Батюшка -- Литургия (review)

Band: Батюшка
Album: Литургия
Genre: black metal/Orthodox chant
Year: 2015
Label: Witching Hour Productions

The Polish black metal scene has produced yet another fantastic band.  Батюшка (Batushka - title of an Orthodox priest) put a unique spin on the genre by drawing influence from the Russian Orthodox faith.  The three members of the band are shrouded in mystery, but most people say that they are involved with other projects.
Литургия (liturgiya - liturgy) is the band's debut LP, and right off the bat I am impressed.  The album is divided into eight ектении (yektenii - litanies).  The music incorporates Orthodox liturgical chants which give the album a ritualistic feel.  The chanted vocal parts are not samples like most bands use.  The chants are composed and performed by the band; thus, a good portion of the vocal work is done in this manner.  Keeping in line with the theme of 'orthodoxy', the lead vocalist employs the traditional black metal scream.  Overall, these vocal parts are central in the context of the album.
The instrumentation, while not unique, is well composed and executed professionally.  The album is dotted with killer riffs and memorable melodies.  The drumming is predominantly blast beats, but they feel somewhat subdued by the mix (which honestly works here).  The bass has a nice tone and gets a chance to be the center of attention on "Ектения VI: Уповане."  Occasionally church bells chime in between tracks.  In fact, the album feels as if it is being performed in a Russian church.  The guitars create a cavernous atmosphere, and the chants and shrieks echo off the walls.  One can almost smell the air, thick incense.  Литургия aims at creating an atmosphere first and foremost, and it succeeds while also providing quality riffage.
The sum of these litanies is an eerie yet beautiful execution of Polish black metal.  Hopefully this is not a one-off project as I hope to hear more liturgical black metal from these mysterious, talented musicians.  You can give Батюшка a listen on YouTube here.


Rating: 4 / 5
Top Tracks:
Ектения I: Очищение
Ектения III: Премудрость
Ектения II: Благословение

godheadSilo -- The Scientific Supercake (guest review)

Band: godheadSilo
Album: The Scientific Supercake
Genre: sludge/experimental
Year: 1994
Label: Kill Rock Stars

While he can err on the side of excessive “hipsterism” and I don’t always agree with all of his opinions and analysis, I still find Chuck Klosterman one of my favorite journalists because of our common interests. Klosterman’s famous “VORM” article I read in his compilation X strived to find the value of each individual musician in a band- first by calculating a musician’s worth relative to their other band members, then calculating that band’s relative worth to other bands. Ambitious? Yes. Controversial? Certainly. I had listened to most of the bands at the top of the weighted spectrum (Beatles, Led Zeppelin, Black Sabbath, Radiohead) but one name that caught my eye was godheadSilo, intriguingly weighted the same as R.E.M. Curiosity = piqued.
Watching some of the band’s mid-nineties YouTube performances, I got a sense that you had to be there. I just knew a video recording couldn’t do these guys justice- it was just a bassist (Mike Kunka) and drummer (Dan Haugh) slamming away on their instruments with relentless fury. Both the band members have experienced hearing loss and discomfort from their brutal shows, and I knew I had to pick up The Scientific Supercake right away to further my artistic experience.
After a few listens, I concur that godheadSilo were certainly less songwriters than soundcrafters. There’s almost no way to describe the SOUND of this thing- if I had to compare it to any other record I’d probably pick Godflesh’s Streetcleaner, but listening to this album at any decent volume with good speakers will make your skin crawl. I’ve always been a sucker for more sonically than technically ambitious albums, so I found this right in my wheelhouse. Fun fact- if you turn the bass all the way up on your speakers and play this, it’ll blow them out. Not that I’m willing to try.
Opener “Nuts To You” has Kunka’s strangled vocals higher in the mix than any of the other songs, with Haugh’s mutated rhythms taking center stage. They settle into a more comfortable crushing tempo on “Birthday Sandwich”, but it isn’t until the freaky white-noise blasts on “Another Schizoid Ambelism” that the record truly reaches its hair-raising peak. The heart of the record is “Mr. Push Up”, which serves as the quintessential godheadSilo song; extended, creepy intro, percolating tempos, and harsh treble spurts. “I Luv U….Nicorns” has almost a pop sensibility to it, with catchy, ripping riffs, and “Hopefully They Will Learn” serves as a bleak, disturbing intro to the final two songs, which wind down all the thrashing somewhat. Short interludes are sprinkled throughout the record, ranging from melodic (“Two Peanuts Are Walking Down The Street”) to esoteric (“Ventriloqueef”).
Kunka and Haugh haven’t explicitly expressed the desire to record again since 1998’s Share the Fantasy, so we may have seen the last of this incarnation of heavy noise rock. While the riffs can get repetitive and janky at times, and Kunka doesn’t have much to offer as a vocalist, I haven’t even heard of anything close to the general sound and diverse range of influences this album draws from, and it hasn’t been commodified and diluted by legions of poor imitators. The sound of this album draws you in initially, but the strong songwriting and attention to detail gives it multitudes of replay value. Definitely recommended.


Rating: 7.2 / 10
Top Tracks:
Another Schizoid Ambelism
Mr. Push Up

Guest review by Adam Nohl

Death Worship -- Extermination Mass (review)

Band: Death Worship
Album: Extermination Mass
Genre: war metal
Year: 2016
Label: Nuclear War Now! Productions

Alongside harsh noise and mincecore, war metal is one of the most primitive styles of music in existence.  Inspired by the relentless chaos of Sarcófago, Beherit, and Blasphemy, one would be hard-pressed to find a form of music more bestial in nature.
Hailing from Canada, Death Worship features Ryan Förster and James Read of the infamous Conqueror, but this project has a slightly different approach to war-making.  The album displays a certain level of restraint, particularly in the vocal department.  Förster's raspy growls are almost whispered over the constant blast beats.  They conjure a certain presence that can best be described as unsettling.  Needless to say, it seems the vocalist is the ghastly skeleton that graces the EP's cover art.
With the unique approach to vocals aside, the instrumentation is rather straightforward for this particular style of music, as expected.  Buzzing riffs and blast beats dominate the structures.  Occasionally the drums slow down just a bit, but Read always returns to pounding away at breakneck speed.  Blistering, chaotic guitar solos dot the tracks as if to remind the listener that this is, in fact, music.
If you are looking for a group that knows what war metal is all about but throws in a little (and I mean a little) something different, look no further than Death Worship.  This EP is sure to appease fans of this approach to black/death metal, and perhaps that is all it's good for.  Little variation across all six tracks means that this thing will probably grow stale over time; nonetheless, this EP is a savage beating.  You can listen to Extermination Mass on YouTube here.


