Quick Album Thoughts | January & February 2018


Well, it’s that time again, fuckers and fuckettes. Time for a quick rundown of albums from the last couple months that I just didn’t have time or never got around to reviewing in full. This is something that i’ll be doing every couple months going forward, where I’ll compile 8 albums that I enjoyed (or just wanna take a nice big shit on) and give a mini-review to, because as we all know by now, i’m one of the hugest, most overly-obsessive dorks out there and I listen to A LOT of shit, so not every album can get a full review. I just don’t have that kind of time. Not saying that any of these can’t ever get a full review down the road, they can (if they’re good enough), it’ll just take a while. But for now, this will have to do.

So enough of my needless rambling, here are 8 really good albums from the last 2 and a half months that deserve some spotlight.

Boethiah: Invocation of the Xenolith

Starting off with some dirty, nasty and ridiculously loud and crushing west coast Death Metal. This is the debut full-length from California’s Boethiah, that had quite a few people talking these last couple months and with good reason. This is a short and sweet slab of intense, harsh and crushing old school style Death Metal, filled to the brim with sharp, piercing riffs, thick, crushing drums and some of the gnarliest growls I’ve heard this year so far. Simple, effective and downright brutal, nothing much else to say. The wave of quality OSDM continues with this one. If you dig Gatecreeper (which you should), then this is for you as well.

Hellish God: Evil Emanations

Next we have some Death Metal of the Italian variety. Italy’s Hellish God with their debut, through Everlasting Spew Records, a label that I’ve just recently discovered and am so far impressed with what they have to offer. The best way I can describe this one is a less frantic Fleshgod Apocalypse or Hour of Penance (duh, I mean they are from Italy). Their sound is more on the technical side of the spectrum, but not as fast, vicious or ridiculously fast-paced as those two. It’s more of a straightforward style, but it works just as well. You can still expect some harsh riffs, blasting drums and bellowing growls done very well, just not with the same level of aggression or ferocity. Some may even call this a watered down version of those two, but to me, it’s still enjoyable and i’d still recommend it. It’s the niche Italian Death Metal sound (or what seems to be so) and it’s good for what it is.

Czort: Czarna Ewangelia

Part Marduk, part Watain, a little post-Gaahl Gorgoroth thrown in and this is pretty much the end result. This is mostly mid-paced, play-by-numbers Black Metal with a vortex of tremolos, some sharp, Thrashy riffs, muddy, rumbling drums and pretty nasty shrieks. Pretty simple but still decently enjoyable. There are even a few moments in this that sound like Dimmu Borgir if they didn’t blow up and start using symphonies or whatever the fuck they use. That’s a plus. Again, pretty good stuff overall from these Polish newbies. Worth a shot!

Hoeverlord: Satanik Küntkvlt

Nasty, sleazy and intense Blackened Thrash/Speed Metal that harkens back to the days of the groovy, punky style of Venom, Bathory and the likes, with it’s own modern twist, implementing the filth and ferocity of the likes of Carpathian Forest, Destroyer 666, Gospel of the Horns, etc. Very heavy and unrelenting sound-wise, but with some very catchy riffs and grooves that enhance it greatly, and completed by sick, sleazy vocals that sound like they’d come from Lemmy if he went the Trve Kvlt route. Just a quick, 36-minute ass kicking of hellish proportions, the way Blackened Thrash should be. Perfect for sacrificing virgins AND whores to the desolate one.

Stormbane: Eldritch Devotion

Continuing down the Blackened Thrash route, we have some more hard-hitting stuff from the spider-filled land down under. Australia’s Stormbane offer up some more fast, intense riffs, pounding drums and gnarly shrieks that make up a relentless Thrashy Black Metal assault that’ll impale you like shrimps on the barbie. An easy 34-minute listen, but anything but easy on eardrums. Pretty damn good stuff here. Old school-spirited, no frills, no fancy-shmancy shit, just pure Thrashy Blackened filth for those who crave such. These Aussies know what they’re doing.

Rotheads: Sewer Fiends

Filthy, slimy, ghastly Death Metal that sounds like it was pulled straight the fuck out of the early 90s and dropped into 2018. You’ll hear some Death in here, some Morbid Angel, some Dismember and whatever other notable band from that era under the yellow sun. This is some really good, grimy stuff that’ll please any old school fan for sure, much like Gruesome did when they first bursted onto the scene a couple years back, and are hopefully going to continue to do when their next outing is released. This is another band to look out for this year and in the near future. If you like your Death Metal muffled and filthy, then get your ears on this one, stat! It’s perfect for all of you grimy bastards! Great stuff.

