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Preview: Thank you for your mediocrity

Thank you for your mediocrity

Updated: 2018-01-15T11:32:37.679-05:00


I'm still not really here.


Not sure if anyone even reads this anymore.  I haven't had any time to write anything on it anyways.  I kinda gave up after about 2010 though because there wasn't much of a reason to blog anymore since everyone had a blog and it seemed like such a pointless endeavor since everything seemed to have been found. I left the links active for as long as I could, that is until a small record label, Corrosion Of Conformity, and coincidentally, the What The Fuck demo (why anyone would report that I have no idea) got my Mediafire account suspended. Ultimately I just wound up deleting my account before more hassle came my way.  The whole file sharing thing seemed to come crashing down around Kim Dotcom's ears just before that, so it's should really come as no surprise to anyone.  As it stands, the reasons I started the blog to begin with seemed to dry up anyways.  Originally, I thought it was really cool that people were sharing alot of forgotten or missed recordings, so that was what I did.  I uploaded recordings that seemed to have very little representation on the internet at the time.  Most of them still don't outside of my crummy blog and that's sad.  Honestly, that was the thing that made the internet cool to me.  Cooler than porn at least, which is probably the coolest thing that 80% of the world looks at on the internet every day... and that is sad.

So what do you do when the coolest thing about the internet gets blown out of the sky?  You go analog.  I found a record player last May.  A really nice one too, for $30.  A Dual 1019.  So rather than listening to fancy stuff that is so great I have to tell people how great it is on the internet, I have been listening to stuff that Lester Bangs and Richard Meltzer and Robert Christgau were yammering about decades ago. What the hell am I going to write about Secret Treaties from Blue Oyster Cult that hasn't been written 35 times already?  Or Grand Funk Railroad for that matter?  Shit, those guys all wrote that Grand Funk fucking sucked, so they had it wrong anyways. The biggest discovery I had in all of 2012 wasn't any hot shit release that everyone was talking about, or some obscure private pressing post-punk gem.  I don't even know what people were talking about most of last year, cuz I discovered KISS.  Seriously, I had never listened to KISS in my entire life.  I changed that. It was like two fucking months straight of listening to nothing but KISS, everything up to Asylum short of the solo albums. So while you guys were all out there fucking whining about how the Brooklyn black metal scene isn't black metal at all, I was ignoring it.  Every single little bit of it.  Seriously, it gave me a new lease on music. The mania has been subsiding of late, but there is still plenty of banal shit that I still do not own.  I need to get an actual shelf for storing all these fucking records first though. It's gotten totally out of hand and it feels like I've barely begun to scratch the itch.

Undying - The Whispered Lies Of Angels


I hated alot of the hardcore kids in the 90's for trying to co-opt metal and get away with not calling it metal.  They'd call it "metalcore" or whatever, trying to somehow disinfect themselves so they could dress like they were cutting class from a suburban prep school, backpack and all, and go to the In Flames show and "dance hard." I thought it was a pretty thin sham of a style and (much like In Flames,) one of the great failings of the metal scene... and there was SO MUCH of it. There must have been a thousand identical records that came out between 1999 and 2005 that you really couldn't tell if it was Prayer For Cleansing or Soilwork (or Darkest Hour, or Dark Tranquillity...) and for every listenable one, there were 5 shitty ones that came out.  I won't name names (*koff koff*Trivium*koff), but if it came out on Tribunal, you were pretty guaranteed it was false metal.   There were some shining moments though and the first two Undying releases were all of them.  Undying released one EP and two full lengths throughout their career, and the final full length was lackluster.  It was another one of those faceless "guitarmony" records that were being spat out at the rate of a hundred a week and I've never made it through a full listen.This post is in honor of the first full length though, "The Whispered Lies Of Angels," and just because there was still room in the 100mb limit for the upload, I added the EP, "This Day All Gods Die."Undying featured well written and literate ethical vegan lyrics. Musically though, they were total unabashed Dissection worship.  Maybe not in the rhythm department, but definitely in the twin guitar attack.  I heard Undying first though, and even now revisiting them, if given the choice between the two, I'd probably still rather listen to Undying.  I don't dig breakdowns, but somehow, this band was able to make them work tastefully and they were not cheesy.  It was just good songwriting. They played here once. I really don't remember too many people showing up.  It was on the "Whispered Lies..." tour cycle.  They still had Timmy singing for them, who left shortly due to a diagnosis of throat cancer.  At some point in the show, the microphone broke, so he threw it against the wall and ran around the room, grabbing audience members and screaming the lyrics directly into their faces.  The performance was vicious and more metal bands needed to take heed of that energy. (that being said, since 2005, many have.)  All the corpse paint and spikes in the world couldn't supplant some true piss and vinegar.  Neither could passionless hairwhipping, a backline of expensive amps or gravity blasting.  These guys killed it without triggered drums, or picksweep arpeggios and even without a microphone at one point.  At the time, that was the reason I was more into hardcore groups like Undying and Catharsis rather than Dimmu Borgir or Dying Fetus.  The irony is that now, the 'false' hardcore bands are going for the big time marketing blitzes, merchandising and triggered drums and releasing completely uninspired albums on Roadrunner records that sell 10,000 copies, and Cradle Of Filth's last two albums have actually been kinda good.  Looks like everyone is meeting happily in the middle.  Before As I Lay Dying, Unearth and The Black Dahlia Murder took an already piss-poor formula and pissed more poor into it, ONE band had it right, and in the process, introduced a lot of people to My Dying Bride through their untitled 'bonus' track.OK, now that I am listening to it, the final album, "At History's End" isn't nearly as bad as I remembered it.  It just seemed to come out at a time when the style was completely (and remains to be) completely over saturated. It's definitely not as raw as the two I uploaded, but it still maintains the same energy.[...]

The Bloodsprayer


(image) So I'm writing for a horror webzine called "The Bloodsprayer." My buddy Wes contacted me to see if I wanted to do a piece on 70's Italian prog for their 2nd Annual "Italian Week" that they ran at the beginning of August.  Shortly thereafter, I was asked to be a contributing writer for them to expand their pallet into music fit for horror movies, but avoiding the usual Rob Zombie/Misfits/Psychobilly schlock that usually passes for a music section in most horror zines.  My first piece is sort of a complete rewrite of what I had written some years ago about the 1979 Univers Zero album, "Heresie."  Check it out here, and if you are a horror fan, check out everything on the site.  They have a lot of great writers and are constantly doing giveaways and contests as some of the writers are pretty tied in to the horror merch industry.

Univers Zero piece

I'm getting married.