Rating: 3 / 5
Top Tracks:
Evocation Chamber
Holocaust Altar

Pagoda Mast -- Musashi (review)

Band: Pagoda Mast
Album: Musashi
Genre: blackened harsh noise wall
Year: 2016
Label: independent

If you are looking for bleak, soulless 'music', look no further than Pagoda Mast.  This Imperial Japanese Navy-inspired noise project is the epitome of audio depravity.  The one-man project's fourth demo, Musashi, is named after the IJN battleship which sank in 1944 during the Battle of Leyte Gulf.  The two-hour tribute to said vessel is nothing short of haunting.
The album begins with the track "Yamato."  The opening seems to be the sounds of the wind blowing over the deck of a ship.  This quickly gives way to an abrasive wall of noise.  The sound is thick and sharp.  No fragment of happiness or beauty can penetrate it.  The pattern shifts as the track progresses, but the aforementioned characteristics remain.  After a half-hour of wreaking audio havoc, the first track concludes only to be succeeded by "Untitled I."
The noise seems to come from a variety of sources aside from the usual noise 'instruments'.  Samples from documentaries about the Imperial Japanese Navy are amplified to ear-splitting volumes, and vocals seem to be employed at various points.  The vocals (if that's what it is, maybe I'm just hearing things) are piercing black metal shrieks.  In fact, this album has black metal written all over it.
The thirty-minute title track sounds like a black metal song drenched in noise to the point of being unrecognizable.  One can almost pick out a faint melody beneath the relentless chaos.  "Shinano" also feels like a gritty black metal tune, and "111" has a distinct, sorrowful melody and faint blast beats throughout.  The closing "A-150" features a heavy, mechanical beat reminiscent of industrial music.  Once the track clocks out, the listener is left with a sharp ringing in their ears.  That, my friend, is the sign of some grade-A harsh noise.
Pagoda Mast's Musashi is an unrelenting beast of an album.  From start to finish, there is no room to breathe and no way to cry for help.  Immerse yourself in this sickening noise wall, which can be found on Pagoda Mast's bandcamp here.


Rating: 4.5 / 5
Top Tracks:
Yamato
Musashi
111

Phyllomedusa -- Desiccation In Progress (Version I) (review)

Band: Phyllomedusa
Album: Desiccation In Progress (Version I)
Genre: gorenoise
Year: 2011
Label: Hypyractyv Larynx Frogquencies

Big Frog is one of my all-time favorite 'musicians' (I personally think the man is extremely talented).  He has a ton of projects, and I mean a ton.  For the most part he dabbles in extreme forms of noise, but he occasionally embraces some form of 'normal' music only to twist it into something abrasive and perverse.  The man has a way with, essentially, destroying music(al convention).  Phyllomedusa happens to be the pinnacle of this mindset.
What we have here is an homage to the gods of gore: Last Days of Humanity (sorry, Carcass is great too, but LDoH took goregrind to the limits).  Desiccation In Progress is 100% Putrefaction In Progress-worship, yet Big Frog manages to create a beast (excuse me, frog) of his own.
Eighteen tracks of grimy, vulgar gorenoise crammed into a thirteen-minute run-time makes for one hell of an album.  The tracks are almost single-minded in nature.  Blast beats blaze past at insane tempos.  The guitars (and bass?) are distorted to the point that there are no distinguishable riffs; rather, they create an impermeable wall of harsh noise.  The vocals are a combination of processed gurgles and violent, strained roars.  Big Frog sounds legitimately enraged, like a bull(frog) ready to charge.
The tracks are actually varied to some degree.  Occasionally, the music will break into an intense groove, like on "The Lumberjack Killer" and "Preservation of Hemiphractus Carrion."  The start of "Some Edible Rodent Fragments to Digest" has a very strong industrial metal vibe, and "Persuaded In Leptophryne Cannibalism" features a very brief but devastating breakdown.  These breaks from the grinding speed-fest, although short-lived, help keep the listener tuned into the disgusting noise.
This album is easily one of the best in the realm of gorenoise, and I highly recommend it to anyone looking to indulge themselves in 'anti-music' (which is, charmingly, just a category of music).  Download this thing from Phyllomedusa's bandcamp page here.


Rating: 5 / 5
Top Tracks:
Persuaded In Leptophryne Cannibalism
The Lumberjack Killer
Continual Spea Waste
Some Edible Rodent Fragments to Digest
Preservation of Hemiphractus Carrion
The Beauty of Putrefaction In Sensible Frogcare

Dismember -- Massive Killing Capacity (review)

Band: Dismember
Album: Massive Killing Capacity
Genre: death metal
Year: 1995
Label: Nuclear Blast

