Rudemas- "Demo" CS & Smuteční Slavnost- "Nářky věčného zatracení" CS

As part of my efforts to improve my website's professionalism, I'm trying not to pair bands together as frequently, unless I can find a legitimate reason to bunch them together. However, today's post is one of curiosity to me. Here we find two very different takes on black metal from two bands who are releasing tapes without the aid of labels. The relatively orthodox, grim sounds of Rudemas have been occupying my ears lately with similar frequency to the entirely unorthodox, highly blasphemous hybridization of black metal and metalcore that Smuteční Slavnost (whose name translates to Funeral Ceremony, according to Google) provides. With this in mind, let's examine two separate yet equally fascinating pieces of music.

Rudemas's "Demo" is a collection of five feedback-heavy black metal assaults that carry the urgency and pace of many first-wave bands with a rawness more akin to the second wave.  While the music here isn't exactly breaking new ground, this Tennessean two-piece is serving up highly addictive and catchy black metal that delights me with its sincere simplicity and aggression. That's not to say that this is sloppily written or amateur, simply that it goes for a relentless, raw punky approach that feels truly evil, or at least menacing. The thing that sells me most on this band is just how much I can tell these guys clearly love the music they're making. Some things can't be faked, and this feels like two fans of the genre giving it their all. This demo has me eagerly waiting for more and I hope these guys can churn out some new material soon, because music this fun truly warrants at least a twenty-minute live set.

 

For every bit of familiarity in Smuteční Slavnost's antifascist black metal assault presented on "Nářky věčného zatracení", there's an equal amount of peculiar, breakdown-friendly mosh madness that will confuse elitists and delight open-minded fans of metal's many subgenres. For me, this has a bit of personal significance. While black metal is far and away my choice of music these days, my high school years were spent listening to the Trustkill roster just as much as I was becoming excited by discovering Emperor or Ulver. The weird fusion of the two disparate sounds presented on this album brings me back to a time in my life when I didn't really understand genres as much as I simply liked my music heavy. While I certainly dug things back then that I'm not as fond of now, it's important for me to acknowledge that this album makes me nostalgic even though I didn't have anything like this in my collection back in the day. Valiant black metal riffs are paired with blasts that feel more like excerpts from Misery Index's rhythm section than typical black metal drumming. Vocals here have a feral rasp that almost verges on the throaty DSBM shriek at times, yet also surprised me on more than one occasion with guttural vocals you might expect from a slam band instead of any bastardization of black metal. This will be a hard sell for some of my readers, but folks who have enjoyed bands like Ancst or even Carnival in Coal will appreciate this fresh approach to otherwise familiar territory. Tapes are sold out, so enjoy the streaming audio for now.

My Experience With Brutal Truth: A Preemptive Memorial

[photo credit: Peter Herneheim; found on Brutal Truth's Facebook page]

This morning, Dan Lilker of legendary grindcore group Brutal Truth announced he will be retiring from being a full-time touring and recording musician on October 18th of this year, his fiftieth birthday. This means no more Brutal Truth. Bands break up all the time for all sorts of reasons, but this is a big one for me. While the majority of my website's content is rooted in black metal, grind has been dear to me for years, with Brutal Truth holding a position as one of my favorites from the moment I first heard them. Even if I hadn't already been fond of their tunes, frontman Kevin Sharp is a vocal beer lover who shares thoughts on what he's drinking with his friends on Facebook, which makes him fun to follow as a metal and beer geek.

While I'm not going to sit and wax poetic about crowded concerts and pure insanity, as I've never had the luck of seeing these guys live, I'm sharing ten of my favorite Brutal Truth songs with you guys as a way of documenting my own experience with this band whose legendary status is well earned. The list is heavy on nineties material because as much as I've enjoyed their two most recent albums, I've had far less time with each, preventing them from sitting in quite as deeply as the material I've had years to absorb.