I love this girl and I am marrying her next week. I don't get personal on the internet anymore, but this is a pretty major event and I might as well crow about it a little bit. She doesn't like her picture on the internet, but she'll get over it. This is my fiance.  She's wearing my old Darkthrone shirt. She stole it. I had to buy another so I could properly rep.  I don't think she is particularly fond of them, but she doesn't mind them like some of the crap I have played around her. The newer stuff is pretty acceptable in the car, as long as it isn't all blast beats. She's not into blast beats. She calls me Bunny.  We got an apartment together last August and we've been sweating bullets to pay for it because it is in an upscale suburban area that is 12 miles closer to the University she is attending. I've been working 2 jobs to make ends meet, but it's pretty nice to not have to hear gunfire throughout the night or worry about my car.  I make some money during the week as a proofreader in an office about 2 miles from here. I'd like to turn that someday into a freelance skill and actually do it for actual book publishers, but that's a pretty difficult field to crack.  It almost feels like a hobby. I'm sick for actually enjoying it I guess. When I was in high school, I had a hobby too. It was playing bass guitar. Now it's my weekend job and it's nearly no fun at all anymore. I never practice. I never touch a bass unless I am playing a professional gig. It's really sad and if my 13 year old self could see my 34 year old self, I would kick me in the balls and call me a fag and a poser. I won't make the distinction about which me is calling the names or who is getting kicked, because it could probably go both ways.  I haven't matured much.  Derogatory language and testicles are pretty much par for the course at any age.  I do still like the gig though.  I get to play music and keep my technique tight without obsessing over things.  I get to play all kinds of different styles.  I get to eat thousand dollar wedding cake every weekend. I'm not in a bar full of trashy people or drugs or having to listen to modern radio hip hop when we are on break.  There is usually coffee on hand, good coffee too.  It certainly has it's perks, but at the end of the day, it's still a wedding and I am wearing a tie and dress shoes.  People hire us so they can point at our song list and go "play that" and "play this" and "learn this terrible Toby Keith song because I love it and I'm horrible!"  We get asked if we play the electric slide at nearly every event.  We get asked if we do any rap.  We get asked if we could do that 4 Non Blondes song and Sheryl Crow even though we are all dudes.  We get asked to play things that people don't even know the name of, the artist or even know the tune.  We get to the hall before the servers show up for work.  We get to leave well after they have all gone home. We roll in our own sound system, our own lighting rig and prepare a laser light show and we make that special day THAT much more special.Next Saturday though, in the spray of Niagara Falls, the tables will be turned. The special day will be MINE.  The hunter will become the hunted (or whatever I'm trying to say.)  My fiance will take my unfortunate last name as her own and we'll swear some sort of eternal cosmic oath to one another and there will be flying babies playing trumpets and fawns dancing in a meadow made of cupcakes and Lawrence Welk bubble machines and stuff.  The wedding guests will slowly filter over to the reception hall where we have hired Darkthrone to play the reception.  Yeah, you heard that right.  No lie.  Fenriz and Ted are flying over to play their only show EVER since 1990 and it's going to be for my fucking wedding.  I love her that much that I make the impossible possible.  Move heaven and earth?&nb[...]

Seance - Saltrubbed Eyes + Fornever Laid To Rest


Underrated early 90's Swedish death metal brilliance.  What more do you need to know really?  I don't post alot of this stuff because it's fucking EVERYWHERE on the internet, but this band gets pretty short shrift in the profusion of fanboy jism surrounding (and coating) early 90's SWDM. When I bring them up, dudes always go "Oh yeah, I heard something from them once, it was really killer." No one really brings them up as an influence, you never see any bootleg T-shirts or patches from Mexico, and I don't think their 2009 return really shook anything up, though it WAS rather good.Seance didn't make it's way onto my radar until after their second album, Saltrubbed Eyes was released.  Prior to that, it was pretty tough to make one band out from another in the great deluge of death metal releases that flooded the market between 1989 - 1992.  Saltrubbed Eyes, much like Samael's Ceremony Of Opposites, is one of those albums that will always stand alone for it's completely unique production style.  The bass is so forward in the mix, you almost can't make out the guitars at times.  I don't know if it's a result of EQing, shelving or a distortion pedal or what, but it absolutely works in the mix and makes for a kick ass album that sounds like it is going to rip your throat out 100% of the time.  I heard it on the college radio station around here and NEVER forgot the sound of that album.  I wore out a cassette copy and by the time I got a CD player, it was pretty hard to find.  It was one of the first albums I downloaded when I figured out how and it has always remained at the top of my list.  I strive to write riffs as heavy and as gripping as the opening of "13th Moon."  Seance's debut album, "Fornever Laid To Rest," at the time was a pretty unremarkable release, just because it was one of a hundred records that year all trying for the same market share.  It featured the same Dan Seagrave cosmic horror thing going on for the cover and in the US it was damn near unavailable.  I think I saw one copy of it once and I don't remember seeing anything in any magazines about it.  I wasn't able to actually listen to it until I could download it some years later.  I eventually scored copies of both CD's on Ebay and they will have to be pried from my cold dead hands.  Surprisingly, they were NOT $80, more like $10 apiece.  Maybe no one was looking that week?  Either way, this album quickly rose to the top of my heap of favorites of early 90's Swedish death.  At the time though, it didn't have a weird production job or anything really to make it stick out of the pack, and that's a shame because it is a completely merciless album.  I don't think it's as heavy as Saltrubbed Eyes, but it should have been further ahead of the pack than it was.  I think it may have had more to do with the fact that Black Mark probably didn't have much in the way of distribution in the US, or much cash to promote it.  Around that time, Seance was probably hoping for table scraps from the label in the wake of the release of  "Hammerheart."  Still, both records (and 2009's "Awakening Of The Gods") are completely unfuckwithable death metal albums that should get WAAAY more attention than they do.  I've uploaded both of Seance's 90's albums in one .rar for your pleasure.  Hopefully someday they get their fair due, or at least a nice reissue. ...And yes, that's no typo, the first album is actually called ForNEVER Laid To Rest.[...]

Murmuüre - Murmuüre


Wow, this is shockingly refreshing. I have no idea where I ran across this, because it was several weeks ago and it has been sitting in my ipod for awhile.  I finally checked it out expecting either some kind of harsh black metal basement recording or maybe a lost Grateful Dead bootleg as the cover might suggest. I really don't know what to write about it other than it's awesome.   I'll spare you the indignity of re-reading what the Aquarius Records guys had to say about it.  For once, they were right on though.  This is a fantastic little labor of love on the part of an anonymous auteur  He does not identify himself, but he does not keep himself hidden either as there is a blogspot and a website for this project.  This lone 2009 release has been in print twice both as a cassette and a CD and is about to be in print again on vinyl.  I just discovered it recently and it's a stunner.  Somewhere along the way, it got classified as black metal, but it really isn't.  It's more along the dark industrial soundscape path, but it's no "dark ambient" snooze either. There is an evident black metal influence, but it's really only through the sparse guitar work which was sourced from a single improvisation that was recorded in 2006.  Beyond that, it's just dark music.  I am an avid appreciator of stuff like Einsturzende Neubaten, Throbbing Gristle and early Laibach, but it's not really stuff I can get into on a regular basis.  I enjoy the adventurousness of it, but it rarely comes off as "successful" to me.  I guess I just don't get it.  I'm not ashamed, I just think it goes nowhere and people who really think they understand where guys like that are coming from are just assholes, especially if you were born after 1988.  Music like this is not made to connect with an audience, it's there for the benefit of catharsis for the artist.  This seems to be successful, at what, I am not sure.  There is a sense of satisfaction I get listening to it that I just don't get from many other "sound collage" type artists.  I still don't understand it, but I don't have to, I'm just lucky enough to get to enjoy it.There is a musicality to this project, unlike any of the comparisons that have been thrown at it.  The closest musical cousin I can find to it would be early COIL or This Heat, only without vocals.  It's a pastiche of dark sounds that work in collusion together to make some of the most gripping music I have heard in a very long time.  In total, it's 28 minutes of music and it will probably be the first, last and only thing that Murmuüre ever releases because it took so much for him to complete it. I would not begrudge him that. If this is the only recorded legacy of this project, at least it's brilliant. I would begrudge him, however, if this was never to be released again aside from on the extremely limited run releases.  Hopefully it has a long life through the internet.Murmuüre may be an anonymous project, but it's far from hidden.  The album can be downloaded from the bandcamp page and you can provide a donation for what you think it is worth. I found a download link and will be making a donation in kind at some point myself simply because this isn't some faceless record I am only going to listen to once.listen and download it here, and don't be a dick about it.[...]