One of the pillars of the old school Swedish death metal scene, Dismember released a monster of an album in 1995.  While their contemporaries shifted from pure death metal into death 'n' roll and melo-death, Dismember managed to fuse the three styles together seamlessly.  Some people seem to claim that this album marked the beginning of their decline; I would argue otherwise.  Now let's break into this masterpiece, shall we?
Massive Killing Capacity is somewhat of a variety show.  Tracks like "To the Bone" and the title track stick to the classic Swedish death metal tropes.  Razor-sharp riffs chug over kängpunk drum beats.  The vocals deviate slightly from the standard growling and are delivered as more of a shout.  Other tracks are more of a violent stomping-ground, like the opener "I Saw Them Die" and "Casket Garden."  Crushing grooves propel these numbers through the killing fields that the band personifies.  The band also displays a 'softer' side on "Collection by Blood" and "Nenia."  These songs showcase riffs that are focused on melody rather than speed or brutality.
Elements of death 'n' roll permeate the album.  Songs like "Casket Garden" and "Crime Divine" employ rock-ish grooves that differ significantly from the pure death metal riffs of, say, "On Frozen Fields."  The album's sixth track, "Wardead," combines both styles, employing pummeling death metal riffage in the verses and a catchy, groove-based chorus.
On this album, Blomqvist and Sennebäck prove that they are masters of their instruments.  Every single track is filled to the brim with intense, memorable riffs and absolutely crushing breakdowns.  Blomqvist's leads are stirring and prevent the songs from becoming stale.  The guitar-work is at its peak on "Nenia."  I typically do not enjoy instrumental tracks, particularly in death metal, but "Nenia" is an exception.  This track showcases a number of guitar solos and beautiful melodies which set up the album closer perfectly.
"Life - Another Shape of Sorrow" is a roller coaster of a closing track.  The opening funeral dirge is powerful and backed by a mournful organ.  This is followed by a more up-beat riff and some melodic leads before charging into brutal buzzsaw riffage.  About halfway through the song, an intense breakdown interrupts the chorus and pummels the listener.  The frenzy ends as the organ riff from the start of the track brings things to a close.
Easily one of the greatest death metal albums of all time; Massive Killing Capacity is the ultimate package of old-school Swedish riffage.  Give this masterpiece a listen for yourself here.


Rating: 5 / 5
Top Tracks:
Hallucigenia
Life - Another Shape of Sorrow
On Frozen Fields
I Saw Them Die

Project Nefast -- SEX MONEY POWER (review)

Band: Project Nefast
Album: SEX MONEY POWER
Genre: drone metal
Year: 2017
Label: Tartarus Records

Sex.  Money.  Power.
Project Nefast blow me away yet again.  Their previous effort, Dogma, was a monstrous exposé of psychedelic bliss, and here we see the band taking their sound in a new direction: drone metal.  Consisting of four hypnotic tracks, SEX MONEY POWER is a half-hour journey into a world of wailing feedback and distortion.  I'll break it down track-by-track and also delve into the accompanying music videos...
The album opens with the absolutely crushing "Mislukkeling."  This is pure, unadulterated drone metal.  Wave after wave of harsh guitar noise crashes upon the listener in an unrelenting bath of chaos.  The drummer gets a few shots in as well, but rather than providing structure, he only adds to the disarray.  And who would have thought that there would be a music video for this?  I don't think I've ever seen a music video for an instrumental, but Project Nefast pull it off.  The video trudges along slowly, keeping pace with the music.  The plot is simple: three masked men (Nefast in the flesh) sit around a table playing monopoly.  Two of the album's central themes are represented in the scene: MONEY (monopoly cash raining down on the men) and POWER (the array of weapons on the table, including a pair of... well, scissors).  Overall, I would say it matches the track perfectly and gives us a little glimpse into the minds of this Dutch trio.
Check the video here.
Next up is "Pastorale."  On this track, Nefast lead us into a nice little psychedelic jam.  Somewhat reminiscent of their 2016 album, "Pastorale" builds intensity over its nearly 10-minute running time before slowing down and running out of steam.
A jolt of noise announces the third track, the titular "SEX MONEY POWER."  Yet another shift in musical direction, "SEX MONEY POWER" builds a wall of psychedelic noise which all but drowns out the vocalist.  The drummer provides structure to this droning wall of sound by blasting away at a steady pace.  Once again, I am reminded of Dogma, but it still seems fresh.  The music video displays a darker side of the band.  Shaky, black-and-white footage follows a pair of women as they engage in the nightlife of the urban sprawl.  Everything seems pretty lighthearted as the duo walk the city streets, clearly high as fuck.  The footage is intercut with shots of a playground, particularly focusing on a slide.  As the tension in the song finally explodes, the women break into an argument which ultimately escalates into a fight at the playground.  The whole thing is filmed in such a way that it feels unnerving, and the action follows the swell of the music perfectly.
View the video here.
Finally, we have "Ziektebeeld."  A steady drum-and-bass beat provides the stage for a rant ( I presume in Dutch) by a seemingly crazed vocalist.  It almost feels like a one-sided argument, as if he is trying to reason with himself.  The guitars chime in, providing a layer of psyched-out droning.  Some electronic elements are also utilized towards the end of the track.  The album ends very abruptly.  The shift from droning repetitiveness to absolute nothingness is quite a shock, yet in my opinion is not out of place.
Project Nefast end the album on an odd note, but that seems to be the point.  Society craves sex, money, and power, but these things cannot fill the void within us all.  They leave much to be desired (or maybe I'm just full of shit on this one).  I highly recommend you listen to this trio's discography.  You can stream SEX MONEY POWER from their bandcamp here and purchase a cassette copy from Tartarus Records here.  Full support for these Dutch metallers!


Rating: 4 / 5
Top Tracks:
SEX MONEY POWER
Ziektebeeld

Phyllomedusa -- Environment and Adaptation (review)

Band: Phyllomedusa
Album: Environment and Adaptation
Genre: sludge metal | ambient
Year: 2012
Label: Sloth Clatter Media

Big Frog is the mastermind of various underground solo projects, including my personal favorite, Phyllomedusa.  A variety of genres are explored throughout his discography, but most of them are brimming with abrasive noise and amphibian calls.  Environment and Adaptation is a sludge-drenched doom metal behemoth that trudges along, dragging the listener's lifeless body along for the ride.
The album opens with a soothing ambient track before erupting into the crushing riffs of "The Misfortune In Pursuing Food."  From that point on, Big Frog hardly lets up.  The guitars and bass are drenched in caustic distortion, and the drums pound steadily and relentlessly.  I personally love the ring that the snare has to it.  Overall, the sound is organic and filthy.  Big Frog's vocals are fuming with hatred, which fits comfortably with the aggressive instrumentation.
This album is all about repetition, which can best be seen on the titular track.  About two minutes into the song, the tempo slows and the guitars shift to a very simple, repetitive riff.  This is easily one of the heaviest, dirtiest riffs I have ever heard.  When Big Frog lays down a riff, he hammers it into the listener's skull.  By these means, I would say that the songs become catchy (but not really, right?).
Due to the extreme level of distortion, the bass seems to melt into the wall of sludge, but in the intro of "Scutiger" the bass gets a chance to shine (except it's covered in filth, so it can't really "shine" per se).  I absolutely love the tone as it has a throbbing pulse to it.
The album's final track is a nearly half-hour ambient piece which juxtaposes a tranquil atmosphere with the absolute filth of the sludge metal.  Big Frog is known to create softer works aside from his vast catalog of gorenoise and sludge.  The stark shift in style from crushing guitars to waves of ambiance works well here.
I plan to review plenty more of Big Frog's releases (does he even sleep?), but in the meantime, check out his catalog on bandcamp and give Environment and Adaptation a listen here.


