Sunday, February 14, 2016
Louder Than Love is my favorite Soundgarden album. I have other favorites too, but this one is the one I am most fond of. These songs flow like molten lava, stretching and distending time and space ridiculously heavy. Kim Thayil's guitars are layered and sliding like there might not be any end to them, the rhythm section is fluctuating and heaving, something hot and alive.
Saturday, February 13, 2016
The best song I have ever heard about vengeance through drowning in a peat bog. Sarke is always going for the off-kilter horror-anthology approach to lyrical content. Nocturnal Culto's vokills are as always distinctive and engaging, here in a more echoey and spider-riffic setting which sounds totally like what being drowned in a peat bog would be like: slow and methodical enough to sound inexorable, but adrenalized enough to represent the last thrashing of limbs, the last desperate grasping at air, the waters and organic muck sliding back into place as if nothing ever happened. A new Sarke album is always cause for celebration here at nxwwwwxn! New Music Saturday continues totally inadvertently!
In the past day or so, my laptop began rattling and spewing what might be battery acid? Then we had a blackwater toilet leak in the bathroom and basement. It is totally freezing here and I am feeling super demoralized. I really need to calm down while waiting to hear from the remediation people who already are remediating our third floor/attic which already has water/snow damage from the recent blizzard, so I am very pleased that Cult Of Luna & Julie Christmas put out this song for me to listen to. It is way rad. I am a huge fan of Julie Christmas and her work in Made Out Of Babies, Battle Of Mice, her great solo album, etc, and her working with Cult Of Luna is a great idea that proves even better in practice. Here we have some post-prog majesty, icy riffing, keyboard trills, over enormous drum patterns and sustained guitar atmospheres. Julie Christmas here operates on a chorale level, almost in a goth-doom beauty mode, where she usually does both beauty & beast at the same time. I can't wait for this album. I feel like I haven't paid Cult Of Luna enough attention over the years. Perhaps this will spur me onward to greater investigation, assuming I have a working computer! Yeah!
Friday, February 12, 2016
Metallica are clearly having a great time during their non-Super Bowl Super Bowl appearance. They seem totally psyched to be Metallica playing before a Bay Area audience. They are old and ragged but with a great deal of enthusiasm and energy and actual joy in so doing. This is all I could ask for. James Hetfield's Old School Classic Metal Vest with the prominent Motorhead back patch is an object of wonder. JH'S gtr playing is the most 'together' of the OG Horsemen, but Kirk Hammett (who has a Bela/Boris/Universal guitars!!!) has replaced precision with chaotic noise worship, evoking some true Lovecraftian Eldest Horrors in solos that are like hearing them for the first time. Especially on the 80's stuff! It is honestly revelatory to me, making stuff sound unknown and crazy. The interweaving of KH/JH gtrs was my favorite aspect of this whole concert. Robert Trujillo has some sick low-end distortion, which I dig. Lars hits with abandon, stomping and thundering. Metallica plays for over two hours, which is a lot of Metallica. I didn't get a chance to live-stream this concert, but it was up on Metallica's YouTube channel for a while and the tracks are available to listen to or acquire from their live concert website: http://www.livemetallica.com/live-music/0,517/Metallica-mp3-flac-download-2-6-2016-AT-T-Park-San-Francisco-CA.html This makes me excited to see Metallica on tour again. They seem to be about it, and that is all I would ever ask for. And PS: Metallica! Play some St. Anger & Death Magnetic stuff next time! Those albums are awesome. Don't let anyone tell you otherwise!!! Here is a picture of JH/NWOBHM Vest!
Wednesday, February 10, 2016
One of the greatest hxcx/grindcore albums ever. The vokills here are venomous growls and rants, the guitar like a cassette tape caught in a deck, bass like plastic garbage cans thrown around by a storm, and drums like demolition derby highlight reels, if what all of that suggested was TREMENDOUS POWER. PS - this live set from Boston Public Access TV 1984 is insane. I dig the U.S. Flag as a mute witness to the nascent grind churn!
