpleasant as serving in the infantry during a foray into an uphill battle, and yet the cadre known as Hubris still mobilized for their set like the hungriest of mercenaries — corpse paint, wicked demeanors and all. Though they are a relatively new constellation in our Northern skies (to wit, all of their embryonic recordings thus far feature a drum machine because they could not, until recently, secure a faithful skinsman) Hubris’ style of black metal extrapolates directly from the most abrasive entries in the classical Scandinavian school, falling into a nebulous scape between Marduk’s Opus Nocturne and Immortal during their soulraping halcyon years with Demonaz. But at 4 p.m. in a sun-baked, poorly ventilated enclosure, the band’s blizzarding invocations of carnage-strewn battlefields and holocausted settlements were all but guaranteed to a tepid reception. Frontman Hellskald vehemently refused to let the standers-by off easily, however, and at numerous intervals demanded choruses of quasi-fascistic fistpumping from every slouched, beer-nursing figure in the near and far vicinity. It would be difficult to not be impressed by the young band’s charisma, and Hellskald’s exiting exhortation to “Rape angels! Drink their blood! Castrate God!” would basically set the tone for the remainder of the rituals to follow.

Seplophile: Attribute it to that everflowing stream of youthful vigor if you will, if that would most efficiently explain how Seplophile had the mettle to burn through one of their own setfuls of brutal death, just a few hours before they would entirely re-animate the godlike monolith of morbidity ‘From Beyond’ with living legend Kam Lee. Despite Seplophile’s ostensible “newcomer” status, they are a band that follows “The Old School Spirit” as their unshifting lodestar, and their drive is incited by memories of the vital role that the Buffalo scene had once taken in the death metal genesis (that is, before everyone and their grandparents emigrated to Florida). Their discography to date apparently features none but a single demo ‘…And Death Shall Have His Dominion’, so the boys did not exactly have a hell of a lot of material to choose over, but their formulas exhibit a certain potency of form and execution that echoes the advanced blastations formerly mastered by the early incarnations of Cannibal Corpse and Cryptopsy. If anything, the set was a reassurance that this fledgling local band had talent in abundance for the daunting role of Kam Lee’s backing band, and that would only further whet our bloodlusts for the Massacre to come.

Resist Control: Reportedly one of the all-time favorite newer Buffalonian bands of Brian Pattison himself, Resist Control followed swiftly on Seplophile’s heels with high-octane, classic hardcore-thrash madness that veers more towards the vehicle of purposeful, distinct narrative rather than uncontrolled paroxysms of angered words and misplaced epithets. This is the type of band that would incite violent, all-consuming pits amongst any gathering of punks and skins on a normal night, but of course since Resist Control were haplessly saddled on the first quarter of a 12-hour-long engagement, they were mostly just gawked at by those who weren’t caught up at the bar or the merchandise tables with all the luminous death metal celebrities. Still, the band gave voice to outrage as sonorously as a good “canary in a coalmine” ought, and it would be well-off if they could soon branch forth from their hometown Buffalo circuit and reach more disenchanted ears out in the rest of the Amerikan wasteland.

Sam Biles: Caught in similar circumstances with antihero-of-the-day Kam Lee, Sam Biles is an illustrious frontman who for some reason or other stands separated from his classic backing band — Hideous Mangleus, in this case — and so performed his best-loved songs at Day of Death eponymously, with the aid of youthful and capable hired hands. Somehow, Biles had managed to secure and implausibly import a star-crossed trio of Texan luminaries to stand in as his henchmen: on guitar, Francisco of HRA; on bass, Dave of PLF; and on the drumthrone, Matt of Blaspherian. This ad-hoc convocation had actually never before rehearsed with Biles, and yet their set for the evening came together with such natural beauty that a blind man would no less envision the old gang of Feev and the Brothers Bonde back at their respective spots (except — dare we say it — with tighter musicianship?). Preposterously outfitted with all of cast-iron armbands, leather pants and a fucking Ratt T-shirt, Biles prowled the peripheries of the stage like a caged beast whilst animating every disturbingly hilarious lyric with guttural prowess — and of course, the Tejas Squadron behind him did not once skip a stroke, faithfully re-enacting the catchiest death-throes behind material like “Question Your Motives” and “Burning Children” (“Remember kids, don’t play with matches! Aaaaaargh!“). If the audience gathered for the night had any doubts about Biles’ solo appearance, their apprehensions were completely quashed before the first song even ended; and by way of analogy, it could be correctly assumed that Kam Lee wouldn’t need Rick Rozz, Terry Butler or Bill Andrews to pull off the old Massacre songs with masterful [dis]grace.