Druid Lord: Grotesque Offerings

Closing off with a couple of new stellar outings of the Doom variety. This is one that took me a while to give a listen to, which I finally did and regret waiting for so long. Druid Lord have been creating some buzz with this one and for good reason. This is thick, crunchy and downright grimy Death Doom in the vein of early Acid Witch, and is definitely on par with them. Just full of slow, head-crushing riffs with some sweet melodies in between, slow, dragging drums and nasty, snarling vocals that sound menacingly evil and disgustingly vile all at once. This is my first good listen of this band and it sure as hell made a fan out of me. Another great Doom Metal outing, and it may get a full review in the future.

Hooded Menace: Ossuarium Silhouettes Unhallwed

Finally, we have some more harrowing Doom of the Death spectrum with the latest from a band who’s last album I wasn’t a big fan of, but have totally redeemed themselves here. Hooded Menace return with probably their best outing yet, with a more epic and vibrant feel than before, while keeping the crushing heaviness and intensity that they’re known for. This is excellent stuff and another Doom Metal album that deserves recognition. Quality Death Doom done right. Crushing riffs, pounding drums, bellowing growls and a murky but robust atmosphere, the whole works. If you’re looking for extreme Doom with some life and extravagance to it, this and the album above are highly recommended.


And that’s all for now, folks. Give these a listen for sure if you’re interested. 2018 is off to a pretty damn good start and I don’t see it slowing down anytime soon, there are a LOT of releases coming that i’m looking right the fuck forward to that are almost guaranteed to be fucking rippers. So expect another one of these in the next couple of months. This blog isn’t slowing down anytime soon either. Godspeed, nerds!


Album Thoughts | Knelt Rote: Alterity

2017 brought us some slimy, dismal and noisy Death Metal of significant quality. From Impetuous Ritual, to Spectral Voice, to Full of Hell, to Contaminated, we got some gems for sure. 2018 is off to a pretty good start too. With some offerings on the horizon that i’m already looking forward to eagerly, like the impending new albums from Grave Upheaval, Our Place of Worship is Silence, Skeletal Remains and some others, this year is shaping up pretty promisingly, in my opinion. Starting things off, however, is this gem right here, the latest full-length album by a sort of hidden gem within the Death Metal and Grindcore stratosphere. Portland, Oregon’s (hell of a scene they have there) Knelt Rote is a name that may sound familiar to some, but I don’t see it uttered by too many. Maybe i’m just looking in the wrong places, but if not, then it’s pretty unfortunate, because they have been around for quite some time now and play a very similar style to the bands mentioned at the top of this paragraph. They deserve many more eyes and ears on them than they have at the moment and hopefully this is the album that gets them there, which it definitely can, because it’s an absolute ripper.

Alterity is the band’s sophomore outing on Nuclear War Now! and their fourth overall and with this one, this band’s sound has only gotten heavier, filthier and more vicious than it ever was. It’s also as versatile and multifaceted as it’s ever been. If you’re looking for something blasty and unrelenting, this has it; if you’re looking for something cavernous and dissonant, you’ve come to the right place; if you’re even looking for something Black Metal-seasoned Death Metal, you can bet your sweet ass it’s here too! This album is a 27-minute assault of noisy, chaotic, Grindcore-infused Death Metal in the same vein as the newer sounds Full of Hell have been churning out, with frantic, old school-style riffs you’d hear in an early Incantation outing and sprinkled in with some Black Metal-flavored tremolos that remind me a lot of early to mid-era Belphegor, all under a muddy, abyss-like atmosphere that would make the likes Impetuous Ritual or Triumvir Foul blush. Again, something for pretty much everyone. It does stand on it’s own, however, and can be recognized as such. Slowly, but surely, these guys are carving their own violent path of dissonance and ear cell-desecrating force, and this album is only the next step.

From the start of Lachesis, you’re immediately thrown into a jumbled pool of hellish noise and soundbites, like something you’d hear from any good Power Electronics act, which the band started out as and it’s members have experience in, just a few seconds before the floodgates open and you’re met with a furious array of blast-beats, tremolos and vicious, frantic riffs fused with the cavernous growls of Gordon Asworth, who has quite a throat, I must say. The nightmare continues with Lineage and Dependence, where the Black Metal influence really shines through and the growls get even more vicious and scathing, with a flurry of menacing tremolos and pounding drums that again, remind me of the early offerings of Belphegor. Great track! The unbridled intensity that this album possesses and the amount it’s able to do in such a short running-time is honestly what I was expecting from the latest Portal and Mammoth Grinder albums, not that those album were bad, this one just tops those in that aspect. Genetic Memory is another example of that with it’s no-bullshit, straight for the throat approach and absolutely impactful execution. Salience is another stand-out to me; a little more paced than the rest, but just as blasty and frenzied. The vocals deserve a lot of props too, they range from dismal bellows to echoy shrieks and both sound equally savage. They complete this package of ungodly chaos like a bow on a wrapped gift. Very well-executed. Those are only the tracks that stood out. The rest of them do just as fine a job of pummeling you with each second they’re given, until Black Triptych (un)mercifully closes it out.