'Seer' is one of my favorite doom songs ever. Not only do we get J Mascis drumming in honor of Bill Ward, but also Kyle Thomas's insane falsetto screams. Witch are brilliant in many respects by picking up on the Sabbathian thread into 1980's SST into a 00's doom revival aesthetic and letting the resultant mess feed back all over itself. J Mascis is a monster drummer, and not just in Deep Wound (gosh I love Deep Wound), but just slays on the two Witch records, the second of witch totally ups the 1980's Paisley Punk revival of the 1960's which is super-rad too. Deep Wound - Deep Wound EP (1983) 9 songs, 9.5 minutes. It always blows my mind whenever I stop to think about it that J essentially invented grindcore drumming (along with a bunch of other people). I know it is true. I saw it on tv, man
In 2006, halfway through the second phase of Bush II, nothing sounded more like freedom to me than Matt Valentine & Erika Elder's ode to driving along a mountain road, firing up a joint and listening to the Pretty Things in the tree-filtered sunlight. It was unashamedly the hippie-pastoral anthem to getting back to the garden in the face of the universal brutality of permanent war at home and abroad. Having J. Mascis join in is just the right thing to do. Green Blues is an album I just played the heck out of during this time period, representing the point at which early 00's psychedelic raga-folk coalesces into Crazy Horse/Canned Heat boogie-jamz and the guitars climb up the walls like morning glory vines, burying everything under flowers inside and out. Here is the whole of Green Blues if you are so reclined:
New Hampshire Mountain Freedom Rock which seems in the light of history to be an unholy precursor to Destination America's slate of programming about Demonic UFO's and Mountain Monsters and Trapping Sasquatch. Classick Rock for when the transmitter up your nostrils picks up wild crystal radio signals.
Tuesday, February 9, 2016
Beyonce already runs the Killuminati, so we should just make her President Of The United States like whenever. Beyonce has demonstrated more-than-sufficient Witchcraft & Wizardry, Enlightenment-Based And Otherwise, to Drown Police Cars, F The Haters, Black Feminist Power Is For Real. Beyonce is Super-Charged Awesomeness For Our Occulture. Desire & Will Unite! I don't believe in a ruling body or dictator or monarch or president or prime minister or what have you. I am not into the cabals, secret or otherwise. I am fully a Satanarchist, but if we have to have an Killuminati-hooked-up President, just make mine Beyonce. This is not an endorsement. She doesn't need endorsements. Beyonce is Rad. I am not at all playing.
Monday, February 8, 2016
Miserable Failure Until I Die!!!! Also as a bonus, this video acts as kind of a prequel or shared-universe connect to Red Fang's 'Wires' video, so here is that.
SAVAGERY!!!! Creeping filth, cracked skin, leaking things, bad prostheses. Drone chord intros. Martial stomps. Dead meat. Not quite dead meat. About as raw as powerviolence/grind gets. They say its their angriest record, and in the case of Iron Lung, that is going to mean something serious and it does.
I dig the mournful funeral doom style of this song which even has a plaintive flute melody and is in regard to the heaviness of winter, which is heavy indeed. There is some awesome shredding here for 1973, and the flute/gtr duality ops rule the frozen blizzard lands for sure. The wolves will be cuddling for warmth!
In honor of the Lunar New Year! May we all sleep to win this year! I can sure do so, as the sleep apnea has been particularly brutal this past while. There is another storm coming in. I wish Albuterol was not necessary and that I could rely upon previously relied upon herbal medicines. I love Iron Monkey. Fast Sludge and Slow Sludge and Brutal Sludge. This one is epic in length and width and depth. May all of you have a lovely year! Hail Satan!
Sunday, February 7, 2016
I love Flying Saucer Attack. Thick drones, feedback, skeletal noise/folk/jazz underpinnings, barely-there vocals, a pastoralism, a home-made-ness, a sound that can be lived with, along with, part of one's life. This is a Peel Session I hadn't heard before and am so glad can be listened to! Drifting through the night-time is made so much more companionable and lovely this way. FSA in this period were adopting a greater commitment to trance-minimalism and this is felt throughout, more interest in rhythmic repetition, abstraction and pure sound-summoning. They reach out to Jeff Mills in a wonderful homage and do a cover of 'I Can Take You To The Sun' by The Misunderstood, a pioneering Sixties Psychedelic Band who worked extensively with feedback manipulation, as well as a favorite band of John Peel personally!