Avulsion: The final of the local marauders to be showcased for the Day, Avulsion are elder guardians (est. ’92) of the Buffalo death metal tradition, though their essence is thoroughly imbued with eclectic dosages of hardcore and grind. Shrewdly tongue-in-cheek yet convicted in their anti-humanist manifestos, this band effectively mimics the torments of alienation through truncated songs patched together from ambiguously buzzing tremolo riffs. But perhaps their most distinctive asset is the uncanny throat-power of their frontman, who is able to switch so rapidly between a strident punk shout and a rattling growl that it was easy to be fooled into believing there was more than one lead vocalist at work. After completing a formidable listing of original compositions in record time, Avulsion thought well enough to conclude their set with a cover of Carcass’ “Empathological Necroticism”, which certainly tweaked the ears of all those yakkers in the vicinity who were only half-listening otherwise.

Goatcraft: The horned and cloven-hooved brainchild of keyboardist Jason “Lonegoat” Kiss, Goatcraft is purest piano metal unbounded from the conventional backdrop of screaming strings and timekeeping clangor, essentially comprising foreshortened sonatas that weave narratives and paint airs with bleak minimalism — obviously, this performance would be the one looked upon as the “oddball” on the bill by a large portion of the audience, if only for their bewilderment over aesthetics! Matters were not made much more agreeable due to the fact that The Lonegoat did not have access to his personal keyboard for the night, and thus had to make do with a rented piece of junk that would hiss and sputter at loathsomely frequent intervals. Though the technical difficulties as well as the piss-drunken interjections of certain audiencemembers shot through any semblance of good ambiance for this listening session, the one-man-band remained steadfastly transfixed at his post, only uttering a few words of exposition when necessary, or still more rarely betraying a glare from beneath a heavily corpsepainted and bloodsoaked brow. It may be a sad inevitability that those few ambitious souls who elect to play solo, ambient Metal in a concert setting will never have the right kind of audience, as people who walk the hessian path between Classical and Metal appreciations are still unmercifully uncommon, especially in regards to the U.S front. But for any matter, Goatcraft is still a promising work in progress; expect to hear more from this satyrid maestro in further compositions both personal and collaborative.

Druid Lord: The newest creative vehicle of former Acheron axemen Tony Blakk and Pete Slate, as well as their skin-hammering Equinox comrade Stephen Spillers, Druid Lord is a death/doom affair that draws its most prominent tributaries from the sludge-tainted fountainheads of Winter’s Into Darkness and Autopsy’s Mental Funeral, with perhaps the faintest hints of vintage Cathedral coursing noxiously through the solution. But whatever feeble combinations of band names one chooses for describing Druid Lord, it remains that this band gathers its purpose in delineating true imageries and sensations of Horror: the same inspiration for all music branching from the germinal genius of Black Sabbath. For their Day of Death appearance, Druid Lord had driven up north nonstop from their vantage point in the opposite pole of the country (Orlando, Florida), which might have added an honest dimension of bodily-excruciation to their already torturous live show. Though their 2010 LP Hymns for the Wicked lists Druid Lord as being a three-piece, they have since added Ben Ross as a rhythm guitarist, allowing The Great Slate to solo to his evil heart’s content whilst dense riffing frequencies are maintained. Bassist/vocalist Tony Blakk, already bedecked with plenty of frontman’s credentials for his years in Equinox, was practically thespian here in his snarled descantations of grisly fates. But for the song “All Hallows Evil”, he stepped aside to allow Kam Lee to take over on vocals — a very honorary guest appearance that would only be shared for the night by Derketa. Speaking of which…