Overall, this may be my favorite Death Metal album of the year thus far. There’s plenty of time to top it, but it’ll be hard to do. I’m sure there will be plenty more quality Death jams in the coming months, like the ones I mentioned above, but we’ll see if they can accomplish that task. This is Grindy Death Metal of the highest and most punishing caliber and it was just as good as I was expecting. Again, if you’re into Full of Hell, Morgue, Vermin Womb, Contaminated or Impetuous Ritual, this should tickle your fancy as well. Vicious, unfriendly and ruthless, the way it should be.

Album Thoughts | Gnaw Their Tongues: Genocidal Majesty

It should be known by now, how familiar this blog is with Gnaw Their Tongues. I mention that name quite often whenever I talk about the uglier, sicker and more horrifying fringes of Extreme Metal. To me, that name and the man behind it is one of the front-runners of said fringes. Known for being perhaps of of the most twisted and vile minds in all of Black Metal and beyond, a mind that hatches some of the most equally twisted and vile Black Metal, Noise, Ambient, Industrial, etc. you’ll ever find, including some of the other projects helmed by him, like Cloak of Altering and De Magia Veterum. Mories has been an entity lurking in the deepest, darkest corners of the Metal underground for well over a decade now and he continues to unleash some of the most disturbing and disgusting material around. It may even get a discography review sometime in the future. For now, let’s talk about the latest piece of cacophonous filth to emit from the throat of this ungodly beast. Strap in, because it does deliver… it is indeed as fucked up as it seems on the surface.

One thing I like about Gnaw Their Tongues, is it’s never repetitive or stunted creatively. Each album or two brings some sort of reinventing of the overall sound and style. While I will admit that his last album was pretty lackluster, Genocidal Majesty picks things right back up again and drops it down an even deeper hole, into even deeper depths of depravity. For starters, this isn’t the usual manic, blast-beat laden, noise-infused Black Metal assault that you’d expect. For this album, the style takes a shift into more noisy Blackened Sludge territory, similar to acts like The Body or Dragged into Sunlight. Just think of either of those bands, but with a much more disgusting and harsher twist. That’s pretty much what this album offers up. From the start of the slow, swampy and super dissonant Death Leaves the World, you’re assured immediately that this was certainly going to be a different beast of an outing, but one that is just as unfriendly and unmerciful on your poor soul. It continues with the crawling and ghastly Spirits Broken by Swords; the first of two tracks to feature the heinous shrieks of the none other than Chip King, which explains the The Body influence. The slower and sludgier style actually fits like a glove and goes together with the other nuances Gnaw is known for like matching socks. It keeps things fresh while keeping it rotten at the same time, something only a madman like Mories can pull off.

Cold Oven has to be my favorite in this batch. It’s in the same vain as the rest of these aural atrocities but it has kind of a weird catchiness to it that I found myself bopping my head to. It’s the best and clearest example of how well-crafted this album is, even at it’s most horrifying and chaotic. Ten Bodies Hanging ups the pacing a little with some muffled blast-beats and more frantic riffs, followed by the second track Chip King contributes his maniacal whales too, The Doctrine of Paranoid Seraphims, which is another slow, swampy and tension-heavy track that you’re dragged through like a corpse through mud. It’s no secret at this point how fucked up and nightmarish a Gnaw Their Tongues album can be, but each album has brought something different to the table, while presenting it all at the same level of extremity and abhorrence. The man behind the madness is surely a jack of all trades, but everything he does orbits the true artistry of filth and disgust that he harvests at his core. I can ramble on and on about it, but to summarize, this is another great offering of Blackened Noise/Sludge/Industrial/Ambient and whatever else is hidden in the wall of ghastly sounds that I haven’t yet picked up on. A bit different in style, but still as vile and punishing as ever.

So, get your filthy, mortal hands and ears on this as soon as possible and allow yourself to be violated and ravaged by the sickening sounds created by the demon channeler himself and the company that assisted. Gnaw Their Tongues has yet to disappoint, then again, it’s hard to disappoint me when i’m such a fiend for disgusting stuff like this. Maybe you’ll think differently, so indulge in it and experience the terror for yourself. The ringing of your dying ear-cells afterward will be well worth it.