Dear Readers: As you may have become familiar, the quest to fulfill the monumental and seemingly but not really abandoned promise of Metallica's ...And Justice For All is of especial interest to me. Albums which attempt to do so, and come within a reasonable distance of doing so are among my favorites. My favorite album of 2013, and one of my top albums of the current decade, is Exhumed's Necrocracy, wherein they suture overachieving Carcass-worship to 80's Metallica and turn their scalpels upon a totalitarian plutocracy rotting from the inside out. One area of substantial difference is the organic integration of bass gtr leads/tones, making for a dreamworld in which Cliff never died, but turned James And Lars And Kirk onto Scream Bloody Gore and Reek Of Putrefaction, now surpassing Slayer, if not Possession or future 90's Testament albums, into the thrash-unto-death sweepstakes. What is really evocative about this dream is that on the AJFA tour, James Hetfield periodically adopted a deathly growl not present on record. Necrocracy has a sick riff-atop-riff-interrupted-by-solo structure, with exactly the right thickness of gtr tone for a death-unto-thrash procedure. Honestly, this satisfies so much of what I not only want, but NEED metal to do, that when out from the library, this album dominated Subaru-based partner/kids-accompanied excursions and left only reluctantly. Blessed Be and All Hails!!!
Saturday, February 6, 2016
After having written about the video for the title track, I absolutely had to go and write about the album as a whole! Akroasis is a beautiful, classicist metal album, encompassing every decade and approach in a richly satisfying, radiantly glowing whole. This is musick lit from within, shining without. There is a strong emphasis on making songs which cohere tunefully, with all parts working in concert to make something which feels good to listen to. There is stuff here which sounds like what Celtic Frost and Cynic would make if they were traveling to another galaxy on a starship together and wanted to jam to pass the time, but with passages and sections that neither of them saw coming, seemingly composed by the radiation of nebulae moving ghostly through the hull. There is stuff here that sounds like The Weather Report in an intimate thrash/death session. There are cyber-seraph chorales. There are lots of acoustic gtr passages still playing ensemble, not just intro/outro/interlude. There are harmonic glissandos and tremelo-riffs atop writhing surges and flows and hammerings. There are strings, not just as accent, but in full-on classical composition. There is a lot of metal-metal here, as well as a real debt not only to old school thrash and death, but to the whole range of power metals, too. This album sounds like the sun rising and the sun setting superimposed atop each other and allowed to remain that way for the passage of whole days. This is musick which is grounding emotionally, healing in its encompassment, which asks to be sung along to, whether in concert or at home in tranquil reflection. Everything ripples outward from multiple centers, meeting and dispersing. This is a hymn to the light given off by stars, and the illuminated spaces between.
For your approach to the Stygian Waters! UK Industrialised Black Metals! Gosh I love Anaal Nathrakh, and the fact that they got their name from John Boorman's Excalibur makes me love them ever the more.
Friday, February 5, 2016
Winter - 'Servants Of The Warsmen' from Nuclear Blast VHS Compilation Death Is Just The Beginning (1992)
RISE Everything about Winter is just crushing. This song, this video. That riff. That other riff. That reaping noise wave which obliterates everything. That solo which emerges. Those vokills. That pile of skulls.
I am no Trivium expert, but I have now heard this song on the radio and on 'metal cable streaming channel' a bunch of times and every time I hear it, I like it even more. The manner in which sickly orchestral acid-rock weaves and blears with the alt-metal multitracked vokills amount to an inside-out anthem against the sun is very pleasing. I look forward to hearing Matt Heafy's further in-depth collaborations with Ihsahn, too.
This is my favorite hardcore album of the year of its release that isn't by Converge, if I remember correctly. I jammed this so hard because it is all of the interstitial noise of hardcore and metal reconfigured into the songs themselves. Even within longer passages or songs, there are short blasts of sound which collect up out of the ground of silence and then cut out and compose greater rhythms within duration and silence/sound. Blast this, for real.