1. "Denial of Existence" from Extreme Conditions Demand Extreme Responses
This album was probably the first grindcore album I heard that had anything resembling nuance. Until this point, I'd mostly been familiar with bands specializing in spastic blasts of sound, typically with songs that seldom exceeded the thirty second mark. Extreme Conditions brought the intricacy of death metal to the fury of grind in a way that was new to me. This song in particular was among the first to leave its mark, and at a lengthy four and a half minutes it showed me that grind wasn't exclusively an endurance test.

2. "Collapse" from  Need to Control
This song specifically surprised and impressed me when I first heard it and still sends chills down my spine. Brutal Truth proved that speed wasn't the only way to make something sound extreme or heavy. While I was already into a bit of doom metal when I first heard this, the mastery and ferocity displayed here was missing from most of the slower bands I listened to. This had all the rabid aggression I expected from Brutal Truth yet it sounded entirely different. I cannot recommend this song enough.

3. "Dead Smart" from Sounds of the Animal Kingdom
This song was deemed special enough to receive its own music video, although I'll argue that any song from this challenging release is worthy. I really didn't get this album for the first couple of years I had it, but I kept forcing myself to listen until it set in. Eventually, something clicked, and this was among the first songs that I really got into. Straightforward enough to appeal to my desire for aggression, but about two minutes in they introduce a riff so traditionally "metal" and unexpected that it totally changes the simpler trajectory of the song. A true classic.

4. "Time" from Extreme Conditions Demand Extreme Responses
Are those power tools in there? I think so. While the fusion of noise elements and metal has become a bit of a thing these days, this is one of the earliest examples I can find. From what I gather, it's actually frontman Kevin Sharp using these tools to make noises rather than the samples that are so popular in gimmicky gore-based metal songs. Machinery aside, this song displays Brutal Truth's ability to shift speed and mood with perfect grace and skill, something many bands can't do a decade into their careers, let alone on a debut album.

5. "Humanity's Folly" from Kill Trend Suicide
I'm not even sure about half of what goes on in this song, but it's awesome. Textured, almost psychedelic guitars dissolve into a more familiar grinding assault. This "mini-album" is full of weird gems, but this one's an instant attention-grabber.

6. "Sugardaddy" from Evolution Through Revolution
This is one hell of a way to initiate a return to form. This track opens up their first album after a decade of absence in a fashion that most bands who make "comebacks" could only dream of. Aggression perfected, with slightly off-kilter dissonance, yet a far slicker approach than most of Sounds of the Animal Kingdom. It's rare that a band returns with this kind of ferocity; it's a shame they're going away again.

7. "Brain Trust" from Need to Control
Spooky ghost noises, or maybe it's just really low growls, and violently lurching grindcore. This is about as much fun as grind gets in my opinion. This whole album is one of my favorite grind pieces of all time, so it's impossible to isolate a single track, but this one stood out even when I was too young to fully appreciate what I was hearing.

8. "Zombie" from Kill Trend Suicide
This one's got almost a carnival sort of feeling to the spiraling riff that leads into the song. Fear not, grind fanatics, for like most Brutal Truth songs this riff evolves into the ferocious and jagged assault we've all come to know and love from these guys. Wholly unique in the genre, but completely familiar for fans of the band.

9. "Jemenez Cricket" from Sounds of the Animal Kingdom
An acid trip hard rock song that feels equal parts Slayer and Obituary while swirling around itself into maniacal moments of heaviness before the whole thing crumbles into dirge-paced oddness only to revisit its main riff again. I used to hate this song because it was weird, but now it's like if The Butthole Surfers played grindcore in a way. I love it.

10. "Celebratory Gunfire" from End Time
Much like Carcass's Swan Song (until this past year, of course), this album's title is unfortunately accurate. "Celebratory Gunfire" sounds like Today is the Day gone primitive, and is every bit as aggressive as anything they'd have released two decades earlier. It's evident that they've grown so much yet it's apparent they also never lost sight of their roots. What fans of Brutal Truth can take away from this release is that the band ended its career with an album that stands as tall as any other in their storied career. I can honestly say that I haven't heard a single bad track from this band, and that's rare. Even my favorite bands have made some serious missteps in their careers. Perhaps Brutal Truth are dearer to me than I previously realized. They'll be missed, but I look forward to seeing what the members create in its wake.