Derketa: As of late, reunions in classic death metal have occurred on such a frequent scale that even the over-sanguine among us are becoming rather desensitized; an entity like Derketa, however, is so improbable a phoenix to rise from the ash that only the ignorant could fail to take notice. Formulated in the foundational ’80s era by Sharon Bascovsky and Terri Heggen, Derketa holds historical leverage alone for being the first female death metal band; of course, they earned their musical leverage by their demo recordings and the ‘Premature Burial’ EP, which featured decelerated-tempo, incredibly growly songs that sounded somewhere deep within the realms of Hellhammer and Nihilist. But the immediate intrigue that the band’s output garnered seemed to cause the very pressure that broke them apart, although Bascovsky put forth several honest attempts to keep Derketa’s name alive over the years, finally succeeding in a full reunion by 2006. Only five years later did the revitalized cult feel strong enough to begin live outings: the first three in their native Pittsburgh, and the forth to be Buffalo’s Day of Death 2011 — significantly, the girls (minus current bassist Robin Mazen, who was busy with Demonomacy back in Florida) had been in the audience for the fest’s 1990 edition. When it was finally time for Derketa to commence with their first out-of-state appearance and the opening sequence for “Premature Burial” was sounded, practically the whole fan-populace in the venue came flying to crush in front of the stage. Guitars sounded appropriately huge and menacing (although in the beginning only Sharon and Robin could be heard, as Mary Bielich’s distortion pedal had shorted out), and it’s apparent that over the years Sharon has trained her vocals to be even more fearsome. It was especially uplifting, though, to see Terri reprise her role as the original female death metal drummer — still the rarissimus avis of the genre — and as she was able to borrow Rottrevore’s massive drum kit, her blows were as sonorous as they could be. A brand new song called “Rest in Peace” (dedicated to Seth Putnam and others in a growing list of “dead metal guys”) was showcased: it could be the most doom-influenced track they’ve composed yet, which probably hints a lot at the overall aesthetic to expect on the imminent debut LP, In Death We Meet. And, as mentioned before, Kam Lee made one more guest appearance for the song ‘Last Rites’, growling along with his brightest female disciple for what must have been a very high point in the band’s lifespan.

Rottrevore: After Derketa and Sam Biles-technically-Hideous Mangleus, Rottrevore were the last in a series of revitalized Pennsylvanian cults to preside over Day of Death with their characteristically Northeastern, bowel-wrenching odes to the evil in man. Known best amongst the underground for their solitary full-length opus Iniquitous — an onerous, eldritch epitaph crafted after the most primeval echoes of the Stockholm and New York schools — the band almost inexplicably vanished from the scene shortly after the release, issuing no signs whatsoever from under their official banner save for the ‘Disembodied’ compilation pressed by Necroharmonic some time ago. This being so, their sudden resurgence back into action this year — signing with Spain’s Xtreem Music, dusting off unreleased songs, logging studio time with Erik Rutan for a new EP — is more than remarkable, and Day of Death would be honored with the first Rottrevore performance in nearly two decades. Frontman Chris Weber did not at all contrive much fanfare and flamboyance about the distinction, however, and preferred to be businesslike in his dispensation of aural punishment. Their set of course included all the choicest bits from Iniquitous (this humble narrator was partial to ‘Unanimous Approval’ and ‘Incompetent Secondary’, but everything honestly sounded true-to-form), and there was also a peppering of the new material which sounded to be very close in spirit to the classics, which is a very good thing indeed. This reunion show turned out to be a success in any respect, and the fact that it was all only a preview of what is to come can only confer the best of prospects.

Deceased: Who could have imagined that our most beloved Virginian bizarro-deathmeisters Deceased would be the only holdovers from the first incarnation of Day of Death? Granted, in the 21 years that have elapsed since then, the band has metamorphosed into an almost entirely different beast: the latest album Surreal Overdose features a tightly-crafted continuation of the ripping speed metal that has become their standard since the mid-’90s; and of course, King Fowley now vocalizes at the helm rather than behind the drumkit, backed by a quartet of mostly drafted-for-the-live-show mercenaries (including, for the very first time, guitarist Danzo of New York City-area hilaritythrashers Vermefüg). With a varied listing of the old savage classics mingled with everything up to the newborn creations, Deceased had a canonical time-travelling drama to offer their audience, although their stage time had to be disconcertedly hurried along due to some fascist schedule-policing on the venue’s part. This constraint was especially bogus for a born raconteur like King, who barely had an adequate moment to address his audience between songs, yet he still strived for those full Deceased theatrics we’ve all come to expect, complete with fucked-up monster masks and all such related tomfoolery. Perhaps, in recognition of the spirit of Day of Death, Deceased should have traded out some of their later-period songs for more selections off the early milestone ‘Luck of the Corpse’ and so on, since the audience was uniformly comprised of old-school hessians hellbent on tradition. But whatever the case, it was gratifying to have one of the original fest participants return for the second incarnation — and how many bands other than Deceased truly demonstrate the longevity of the underground death metal practice?