Corrosion Of Conformity - Technocracy


 I'll make no secret that I am a huge fan of the metal/hardcore crossover years during the mid-80's. Nothing from that era tops this EP though.  Plenty has been said or written about how the mixture of metal and hardcore was the death of hardcore, I like to think of it as a logical continuation of two bloodlines that were so close to one another, it was inevitable.  It's all metal to me anyways.  Listen to an AC/DC record at 78 and it's basically D-Beat.  The Cro-Mags jacked Iron Maiden riffs... and neither punk nor skin nor hessian alike can deny the influence of Motörhead.  Before there were blogs or MP3's or streaming audio, your only chance to hear something new was to trade tapes.  I was hoodwinked in a shady deal one night by a scurrilous ne'er-do-well and lost my copy of the new FULL LENGTH album from Testament called "Souls Of Black" for this CASSETTE EP that repeated on both sides of the tape. Was I ever a dumb kid.  Unwise in the ways of commerce and bartering.  I mean... Souls Of Black was a slick new full length and they had a video on MTV!  What was I thinking?  Since it happened though, I could care less about Testament.  Technocracy was a funny sounding recording where the singer couldn't even keep up with the band cuz there were so many words. I was completely floored by the sense of urgency and the mania of it all. I learned this album on bass inside and out and can still play all 13 minutes of it to this day, all the fills and everything.  Mike Dean is one of my favorite bass players of all time and I am super excited that the three piece lineup is touring the early material again. Who knows how long it will last though before Pepper Keenan decides it's time for him to rejoin the band (ugh) and they continue down that sorry fucking path. Of their early "hardcore" years, this was the apex of their powers.  I totally lost interest when they went 'alterna-southern metal' but it was cool to see those same playful young lads shown goofing outside their van on back cover getting some very big recognition.  (I WILL go to bat for "America's Volume Dealer" being a totally underrated album.)  I still have this cassette and for some reason I can't remember, I scanned the cassette cover at one time and still had the jpg on my hard drive.  I took these tracks from the out-of-print remastered CD that came out several years ago.  I didn't include the bonus "demo" versions of the songs because they were not included on the original release and for some reason, I was just not into the lack of continuity.  I'm usually really into all the extra crap that makes its way onto reissued records, but there is an immediacy to the original 5 tracks that I still find totally intriguing to this day.  The tone of this record is completely singular.  Nothing can be added to it or taken from it, but I sure wish they wrote more stuff like this, or there were other bands that wrote this stuff.  It's brutal hardcore punk one minute, then it's Sabbath/Celtic Frost heavy the next minute, then there's a Skynyrd-meets-Greg Ginn guitar solo that you can't tell if it's in tune or not.  I still think the recording is one of the coolest sounding records ever.The hungry child worships... no more[...]

Wayne Shorter - Schizophrenia


Just listening to this album now.  I'm a big jazz fan and people just don't talk about jazz very much anymore it seems, on the internet or anywhere else.  I'm sure this will have much less traffic than some weird obscure black metal or something.  For people that don't know, Wayne Shorter was Miles Davis's tenor sax player in his second great quintet.  If you don't care about that fact, then you need some culture in your life.  There was a time when musicians played actual instruments in studios whose job it was to record music, not to make anyone sound any better than they actually were.  Back then, musicians were THE BEST.  Wayne Shorter was no slouch when it came to playing.  He never played a solo where he didn't have something to say, but more importantly, his compositions were spectacular.  They went beyond what most of the "hard-bop" scene was doing, which was, for the most part, blues based.  Shorter's playing and style is heavily steeped in blues tradition, but his songwriting took musicians to places they were not used to going.  The best musicians really LOVE challenge and CRAVE it and back then, music and musicians were still pretty important to the music industry, so when a guy came along and wrote great stuff that both musicians AND the record buying public were into, it was fireworks.

Schizophrenia is a high water mark of the later 60's Blue Note catalog.  Blue Note was slipping sales wise by this point.  The entire jazz community was losing steam behind the rock output of the era.  Jazz, as a whole was also losing face with the record buying public behind the "free" explosion.  Albert Ayler and Ornette Coleman had already made their greatest statements almost 8 years before and lots of "legitimate" players decided they would grow their hair out and wear a dashiki and release a few skronky records to keep up with the young lions.  In 1968, it was a little risky for Wayne Shorter to be sticking closely to rhythm and chord changes, but he held to what he loved doing rather than jump on some freaknik bandwagon and Blue Note records supported whatever decision their artists made, cuz they were righteous.  Not that Shorter didn't have an ear towards the freer, as one could deduce from portions of albums like "The All Seeing Eye" or bits of the last tune on this album, Playground, where the band seemingly flies totally apart at one point, only to slam back together in perfect time.  More evidence that musicians back in the day were just THE BEST.  I guess when you didn't have video games to play or blogs to tend to, all there was to do was to get super rad at an instrument and then go to a studio where the engineers only had to push record and mix.

I love this guy.  I've even own his biography.  I could never get behind Weather Report, (and as a bassist, believe you me, I tried.  I could go off about how I think fusion sucks, but I'd rather spend my time on this blog writing about what's awesome) but still, his body of work is just amazing.  Schizophrenia stands up tall next to his earlier masterpieces like Hear No Evil and Juju. I jacked that link from a google search so if you have to use a password, tough nuts.  I have other things to do with my day than babysit Mediafire.

Gathiens - Nesh


(image) This is an album I fell in love with some years ago.   We were making dinner the other night and I got struck by the urge to listen to it again for the first time in a long time. It always has the same affect on me too, it makes me bummed that it's over when the last song ends.  It's just one of those records.  For my money, that is the PERFECT album length too so I am not complaining.  Better than a demo or an EP, but not some 70 minute sprawl that just drags on and on.  Brevity is the goal when it comes to instrumental music. This is for fans spaced out math rock like Slint, Tristeza, or maybe some later EARTH or My Bloody Valentine?  There is also a heavy black metal influence in the songwriting.  Don't expect blast beats, but I know the guy who writes this stuff and he is all over some Alcest/Amesoeurs, Peste Noire and Leviathan.  This ISN'T metal though.  I was in the band for a short time when the mastermind behind the group moved to town to house-sit over the summer of 2008.  An attempt was made to create a live lineup for the group and it failed for various reasons.  There is an entire second album of material that has been recorded too that has not been released.  It's being RE-recorded now by the original lineup of the group, who also failed for various reasons.  At this point, the band hasn't played live in several years.  I may have been present at the last actual live performance that was given at a basement show some years back.  It was ten degrees below zero outside and said mastermind was loading his equipment into the house and wearing flip flops.  How grim is that?

I haven't updated this blog in months.  I probably haven't even looked at it in 2-3 months.  I just haven't had time.  I don't know how some of those blog guys post stuff 3 or 4 times a day. Good for them I guess. I've got alot of stuff on my plate right now.  I'm getting married in 3 weeks, so that is keeping me really busy and broke.  My 2 jobs are running at full steam right now.  I have the first original band I have played with since June 2010 coming together too.  Super excited about that.  I won't leave you with too many details, but it's headed towards being the best project I have ever been a part of.  There's 3.5 songs so far. It's dark stuff and it's not metal.  We're hopefully gonna be recording in the next month or so, as soon as we decide we have enough suitable material for a 12" EP.  Looking towards pressing vinyl with download and all that rot.  Still no band name or anything like that.  As soon as we get all that stuff together and a bandcamp page, I'll post all that stuff here.

I keep saying I am going to post more stuff here, and I swear I will work to be a more active blogger.