Taake, Young and in the Way & a Week of Black Metal Fuckery (Not the Good Kind)


Well, I was going to hold my tongue on this. I thought long and hard about writing something on the events that have taken place the last few days and went back and forth on my decision. On one hand, I’ve already bitched multiple times about Antifa and this new generation of pussified Black Metal “fans” who encourage it, so what would be the point of repeating the same goddamn thing? Also, it’s getting too fucking depressing to even think about at this point. On the other hand, this is sort of a new level and a new low for these assholes that could lead to future issues when it comes to Black Metal bands touring the U.S. in the future and i’d be remiss not to address it. So, ultimately I made the decision to indeed say my piece on this, so here it goes. I’ll try to keep this as short and sour as possible. As we all know by now, last week, Taake were set to embark on a North American tour in March, but things came to an autistically screeching hault when their New York date was forcibly cancelled due to the New York branch of Antifa pressuring the venue to cancel it, accusing Hoest of Nazism and Islamophobia. One thing led to another and a domino effect followed as more and more of his upcoming shows, in cities like Boston, Portland, Los Angeles and elsewhere were either cancelled, moved to other venues or postponed. Well, fast forward to now, and it all has lead to this, as the entire tour has now been canned and it isn’t happening at all. Imagine my shock. Amid this occurrence, Hoest wrote this lengthy statement on the band’s Facebook.

I give him credit. My statement would be much shorter and MUCH less polite.

Now, this isn’t the first time Hoest has been accused of being a Nazi and this isn’t the first time a band has been forced to cancel shows due to these pissants and their need to ruin other people’s enjoyment of things that hurt their feelings, they have been running rampant for a good couple of years now, so this isn’t as surprising anymore, but it still is very much a problem that something needs to be done about. I won’t be surprised in the least if Taake never tours the United States again, nor would I blame them, nor will I be surprised if other Black Metal bands follow suit. This is becoming such a constant nuisance and it’s happening so much more frequently now that it wouldn’t shock me in the least if bands just say “fuck this” and steer the fuck clear of good ol’ ‘Murica and stay in Europe and elsewhere where they’re actually welcomed. Now, the blame doesn’t just fall on these pests; while they are the main cell of this cancer, the blame also lies with promoters who cave in and feed into their demands. As Hoest says in his Facebook post, some of the excuses brought on by said promoters are out of fear of violence and wanting to “protect” the audience and create “safe spaces” for them. As he says, that’s not a need or a desire for the bands or the fans.

The audience knows what they’re getting into (except for ingrates like this), they have always known what to expect and the bands know that they know. Shows in venues just like the ones who are using these excuses have gone on all throughout the history of heavy music. From Motörhead to Taake, from Slayer to Shining, from Judas Priest to Bölzer, wild and sometimes dangerous shows have always been a thing and hopefully always will be. Not just in Metal either; Hardcore and Punk is also known for this. Bands like Earth Crisis and Integrity were known to damn near tear venues to shreds with how off the wall their shows would get back in the 90s. Even today, many local Hardcore shows that I’ve been to have tried to encourage as much chaos as humanly possible. Why? Because that’s what extreme music is about. It’s catharsis, it’s energy and it’s a release of aggression and steam built up from the trials and tribulations of your normal, shitty every-day life. Some bands are just more violent than others, which is fine. Why? Because the fans know what to expect and are prepared for it. How? By DOING THEIR FUCKING RESEARCH.

What I find the most hilarious about hardcore leftists in Black Metal, is that while they may enjoy the art itself, they just don’t get it. They don’t understand the essence of it and they refuse to educate themselves on it, then when they go to a show, or find out about a certain band’s background, it’s a shock and their poor little hearts can’t take it. That’s what lead to shit like this. This lazy, passionless “take whatever is fed to me” mentality is what leads to not only sensitivity to the darker and more provocative fringes of a genre, but stagnation of the genre itself, and honestly, in this era of information at literally everyone’s fingertips, that’s pretty ridiculous. Research and exploration is easier than it has ever been in 2018, so if you don’t do your own goddamn research on a band or genre, it’s your own damn fault when you’re met with an unpleasant experience. Then having the nerve to try to censor it and ruin it for the rest of us and change it to fit your coddled, overly-privileged requisite is the most sanctimonious thing I’ve ever seen from an alleged music “fan”. If you want something that fits your needs better, then go listen to what I now call, Starbucks Black Metal. Go to a Deafheaven show, go listen to Myrkur, go read the guy from Liturgy’s shitty manifesto, do something. Just stay the fuck away from us. If you refuse to educate yourselves on something you want to be apart of, then you don’t deserve to be apart of it. Plain and simple.

Fuck Talib Kweli too. I’m glad you cancelled your show because of Taake. Diabolic > You.

So, bottom line, something must be done. What, I don’t know, but something. It won’t surprise me at all if we start to see a shortage of Black Metal tours here in America soon because of these children. They’re growing by the day and becoming more rampant by the minute and sooner or later it’s going to get out of hand. My only hope is that they’ll just die out and fuck off in the next couple years, but I highly doubt it. If history has taught us anything, it’s that this is far from over and it won’r go away until some course  of action is taken. This is my 3rd Antifa-related rant now an I’m honestly getting sick of it. All I can do right now is speak out. The promoters of these shows could start by telling these people to go fuck themselves, like one of them did when they protested a Shining show. Business is business and they have no right to interfere with it. They also have no right to interfere with our enjoyment of the sick, depraved art that we’re passionate about, and silence and disregard will only go so far.