Rating: 4 / 5
Top Tracks:
Environment & Adaptation/Glandirana-Ki
I Come from the Water (Toadies cover)
Scutiger
Chiasmocleis Humming In Dusk (Supratympanic Fold)

Methwitch -- Piss (review)

Band: Methwitch
Album: Piss
Genre: slamming deathcore
Year: 2017
Label: independent

Methwitch is a one-man deathcore project from New Mexico.  Blending together the most brutal elements of hardcore and extreme metal, Piss is an unrelenting beast of an album.  Over the course of its one-hour run time, Cameron McBride lays down hellfire on anyone (un)lucky enough to listen to his output.
None of the songs are particularly memorable, but this guy knows what he does best: crush the listener with 20 tons of breakdowns.  If you hate breakdown-driven core music in the vein of Vulvodynia and Infant Annihilator, then I recommend you avoid Methwitch at all costs.  Love getting curb-stomped repeatedly?  Indulge yourself with this behemoth!
I was extremely surprised to see that the drums on this release are, in fact, programmed.  In my opinion, they sound very organic (I mean that in the way that they aren't overly repetitive -- they sound triggered for sure).  The guitar work is great (for deathcore).  There really are not any stand-out riffs, but McBride manages to pull off some technical shit when he's not delivering a brutal beatdown.  The bass is audible, but there is nothing really impressive about it.  Vocals, on the other hand, are phenomenal!  A mix of hardcore shouting, guttural growls, and ear-piercing shrieks, McBride manages to keep the music interesting for its long-winded run time.  He seems to be heavily influenced by the likes of Duncan Bentley and Travis Ryan, while simultaneously cementing his own unique style.
All in all, I think the album is a bit too long for this style, but if you are looking to get crushed, look no further.  You can download the album from the Methwitch bandcamp here.


Rating: 3.5 / 5
Top Tracks:
Carmine
Priest of Piss
Altar of Blasphemy
Gallery of Apostasy

Hawkwind -- Hall of the Mountain Grill (review)

Artist: Hawkwind
Album: Hall of the Mountain Grill
Genre: space rock
Year: 1974
Label: United Artists

Majestic.  Hall of the Mountain Grill is quite possibly my favorite album of all time, so expect nothing but praise from this review...

Hawkwind are the most well-known practitioners of a prog/psych rock fusion known as space rock.  Their music is atmospheric, smooth, and full of lengthy jams.  Their 1974 effort consists of nine tracks of mystical bliss that flow together to create one of the greatest (if not THE greatest) albums of all time.
We begin with "The Psychedelic Warlords (Disappear In Smoke)" which is a rockin' tune.  The midsection consists of a kick-ass saxophone solo, and the chorus sees the band letting loose with all their fury.  The track bleeds into "Wind of Change" which is the first of three instrumentals on the album.  "Wind of Change" is a slow buildup from the soothing sound of a synthesizer (imitating the wind) to the emotional, almost symphonic climax where the violin takes center stage.  A hush falls over the listener as "D-Rider" starts.  My personal favorite from the album, Hawkwind create a cosmic atmosphere with the song's soothing verses and powerful chorus.  The use of processed vocals on the track, and throughout the album, melds well with the spacey, atmospheric sound of the instruments.
"Web Weaver" is an uplifting tune due to the use of acoustic guitars.  Synthesizers carry the listener deeper into space before the band go into a nice little jam section.  "You'd Better Believe It" opens with swirling synth lines before the band kicks it into high gear.  Possibly the most rockin' track on the album, the recording was actually made live at Edmonton Sundown.
The title track is a piano-driven instrumental that leads into the oh-so-Lemmy number, "Lost Johnny."  One of my personal favorites, which would later be rerecorded for Motörhead's debut album, the song features Lemmy Kilmister playing all guitar parts and singing.  While the Motörhead version was more of a hard rocker, the original is much more soothing and psychedelic, which I think is very fitting for this album.  The following track is the third and final instrumental, "Goat Willow," which simply serves to lead into the closing track.  "Paradox" was recorded at Edmonton Sundown, like "You'd Better Believe It," and is one of the album's jam-based songs.  The recording sports a relaxed, seemingly distant guitar solo and a hypnotic refrain, which brings the listener to the end of this cosmic journey.
Greatest album of all time.  End of story.  I highly recommend you check out this masterpiece.  You can listen to it on YouTube (with bonus tracks) here.


Rating: 5 / 5
Top Tracks:
D-Rider
Lost Johnny
The Psychedelic Warlords (Disappear In Smoke)
Paradox

Human Parasite -- Proud to Build the Insidious Catastrophe (review)

Artist: Human Parasite
Album: Proud to Build the Insidious Catastrophe
Genre: slam death metal
Year: 2010
Label: SFC Records

To be honest, I was not expecting anything particularly great with this record, but this thing stomps pretty damn hard!  Human Parasite marry the styles of Dying Fetus and early Devourment into a slamming beast that stops at nothing.
The album opens with a sample from the 1987 film Predator (if I'm not mistaken) before the band comes roaring in.  Filled to the brim with blast beats and crushing grooves, Proud to Build the Insidious Catastrophe is the perfect album for those seeking unadulterated slamming brutal death metal.
For the most part, Human Parasite feels like Dying Fetus, just without the overt technical wizardry.  The grooves are very reminiscent of Fetus's earlier output (early 2000s), but these French deathbringers manage to bring some variation to the table.  The album is dotted with heavy slam riffs reminiscent of Devourment's heyday.  The title track and "Spreading Pain..." both devolve into pulverizing slams that are sure to force the listener to bang his or her head until their skull splits wide open.  The album closer (which is listed as a bonus track for some reason) feels like straight Devourment worship to me with slam upon slam upon filthy slam.
One unique feature of this band is the vocals.  Performed by an individual called "Trash," I would describe his style as the middle ground between John Gallagher and Wayne Knupp.  To my ears, they sound purely inhaled and pig-ish, like a wild hog ready to charge.  Trash's vocals definitely stand apart from the low gurgling of most slam vocalists (variation is a good thing, guys).
All in all, this album may not be perfect, or even the best slam album, but if you are looking for some crushing grooves, give these guys a listen on YouTube here.