For now, you get NESH

Steal softly through sunlight, steal softly through snow... R.I.P. Cap'n


First DIO, now Captain Beefheart?  What a bummer year for my heroes, and there's not many left.  I'm a week late in this, but life has been in my way.  Still, I'd rather be busy as hell and not have a good excuse for blogging, than have 16 new posts a day because I don't have a job.  The Captain is dead, long live the Captain.  I suppose there is no real reason to be sad.  Don Van Vliet was ailing privately and had been for decades now.  He had retired from music (and after what he went through, I would too... at least he had some kind of aptitude at something else.)  There isn't a unit of measurement large enough to demonstrate to you how much Captain Beefheart had upon my life.  Let's just put it this way:  My blogger "handle" (nothingwheel, part of the URL of this blog) is from the lyrics of the song "Steal Softly Through Snow."  I was BIG into Beefheart around the time I was becoming net-savvy and thinking up names for stuff.  As cliche as it is to talk about what an impact Trout Mask Replica had on me (It's always cooler to talk about how much more into Bluejeans And Moonbeams you are) the fact remains, it did.  He had as huge an impact on me as reading Vonnegut, looking at my first dirty magazine or the first time I ever heard Run DMC. Safe As Milk is his best album, hands down, but Trout Mask was my introduction and the last album I heard that TRULY blew my mind.  When you first start listening to music, EVERYTHING is something new and different, you pick a few favorites and move on to phase two, where you become a little more discerning. By the time you are 25, you have tastes that are uniquely yours and those primordial shocks are fewer and further between.  I was probably a little late in discovering Beefheart.  It was no rarity to find something good that you can listen to alot, but I was in that headspace where it was VERY rare to find something so new that it pushes everything else aside for awhile.  Beefheart took precedence over all other listening for about a year of my life while I decoded what exactly it was he was doing.  I read books, I listened to EVERYTHING, good albums, bad albums, crappy bootlegs, box set or otherwise.  At his best, Beefheart treated music as his canvas.  He used (abused) musicians like different paintbrushes, usually in completely unorthodox manners.   Trout Mask was the last trumpet blast in truly original art rock.  It came from nowhere.  Beefheart had a bastard vision, and short of the delta blues, (to quote Method Man) there was no father to his style.  His artistic children are, and will be many.  Hopefully my own will be included as I have foresworn to provide my betrothed with 2 pretty babies who will be dressed in Motorhead onesies and will know the lyrics to "Orange Claw Hammer" before they can write.I'm not uploading anything, but I'm going to hijack a  link to Beefheart's lost (and brilliant) 1972 album "Lick My Decals Off, Baby" that a google search just brought up.  I usually don't do such a thing, but they posted both an MP3 and a lossless link and that is more than I can figure out how to do.  It's very much not in print and is is prized and highly sought after.  Here's hoping that Beefheart's passing puts some wheels into motion concerning a reissue of that album of great legend.  You can purchase it right now at Amazon for $298 if you feel so inclined, or $99 used.  If you do download it, please leave a comment on the beautiful noises blog.[...]

Dropdead - s/t


Dear Internet;  seriously?  You're this "great source of all information, true or otherwise." You are the gossip column of the world and this great source of new music for people.  Especially punk kids who don't want to pay for music.  There is an awful lot of that stuff out there and yet I find THIS fast/grind/powerviolence/punk/hardcore whatever-the-fuck-it's-called-this-week example of perfection to be totally underrepresented. (seriously scenesters, decide on a name, then kindly fuck off and take a shower.  It's been around since 1985 and it's called grind, I don't care what they are singing about or what Eric Wood feels about it.)

For some reason, I was searching this and noticed that there were a few download links to it, but for the most part, they were like 128kbps.  I have an original Selfish Records version of the CD that I bought from Media Play of all places in 1994 when I was in high school.  Here is a fairly high quality rip of it (200 or higher kbps)  This is another one of those albums that changed my life.  Up there with  Black Sabbath - Master Of Reality, Naked City - Torture Garden, or Obituary - Cause Of Death.  This is the first time I had ever heard anyone being REALLY pissed about vivisection or factory farming.  Bob's vocals are probably the most pissed ever recorded.  Unlike alot of guys, DROPDEAD doesn't make it sound like it's a job, they rage from the heart no matter how fast they are playing (though it is usually fast).  The songs usually have some kind of structure and thought to their assembly rather than much of this stuff that comes out now and somehow, Dropdead are able to keep it kinda catchy too.  When I first heard this, I considered it kin to Terrorizer and I still do.  This is punk played by guys with metal skills and smart-missile precision like only dudes could do in 1992 (i.e. before there was a roadmap on how to play and record this kindof stuff.)  Dropdead helped to distill and refine the definition of pissed for me.  This is also the first CD issue of it, so there is no remastering or studio fuckery going on with the recording, so you will have to turn it up if you are used to listening to corporate embarrassments like Phobia or y'know, Disturbed?

I post this specifically in honor of In Disgust, whose demise I lamented in my most recent post.  I considered them kin as well. Dropdead are still out there killing it on occasion. As a bonus, I've uploaded both the original Selfish records version and the Armageddon version that I happened across at the store the other day.  The Armageddon Records version is a different earlier mix and is separated only by 2 tracks, one being the A side and the other being the B side.  The mix to my ears is absolutely more feral, but it's one of those "Raw Power" kindof arguments.  I know the original flawed mixes and like them better, but that's just me. 

RIP - In Disgust


(image) I really liked this band.  I just read that they broke up and that depresses me.  What a bummer for a first post in several months.  I guess that's what happens with good grind/fast bands.  With rare exception, they burn out quick.  Terrorizer, Discordance Axis, Insect Warfare, Threatener, etc.etc.  Napalm Death got it back together after 8 or 9 years of boring industrial rock or whatever the hell that was.  Their records would rule everything if the production was raw again.  In Disgust was like THEEE band.  Reality Choke completely blew me away.  There is very little advancement that can occur in such a narrow genre.  When it gets too artsy, you get garbage like The Locust.  Google search this band.  They ruled.

I guess I am posting this as a little update to my "followers."  I just happened to look over and notice that there were a few over there.  One of them is my mom.  Isn't that nice?  I haven't found anything really worth blogging about MUSICALLY in a long time, at least nothing that I wasn't a few months behind on anyways.  The most I have found to do is that I got an actual CD rip of the Gutted CD I posted several months ago.  It sounds better for sure.  I keep forgetting to upload it and replace the link.  Most of what I have really gotten into is nothing that can't be found on 80 other blogs anyways.  More on that in another post I guess.

I moved 3 months ago.  My girl and I got a place in a town that is much more sensible for us to live in.  We've been taking our time trying to get our place set up and find enough second hand furniture to sit on and eat off of.  I have cats now too.  My lady cooks wonderful vegan food for me and my waistline has taken a hit.  I work 50+ hours a week some weeks between two jobs and barely have time to deal with the internet, which explains why I have been so behind.  Domestic life is busy... way too busy for me to be concerned with my narcissistic pursuits that no one really cares about.  I have to take the trash out now and clean the kitchen and make coffee and stay home and watch documentaries on my days off.  She scoops the litter box.  Scooping the litter box is not metal.

This blog is not dead, and I think of it often... then I think that there is really nothing for me to write about that would be of any interest to anyone for the time being.  I just haven't worked it back into my life yet.  Hell, I still have to find time to start hitting the gym again.   Soon enough.



Mediocrity is on the move.  Back shortly once life settles down a little bit. Cleaning out the attic and heading down the highway.  Shoulda posted this 2 months ago since it's been about that long since I have had time to touch this thing.