Insanity: It would not at all be a droll exaggeration to nominate San Francisco’s Insanity as the least fortunate band in all of death metal, following from their absurdly tragical biography as the one-time most promising vanguards of the newly developing extreme style, poised at the very cusp of self-realization yet cruelly denied their seat in the pantheon due to terminal illnesses, crippling accidents, and the ever shifting sands of label-backed patronage. Fate is a bitch, as superhumanly tenacious frontman Dave Gorsuch knows only so well at this point, and Her cantankerous whims sure enough wrought hell on Insanity’s maiden voyage across the Northeast. The very first tour date in Toronto had to be cancelled due to issues with bordercrossing policies, and during that same time bassist Falko Bolte was sniffed out for drug possession and was summarily locked away in a local jail, for as long as it would take for his sentence to be issued. Shaved down to a trio with no low-end support, Insanity nonetheless soldiered onward to Club Infinity intent on following through on the warpath they had carved. Guitarist Ivan Munguia took over Falko’s vocal duties on the spot, and both guitarists turned up the bass on their amplifiers with the hopes of plastering up the frequency gap in their wall of sound. It was evident then that failure was decisively averted once the opening strains of ‘Attack of the Archangels’ sounded out across the hall, electrifying the East Coastal audience who had before only dreamed of bearing witness to California’s most mythical entity. Since Insanity’s complex, many-riffed compositions emphasize guitar theatrics over everything else, the lack of Falko did not distract too much from the live reenactments, and the normally-silent Ivan’s backup growls turned out to be commendably feral, especially for the newer material which draws more than usual from call-and-response vocal forms. But the high point had to be marked by the song “Fire Death Fate”, which might be declared the most well-known of all Insanity songs if mostly for the fact that Napalm Death did a cover of it on their ‘Leaders Not Followers’ tribute album: a rather late piece of evidence concerning the remarkably deep-rooted influence that Insanity exerted on British extreme metal. In all, Insanity’s appearance was laudable in spite of the hindrances that seem to perennially plague them, and your humble narrator would go on to follow the band for two more dates of the tour, which were similarly sublime beyond all belief and yet met with shockingly low turnout. But that, friends, is a story for another odd time and place…

Nokturnel: After Goatcraft and Sam Biles’ One-Off Backing Band, Nokturnel were the last of the fiends who flew up from Texas to play a set — although, most old-schoolers remember the band from when they were still based in their native New Jersey, rattling out an intriguingly odd permutation of Voivodian death-thrash on the oft-overlooked opus Nothing But Hatred (another lamentable victim of the doomstruck vessel that was JL America Records). But sadly, nothing at all from the back catalogue was to be on the menu for the night: Nokturnel were quite literally debuting a new drummer and it was simply not in their longterm interest to teach him anything other than their contemporary songs, which are structured and conceptualized out of a much different mindset than the ’90s fare. It was a let-down for the diehards — come to think of it, *everyone* who was gathered for Day of Death was essentially a diehard in some way (especially that magnificent bastard who adamantly demanded to hear “Nuke Seattle”: may you have Satan’s blessings) — but sets will be sets, and it was still fun to watch Tom Stevens shred like a maniac (until his guitar strap came flying off its peg in the middle of everything). We were, however, treated to some completely new material: “Demonic Supremacy” and “Ancestral Calling”, the latter of which was astonishingly pulled off despite the drummer’s inexperience of ever rehearsing it. But at the end of it all, when Tom and the gang were packing it up, the restless energy in the room very palpably spiked to the critical mass: with Nokturnel down, the strike of the fatal hour was fast approaching with the grand finale…