Rating: 3.5 / 5
Top Tracks:
Proud to Build the Insidious Catastrophe
Tormented by Psychopathic Soul
Spreading Pain and Cum As an Evangelical Way

Naked City -- Live In Bremen (review)

Artist: Naked City
Album: Live In Bremen, Germany
Genre: avant-garde jazz
Year: unknown
Label: bootleg

This is sort of my introduction to Naked City (I have the first two PainKiller albums, so I'm familiar with the style).  Naked City is the brainchild of the wildly talented John Zorn and stands as the first group to meld the stylings of jazz with grindcore.  Who would have thought such a combination would actually work?  Now Naked City is considered one of the most influential (and innovative) grind bands of all time.
Before the release of their debut album Torture Garden (or even Zorn's preceding album for which the band was named), someone got a solid recording of them playing live in Bremen in November of '89.  The only piece of the puzzle that seems to be missing is the vocalist, Yamatsuka Eye.  Over the course of an hour and a quarter, the band lays down twenty-eight tracks ranging from smooth jazz to spastic jazz/grind.  The band covers a number of pieces, including the themes of Hawaii 5-0, Body Heat, and Rosemary's Baby.  Mixed in with the familiar pieces are Naked City's signature jazz-blasts (which must have been a shock to the audience, right?).  My personal favorite is "Torture Garden" which Zorn dedicates to Mick Harris (Napalm Death, PainKiller).  Zorn and crew also blast through "Victims of Torture," "Blood Duster," "Blood Is Thin," and a handful of other tracks that would appear on Torture Garden.
Zorn really shows off his chops in this performance.  One moment he's smooth and relaxed, the next he goes berserk on his alto sax.  The drummer, Joey Baron, shows that he is adept at playing various different styles, from jazz to punk to surf.
Overall, this is a nice little (I mean long) live bootleg that I would recommend to fans of Naked City and John Zorn.  It's free to download from Blogged and Quartered here.


Rating: 3.5 / 5
Top Tracks:
Hawaii 5-0
The List of Adrian Messenger
Torture Garden
Rosemary's Baby
Saigon Pick Up

Behemoth -- The Satanist (review)

Artist: Behemoth
Album: The Satanist
Genre: blackened death metal
Year: 2014
Label: Nuclear Blast Records

When Behemoth released their first album since frontman Nergal's successful battle with cancer, there was a massive uproar across the internet.  The Satanist scored pretty high on many peoples' year-end lists for 2014, but I chose to skip over this one.  I never have been a fan of Behemoth.  At the time, I was only familiar with the song "Slaves Shall Serve" and possibly the new single "Blow Your Trumpets Gabriel."  Frankly, the Polish black/death giants just were not my cup of tea, but I have finally come around to listening to their latest effort -- three years later... and what an album it is!
The album opens with the aforementioned "Blow Your Trumpets Gabriel," which easily has one of the greatest metal riffs ever written.  The song is a constant build-up of tension that finally explodes into a whirlwind of blast beats and guitar leads.  I really like how Behemoth incorporate horns into the composition, as they add a nice atmospheric touch.  "Furor divinus" is a straight blaster that closes with a bang, and "Messe noir" oscillates between atmospheric mid-tempo rumbles and controlled blast beat assaults.
"Ora pro nobis Lucifer" is dominated by rolling double bass drumming and has the most memorable chorus on the whole album.  The band delivers a crushing breakdown and killer guitar solo before transitioning into the next track.  Like "Furor divinus," "Amen" is filled to the brim with high-octane blast beats.  Despite the very straightforward nature of the album so far, the band manages to keep the formula interesting with occasional symphonic elements, a gripping atmosphere, and memorable riffs.
The album's second half sees the band moving in a whole new direction entirely.  The title track brings in stronger rock elements while maintaining the dark atmosphere and death metal intensity.  The guitar solo at the track's climax is easily one of my all-time favorites.  The entire song was clearly built around the solo, as the tension built up during the verses and chorus is finally released in a torrent of notes.  "Ben Sahar" also has a more rock-oriented feel to it, accompanied by choral arrangements that give the track an epic feel.
"In the Absence ov Light" at first seems to be a return to Behemoth's repertoire of blast beats and pure black/death riffage, but an abrupt spoken word passage throws the listener for a loop.  A saxophone and acoustic guitars provide a backdrop for Nergal's monologue, delivered in the Polish tongue.  The final passage of the song consists of a droning, melodic riff accompanied by a mechanical drum build-up.  An intense feeling of despair washes over the listener as the instruments fade into blackness and the final track billows through the speakers.  "O Father O Satan O Sun!" is one of the best album closers I have ever heard.  Nergal layers multiple vocal parts to create a powerful choral effect that melds perfectly with the intense instrumentation.  The final passage seals the package perfectly with another spoken passage.
The Satanist is a powerful composition which explores a number of different ideas over its 44-minute running time.  This record easily rests among the greatest death metal albums of all time.  I am anticipating their next studio effort, but until then you can give this masterpiece a listen on YouTube here.