BONUS: The entire split with Bastard Noise.
Hardly your typical Brutal Truth release, if such a thing exists. This is a foray into pure harsh noise and mechanical horror, collaborating with noisegrind legends Bastard Noise, with a bit of help from Peacemaker and Winters in Osaka. This may not sit well with the metal loving portion of my readership, but those that straddle both lines like me will love the experimentation provided here. Folks looking for something slightly familiar should check out "The Stroy" from the CD version, which is slightly more familiar while retaining the creepy noise atmospheres of the other songs here.

False Light- Self-Titled 7" (Headfirst/Dead Chemists)

It's been nearly a year since False Light's self-titled EP was released digitally by the always intriguing Grindcore Karaoke, but only recently has this album been released on vinyl thanks to Headfirst Records and Dead Chemists Records. The album itself is grayish-green with spots of brown, like a murky bog shrouded in mist, a description that likewise applies to their punishing brand of grindcore/powerviolence.

False Light initiate their sonic assault with "Rotting Teeth," and what an opener it is! Recorded and mixed by Cory Fallows and mastered by Brad Boatright, the overall production of this record truly complements the bleak and abhorrent nature of False Light’s music; admittedly, however, I know next to nothing regarding producing music but this opening track feels and sounds lo-fi albeit well-balanced. At times the guitar and bass meld into this monstrous tone anchored by blast- and d-beats, the kind of sound to which I can’t help but bust out my Grim Face. Yea, shit just got real, and gets even more so during the last twenty-or-so seconds when the band slows down the tempo and just levels the listener. What I especially enjoy about this song is how it sets the stage for the looming onslaught that follows. “Almighty Thief” is 0:37 seconds of grindy goodness and is likely better reviewed with a simple picture of someone being punched in the face. “Feed, feed. Blacken the air you breathe” is repeated like an anti-mantra in "The Great Unwashed," meant not to comfort but to instill hostility. A feedback-drenched beginning gives way to an unremitting blast-beat assault that yields only to the aforementioned lyric being repeated over menacing, sludgy riffs, just before closing the song with the initial ferocity of the first sixty seconds. Yes, that sentence is quite the mouthful.

Kicking off “That Side” of the record is “Lung”, a song that conveys vulnerability amidst the disillusion and resentment yet retains the viciousness of the previous tracks. It’s more manic than its predecessors, in my opinion, as it careens between mid-tempo crunch to an all-out powerviolence attack before closing with a grim dirge. I particularly like how the last lines of the song—“diseased, directionless”—mirror the way in which they are sung by the band’s vocalist, Patrick. There is a genuine feeling of despair and exhausted anger in his voice that resonated with me as I read the lyrics along with the song.The final track on the record, “Praxis”, is another shining example of the fast-slow fury of False Light. It goes for the throat until your eyes glaze over. Needless to say, I’m very much excited to hear what comes next from this South Carolina quintet and hope to catch them live so that I may experience their ugliness (in a good way) first-hand.

-Review contributed by Julio Espin.

Ramlord- "Crippled Minds, Sundered Wisdom" LP (Hypaethral Records)

Some of you may remember Ramlord as that band I once used the word "crushing" to describe too many times. Some of you may also remember that I think "crushing" is an awesome thing that doesn't happen enough in the reviews I write. Specializing in lo-fi black metal often leaves me with a lack of solid headbanging, skull-crushing tunes. Luckily Ramlord exist so that I may write about their boozy, chaotic blackened crust madness and get my daily recommended dose of crushing. To say that this new album is a positive expansion on the material presented on their split with Cara Neir is an understatement, and I'm pretty stoked on it.