Moving on…


The other big thing that has happened this week is also something extremely depressing and disappointing for me.

Members of Young and in the Way, a band who 4 years ago released one of my favorite albums of this decade so far, which I reviewed, has been accused of sexual assault by 3 anonymous accusers. As a result of this, they were dropped from Deathwish Inc. and various festivals they were scheduled for and subsequently disbanded and released their own statement on the matter (which I had to get from MetalSucks of all places, as their Facebook has since been deleted).


Now, this statement and situation as a whole is very peculiar and sketchy. I’m not going to say right off the bat that they’re guilty, because again, i’m a believer in due process, but that is quite a knee-jerk reaction that people are going to see as an admittance of guilt. The whole statement/apology is pretty off too. Are they admitting it? Are they not? It seems very back-and-forth to me. It’s just odd. I don’t know what to think, to be totally honest.

All I’m going to say about this is: If they did do this, it’s a shame. Not only because it’s a rotten thing to do, but also because I did love these guys, despite their horrible name and I’ve been clamoring for a new album from them for a good few years now. Guess that’s out the window. Oh well, shit happens. I don’t want this to be another Decapitated-esque situation, because even if they are innocent, this will take a while to recover from, so as always, innocent until proven guilty. I’ll still listen to When Life Comes to Death, because there’s just no way I can not listen to or love that album, but this really does suck. A really fucking good band willing to throw it all away just for some pussy is something i’ll never understand. Again, IF they are guilty… which if they aren’t, that lackluster statement isn’t going to do them any favors.

So, that’s it. It’s been a hell of a week, and not in a very good way. I’m going to go bury my face in my pillows and wallow in my own depressive misery until this all goes away. Sorry if this is a long one, I didn’t intend for it to be. Ahhhh, who the fuck’s gonna read it anyway? Bye. More reviews coming soon.


Bandcamp Roundup | January & February 2018

It’s been a while, but it’s finally back! This is my feature (which will now be bi-monthly) where I share and recommend some quality jams that I’ve come across recently on good ol’ Bandcamp (Spotify can still lick my knob). These are just the 10 gems that I dug the most on the site. Some of which are newer, budding bands and others are ones that I now need to look further into and wonder why it took me so long to find. Again, ALL genres are covered here and it’ll mostly consist of more obscure acts who I think can use the recognition. I hate long intros, so let’s just cut to the chase and look at my latest batch of BC jams to throw your money at.

Ulvegr: Vargkult

Some pretty decent Black Metal from Ukraine. The cover art was an eye-catcher for me and the music itself isn’t to shabby either. This is pretty straightforward Black Metal that treads the line of Melodic ever so slightly, but maintains the dirtier and more traditional side of things greatly. Full of blast-beats, tremolos and grimy shrieks, this is everything you’ll ever find in a cold, harsh, no frills Black Metal outing and it’s pretty well done, a little generic at times, but a good listen nonetheless.

Perpetratör: Altered Beast

It’s been a pretty quiet year for Thrash so far, but we finally got some life here. This is fast, hard and to the point Portuguese Thrash Metal that’s loud and modern production-wise, but very old school at heart and uses that influence quite well. Just fast, sharp riffs allover the place, intensely fast drumming and snarly yells to top it off. Very fun, very old school and very much worth a shot if you’re into these “retro” Thrash acts that are budding up everywhere. Not exactly Power Trip-level, but really good regardless.

Graveyard Lust: Necroluxxx

Blackened Punk isn’t something I come across too often these days. Punk-infused Black Metal, yes, but straight up Punk that takes heavy influence from the realm of the grim and frostbitten? Not so much. Well, here we have a rare and really good gem within this realm that has crept it’s way into 2018. Australia’s Graveyard Lust plays fun, abrasive and dirty Punk with dark, brooding guitars and muddy, pounding drums, completed with manic, sleazy yells that would make any old school punk blush. Very dark but fun stuff by a band that has my full attention and will definitely be in line for a full review here in the future.

Noose Rot: The Creeping Unknown

The debut demo by the newest project of grimy, filthy and unrelenting Death Metal, featuring members of Wolvhammer and Gatecreeper. Noose Rot is no different in bringing forth a vile assault of old school Death Metal that absolutely tears into you with barbaric force from the first second to the last. This has been creating some buzz in the Metal underground in recent weeks and it’s pretty damn obvious why. First off, anything associated with Gatecreeper is bound to be a winner in my book, secondly… well, just give the damn thing a listen and you’ll know! Ruthless OSDM from start to finish that will definitely remain on my radar for the foreseeable future. I eagerly look forward to their next outing.