Rating: 5 / 5
Top Tracks:
The Satanist
Blow Your Trumpets Gabriel
O Father O Satan O Sun!
Furor divinus

Bloodbath -- Grand Morbid Funeral (review)

Band: Bloodbath
Album: Grand Morbid Funeral
Genre: death metal
Year: 2014
Label: Peaceville Records

When a band changes their style, they often generate a very mixed reaction among their fanbase.  Bloodbath are veterans in the modern death metal scene, and their fourth studio album sees the band changing things up a bit.
Grand Morbid Funeral is the embodiment of the old school death metal revival.  The band conjures a swirling atmosphere of absolute Swedeath filth, paying homage to their predecessors (Entombed, Dismember, etc.) yet at the same time keeping it fresh.  Each track is heavy-as-fuck yet offers up something unique.
The first two tracks set the stage (I'd call it a one-two punch).  Chock full of dirty, thrashing riffs and crushing breakdowns, the band refuses to hold back their fury.  "Anne" slows the tempo a bit with a gnarly, pinch harmonic-laden riff, and "Church of Vastitas" ventures into slow, churning doom territory.  The mood is set perfectly for the riff-heavy beast "Famine of God's Word" (arguably Bloodbath's best song).  The second half of the track is a chuggy breakdown overlaid with an ominous melody that builds in intensity until it finally erupts into a flurry of blast beats and shredding riffs.
In my opinion, the second half of the album is a little stale.  "Mental Abortion," "His Infernal Necropsy," and "My Torturer" fail to stick; however, "Beyond Cremation" and "Unite In Pain" manage to berate the listener with catchy riffs.  The title track closes the album with a slow funeral procession.  The pure essence of death doom metal is conveyed through the crushing riffs and distorted, pained vocals.
The main point of contention among Bloodbath fans seems to be the band's new vocalist, Nick Holmes (Paradise Lost).  I remember people complaining that he didn't fit the music, and his vocals sounded "weak."  I could not disagree more!  Old Nick fits the old school death style of this album perfectly.  What kind of '90s Stockholm death worship would be complete without one of the old breed amongst their ranks?  His vocals are powerful and nasty; a mixture of gloom and anger that melds well with the album's filthy production.
I highly recommend this album to anyone who enjoys old school death metal, particularly fans of the Stockholm sound as well as fans of early Asphyx.  You can give Grand Morbid Funeral a listen on YouTube here.


Rating: 3.5 / 5
Top Tracks:
Famine of God's Word
Grand Morbid Funeral
Total Death Exhumed
Let the Stillborn Come to Me

Dying Fetus -- Destroy the Opposition (review)

Artist: Dying Fetus
Album: Destroy the Opposition
Genre: brutal/technical death metal
Year: 2000
Label: Relapse Records

This year marks the 17th anniversary of the release of Dying Fetus's third full-length, Destroy the Opposition.  This album stands as one of my personal favorites in the death metal genre, alongside such classics as Leprosy and None So Vile.
Dying Fetus are a brutal death metal band from Baltimore Maryland.  Formed in 1991, the band has released album upon album of grade-A death metal.  Each release is jam-packed with memorable riffs, technical fury, and crushing grooves, and their 2000 outing is no exception.
The opening riff of "Praise the Lord (Opium of the Masses)" is an infectious groove that hits like a train without brakes.  The band wastes no time getting to the point as they sling riff after riff at the listener, supported by Kevin Talley's rapid-fire blast beats (I might add that the drum production on this album is among the best).  The title track follows, and closes with a cataclysmic breakdown as Gallagher and Netherton command the listener to, as they so eloquently put it, "DESTROY."  The trade-off vocals are signature of Dying Fetus's style.  Netherton bellows in a fashion reminiscent of the Florida scene while Gallagher delivers a more guttural growl akin to Frank Mullen of Suffocation.
The band's lyrics are easily some of my favorites.  Vicious and dripping with social commentary, Dying Fetus step away from the stereotypical gore lyrics of most brutal death (not that I have anything against such themes).  The lyrics to "In Times of War" detail the aftermath of nuclear Armageddon, while "Praise the Lord" criticizes those who use religion as a justification for violence.  The band leave few stones unturned as they tear modern society to pieces.
Tracks vary between blistering attacks ("Born In Sodom" & "Pissing In the Mainstream") and groove-driven chugfests ("Epidemic of Hate").  Every riff and breakdown is expertly crafted and executed with precision.  Nothing seems out of place with this record, and every track packs a deadly punch.  I encourage everyone to give this record a spin.  You can listen to it on YouTube here.


Rating: 5 / 5
Top Tracks:
In Times of War
Praise the Lord (Opium of the Masses)
Justifiable Homicide

Mayhem -- Grand Declaration of War (review)

Artist: Mayhem
Album: Grand Declaration of War
Genre: avant-garde black metal
Year: 2000
Label: Season of Mist

Mayhem (or The Trve Mayhem) are regarded as one of the most important bands in black metal due to their debut album's significance in the second wave; however, I have chosen to explore their discography starting with their controversial sophomore album.  And what a strange album it is.  Grand Declaration of War is as inventive as it is absurd.
The record functions as a single unit, with each track flowing into the next.  Many of the songs are broken into two or three separate tracks.  This abnormal structuring matches the music perfectly.  The album has a mechanical sound, with crisp, calculated drums and cold, buzzing guitars.  Songs like the opening "A Grand Declaration of War" and "View from Nihil (Part I of II)" have a strict sense of martial order, filled with the rattle of war drums.  "A Time to Die" is a technical whirlwind of black metal fury.  The band also expand on their sound with electronic elements.  "A Bloodsword and a Colder Sun (Part II of II)" sees the band wandering far from metal into trip hop territory.  Towards the end of the album, the band places a series of tracks consisting of absolute silence, flirting a bit with John Cage's famous 4'33".
Mayhem's vocalist, Maniac, also pushes the limits of black metal vocals beyond the typical shrieks and rasps.  He also employs processed vocals and cleans later in the album.  What is most jarring about Maniac's performance is the spoken word segments, which make up about half of all the vocals on Grand Declaration of War.  When coupled with the marching beats and tight production, this advances the album's militaristic feel.
Mayhem really came out of left field with Grand Declaration of War, but it seems they toned down their experimentation on future releases, sadly.  Perhaps that is why this record stands out not only in Mayhem's discography, but in the realm of black metal as a whole.  Give this album a listen on YouTube here.