30 Minute Metal.


There really is nothing better in the world for a musician or an artist to create something that leaves the audience wanting MORE. In metal, this doesn't happen NEARLY often enough anymore. "And Justice For All" has it's many detractors. For me, it was the album that got my 12 year old mind around the fact that there was stuff out there other than Def Leppard and wimpy Desmond Child-era Aerosmith. I find "Justice" fantastic. It's still a worthwhile and rewarding listen after all these years, bass or no bass. My only criticism of it is that it is too long. It IS one of those rare "all killer, no filler" records that somehow exceeds the one hour mark, but I will be damned if I have listened to it in one sitting since Jr. High School. Double albums have their place. Physical Graffiti, Trout Mask Replica and Tago Mago wouldn't be what they are without being a double helping, but they are not metal albums. They are very dynamic albums with alot of ground that they cover and require time to develop. The last thing I really need from Nile is 63 minutes of wall-to-wall blast beats and 3 vocalists gurgling about ancient burial rites. There is such a big deal made about his subject matter and all the hard work and research Karl Sanders puts into his lyrics, but for as many understandable words sung in their albums, they could be reading Finnegan's Wake for all I know.This post is created to hail those records that really only have one thing to say, and say it quickly and neatly bundled in an almost disappointing length. Ten more minutes of music MIGHT be awesome, but in such a concentrated dosage, it might do more harm than good in the grand scheme of things. These are albums that you wanted to think "rip off" when you realize that you paid $10-$12 for originally, only to find out that they were so short. It took awhile to understand that you hadn't been burned. It eventually dawns on you that these records are POTENT. Occasionally, in some cases, you know what you are getting quality over quantity. Every minute spent listening to one of these albums is worth THREE minutes of listening to a lesser album. I can't tell you how many albums I own where you could take out all the useless shit and be left with 25 minutes of perfection. We're talking FULL LENGTH ALBUMS here. L fucking P's. Full price. No EP's or demos. You were bummed to look at the cassette and see a woefully thin spindle of tape awaiting you. The most famous one, and the OBVIOUS #1 would be "Reign In Blood." It was so short, they put the complete album on BOTH sides of the cassette. Since nothing more can really be said about that album, it is the "representative image" of this post. I've also kinda limited the list to metal albums. Finding super intense punk albums under 30 minutes is like shooting fish in a barrel. Short records are a touchstone of punk. I wanted to concentrate on metal because it can be SUCH a bloated style. Once "And Justice For All" hit town, nearly every album that came out for the next 3 years HAD to be 65+ minutes long and every song had 16 parts with 4 riffs. Anyone else remember the sticker on the original release of "Time Does Not Heal" from Dark Angel? 9 songs, 67 minutes, 246 riffs. I still have my cassette with that very sticker across the back of the case. I guess at the time, it was a wise sales decision, because everyone was into that sort of shit, but I also specifically remember having to remind myself to listen to the second side rather than the first side every once in awhile to maintain some kind of balance. "Leave Scars" was one of those albums that REALLY could have done with some fat trimming too. It would have been such a vicious album if the[...]



Apologies for the lack of posts. I don't really have anything to share as nothing has blown up my skirt that people can't just get on a thousand other blogs, or at the fucking record store. You can all look at a picture of DIO, because there really will never be enough pictures of DIO to properly tribute the impact his music had on our lives.According to my Mediafire numbers, people read this thing, download stuff and occasionally try to post links to their Asian porn sites on here. Oddly, once I decided to make this site google-searchable, what was my least downloaded file became my MOST downloaded file. Il Balletto Di Bronzo's untouchable classic "YS" now leads the pack with the most downloads. I was worried that no one was interested in obscure Italian progressive rock any longer. I guess I have been proven wrong. Maybe I'll post a few more since I have a ton of it and it's just not something you find every day.My lack of time has extended to my musical life as well, as I had to quit Disconnected. Our boy JC is handling the bass until he gets too stoned. I went and saw them the other night. They were tight and awesome. It was a Monday night, so they weren't as noisy as it usually was when I was playing with them, I think cuz everyone needs to be able to hear the alarm going off the next morning for work, and not tinitus. I'll get into something else eventually, for now, I am just going to concentrate on stacking paper and getting my lady and I the hell out of this town. It's high time.The "first quarter" of 2010 has been the best few months for metal releases in a LONG LONG time. I don't have the time to post any kick ass downloads right now, but I do have the time to tell everyone to go out and buy the following:Black Breath - Heavy BreathingThis is the album Entombed didn't make between Clandestine and Wolverine Blues. They should have. These guys are on tour with Converge right now and they are one of the best bands I have ever seen live. Will and I went to see them the other night in Toledo and we were the only people there. WE were the reason they stuck around and played. There were about 11 people in the room by the time they played and they played like there were 1100. Not only that, they played "Sacrifice" from Bathory because Will heard them mention they had practiced it a few times. Early running for album of the year.Coffinworm - When All Became NoneThese guys are my Indy brothers. Well, mostly. I still haven't actually met the other guitarist and the bassist, but I am sure they are solid dudes. Despite them being my friends, this album is face crushing. Blackened crust doom? Not too far removed from RWAKE or Neurosis, with a healthy dose of Bolt Thrower's steamroller riffs thrown in. All 6 songs are memorable and the album explores ideas without straying from a unified sound. The thing that gets me is the album is pretty squarely in the doom camp, but it's only 40 minutes long. THAT'S THE FUCKING COOLEST!!! You know what else is only 40 minutes long? Nas - Illmatic. What else do they have in common? They are both perfect albums with ZERO filler. Doom metal would do well to drop the drones and 18 minute songs that meander to nowhere.Triptykon - Epastawiruoiejeoejoka Daimonndofiejnkas whatever the hell that is, it's the new Tom G. Warrior project and it damn near blows CF's masterpiece Monothiest out of the water.Ludicra - The TenantI have never been grabbed by these guys in the past. I don't know what it was. I had their Fex Urbis Lex Orbis release a long time ago, but I don't remember a thing from it, and probably just didn't give it a fair chance. This album CONVINCES me that I need to go back[...]

Into Another - Ignaurus


You know how I know when an album I own and love doesn't get enough love on the internet? When the best image you can find to gank for your own hot-air-review based blog is a shitty, grainy scan from the record label that released it like 15 years ago. This is the first request I have ever had for Mediocrity. My friend, Scott Sheridan asked for me to write it up and I am glad he did because my blog was lacking in things that weren't extreme metal.By the time I had graduated high school (1995), I had drifted pretty far from metal. I was listening to a bunch of crazy stuff. Mostly arty punk and no wave stuff like the Minutemen, and the Swans, Lots of 80's "deathrock" like Sisters Of Mercy, Bauhaus and Siouxsie. There was still a pretty healthy addiction to Sabbath, but I was totally convinced that metal and I were just done. This was to change in the next 5 years, but first, metal needed to flirt with me again. Metal's first re-flirtations with me were through Snapcase, Strife, Harvest and the early metalcore bands. Eventually, I was to hear Converge's "Petitioning The Empty Sky" which sent me running headfirst to the closet to dig out my warped cassette copies of "Clandestine" and "Necroticism," but that was still some years off. I played in a hardcore band for a few months right out of school, but shortly fell out of favor with those guys. In the meantime, I was discovering the "emotional" post-punk sounds. I cringe to use the term that was first used for bands like Sunny Day Real Estate, Texas Is The Reason and Sensefield, but that was what we called it. They had inherited the mantle from the primarily DC based "emo" punk scenes of the late 80's/early 90's, smoothed the rougher edges, and expanded the melodic possibilities of the form to create a style that was part Smiths, part Supertramp, and part spastic temper tantrum. You could draw a line directly between the sounds of most of those musics I just mentioned (sans the extreme metal.) using the music of Into Another, so they were like tailor made for me to get into. They were clearly heavy metal influenced, but melodically experimental. They each had an obvious restrained virtuosity to their playing, but they were given to dropping in a Sabbath sized throb on occasion to spice things up. Richie Birkenhead's choir-boy range was emotive, but not in the OTT "crying with his back to the crowd" kinda way. There was no equipment destruction at the end of their performances, but they were obviously talented enough, that should they have decided to do so, they would have stayed in key while doing it. They could somehow be both uplifting like the lead off songs to the first two Boston albums, but still be as dark as any goth band out there. So many people just didn't get it. I remember some clueless assclown journalist comparing their first album to Motley Crüe. Into Another set out to do a number of very different and progressive things with their songs, and accomplished every single one of their goals in flying colors, but in a very tasteful and thought provoking manner. Peter Moses is still one of my favorite guitarists to ever walk the earth. Listen to the first 80 seconds of Ignaurus to find out why. Tony Bono opens with one of the most memorable basslines I know of, and Moses lays a modal, quasi-legato solo over the top of it that was slightly flashy, but introduced any who heard it to one of the few guitar players of the 90's that could solo with a unique style and still be a respectable player at the end of it. Moses never sounded masturbatory or self indulgent and his jazz-hippie-metal canoodling was as integral to the Into Another sound as R[...]