I often feel the need to write from the perspective of an educated, intelligent, well-spoken individual, but with music this raw, I feel that flowery speech would detract from just how ferocious this is. Listening to this takes me back to the days when I hung out at basement shows and drank as much cheap beer and whiskey as I could before burrito cravings set in. The difference here is that Ramlord don't seem intent on creating fun for their listeners so much as they are hellbent on imparting bleak fury. I'm nodding my head along while I listen to the album, but I'm also kinda stuck on the fact that I'm going to die one day. All the lyrics seem to lead me back to the impermanence of mortality and the futility of believing in something beyond this world. It makes me just want to dig into the music all the more, clinging to every hideous moment because this music itself is bursting with life, almost in defiance of death. The frantic pace of the music, the harshness and humanity of the vocals, the energy creates a sort of pessimistic beauty. Another thing that really works for this is Ramlord's complete lack of commitment to any one niche within the greater genres of crust, metal, or whatever else you'd call their music. Thirty-second facemelters like "Enslaved" exist in some sort of twisted harmony with the eight-minute closing nightmare of "Extinction of Clairvoyance (Part Two)," which is a continuation of the aforementioned split with Cara Neir. This whole album gives me way too much to digest, but I can say with complete sincerity that I'm okay with a bit of sonic uneasiness. I've always been into discomfort and struggle in music, so the massive quantity of chaotic and cathartic experience here gives me something hearty to sink my teeth into.

So this slab of viciousness has already been available for digital download for about a month, but I'm a total slacker. The benefit of me not posting this until now is that if you're super cool and preorder the record (for a measly fifteen bucks), you've only got to wait about a month for it to ship out. So what are you waiting for? You could have this album for free, or you can be one of only 100 awesome individuals to own this depressing mess on vinyl. I'm part of the second group; will you join me?

Sloth Herder- "Abandon Pop Sensibility" (Self-Released)

Sloth Herder are a blackened grind outfit from Maryland and Pennsylvania, whose name is as amusing as their music is heavy. You may notice I don't post much grind or many variations on it. I'm not sure why that is, but these days I'm just not finding too many fast-paced bands that really impress me. That said, Sloth Herder have my full attention with this ferocious release.

This album is aggressive in a wild way. Most bands with an introductory track will use it to lure the listener into a false sense of safety or just to build up. Sloth Herder's intro track bludgeons with style, just as much as any of the other tracks on this meaty album.  It's slightly slower, but equally heavy to the rest of the album in its own way. As soon as the first "proper" track kicks in, the album sets a breakneck pace with plenty of solid sections for the required amount of headbanging on an album like this. I'm also really glad to actually hear the bassist in the mix, as that's a piece of the puzzle that often gets blended into the rest of the music in a lot of metal albums. I can distinguish each instrument, and I can feel the tension, as if Sloth Herder are collectively holding each other back from jumping into the audience and attacking. It's nice to see bands building intensity without just letting loose one hundred percent of the time, and Sloth Herder seem to have a stellar balance. The music's always fast and heavy, but there's just enough restraint to keep it interesting. Excess for excess's sake does no good for anybody, and it's apparent that Sloth Herder got the memo. The balance of sounds on this album works perfectly and even satisfies my ears, despite my general apathy towards grind and similar genres. Good work gents.

I'm not currently aware of a link for physical purchase, but you can pay the amount you see fit on their bandcamp page. Download this rager today and impress all your friends.

Year End Extravaganza: Noteworthy Albums of 2012

So this is probably the entry everybody's been waiting to glance over and pick fights about. It's the albums that made a huge impression on me this year in one way or another. Due to the large number of albums included, I'm just leaving links and images for your viewing/digesting pleasure. If you want to know my particular thoughts about one of these albums in great detail, you can get in touch via facebook, email, or twitter. I'm always happy to discuss my taste in music.