Eigenlicht: Self-Annihilating Consciousness

Atmospheric and somewhat experimental Black Metal from Washington. Cold and kinda Doomy with slow, crawling guitars, patterned drums and dueling shrieks and cleans. Some might call this Black Metal of the cascadian variety, but this is a little above that in my opinion. It isn’t Wolves in the Throne Room levels of hipster dickery, it has it’s own dimension of heaviness and uniqueness without straying too far from it’s essence. This is very enjoyable stuff if you’re into Atmospheric Black or even Blackened Doom and don’t mind a hint of experimentation with some extra elements thrown in. So, at least give it a good listen or two.

Kleptocracy: S/T

Some filthy, Crusty Finnish Grindcore. Everything you would expect, hyper-fast blast-beats, gnarly, intense guitars and bellowing growls for days… well, minutes. Nothing much else to describe here, just a swift kick in the face in the form of a less than 20-minute assault of everything I just mentioned. Nothing fancy or innovative, just a quick,, vicious beating of nasty, Grindy proportions.

Magnanimus: Impure Ways Beyond Shadows

More grimy, dismal Death Metal, this time from Chile. A little faster-paced and louder in the production, but just as primal and in your face as the last outing mentioned here. A bit of a Grind influence in this one as well. Blasty, dirty and ruthless is the best way to describe it. Again, nothing much else to describe except for how mercilessly this beats you senseless from front to back and does it in the most exhilarating way possible. Grindy Death at it’s ugly finest.

Thy Dying Light: Forgotten by Time

If you weren’t a fan of the cascadian stuff I talked about earlier, then you’ll be pleased with this one! This is old school-style Black Metal that’ll make you want to go into the deepest fringes of your nearest forest and slaughter unsuspecting hikers with the sharpest of blades. Just loud, dissonant and scathing; the way old school BM should be done. Sharp, piercing riffs, muddy drums and nasty as fuck shrieks that enhance the already cold and ghastly atmosphere that surrounds the chaos. Simple, harsh, fucked up and probably one of the better underground Black Metal releases I’ve come across so far in the first 2 months of 2018. Definitely worth a listen for any purest under the red sun.

Wake: Misery Rites

Chaotic and eviscerating Crust-infused Grindcore, in the vein of stuff like pre-Death Metal Full of Hell, The Drip and Outer Heaven. This band has been around for a while now and I now have to give their other albums a listen. This is some vicious shit that’ll fuck you up in no time. Just bleak and unwelcoming stuff. Intense, hammering drums, rapid-fire riffs and some of the most brooding growls of any act on this list and beyond. If you’re just looking for super aggressive chaotic and abrasive Grind, then this is definitely right up your alley… and it’s an alley anyone else should not dare to go down.

Head First: Michael’s Leftover Pasta

Simple, fun, mindless Hardcore Punk. Quick, easy and fun. Nothing more. Basic, bouncy guitars, muffled drums and snarly vocals that could easily fit into the 80s and 90s. Very old school spirited and meant to just serve as a soundtrack to a trip to the skate park… or whatever other strenuous activity you youngins do. Not my usual forte, but still enjoyable for what it is.


That’s all she wrote for now, my friends. Again, this will now be a bi-monthly thing, as I am on Bandcamp quite often, so I’ll be back in 2 months with the next one. Until then, give these a listen and take em’ or leave em’. There’s something for everyone in there, i’m sure. 3 new reviews coming this week! Stay the fuck tuned.

Just My 2¢: The Florida Shooting and Our Need to Broadcast Literally Everything on the Internet


So, in the latest installment of Let’s Give Liberals Another Reason to Not Shut the Fuck Up About Gun Control, another dude lost his shit and went on a shooting spree in Florida (no surprises there) and blasted 17 innocent students to their deaths and landed himself into police custody and probably the wet dreams of edgy, autistic teenage girls. Only the latest in a seemingly never-ending string of shootings that have occurred, one right after the fucking other in the last few years, this one being the 18th… 18th one this year so far. Need I remind you that it’s only February. It’s even getting to the point where it’s not as impactful anymore as it was a decade ago when it happens. Barely anyone expresses any real shock anymore, because it’s so frequent now. Call me crazy, but at this point, I feel like shootings are quickly becoming just another part of modern American culture. It’s on the road to becoming such a normality here, that soon enough, it’ll probably be what terror attacks are sadly becoming for Europe. I don’t know if i’m alone on this belief, but boy oh fucking boy, does it look like that’s where we’re headed. You can blame what you want for it: mental illness, terrorism, whatever, but I don’t see what can really be done at this point. I’m personally all for owning a gun and being armed, but I do think you should have a license and a background check done to own one, but that’s just me. That’s a whole other rant, though. What I really want to talk about here, what REALLY prompts me to write this, is one particular thing that ALSO seems to be well on it’s way to becoming a cultural norm here in the good ol’ US of A.