Rating: 4 / 5
Top Tracks:
A Bloodsword and a Colder Sun (Part II of II)
A Grand Declaration of War
Completion In Science of Agony (Part I of II)
A Time to Die

Odraza -- Esperalem tkane (review)

Band: Odraza
Album: Esperalem tkane
Genre: avant-garde black metal
Year: 2014
Label: Arachnophobia Records

"Odraza" is Polish for "revulsion" or "disgust."  Hailing from Silesia, Odraza is a two-piece metal outfit whose sound is best described as urban, nihilistic black metal.  Their music reflects on such topics as depression and the abuse of alcohol.  Odraza's Esperalem tkane (meaning Woven with Esperal -- a drug used to treat alcoholism) is a bleak vision of modern urban society, rife with drugs, violence, and vanity, yet it is performed so eloquently...
The band's style is very progressive yet at times is reminiscent of old-school black metal.  The album is laced with sounds of the urban sprawl.  "Niech się dzieje" opens with the sound of a passing train shaking the walls of a building, immediately bringing to mind the image of a filthy apartment situated next to the tracks (a la The Blues Brothers).  "Esperalem tkany" features an atmospheric sample that evokes a bereft alleyway.  The urban decay is not only limited to outside sounds on this record; the instruments advance the story set in motion with the rattle of the train.  The guitars have a gloomy texture to them, and the bass grumbles in the filth of the gutter.  The vocals are a harsh roar, like that of a crowd shuffling along on the sidewalk.  During "Próg," the vocalist breaks out into a violent coughing fit, which brings to mind the repulsive filth of the album cover.
And that is exactly what the band is aiming for: filth.  Revulsion.  Odraza.  Yet the Polish duo manage to lace the putridity of their metropolitan soundscape with some beauty.  Softer passages dot "Esperalem tkany" and "Próg," and the album closer is a rather somber affair.  Regardless, Odraza is unrelenting in their vehemence.  The music is as passionate as it is experimental.
Odraza has not only put forth great effort with Esperalem tkane, but they have shown that they are a force to be reckoned with in the Polish black metal scene.  You can immerse yourself in this bleak soundscape on YouTube here.


Rating: 5 / 5
Top Tracks:
Esperalem tkany
Próg
Tam, gdzie nas spotkamy

Seagulls Insane and Swans Deceased Mining Out the Void -- Seagulls Insane and Swans Deceased Mining Out the Void (review)

Band: Seagulls Insane and Swans Deceased Mining Out the Void
Album: Seagulls Insane and Swans Deceased Mining Out the Void
Genre: post-black metal | drone
Year: 2011
Label: Witching Hour Productions

Seagulls Insane and Swans Deceased Mining Out the Void is a black metal band from the Silesian region of Poland.  The masterminds of this beast are the established Polish metal purveyors Havoc (ex-Behemoth) and Nihil (Furia, Cssaba).  With this particular project, they play black metal wrought with industrial and drone influences, blanketed in an atmosphere of anguish and mystery.
The album is not composed of songs so much as it is split into five distinct parts that flow together, labeled I-V (how convenient).  The compositions are littered with droning feedback and haunting melodies.  Keyboards and electronic effects expand on the textures created by the guitars and grinding bass.  The drums have a stark, mechanical feel to them, which I feel melds well with the overall sound.  For the most part, the band trudges along at a slow pace, but the tempo occasionally picks up, like on the midsection of the first track.
The vocals are performed by Nihil and take the form of a gruff snarl.  Unlike some of his other projects, the lyrics are entirely in English (he often writes in his mother-tongue).  The vocals stand out the most on "II" when the line "Only to animate the dead world again / With a maniac ritual of inspiration" is chanted over and over in rhythm with the steady drum beat.
Other stand-out moments include the swirling, eerie melody that pops up on "III" and the plodding drone of the album closer.  The Polish duo successfully, as they put it, "voyage into limitless abyss and emptiness."  I really hope these guys put out a followup to this release, but it seems they prefer to keep their activities under wraps (at least on this project).  Give this album a listen and experience the crushing gloom for yourself here.


Rating: 3.5 / 5
Top Tracks:
III
II

Project Nefast -- Dogma (review)

Artist: Project Nefast
Album: Dogma
Genre: psychedelic black metal
Year: 2016
Label: independent

This review comes in anticipation of Project Nefast's forthcoming album, Sex Money Power.

Project Nefast hail from the Netherlands and deliver a hypnotic, droning form of black metal.  Their sophomore full-length, Dogma, is rather simple, yet the Dutch trio manages to drown the listener in a whirlwind of psychedelic noise.  The album consists of a single, 36-minute track titled "Obsession" which, according to the band, is subdivided into four distinct movements.
The first section consists of droning noise and light guitar feedback which creates a soothing atmosphere that is juxtaposed with the vocalist shouting an unintelligible phrase over and over.  The droning sounds very light and soft despite the fact that it is drowning out the vocalist, who is clearly shouting.
The second movement interrupts and takes the track in a different direction.  The drums provide a solid foundation for a methodical bassline, and the guitar takes center stage, building in intensity over time.  The drummer breaks out into a steady blast beat as the guitar riff becomes a wall of sound.  This passage seems to flow over the listener like the ocean tide.  The vocalist returns, seemingly distant amidst the shimmering atmosphere.
Out of nowhere, the band abruptly stops, snapping the listener out of their trance.  The guitar begins a new riff, this one much slower and more doom metal in nature.  Feedback fills in the gaps between each note, and the vocalist continues to wail as the drummer plays a slow, thumping beat.  The song takes on a heavy, oppressive nature.  It seems to weigh down on the listener, dragging them deeper into the depths.  Over time, the riff becomes a single droning note repeated ad nauseam until it fades, leaving only the bass and drums to steadily continue.
The final movement builds off of the beat and bassline of the previous one.  The focus is a hypnotizing guitar jam that is drenched in psychedelia.  The intensity builds and crashes repeatedly, like rolling waves, until the track finally comes to a close.
This release shows the band's ability to compose and execute lengthy, singular pieces.  The methodical nature of the music adds to the psychedelic atmosphere created by the guitars.  I am really looking forward to the band's work in the future!  Download this album for free from Project Nefast's bandcamp here.