A Forest of Stars- "A Shadowplay for Yesterdays" (Lupus Lounge)

A Pregnant Light- "Hear the Slow Slow Shadow" (Colloquial Sound Recordings)

Ash Borer- "Cold of Ages" (Profound Lore)

Crowhurst- "No Life to Live" (Self-Released) Read the BMAB review

Death Fortress- "Pulling Ancient Stone" (Fallen Empire Records) Read the BMAB review

Dressed in Streams- "Azad Hind" (Colloquial Sound Recordings)

Hell- "III" (Eternal Warfare)

Horseback- "Half Blood" (Relapse Records)

Kuxan Suum- "Kuxan Suum" (Fallen Empire Records) Read the BMAB review

Neurosis- "Honor Found in Decay" (Neurot Recordings)

Pig Destroyer- "Book Burner" (Relapse Records)

Rectal Hygienics- "Even the Flies Won't Touch You" (Depravity Label) Read the BMAB review

Sutekh Hexen- "Behind the Throne" (Wohrt Records)

Trist- "Nostalgie" (Fallen Empire Records)

Unknown Artist- "RH-12" (Rhinocervs)

Vemod- "Venter pa Stormene" (Terratur Possessions)

Venowl- "Gnawed Gristle and Bone" (Ominous Silence) Read the BMAB review

Wulkanaz- "HNI" (Wohrt Records) Read the BMAB review

Also, here are a few of the albums I enjoyed but only listened to once or twice, but expect are of equal quality to those on this list:

Converge- "All We Love We Leave Behind" (Epitaph)

Fauna- "Avifauna" (Pesanta Urfolk)

Gaza- "No Absolutes in Human Suffering" (Black Market Activities)

The Great Old Ones- "Al Azif" (Les Acteurs De L'Ombre Productions/Antithetic)

Krallice- "Years Past Matter" (Self-Released)

Make A Change...Kill Yourself- "Fri" (Black Hate Productions)

Mgla- "With Hearts Toward None" (Northern Heritage)

With that, my magnificent list is finished and so is this year. Since Black Metal and Brews was just a fledgling website in 2012, expect grand things in the year to come. I'm grateful to all my readers, the labels, breweries and artists who have contributed their music and beverages to this blog, and to my close friends and my partner for listening to me ramble about this blog endlessly. You guys have given me a reason and an opportunity to continue writing, and I am grateful for every new person I meet because of this blog. Thanks for being around this year, and I'll see you tomorrow for the start of the next year.

Concert Review: Floridian Winter, Church Whip, and more.

Last Friday, I was fortunate enough to attend a concert with a stellar lineup at Cafe Hey in Tampa, Florida. The lineup was diverse and punishing, and the crowd turned out with high energy. Opener Hollow Skull started off the night with their challenging brand of hybridized grind and sludge. Their set was short and intense, setting a good precedent for the diversity and intensity of the bands to come. Up next was an aggressive grindcore assault, courtesy of Morphic Lapse, who had never performed live before this show. Morphic Lapse's members come from other Tampa heavyweights like Cellgraft and God Harvest, and the music they create here is exactly what you'd imagine. Their songs are short, but they leave wounds that last for hours. After Morphic Lapse's set was completed, Von Dagger set up to perform what they referred to as "the drunkest set [they] have ever played." As someone who had never seen Von Dagger before, I didn't notice a particular lack of presence in their music, as it seemed like it was the sort of punk rock that gained its energy from alcohol. The music was fast and sloppy in a deliberate way, very enjoyable and easily the most accessible band of the night.

Following the diverse batch of bands that opened the show was the mighty Church Whip. Church Whip are one of those bands who fall into a mystery category of aggressive music in my mind. There's a bit of everything from bluesy rock 'n roll riffs to abrasive hardcore punk to harsh black metal influences, and it's all blended together in a violent tornado. To call a Church Whip show chaotic would be an understatement. People were breaking tables, throwing full cans of beer, and practically tearing paintings off the walls. From experience and word of mouth, this was a toned down crowd response for a Church Whip set. The band played as intensely as one would imagine, and the fact that the venue wasn't decimated was a bit of a surprise