Seagulls, ambient synth washes, breakbeats, disorienting stereo panning, vocal clips of birds and humans, flute deployment. Track is a monster cyclone anyways. LTJ Bukem was instrumental in New Age Fusion Drum & Bass, helping to make my 1990's slightly less with the Sturm & Drang. Thanks, LTJ Bukem!
Deftones have been one of my favorite bands now for almost 20 years. I am very pleased to be listening to the first single from Gore, 'Prayers/Triangles', the vibe and vocal orientation of which initially reminds me of something off of their self-titled album from 2003, with the twangly gtr parts on top interacting with the stopped-time static-gaze textures beneath/later, the harsh-ish compressed distortion on the vokills in places, and the riptides hidden within and under the under. What I dig is that multiple listens offer previously unheard details. There is a romantic and spreading ache throughout. I LOVE Koi No Yokan, and have no real ultimate expectations for this one until I hear it in full, but April 8, 2016 cannot get here soon enough for me!
Imbolc greets Lughnasadh across the Wheel Of The Year. Spring-In-Winter greets Fall-In-Summer. Rivers Of Nihil are somewhat 'local' to 'here', here being South-Central Pennsylvania, as they are from Reading, Pennsylvania, and have decided to make a tech-death album cycle about the Seasons, Monarchy being Summer's entry, the apex of the year. It was released in August, 2015. This album sounds like the First Fruits Of The Harvest, the initial threshing of the grain and the baking of the first loaf, which can then be used in magickal acts. Monarchy in its tone is both sad and relentless, as if carried by forces beyond its control into an outcome it could not forsee, or forsee only too well. This is an album which opens up and lets in more light and air as it goes along, so as to give a feeling of narrative or progression from one place in time to another. It is not just about blasting or shredding, but about evoking a world under certain conditions. To make a tech-death-prog album which asks to be lived with, and listened to on its own terms as an artwork made from whole cloth, which provokes a varied emotional response, is something delightful to me. Also, Dan Seagrave is one of my favorite artists of all time, and this cover is one of his best.
Thursday, February 4, 2016
"energy we call on you because we love you, we call on you because we love you"
Some gray and windy afternoons, when you get the overdriven run-out dump of cortisol and you need to take the edge off, I recommend Goat's Dead Gods Feed The Land, which is as capable a chunked conglomerate of harsh industrial psychedelic noise as one could want. There is a great deal of structure and variation to composition here, with riffs atop of riffs, drowning out and smothering lower levels of the sonic environment, places where everything drops away or pulls back, moments of total freakout, some that extend for quite a while. This is definitely third-eye-storm ride-the-lightning-bolt manner of stuffs. Right now my favorite track is 'The Nameless Days' which is some kind of succession of tidal wave-forms composed of broken parts of a fallen moon, littering the daytime in its suffocating dust.
NO MASTER RACE IS GOING TO RULE THIS LAND! DISORDER NOW!
Forced austerity by and for the rich both promotes and benefits from racist apocalypticism. As true now as it was at any point in the XXTH Century.
I liked Jeremy Saulnier's Blue Ruin very much, being an atypical revenge film which really dealt with the practical and moral issues inherent in pursuing such a course of action, so I am really psyched for the follow-up to that movie, Green Room, which apparently is a take on besiege-warfare: punks vs. nazis. It is like if you took internet message boards and further weaponized them, but, like, actually worth spending your time on. My only gripe with the trailer is: would it have killed A24 to put some punk or metal down as tunage, rather than yet another ominous cover of 'Bad Moon Rising'? Not a terribly serious issue, but still!
It was in 1994 that Portugal's Moonspell would put out this EP of lush gothic Satanic Hymns, with soundscapes befitting an Iberian operation, including and exceeding Pan-Mediterranean guitar, North African-influenced percussions, Arabic-influenced singings and melodies, etc. Moonspell would expand far beyond here, into greater realms of blackened epic folk, vampire goth, industrial psych, etc, but I am glad I came across this having never heard it before despite having had a secondhand copy of 1995's Wolfheart in the couple of years post release ever since. That is a rad album, on both sides of too-much-ness, as is the Moonspell way, which makes it so good.