During the fiasco, one student, while hiding in a classroom, posted a video of it to his SnapChat story, with the caption “OUR FUCKING SCHOOL IS BEING SHOT UP”… because that’s exactly what my first thought would be if some gun-welding maniac was running rampant and I had to run for my life and hide in a fucking closet, to take my phone out and record the whole thing. This is something that I’ve been wanting to talk about for a while now and I feel like this is a good opening to do so. We’re living in a world now where EVERYTHING, and I do mean EVERYTHING has to be broadcasted on the internet. Every little facet of our personal lives needs to be plastered on our timelines, newsfeeds, stories, whatever for the world to see. Even our most intimate, vulnerable and frightening moments can’t be private anymore. It’s honestly getting really annoying. Now to be clear, this isn’t an anti-social media rant by any stretch of the imagination, if you know me, you’ll know that i’m the furthest from opposed to it. I do however, feel like people take it way the fuck too far and feel the need to make it their second reality. Social media has become so normalized and ingrained into our culture that it’s become our library to document all of our successes, failures, dramas and trials & tribulations into a pubic file cabinet for any Tom, Dick and Nancy to open and look into at any time. Even the things that are none of their fucking business and belong behind closed doors. Evidently, this is also true for times where our lives are in fucking danger and our phone will serve no help to us whatsoever. There’s also this example: a man who has his daughter with him recording a Walmart lockdown after another unstable misfit shows up looking to shoot people.

Now, I don’t ever plan on having children, but on the off chance that I do, and I find myself in this sort of situation, call me old fashioned, but i’d be MUCH more worried for my child’s safety than recording the ordeal for a YouTube video. I understand that part of this comes from a place of wanting to spread awareness of what’s going on and all that, but at the same time, there are certain points where making sure your own safety and the safety of those around you is more important than taking out your phone and recording everything. There has to be a line drawn, especially when it comes to something like this. It’s going to get massive media coverage for days anyway. People will know about it regardless. THEN we have this…

If you’re a racist and you’re going to go on tirades like this, whatever, your business, but if you’re going to put it on the internet for all to bare witness to, then you damn sure better be prepared for the shitstorm that will immediately fall upon you right after. Same goes for that Air Force woman who did the same thing a couple weeks ago. (By the way, I only used a Young Turks video here because it was the only video that had this girl’s rant uncensored, I don’t like censoring shit here so I just said “fuck it” and used it. Fuck the Young Turks otherwise).

Now… let’s get to the thing that irritates me the ABSOLUTE FUCKING MOST out of all of this. The thing that really got my wheels turning to write this rant. The thing that i’m sure many other music dorks like myself will agree on.

People going to shows and putting the ENTIRE goddamn thing in their SnapChat or Instagram story.

I’m sure some of you have Instagram and SnapChat accounts and have encountered this before. There are always these people who go to shows and while there, the only way they can enjoy the fucking thing is if they take their phone out and record it for their stories. The entire show. Every last second. To the point where they have over 500 snaps for you to sift through to get through their story. To me, it’s one of the most annoying fucking things that I encounter on social media. Going to shows is great, taking a few pictures and videos is fine, but if you’re so technologically dependent that you can’t put the fucking phone down and just enjoy the show after taking those pictures or videos, then maybe you shouldn’t be going to shows at all. You’re not going to get much out of it if you’re just watching it through a monocle. Then you want to wonder why guys like Maynard James Keenan want to ban that shit at their shows. It’s gotten way out of hand and I can’t really argue with their decisions. Put the goddamn thing down and just enjoy the experience. It’s not hard and much more rewarding that way, ESPECIALLY if you have the privilege to go to every single goddamn show that comes to your area. Rich fucks.

Another instance of this lunacy was on Facebook a few days ago. A dad who’s son died of cancer, posted a picture of himself cradling his kid’s dead body while crying (not going to put that picture here out of respect). I understand the sentiment, I do, it’s a sad and devastating thing to go through, but do people really need to see that? Do your family and friends really need to see your kid after he’s passed? His grandparents? Aunts and uncles? Cousins? Anybody? Again, to me, things like these are far too intimate to be shown to the world. social media has given us the ability to turn our lives into these big, dramatic sideshows for everyone to watch. It lets us make our lives look more interesting than they really are and it’s instilled this mentality into us that we need to show everything to everyone at all times to stay connected. It seems like the line has been dramatically blurred between what we share and what we keep private. There doesn’t seem to be any boundaries anymore. The harsh reality of this is: No one actually cares about your personal life. If it doesn’t involve them, then it means nothing to them. People have their own lives to worry about and your dramas and personal woes are not for their entertainment, they’re for you to keep private and resolve!