Ocean - Monument/Fork Lashing Eye 2004 CDR demo


You know something that is sweet about demos? They are short. Sometimes, albums just go on too long and don't have enough to say. Some of my favorite albums are victims of this. "And Justice For All" really could have done without the 9 minute songs. Demos are graceful and quick to upload and download. No splitting of the archive, or timeouts on the server. Wanna know something that is a fucking DRAG about demos? They are SHORT. I have a 20 minute drive to work and that is not enough time to get into the meat of a good album. No "Forest Of Equilibrium" for me in the morning. I'm a third of the way in by the time I am through the intro. If you are listening to something, you almost want it to be something you are not that interested in, or something that can pert-near complete itself within the time frame granted. So the What The Fuck?!? demo posted a few posts back leaves me driving 75mph on the interstate and rather unsafely removing my eyes from the road while trying to find something else in my iPod to listen to that will interest me for the next seven and a half minutes. ("You know, and I know, I can't live without my radio") Maine's Ocean really felt the need to write ten (twenty... thirty) minute songs. On their self released 2004 demo, they had it right. Two songs, 25 minutes long. Perfect drive-to-work length. It's before they had figured out how to be molasses slow too, so it's not like it puts me to sleep on the way (another good reason not to listen to "Forest Of Equilibrium" while driving I guess.) Playing tectonically slow really takes some tweaking on the groups's part. It takes a keen sense of time amongst all involved for everyone to stay together.My old band played with Ocean in Cleveland some years ago. At that time, the only thing they had released was this 2 song demo. It was not terribly indicative of their live sound, but it was crushing nonetheless. They had just re-recorded their entire debut album after being entirely unhappy with what they had recorded with Sanford Parker in Chicago. I don't know how that can be possible, but their reasons I think had more to do with their own performances and they just ran out of time to get it the way they wanted it. (Something about it not being slow enough.) Ocean are obviously perfectionists in many regards. Their second album, "Pantheon Of The Lesser" is an utter fucking sludge/doom masterpiece, probably the last sludge/doom masterpiece that was ever recorded. The second song (Of The Lesser) is like 37 minutes long, it's super super slow and it STILL rules from beginning to end. It's REALLY hard for something super super slow to be able to do that. It took them 2 years of writing to get it right apparently, and when they did, it was a doozie. It doesn't get boring, and I highly recommend you get it if you like it slow. Then again, if you already like it slow, you probably already own it.You may NOT however, own their highly sought after "Monument/Fork Lashing Eye" 2 song, self released CDR demo. Weep no more, for I do. I finally got around to scanning the cover as well. Ocean were some of the most solid guys I have ever met. They gave me my pick of T shirts, but I was grabby and not thinking and grabbed a small. Sold it some years ago. Still kicking myself. I should have at least made it into a back patch or something cuz I REALLY love this band. They released this on a limited 500 copy run of 12" vinyl with sick, handmade packaging a few years ago. Doubtless, it sold out. Here is your chance to at least have it in some form if you so desire.[...]

Gutted - self titled, self released final album.


Oh SHIT!!! Lo Res Viscera beat me to it. He always posts about HIS hometown bands, and I like to post about mine. His blog is one of the reasons I do a blog. He does it for the right reasons, not just to spread a zillion files around the internet, or be the first to leak something. His posts mean something to him and his blog is a labor of love. Albums I post usually have some personal reason to them as to why I have posted them, and I am verbose in imparting some inkling of my personal connection to such-and-such album or demo. I was happy to see that SOMEONE knows about Gutted other than the 450 or so Midwesterners that gave a shit about them in 1993, even though I think he was a midwesterner in 1993, which I guess would make him one of the 450. Either way, I am glad he is spreading the good word.LRV posted the long lost classic "Bleed For Us To Live," which in all honesty didn't make too strong an impression on me after the REALLY classic "Disease" demo. They were brutal enough without a lead guitarist. Gutted was all we had in Toledo. There were no other death metal bands at the time and these guys either opened, or in most cases HEADLINED every extreme metal show in the area. They were the most extreme it got around here, and all without a single blastbeat ever written or played. There was one other band at the time, but they were very openly aryan supremacist (and boring as shit, musically) so I won't even discuss them. You get a bit of that around these parts.There was a metal show that myself and some friends attended, and the Ditch brothers pulled up in a rusty Chevette. Their band at the time was called Demigod, but because of the Finnish band, were changing their name. (There was a Toledo band named Athiest too, they had to change their name to Corruption. They practiced 2 doors down from me.) Mark Ditch pulled out a little pad of paper with some band name possibilities written on it and asked us to pick one. I don't remember the others, but I voted against "Gutted." It DID make a striking logo in the end. I was never friends with them. They were in their 20's and I was like 14 or 15 and would sneak into shows and not talk to anyone for fear of getting thrown out even though I wasn't drinking and usually tried to pay cover.The last time I saw them live, it was opening for Napalm Death on the Fear, Emptiness, Despair tour in the basement of The Asylum in downtown Toledo. Sheer Terror played that show too (and ruled!) Gutted was playing their new post-Bleed material on this show, and it crushed. They had returned to their original three piece lineup. There were some new amps onstage too. It was a nastier guitar tone, and overdriven bass and it was gnarly as hell. Unfortunately, death metal was no longer the flavor of the week as it was about 1994 at that point and "alterna-metal" was starting to crown. The only problem with Bleed For Us To Live was that it was released 2 years too late. They would have been kings had they been anywhere but here. Sadly, they had to settle for being kings... here.I dunno why LRV was worried about them being considered Slam Death. Waking The Cadaver these guys are not. They WERE alot more creative in their rhythmic approach to things than alot of other bands. Gutted hardly ever got beyond "mid paced." What they DID write were hooks. A lost art if you ask me. A car could blow out a tire in some of the pockets they would write. Death metal bands don't play anything resembling a pocket anymore. The later material has a grit to it that was closer kin to Incantation and some of the other "dark[...]