Start your day off right with a blast of antichristian demonic jihad rock n roll. Black Witchery will motivate in all the necessary mannerisms. Horns To The Sky! Horns To The Sky! Florida played a somewhat unheralded role in the rise of USBM, with (to name but a few) Negative Plane, Black Witchery from Winter Springs and Fort Lauderdale's Kult Ov Azazel becoming active all throughout the 1990's to circa 2001. Black Witchery's commitment of sacred opposition to Christian dogma, image, and practice resulted in a bestial-war-metal-infused USBM indebted to Blasphemy and Sarcofago as much as Hellhammer and Bathory. I write this with sadness having become aware that long-time Black Witchery guitarist Tregenda (Steve Childers) died as a result of a car accident in January 2016, and wanting to pay tribute. All Hail Your Mighty Contribution!
Wednesday, February 3, 2016
The light within the dark. The dark within the light. Monumental, transporting, like streaks of the sun's departure which are brighter than the whole of the sky, brighter than all of daylight in its fading. Sediments of light, traces of light, erode and are in turn consumed by darkness.
This is a song where the air is aerosolized broken glass arranged into a darkened sky that you are expected to breathe. It is like bad dreams colonized the waking world until retreat into bad dreams seems like a good idea. When you are having a day where you feel crushed and defeated by life, listening to Conquest For Death-era Necros seems like a good idea because it is. More cranky and paranoid than insanely pissed-off, Necros always had a strong 60's garage punk/70's radio metal influence on their hxcx jamz. Here is a roughly contemporaneous appearance on Detroit Hardcore TV, wherein they are interviewed and allowed to rock out. The hardcore kids in their homemade shirts dancing fills me with an indefinable sensation, both gleeful and lost inside.
Tuesday, February 2, 2016
Today for Imbolc I wanted to listen to early The 3rd And The Mortal because it feels like afternoon winter sunlight on the snow and the life within and without. I love Kari Rueslatten's voice. It goes so well with these Scandinavian Prog Folk Doom Jamz. There is an openness, a lightness, a plaintive questioning suffused in this music. It reminds me that Spring is both Here and Not Yet, Slowly Emerging Into Light.
Grymyrk is the first Thorns demo. It is guitars and bass. There is noise and distortion and hiss and riffing and shredding and spillage. Before the murder and fire, there was this sound, this sound that had to be and was. If it is in the company of anything, it might be Earth 2, an Earth 2 played at a different speed somewhere snowier rather than rainier, but Grymyrk predates Earth 2 by two years. The bass here is thick and oppressive and doomy. The guitar is all spikes and treble and sustain and bleeding edges. This will induce trance and dreaming if the necessary conditions are present. All Hail. To hear how radically Thorns grew and twined within that year, the 1992 demo Trondertum is icy jackfrost, vokills, drums and bass and guitar, now fully formed into creeping, shaking, song.
Monday, February 1, 2016
In 1971, the beyond-frazzled gnawed-wire heavy psych-blues of The Groundhogs produced its finest and most far-out exponent in Split, the first half of which is taken up with a multi-part suite about the encroaching ravenous shadows of psychotic meltdown. There is real terror and dread in these grooves, real mounting panic in the noise suppressed until unleashed. The only rivals they had in this limited field would have been like Sabbath and what, The Crazy World Of Arthur Brown, maybe? This is musick to be scared of your shadow by, and for good reason!
In the mid 00's, there was a great and vast hunger to reclaim the seemingly abandoned legacy of Metallica's 1988 opus ... And Justice For All within a modern metal framework, whether from a post-thrash, metalcore/NWOAHM or thrash-legacy standpoint. I have always regarded God Forbid's 2005 IV: Constitution Of Treason to be the 21st Century's true spiritual heir to AJFA. Other contenders would specifically include every Megadeth album from that and later decades pretty much as well as Machine Head's strong and battle-tested champion The Blackening from 2007. Someday I would like to write about that album and Machine Head in general, but today is not that day. IV: Constitution Of Treason has it all: it is a concept album about the fall of our civilization with glorious acoustic intros/interludes, has the Statue Of Liberty collapsing on the cover, repurposes Hetfield-Ulrich gtr/drum synchronization for metalcore-unto-thrash dominance, has awesome tunes, and most importantly, is consistent as an album rather than a collection of songs. It is among my favorite albums of that decade, and holds up awesomely well. All Hail.