Closing out the night was the ferocious black punk of Jacksonville-based two-piece Floridian Winter. With most vocals being provided by the drummer, the band made up for lack of "frontman" dynamics with a fast and raw set that I found incredibly pleasing. The songs were aggressive, memorable, and the crowd responded appropriately, although with slightly less destruction and more focus than for Church Whip's set. All in all, the concert was fantastic, and each band provided a wonderful contrast from the others, yet all were complementary. I heard a rumor that there will only be one more concert in Floridian Winter's future before they call it a day, so keep an eye out--they're not to be missed. As they're the only band with merch that I'm aware of, check out their label, Primal Vomit Records, for ordering information.

Free Music Friday: Florida Noise Ordinance Fest 2012 Sampler

This week's Free Music Friday is a tribute to an event I wanted to attend but will be missing due to car troubles. Featuring a lengthy list of artists both new and familiar to me, this compilation is much more than simply a noise-related release. Despite its name, there's a bit of everything noisy here, and not just of the noise genre. From the opening aural nightmare created by BMAB favorites Crowhurst to the strange cut and paste anti-club music of DJ Fucked UP to the swirling static textures of Nature Abhors Normality that closes out the release, this is a chaotic compilation to say the least.

Since I'm not going to list every single artist with a description, I'll give the simple explanation that almost every song here appeals to me in some way, yet very few of these artists sound like each other. If you aren't into one, you may be into another. While I've never been to Miami or Daytona, if this is an accurate depiction of their current musical climate, I can honestly say I'd love to head out that way for a show, as they've got an intense and productive little community.

If you're in Southeast Florida and find yourself wanting a truly cathartic (and ear-punishing) alternative to the Black Friday insanity that plagues our society, make your way out to this music festival and find your new favorite bands. Buy some merch, have a great time, and be sure to give Jay from Crowhurst and Mike from GRIT high-fives for me, since I can't be there to do it myself. If you're not already stoked on this compilation, just visit the bandcamp page and download it for whatever price you see fit. Throw them a couple bucks if you can or just enjoy a sampler of some excellent bands.

Free Music Friday: Powerviolence USA compilation

This one's been waiting to be posted for a good little while. Physical copies of this tape are no longer available, however you can purchase it for the price you see fit on the bandcamp page. First off, this thrasher has eighteen bands in less than half an hour. How can you ignore the opportunity to find a few new favorite bands in such a short period of time? I know I discovered a few new favorites of my own from this little gem.  With a name like USA Powerviolence, these are obviously short, aggressive songs, but there's more variety within this genre than an outsider may imagine. From slow and chunky with hoarse yells to blastbeats and high pitched shrieks, this collection does a good job of showcasing the diverse and intense community of underground American powerviolence, grind, and hardcore bands.

While every single band on this cassette is ferocious and ready to tear the listener's head off, there were a few that definitely stood out for me. The violent 39 seconds of noise from Necklacing are worth serious mention. It's some of the most chaotic and memorable grind I've heard in quite a while. Everything about this song sounds absolutely desperate in the best way possible. Also, the group immediately after, Gorilla Pussy, were shockingly good. I was expecting to be disappointed by a band with such a name, but this is a perfect example of grind and punk done right. They keep things fresh by changing the pace and atmosphere frequently rather than locking into one groove and sticking with it. I also have to give a nod to a pre-existing favorite (and the reason I bought this cassette initially), False Light for being as impressive as always. If you aren't already familiar with them, get on it now. Finally, I couldn't help but make mention of PxBxS. These guys are a name I'd never even heard before but their contribution to this compilation blew me away. It opens with a chilling sample that gives way to some of the most peculiar and wonderful hardcore I've heard in quite a while. Rather than simply going for the throat with speed, the two tracks from PxBxS had me on my toes and paying full attention. I'm keeping an eye out for future releases from these guys without a doubt.

As always, give it a listen and do your part to support the artists that you feel deserve it. I've got a couple new packages here at home so expect more reviews of excellent new music soon.