Top Nine of 2009


This year was a little weak on the new music tip. The good releases were REALLY good thankfully. Even Megadeth released a kick ass record. That fact tickles me especially because I rediscovered them this year. Megadeth was actually the first metal T shirt I ever owned and I wore it to threads. Within 4 years of first hearing them, I was ashamed to own it, though, as the 5 or 6 follow-up albums to Rust In Peace hardly "followed" it at all. (If anyone is selling the "Contaminated" shirt, let me know, I would love to get my hands on another one in good condition.) I wanted to make this post all fancy with hotlinks and stuff, but we are lucky I got around to putting little pictures next to the entries. Go out and buy these at your favorite local mom and pop record store. They are still out there. I am lucky to live in a city where there are like 6 or 8 record stores and I spend some loot at more than one of them every week. There really is nothing quite like holding the product in your hand and thumbing through the packaging. Vinyl, cassette or CD, it doesn't really matter what format you dig, just don't be one of those clowns with 75,000 MP3s and no physical music collection. Those guys like dogshit like Waking The Cadaver and gave Soulja Boy a career. I quit smoking 6 years ago this January and my vow back then was that I would transfer whatever money I spent on cigarettes to a weekly music budget. I smoked about a carton of cigarettes a week, and as the price of a carton has risen, my music budget has risen as well. Good for music. It is a vice I am happy to support for myself. I can't say I could ever remember being able to rate the cigarettes I smoked in a year, or enjoyed talking about my habit with other geeks. Music is awesome, even if my best of 2009 list is almost exclusively metal this year. I wish something else would have impressed me, but most indie rock has gone up it's own ass and exists only to sell VW's and MP3 players. I would rather listen to the new Nile album (which was surprisingly good) than the new Decemberists (which was a horrifying disappointment.) Hip Hop did exactly nothing this year either, short of that new Raekwon album, and when people tell me about a really great hip hop album they just heard, it usually was recorded 5 years ago. Most of my music purchases this year were catalog purchases, or reissues of awesome shit like Siouxsie And The Banshees, or Discharge. I ordered a ton of shit off eBay too (getting solid copies of stuff I discovered through downloading.) The best shows I saw were bands that reformed and were doing one more go-round. (Sunny Day Real Estate, Carcass, Jesus Lizard.) The only show that I was really excited about that was NOT some band I was into ten years ago was Dungen, who toured with Fleet Foxes (barf) but played a one off date in my town for about a hundred people. It was amazing and beyond kick ass to see one of the only existing 'non metal' bands I enjoy playing 4 feet in front of me. Sadly, there were only about 30 people from my town at the show, and the majority of the audience was made up of people who drove several hours to see them in a small club setting. The Bone Awl/Volahn/Ashdautas tour was sweet though. I saw that in Detroit and then Cleveland a few nights later. Several of my best of picks, I saw at the Templars Of Doom 3 festival in Indianapolis, which was most assuredly a highlight of my year. I should really make it a point to try and make it to one metal festival a year. Unfortunately, I work and make most of my money on most weekends[...]

Vulcano - Bloody Vengeance


Happy 25th of December. If you are celebrating something, good for you. If not, I hope you find something to do. I don't have to work today, and everyone I know is doing their thing, so I'm blogging for a change. I went to work on my entry for top ten of 2009, but Vulcano's 1986 masterpiece Bloody Vengeance was playing on my stereo and I couldn't adjust my focus to anything released in 2009. Following my muse:The 'bestial' thrash of 80's Brazil sounds like they got ONE shipment of metal LP's in 1986 and no instructions for operation. There were copies of the first Bathory album, Obsessed By Cruelty, Pleasure To Kill, Apocalyptic Raids, Welcome To Hell, Dealing With It, Fuckin' Death and Infernal Overkill. Maybe some copies of Hear Nothing See Nothing Say Nothing. The cardinal rule of "When one guy plays fast, everybody else play JUST AS FAST" was completely ignored in music class, as was tuning or the concept of tempered notes at all. Brazil was too pissed to be worried about any of that silly shit. They just HAD to spew forth profane blasphemies in broken English, and they had to do it faster amd meaner than Pleasure To Kill. The oft-blogged-about "Ultimate Bestial Thrash Album" of all time is obviously INRI from Sarcofago, and for good reason. It's nasty. It's REALLY nasty and amazing and amateurish it foresaw just about everything taking place 25 years later with frightening accuracy. Vulcano was nastier. The production was nastier, the lyrics were nastier, the cover makes Exhorder's Slaugher In The Vatican (which was banned in the US for some years) look downright pious. It's a 23 minute long "full length" with 7 proper songs that carelessly and drunkenly careen towards the old nun hobbling across the street with a carriage full of crippled orphan babies. The 7th track is one of those awesome satanic demon ritual chant interludes (or Brazilian kids playing with vocal filters and effects in the studio) and the final title track is the closest they have to a slow jam on the entire album. Bloody Vengeance probably ISN'T as blasphemous as INRI, but I think it sounds a good bit more evil. INRI is almost cartoonish in it's over-the-top hatred of Jesus and all that is good and holy. Venom never sang "Fuck you, Fuck you, Fuck you Jesus Christ!!!!" Morbid Visions was the warning. INRI was the shock and awe campaign... Bloody Vengeance was the full-on attack. BV was much more direct in it's delivery. There is no "Nightmare" to choke the pace after 3 songs. BV does not relent until the last song, where the tempo slacks a bit and some groove comes out for a scant few minutes before the album is over. It's pretty poorly sequenced actually. The first six songs are blistering and one dimensional. They jump the rails immediately and don't allow you to regain your composure for their 19 minute duration. If there was any more of it, the songs would run together as they all have the same raging tempo and rhythm. They may have no rival in intensity from this decade. Maybe Revenge or Deiphago. I would not hesitate to say that it is one of the most violent albums released in the 80's, Brazilian or otherwise. I ripped this from the 2009 Cogumelo reissue with a DVD live show from 1985 I found a few weeks ago in Columbus. It sounds like it has been remastered, but alot of the noise issues inherent in even the best 320kbps vinyl rips I downloaded are still gladly there, and it is NO cleaner, maybe just a little louder. I bought Beneath The Remains in 1990. I was probably 13. It was kindof a revela[...]

What The Fuck?!? - demo


(image) I'll make this one short and sweet as well just to get this demo out there. I already gushed about how ripping they were live. Unlike the Deadmen demo, which is a fine example of the bands songs, but does not represent their crushing presence live, the WTF demo is pretty representative of the live presentation. Noisy and thrashy as hell, except live, they are noisier and thrashier. I guess an easy comparison (because I am too lazy to bother writing an extensive review) would be Haymaker or DS-13... maybe Citizens Arrest? Pissed, hateful, "no slow-all go" hardcore by guys your girlfriend would not be interested in cuddling with. This is right up my alley. Raw and angry with no metalcore, Youth Crew, NYHC, posi, or power violence references. No showoff full sleeve tattoos they got done all at once, no matching lettermen jackets, minimal gang choruses, no bland '77 throwback, no circle pits, but there IS a Dwarves cover. They just start raging and fourteen minutes later, you don't want them to be done raging. This is the most pissed off thing I have posted in a long time. More proof that Indianapolis have some awesome shit going on right now.

too bro, too slow

Deadmen - 2009 Demo


(image) I'll put the quickness on this one just to get it out there. Out of something like 12 bands that I saw last weekend out with Disconnected, Deadmen probably impressed everyone in the van most. The laundry list of current and ex members of bands the members of Deadmen have occupied seats in is long. Seriously, it's worse than Dimmu Borgir's biography. Coffinworm (one of my favorite bands of the moment right now), Lair Of The Minotaur, Demiricous, Angelville, Suicide Note... Some creative googling/wiki-ing even turned up a stint in Birthright by one of the members. You can do your own creative googling if you really want to connect the dots. This demo does not do any justice to what they come off like live. Opening song "Been There Still There" opens with a shameless bite of "Snakes Of Christ" from Danzig, but when the drums come back, it gets driven into the dirt with an EYEHATEGOD/Crowbar groove. Nate's vocals are pure acid. It's obvious the members of Deadmen know their way around writing a good song and have done it many times as they adeptly engineer the song through pacier double kick parts and a few twists and turns, right back into another 2 ton groove. Both the other two songs, "Whiskey Vs. Wine" and "These Gods Have No Eyes" open with horns-down ramming speed Venom-like abandon while going forward to dismantle and reconstruct further sludge, NWOBHM and Celtic Frost reference points, even a few tastefully under-used twin guitar volleys for spice.