I am exceptionally pleased to be listening to this new Voivod track today. It seems appropriate, as a signal of protest against decades of Neo-Liberal Controlled-Market Dystopia. I hope to be able to see Voivod live this month, as they are actually coming to my neck of the woods, of all places! I miss Piggy and Blacky, but Voivod has become something new again, which they have been doing in order to survive for 3+ Decades. And as Margaret Thatcher famously inducted, "there is no such thing as society", so Voivod welcome us to the future we have been living in for that entire time. http://briandeer.com/social/thatcher-society.htm Of course, In Opposition to Thatcher, Voivod also posit that 'We Are Connected', and indeed, we are.
Matthew Bower of Skullflower and so much more, was given by beloved as gifts a Medieval Psaltery and a kirin for birthday on 15 May 2015, and so recorded this track in love and honor of Melek Taus, the Peacock Angel. It is gorgeous and shimmery, like the reflected radiance of the fanned peacock tail!
This is what I think of when I think of Iowa. I went to, like, an actual Borders to purchase Iowa when it was brand-new. I was ok with the first Slipknot album, but Iowa was when I fell in love. It was released a few weeks prior to Sept. 11th, 2001, and for many kids, Slipknot represented a necessary form of Post-Millenarian Counter-Programming, Heartland Resistance to Homeland Fascism, available as a Hot Topic hoodie. Hail Satan. Bonus Iowa:
Ted Cruz is a powerful alien wizard, as this photograph of him projecting mana-fields-as-energy-mind-control-ebeams clearly demonstrates, but people are beginning to see through the very strong forcefields of charm/glamour/ward! As The Associated Press Reports From January 31, 2016: "10:15 p.m. Ted Cruz's rally on the night before the Iowa caucuses got off to an odd start with someone yelling, "He looks so weird!" as the Texas senator took the stage. The man, who appeared to be ill, was escorted out of the state fairground building Sunday night as he continued yelling: "Ted Cruz looks so weird!" Cruz tried to laugh off the disruption, saying it appeared the bars had let out early. As the man continued yelling, Cruz asked, "Is that Trump back there?" The rally attracted hundreds of people as Cruz was ending a day across Iowa that also included campaign stops in Iowa City and Davenport as he makes his closing argument to voters ahead of Monday's caucuses." http://www.usnews.com/news/politics/articles/2016-01-31/trump-says-he-has-much-more-humility-than-people-think
Wizards Tell Lies are one of the several guises of Matt Bower of Wigan, UK, who channels feedback, keys, ghostological ambience, postpunk rhythms and a serious fix of British Occult/Sci-Fi Paranoia which extends from Arthur Machen to Clive Barker and beyond, with some extensive "What Would The X-Files Be Like If Made For The BBC In The Early 1970's?" vibes. This stuff really should be listened to in its entirety as album-stuffs, not only due to overall feelings/atmosphere, but also narrative cohesion, as WTL albums frequently offer a story-mythos-programme to go along with the musicks.
Toad were in Brainticket, who did an entire album called Cottonwood Hill in the same year of 1971, and that album is a pastoral psychedelic nightmare acid caravan to madness. It is awesome. But Toad's album is also really awesome, but earthier, more burrow-grounded. Cottonwood Hill is a magickal place where one, if aided, can become a bird flying in the sky, or one with the sky itself, or what lay beyond the sky, while nestled within the warmth of the earth and the flowers. The whole of Toad's initial album is really great, heavy-heavy-blues proto-metal from Switzerland. Produced by Martin Birch, who also produced Deep Purple, Wishbone Ash, Dio, Sabbath, BOC, Maiden, etc. It has an organic density rare in 1971, and is an album I return to frequently. Unsurprisingly, Nurse With Wound are really big fans of 'Cottonwood Hill' and Brainticket, and did their own version of the song in 1984. It does not sound much like Toad's version, but feels somewhat the same.