Kam Lee/Seplophile: Primogenitor, mastermind, chieftain, elder god — in death metal, these honorary titles can only officially be coronated onto one Kam Lee. As vocalist for the overwhelmingly foundational bands Death and Massacre, it was Kam who devised the guttural vocal approach closest associated with the genre; and — as is only natural for a Samhain-born son — it was also Kam’s profound knowledge of literary and cinematic Horror, as well as the darker facets of world history that gave concept and soul to an artistic movement. Though his deathgrowls became the stuff of legend early on in the ’80s tapetrading network, his best known contribution is arguably the full-length Massacre album From Beyond, and the fact that this meisterwerk would be fully re-concerted for Day of Death [or should it have been called "Asscrack-of-Morning of Death" at this point?] imparted a dizzying sense of disbelief on the intimate, rabid crowd clinging in front of the stage. But indeed, it wasn’t a collective delusion: the familiar hearkening of “Dawn of Eternity” resonated true through us all, and surely enough Kam Lee stepped forth from the shadows, with Seplophile’s instrumentalists trailing close behind. Previously, Kam had worn a Bone Gnawer shirt for lounging around with his fans and peers off-stage, but for this set he switched to one bearing a “Herbert West: Reanimator” logo — of course, very appropriately referring to the film based on the Lovecraft novella of the same name, with its central theme of profligate science hideously inverting the laws behind life and death. What followed was a set that went by a true-to-album, track-by-track order of those nine anthems we all know better and love better than family; Kam’s live execution captured the full, terrifying intensity of the recordings of his youth, and his ribald yet quickwitted banter in between is always prime entertainment. All the while, the axemen of Seplophile darted to and fro across the stage like winged nightgaunts, and considering how the band had only three rehearsals with Kam to prepare for the night, their performance was almost too good to be true. When “Corpse Grinder” finally ground everything to a halt, Kam and the boys made a hasty exit… but everyone knew the slaughter couldn’t possibly be over yet! And in no time, of course, the spotlights flickered back on and Kam had indeed returned with a few bonuses in store. There was “Provoked Accurser” from the fabled single of the same name, a cover of Impetigo‘s “Boneyard”, a ridiculously fun cover of “Skulls” by the Misfits (which Kam introduced with a paean to punk’s crucial relation to death metal’s genealogy), and finally the ‘Inhuman Condition’ EP’s cover of Venom’s “Warhead” (similarly introduced with reverent words for the Newcastle trio, and how they were responsible for Kam’s fateful crossover from punkship to metaldom). Kam also took advantage of his stagetime to relate some news concerning future exploits: apparently, he has rekindled his alliance with veteran Massacre/Obituary guitarist Allen West, and the duo are in the midst of a scheme Kam has decided to name “Corpse Rot” — a portmanteau of the Massacre song “Corpse Grinder” and the Obituary song “Slowly We Rot”… naturally! And with that, the stars again shifted into benign coordinates and the glorious spell was broken, yet the harrowing tale would be scribed immortally within the Necronomicon of death metal’s saga. For this Day would surely be the last Day that Kam Lee would perform those classic Massacre songs live in concert, and those who missed it, have missed it for all eternity.  

-Thanatotron-

Necrodeath – Into the Macabre

December 31, 2010 –

What is life? A mechanistic-deterministic reaction cycle of alkaloids, proteins and nucleic acids? A quantum spell of randomness or the whim of a willing god? Certain purposefulness, subtle intentionality and synchronic magic that leaks through the cracks of everyday reality seems to invite both mystical speculation and transcendental philosophy but elude a fully satisfying rational explanation. The brain-melting reaction to existential, eschatological and essential questions such as the existence of sin and afterlife was both more rational and nihilistic (plus masculine and lofty) in the death metal of Protestant countries of Europe (and USA), while the South European and Latin American manifestation was feminine, instinctive, intuitive and categorically destructive of the social place of human in the cosmos.