The Deadmen demo is regretfully short, and the songs are constructed in such a manner that compel the listener to follow it through to the end. None of them take very long to say what they need to say and a full length of anything more than 35 or 36 minutes is probably all that will be needed to make a properly devestating debut, should they choose to move forward in that direction. This band needs to be felt live though. This is a great start, but after seeing them live, the demo is merely a souveneir to tide me over to the next time I get to see them. Indianapolis has always had a mid sized, but potent and well developed metal/punk scene that has never really gotten it's fair due. Carl and Garrett have a monster here as well as in the mighty Coffinworm. I should be so lucky to be in ONE band this good before I die. Spread this one far and wide.

Off probation and on vacation


...was the unofficial title of the weekend in honor of Disconnected's vocalist, Patrick, finally clearing his probationary period of 3 years. He got in some trouble some time ago. He's better now.After releasing the split 7" and actually printing up T shirts (you'd think we were a real band or something) we were itching to get out on the road. Will335 has been booking DIY punk/hardcore shows sporadically over the past 2 years. They are donation only shows and usually do pretty well for the scene and for the touring bands. Usually it is ONLY to support a touring band and the first couple of shows required some 'gentle coaxing' of the crowd, who needed to be reminded that 'donation' does not mean free. Back in July or August, plans for Will to call in a few favors and get us out on the road began to be laid. Karma paid back in spades this past weekend when Disconnected hit the road with Under Anchor for three days. Originally it was to be ourselves and Nightbringer galvanting our way out to Cedar Falls, IA where both bands had some connections. Some of the members of NB had some obligations to fulfill and could not afford the time or the money to do it. That trip will be for another weekend I guess. Damned shame, because NB is Disconnected's favorite band pretty much. They are as close as you can get to being near Motörhead, while still being able to maintain your lawn. The righteous vegan brothers in Under Anchor heeded the call though, and we made the weekend with them. We did the bookings footwork, they provided the van, we secured the trailer, Rorik drove, I navigated, Will335 harrassed everyone and mashed up the van when I played World Burns To Death. The UA guys suffered untold miseries. DJ, the drummer had broken his hand the day before and was told by the doctor that he was NOT playing drums this weekend. Of course, being like 20, he told the doctor to eat fuck and played like a MONSTER all weekend. He was pretty swollen by the end of the weekend. Derrick and Jimmy were both sick (and got everyone else sick by the end of the weekend). Rorik twisted his ankle and had some pain from being gored and skinned by a piece of machinery at work a few months back, so he was limping after every set and by Chicago, was NOT stoked to walk very far for anything. By the end of the weekend, Jimmy was REALLY sick and would not get out of the cargo area where they had prepared a futon mattress. Somehow, they still played like monsters every night.Thursday, we all met at Will's house about 7pm and loaded the trailer. We headed out for the hour and a half drive to the Leathershop in Lima and got there later than we thought was prudent. Thankfully the show hadn't started. The Leathershop is probably one of the best DIY spots to catch a hardcore show in Ohio. The Lima crew are dirty, crude and violent, but any one of them would probably give you the shirt off their back, if you feel like wearing an unlaundered and slept in Coke Bust shirt that is. They are all about getting a good show together, or failing that, gorging themselves on vegan food and driving a hundred miles or so to wherever a good show IS happening. The show that was put together that we played on contained 4 out of town bands and 2 Lima bands. Of the 2 Lima bands, there were a total of 5 members. Of them, I think 3 of them lived at, and curated the Leathershop. I don't know who is responsible for the abundance of hardcore pornography that wallpapers[...]

Disconnected Live footage


(object) (embed) This is my band. Pretty wretched sound and dark video, but you get the idea. We have a split 7" out on Idoneum Bello Records with a power violence band from New Zealand called Wasteland. The last song we play is on the split. The split is for sale from Interpunk in the US. The rest of the world can get it from the Per Koro distro. We'll have copies at our next few gigs, maybe through the end of the year depending on how many more gigs we play. We still have a FEW copies of the cassette demo left from last winter. Like, maybe less than ten. The first song we play in the video is off the cassette. The long song in the middle is getting recorded right now. We're getting our shit together to put out a split 12" with a hardcore band from Lansing, MI called Under Anchor. They rip in all the best ways that mid-90's HC bands could rip. Catchy riffs, decent breakdowns (no super slow mallcore style) and a few hooks. I dunno if we are all going to pony up loot for it or if we are going to talk to labels. There may be a forthcoming split 7" with Nightbringer as well.

Disconnected will be playing a weekend November 19th, 20th and 21st with Under Anchor. I still don't have all the details. We may have T shirts by then.

November 19th Lima OH @ The Leathershop (w/Iron Minds and a few other bands)
November 20th Indianapolis IN @ 1511 House (house show with Medusa, Kata Sarka, Deadmen)
November 21st Chicago, IL @ another house show (with 2 of our favorite Chicago bands of the moment: Boiling Over, Poison Planet and 2 other out of towners aside from us and UA.)
November 29th @ Ramalama records, Toledo OH with Expire and one other band (Free show!! 2pm Sunday matinee)

Nightmare mega post


By no means can I claim to have been any kind of "old schooler" when it comes to the Japanese hardcore. I wasn't hip to it when it was available to me and 90% of the people who claim some sort of OG cred concerning it are full of shit. If they are under 30, they are absolutely bullshitting. I saw Lee Dorrian and Danny Lilker wearing S.O.B. shirts, so I knew of it's existence at a younger age than most. I read interviews where they talked about how great it was. It wasn't until I started leeching from blogs that I actually got to HEAR any of it.Some time ago, I found uploads of both the Eye Of The Thrash Guerilla and Starving Dog Eats Master compilations. I can't remember where. They both had tracks from bands I was familiar with on them. I figured they would be a good place to start to check out some of the lesser known Japanese bands. Despite all the hype, cult appeal and fetishism the record collectors (see: pretentious assholes) subscribe to when spending $300 on OG Zouo vinyl, Japanese HC is just like any other scene. There are good bands and there are bad bands. It all depends on your tastes. My tastes run to the more aggressive and fast paced side of things. I've scratched the surface and I know what I like. I can't say I like it all, including some very popular and influential acts that I am just not into. I won't start any arguments about who sucks or who rules. One thing pretty much everyone can agree on is that Nightmare is one of the best. They were featured on BOTH the compilations I downloaded and I had to hear more. I dug a little deeper into their legacy and saw how respected the "Give Notice Of Nightmare" LP was on the internet. I couldn't find uploads of it ANYWHERE aside from the defunct "Fight Against The Plutocrats" blog (R.I.P. Dirk, you are one of the reasons I started a blog) where it had long since expired due to inactivity.I have since purchased these two compilations that pretty much make up their early 90's output, sans their first 7" which they omitted from their discography for whatever reason. The recordings have been remastered and sound fucking awesome. They were SO full of piss and vinegar. They are still together today, but I have heard varying opinions on their more recent stuff. Few bands in ANY scene maintain this kind of energy track after track. Where Deathside fiddled with OTT guitar arrangements and superior song structure (to great effect,) GISM destroyed clubs with flamethrowers and bulldozers, and Disclose buried their Discharge worship in heaps of white noise and feedback (to lesser effect IMHO,) Nightmare's schtick was to go straight for the throat. I don't think there is one weak song on either of these collections. Nightmare, along with Bastard, Gauze and Lip Cream are what I always imagined Japanese HC to be like. Fast as fuck, consistently tight and absolutely feral in their delivery. One think you have to love about the Japanese is their penchant for experimentalism. The tracks for the 'Footprints In the Wind' single on the Bloodsucker Years feature a John Zorn-like freakout saxophone player who plays almost constantly over every track. Of the two, I think I prefer the Early Years compilation a little more. It contains the aforementioned Give Notice Of Nightmare recording as well as the tracks from both the compilations I named. No screwball Peter Brötzmann saxophone, just total thrash from beginning to end. Bloodsu[...]