Rating: 4 / 5

Boxhead Ensemble -- Dutch Harbor - Where the Sea Breaks Its Back (review)

Artist: Boxhead Ensemble
Album: Dutch Harbor
Genre: post-rock | drone
Year: 1997
Label: Atavistic Records

I picked up a copy of this CD while browsing the avant-garde section of Wuxtry Records in downtown Athens.  On occasion, I come across an album that really blows me away; although, I wouldn't use such terminology to describe this particular work...
Dutch Harbor - Where the Sea Breaks Its Back is the soundtrack to a 1998 documentary film of the same title directed by Braden King and Laura Moya.  While I have not seen said film, the Boxhead Ensemble's compositions have piqued my interest.
This music is best summed up as beautiful yet eerie.  The album is a meld of post-rock and drone mixed with soundbites that I assume are taken from the documentary itself.  The introduction consists of crackling radios and an ominous reed solo that transports the listener to the choppy seas off the coast of Unalaska Island where Dutch Harbor is located.  The droning of the next few tracks juxtaposes a feeling of tranquility in an otherwise harsh environment.  Recordings of shipping yards, trucks driving along snowy paths, and the forces of nature are abundant and only help to transport the listener to the seemingly rustic and chilled land- and seascapes of Alaska.  Despite this being the Boxhead Ensemble's second effort, they do a magnificent job of using nothing but sound to achieve such vivid, peaceful imagery.
The droning soundscapes are broken up by passages of guitar noodling on "Captain's Bay Road" and the full-on jam session that is "At Sea."  Dutch Harbor is also interspersed with a number of spoken passages.  In "Mother Gromoff," the titular woman teaches the listener various words in a language that I can't seem to figure out.  The final track, "In Closing," features a man by the name of Buck Rogers talking about Manifest Destiny and the westernization of Unalaska Island.
Aside from the spoken word segments, the Dutch Harbor soundtrack is almost entirely instrumental.  The one exception to this is "Ebb's Folly," which is the only track to feature vocals.  The song consists of a strummed guitar line backed by soft droning noise.  The vocalist is passionate yet tender as he delivers the somber lyrics.  The melody drifts on soothingly until the guitars are drowned out by a crescendo of abrasive noise.
The Boxhead Ensemble eloquently paint an image of a relatively bleak, yet peaceful Unalaska Island.  I hope to pick up a copy of the group's followup, The Last Place to Go (Recordings from the Dutch Harbor European Film Screening Tour), but until then I plan to continue enjoying this masterpiece.  You can listen to the soundtrack on YouTube here.


Rating: 5 / 5
Top Tracks:
Ebb's Folly
Captain's Bay Road
In Closing
Introduction
Ship Supply

Slaughterbox -- The Ubiquity of Subjugation (review)

Artist: Slaughterbox
Album: The Ubiquity of Subjugation
Genre: technical/melodic deathgrind
Year: 2011
Label: Amputated Vein Records

My introduction to this band came from my interest in finding the world's fastest drummer.  A number of forums pointed to Slaughterbox, specifically their song "Fit for Human Consumption."  I checked it out, and it's safe to say that this was not a letdown.  Pete Chavez is an absolute machine behind the kit.  Whether or not his playing is legit or computer-aided is up for debate, but the speed of this album is, without a doubt, undeniably insane.  Tracks like "Arrogance and the Loss of Human Dignity" and "The Head Table" showcase the band's ability to play highly-technical compositions at (nearly?) inhuman speeds.
Slaughterbox is first and foremost a tech-death band in the vein of Viraemia, but they manage to bring in unique elements (aside from their ridiculous drummer, of course).  Each track showcases a powerful melodic section that shifts the pacing from a violent wank fest to an emotional, equally wanky one.  The title track even makes use of clean guitar parts combined with buzzing double bass rolls.  These passages set Slaughterbox above their contemporaries in my books.
One last feature that sets this album apart is the vocals.  They are a combination of pig squeals and high-pitched shrieks, and they're all done by the drummer!  His vocals definitely take some getting used to, as he often sounds like he is about to completely blow out his voice, but with time the vocals seem to meld nicely with both the technical and melodic sections.
I highly recommend this album to fans of Brain Drill, Viraemia, and Origin.  Definitely not the kind of music that can be appreciated on the first listen, but this album is a real treat if you give it time.  You can stream the album on YouTube here.


Rating: 4 / 5
Top Tracks:
Fit for Human Consumption
The Ubiquity of Subjugation
Manifest Destiny of the New World Order

Implore -- Depopulation (review)

Artist: Implore
Album: Depopulation
Genre: blackened deathgrind
Year: 2015
Label: Pelagic Records

I am writing this review in anticipation of the Friday release of the band's sophomore album.

Implore are a relatively new trio from Germany, yet they sound as if they are veterans of the European metal scene.  The band's sound is a seamless mixture of crusty grindcore and HM-2 buzzsaw death metal (a la Dismember) with a blackened overtone.
The band rips through fourteen tracks in under thirty minutes like any good grindcore band would, but they manage to pack the record with diverse arrangements.  From short bursts like "Cadavers On Parade" to more drawn out numbers like "Hegelian Dialectic," Implore manage to weave together an aggressive masterpiece that not only pummels the listener but also provides more crushing sections.  "Ruthless Conspiracy" and the aforementioned "Hegelian Dialectic" both showcase the band's ability to slow down the tempo without losing steam.
Depopulation manages to stand as a single body of work as opposed to fourteen individual parts thrown together thoughtlessly.  Each song bleeds into the next by means of brief feedback interludes; therefore, the flow of the album is never broken by silence or a (often tasteless) track fade-out.  Samples are also used throughout the album, but the band does not use them as a crutch to spice up an otherwise boring album.  Rather, brief samples are woven into the compositions as a means of enhancing the dark atmosphere already conjured by the guitars.
Implore does not just ravage the listener with wave after wave of blast beats and riffs.  They also tastefully weave crushing breakdowns into their compositions.  Tracks such as "Sentenced" and "Bohemian Grove" prove to be excellent headbangers amongst the grinding chaos.  The album closer, "Inexorable Malignancy," contains one of the greatest breakdowns I have ever heard (and I've listened to a lot of slam...), and the band top it off with a powerful lead that I feel punctuates the album perfectly.
This is easily one of the best albums of 2015, and it's exciting to see that it is only Implore's first full-length.  Be sure to give this record a spin; you can stream it on YouTube here.


Rating: 4 / 5
Top Tracks:
Inexorable Malignancy
Epicyte / Parasite
Sentenced
Bohemian Grove