The sensual Italian attack in Into the Macabre, enveloped by the scents of leather, sweat and blood, is by no accident a bastard brother of the proto-war metal invocations of Morbid Visions and INRI, while the technical details show that the necro-warriors spent years studying the works of Slayer and Destruction. Most of all, Into the Macabre is an opera of rhythm, of intense vocal timings, stampeding blastbeats and onrushing chromatic and speed metal riffs which warp under the extremely analog old tape production into ambient paysages of ghostly frequency, much like the evil and infectious “Equimanthorn” of classic Bathory. Songs like “Necrosadist” seem to have the structure of a grotesque sexual orgy where each consecutive part tops the previous in volume and hysteria, with short breathing spaces in between to capture and organize the listener’s attention. Like the aforementioned Brazilian albums, Into the Macabre is one of the cases where music is about as far from an intellectual exercise as one gets, into the catacombs of a devil/alcohol/glue-possessed teenager’s brain but for the discerning and maniacal old school death metal listener there is no end to the amount of pleasures, revelations and evil moments that make it seem some transcendental guidance indeed dwells at the shrine of the unholy mystic.

-Devamitra-

DBC – Dead Brain Cells

September 11, 2010 –

The Canadian province of Québec seems to be situated upon some geographically freakish turf that exudes such a phenomenal electromagnetism as to twist and convolute whatever waveforms happen to waft into its borders. Psuedoscientific petrology aside, Dead Brain Cells are one such Canadian faction that reinterpreted the equatorial American sounds of skatethrash and reassembled its raw energy into a hyperborean bizzarerie, with an ambition in expressing the absurd crises symptomatic of a classically Huxleyan, oblivious society lured into the grip of an Orwellian tyranny by the mesmeric attractions of self-pleasure.

Taking aesthetic inspiration from the cruelly intelligent, modern firearms cacophony of Slayer’s ‘Chemical Warfare’ but fashioning riffs over the roguish, bursting structures typified by crossover acts Suicidal Tendencies and Corrosion of Conformity, Dead Brain Cells had paradoxically succeeded in applying scientific methods to truculent vandalism. Vocals, in compliment to the factorial churn and tumble of the instruments, are delivered in a robotic rant like the outcries of a citizen-turned-automaton denigrated by a lifetime of vacuous routine; lyrics are remarkably coherent and incisive considering the band’s Québécois nationality, of course with the mother tongue of French being a perennial obstacle for all aspiring Hessians allied under the fleur-de-lis. However, it is clear from DBC’s rather involved compositional style that their telos was not merely in writing protest music, but in establishing engaging, punkishly dynamic narratives such that every song is represented as its own vignette of dystopia — a sensibility that would be incorporated into the region’s burgeoning death metal movement, with vestiges apparent in such seminal works as Considered Dead and From This Day Forward.

This eponymous debut remains one of the exceptional examples of quality crossover thrash from outside of the U.S.A. and England; it’s also required listening for any avid scholars of Canadian death metal, in order to better understand the music’s gestation from heavy, quirky progressive rock to complex and sublimely dissonant killing noise.

-Thanatotron-

A planet defaced with death and decay
An atmosphere of hate
Cities destroyed
Their meanings forgotten
And fertile lands lay waste
A planet once prosperous
Its future looked bright
But an immature race had evolved
Given time and the knowledge
They soon could destroy
The planet on which they revolved
 Not one life would be spared
It wouldn’t happen again
Because there is no second chance

June 2nd 2010 – Slayer, HMV Forum, London, England

June 6, 2010 –

Fighting the conspirations of ill health, amounting to months of delays, the much anticipated return of Slayer to England’s capital was in ominous syncronicity with the most auspicious time of the year for disciples of their church. As the Hessian-led International Day of Slayer falls upon us once again, last week’s early blasphemy proved to be an highly adequate preparation. The Slayer we all exhalt on this site was a mystical entity and their music excoriated the flesh of society’s body of lies and delusions, revealing the inner, beating heart of darkness and measurer of our mortal lives. They were also the progenitors of Death Metal, without whom many of the cults that feature in our catacombs may not have ever manifested with as advanced a template. The heat of the Spring sun, optimal for decomposition, drew the wehrmacht to Kentish Town’s Forum for an evening where the secrets of the dead promised to be revealed.