Again, I don’t mean to sound like an old man yelling at a cloud, i’m not anti-cellphones or anti-social media or anything like that. Also, i’m not downplaying what took place in Florida, all i’m saying is there are just points in life when the physical world is far more important than the cyber one, and the Florida shooting is a prime example of that. If putting the situation in your SnapChat story is the first thing on your mind instead of protecting yourself and helping the ones around you, then maybe you need to take a look at yourself and wonder if you’re obsession with social media is more detrimental than you think. I’m not going to talk about gun control or what caused this to take place, that’s a whole other can of worms that I choose to stay away from, but I really felt the need to speak up on this because it’s been an annoyance of mine for quite some time now and what went down in that school besides the firing of those bullets that claimed those lives is a perfect example why.

So please, folks, leave your SnapChat stories for shitty selfies, leave your racist rants for the dinner table and leave dead kid pictures for BestGore. Life will be much more enjoyable that way.

Album Thoughts | The Black Sorcery: …And the Beast Spake Death from Above


“Bestial Black Metal”, “War Metal” and various other variations of those words are terms that you’ll hear quite a bit in your lifetime as an Extreme Metal fan. It usually refers to a style of Blackened Death Metal that’s played in a more ferocious way than usual with the addition of Grind to the mix. The bands most commonly associated with those terms are some of the most familiar names within Blackened Death Metal, like Revenge, Conqueror, Black Witchery, Teitanblood, Proclamation & the OGs of it all, Blasphemy. While those are the most common names brought up while talking about this style, a ton of other names have emerged within this realm over the last few years that are worth mentioning; Antichrist Seige Machine, Morbosidad, Profane Order, Pig’s Blood, Caveman Cult, Nyogthaeblisz and Tetragrammacide to name a few, all of which i’ll be talking about on this blog in the near future. While a lot of what these acts have to offer may seem a little generic and samey-same to some, all of these bands that I just mentioned, in my opinion, are diamonds within the mine of this sub-genre. They all bring a degree of uniqueness and a deeper level of brutality to the table, especially in terms of dissonance and noisiness. Because as we all know, Noise enhances everything.

What this review is about, however, is another budding project of this variety that is just starting to get off the ground that I trust will go places, considering the parties involved. The Black Sorcery is the latest project of Lörd Matzigkeitus of The Projectionist and Thy Sepulchral Moon, who I’ve talked about here before, both of which offer up some excellent Black Metal. This entity, as you might have already guessed by now, takes things into Bestial War territory and showcases Lörd Matzigkeitus’ brand of punishing Grindy Blackened Death that absolutely pummels you with ruthless authority and remorseless force and doing it in a unique way, much like it’s counterparts do with Black Metal, and it’s debut outing, …And the Beast Spake Death from Above is solid proof of that. If there’s one thing I love, it’s riffs that sound massive and crushing; that’s exactly what this album exhibits from the very beginning with Ancient Dialects, which in the intro alone, wastes no time in trampling you in a monstrous fashion with a stampede of muddy blast beats, frantic, freight train-like riffs spiraling at you like tomahawk missiles on steroids and topped off with Matzigkeitus’ guttural bellowing growls. This is ungodly bestial fury at it’s highest degree. This is a relatively short album, clocking in at only 29 minutes long, but much like the last album I just talked about, that’s all it needs to dish out the hammering that it does.


Most bands within this realm tend to go for an approach of blatant worship of the more pioneering acts like Blasphemy or Beherit, which gets annoying at a certain point, but this definitely goes on the same boat… well, tank as the aforementioned bands mentioned above who add a good deal dissonance and hyperaggression to the table and make their sound as massive and barbaric as humanly possible. This is the auditory equivalent of a nuclear holocaust and your limbs will undoubtedly be scattered across the battlefield once it’s done with you. It’s one of the better pulled-off War Metal outings that I’ve heard in quite a while. Other stand-out rippers in this batch are Frost Veined and Splintered Glass Arsenal, which do the best job of bludgeoning you with their thick, crushing tone and insanely frantic pace. The closer, Helgeist is another one, it’s a quick and painful last few batterings the album gets in before finishing it’s assault, like a war criminal using some extra bullets on civilians. Good fucking stuff.

This whole album is a punishing and devastating onslaught of blasphemous wrath with just enough of the primal aspects of the War variety of Extreme Metal to classify as such, but enough creativity to it to distinguish itself as it’s own entity. Some will still probably scoff at it and shrug it off as generic, especially the older crowd who are way into this style and know more that I probably even do, but it does deserve a good shot or two and I think it has the ability to stand out a good bit. Especially coming from the man behind Thy Sepulchral Moon and The Projectionist, it was bound to be something interesting. So if you’re a sucker for this kind of stuff like I am, give this a listen! No genericness or pioneer-worship here at all (aside from the Black Witchery-esque name and artwork. No complaints though), just absolute bestial supremacy! Nothing less.