That, they would be, but not before some distractions within a chronology of events that would befit any highlight reel of modernity’s undoing, beginning with the supporting band from Sweden. The Haunted’s line-up consisted of some familiar faces, not just because they’ve been around for 10 years or so, initially Swedish Hardcore influenced Thrash before becoming the post-At The Gates band of Swedeath-influenced Speed Metal that they’re now famous for. Lead guitarist, Anders Bjorler of past-At The Gates fame, sporting a Disfear shirt in reference to both Swedish Hardcore and former bandmate Tomas Lindberg, launched with the band straight into ‘Bury Your Dead’, a signature track from their second album. Their set would mix old and new with some energy but the only problem from them is that their music sucks. This grammy-award winning combination of cliched galloping, groovy riffs interspersed with familiar and incoherently fragmented bursts of Swedish Death Metal melody, resulting in little to no melodic fluency is made even worse when the newer tracks demonstrate their love of pure nu-metal guitarwork. You know a set is bad when, despite it’s relative brevity and insignificance, every second of tedium feels absolutely unmitigated. They exit the stage with a warm crowd reception behind them but the diabolic concoction of Metal madness to follow boils the venue over with the hellish crepitance of anticipation.

Plumes of smoke veil the scene of everybody’s attention in stages of trademarked descent through noxious tributaries of the underworld. Led by battery commando Dave Lombardo, Slayer finally materialise from amidst the scarlet haze and open with ‘World Painted Blood, rendered near-flawlessy with Tom Araya’s completely static frame being the only, negligible sight to conflict with the fact that they’re still a well-oiled machine. Unlike other bands of such age and well-earned veneration, Slayer at least seem to understand the difference in purpose and spirit between their new and old recordings, rather than just the wear and tear of discographical order and simply ‘mixing it up’. The set was split roughly 50/50 in terms of timing, so there was quite some wait for the veterans to get their nu-material out of the way. The three standing band members would then congregate in a Seance-like circle formation around the beaten kit of Lombardo, ritually manifesting the schism and unleashing the demons of ancient times, channelling the wails of feedback as they did in their youth. Thus, the show really exploded with a rupturous performance of ‘Hell Awaits’ sending the violent hordes into a possessed frenzy. King and Hanneman were in brilliant, conversational form, damned to strike all the right notes and give a real sense of narrative familiarity to the chaotic and atonal guitar solos. Araya’s exoteric shouting was laid to rest and the invoked Mephistopheles conferred upon him sadistic scorn, the true voice of his priestly years, befitting such apocalyptic sermons as ‘Seasons in the Abyss’, ‘Mandatory Suicide’ and ‘Raining Blood’. The opening riff to ‘South of Heaven’ was possibly given it’s finest rendition to date, as the audio technicians menaced the sound with Kali-Yugic siddhis and lava on loan from Azagthoth. The song of the night was undoubtedly the pollutant ‘Chemical Warfare’, performed with as much vigour as on record way back in 1984. The intelligent, layered riff progressions that played out a multidimensional, mythologised communication of death, paranoia and destruction confounded the crowd but struck them hard, with the anthemic, holocaust winds of ‘Angel of Death’ to follow, releasing a tide of hatred and malevolence, and the highly multicultural crowd rose in unison to sing for the benefit of the Aryan race. The band known only as Slayer departed after covering the most recogniseable songs from ‘Haunting the Chapel’ through to ‘Seasons…’, reinforcing the memories of their greatness and perpetuating the echoes of their cryptic, Satanic messages.

-ObscuraHessian-

Vomitor – Bleeding The Priest

May 19, 2010 –

On first listen some would easily assume that this release were a mere product of nostalgia of underground metal of the 1980′s, at least indicated so by the production and indication that are present here. However this is death/speed/black metal firmly rooted in the underground crossover tradition of the 80′s and retains a firmly Australian sound to it. A good description of Vomitor‘s output would be the the epic thrashing of national pioneers Slaughter Lord and the crusty, retrograde execution and production that was witnessed on Spear Of Longinus‘ brilliant ‘Domni Satnasi’ album. Seeing as Vomitor have two members of SOL in their line-up this overlap is of no surprise, and gives Bleeding The Priest a similar quality of riffcraft and execution, which is atavistic but is well versed in older styles of metal. The attitude of this release evokes German speed metal, doing the early works of Sodom and Kreator strong justice, and the manner in which catchy guitar sequences are utilised sometimes evokes Razor, had they been influenced by Possessed rather than Motorhead. A thoroughly consistent work, Bleeding The Priest stands strongly as a milestone of Australian metal, a like a few other traditionalist acts within this genre serves as proof of ability to make new waves from trodden water, rather than being a ‘re-hash’. Very good.

-Pearson-