A JOYFUL NIGHT WITH
Dodsferd, I Shalt
Become, Horna, Azaghal, Necronoclast & More.
TALES FROM THE
The Hidden Hand,
Wurdulak, Gobblehoof, Insult II Injury, Master & More.
Mortification, Rigor Mortis, Chronical Diarrhoea & More.
Illapa, Necrosis, Mystifier & More.
RICH HOAK - TFD
Scene: Awesome Bands From
Leviathan, Defecation, Tusk, etc.
Unseen Force, Impulse Mansluaghter, Slaughter, etc.
Arizona: Desert Oasis or
An Ideological Autopsy
New York City Report
UNDERGROUND REISSUES IX
Jetsam, Control Denied, Disgust, Acrophet, etc.
THE DEVIL AND THE SEA
Relationship W/ Their Van and Tour Diary.
Today Is The
Day Tour Highlights & Lowlights.
UNDERGROUND REISSUES VIII
Abomination, Winter, Macabre, etc.
Industry May Be in
Shambles But We Feel No Guilt.
TAMPA: A VERY VERY
Current State of Our
some Brazilians, some Christians, some weirdos walk into a bar...
some Brazilians, some Christians, some weirdos walk into a bar..
with Pil Trafa vocalist of the
Argentinean punk legends.
TALES FROM THE
CUTOUT BIN VII
Ones Get Resurrected
From the Can.
METAL REISSUES V
Naglfar, Gorguts, Dark Funeral,
Blessed Death, etc,
The Story of
Italian Thrash Metal Band
Metal Reissues Galore XI!
keep on coming and I keep on giving them space. To the
much lauded efforts of Metal Mind, we now give space to
I Hate Records whose second collaboration with Brazilian
powerhouse Vulcano just saw the light of day and to
Nuclear Blast who is reissuing Messhuggah’s first effort
for the second time. Read on and spread the word.
to know that there are still cult bands that need to be
championed so they get enough mileage out of it to
subsist in the underground for at least one more decade.
Some may have been discovered by just a handful
and championed by two or three but it takes the gentle
efforts of people like the nice fellows of Southern Lord
to bring them up to our attention. Such is the case of
Gore, a Dutch trio that played their very own primitive
take on instrumental heavy rock at a time when
instrumental heavy rock didn’t exist. There is a lot of
repetition going on here, and even though the tunes are
short so are their compositions which all in all may
take about twenty-five seconds. Multiply that by three
or four and you get complete songs. Their simplicity is
upfront, the tunes move mid-tempo and there is logic to
the whole thing; it zombifies the listener. From
vantage point, despite its simplicity Gore sounds like a
very influential band. They may have been influenced by
the likes of Husker Du, but on their own neardenthal
way, Gore has surely influenced plenty of the
instrumetal bands of today. This Southern Lord two-disc
reissue is exhaustive; it includes the only two albums (Hart
Gore and Mean Man’s Dream) Gore ever recorded
and as a bonus includes over twenty live songs. The
liner notes from bassist Rob Frey are detailed
documentation of the band’s existence and the 32 page
booklet includes several photographs so that we get an
idea of how underground rockers looked like back in the
Meshuggah’s 1991 debut, is the first album I heard by
this now legendary, revered and highly influential
Swedish band. At the time a friend of mine owned a
record store and he made me a tape. I remember being
totally blown away by the radical riffs and the angular
manner in which this quintet molded its music. At the
time I was a huge Pantera fan and I thought of Meshuggah
as a more mechanized Pantera. A couple of weeks later a
friend of mine borrowed my tape, his house got broken
into a few days later and the thieves ran off with his
boombox and my Meshuggah copy inside. Wait a minute I’ve
told this story before! That’s because Nuclear Blast has
reissued Contradictions Collapse, along with the
EP None before. The only difference is that this
2008 reissue comes in a really nice jewel case. No extra
liner notes, no extra pictures, no extra bands pics.
Just a nice fucking jewel case. Oh yeah, I guess I
should mention that Contradictions Collapse is a
pretty awesome album. Yes, Meshuggah hadn’t found itself
yet, but the coldness almost industrial aspect of their
music is already being shaped here. The last four tracks
belong to 1994’s None which displays their
evolution in sound in full-blown. The formula is laid
here; the exact almost jazzy and totally progressive
interaction between instruments is in morph mode here.
Mortification’s Wikipedia page claims the band is
Australia’s most successful extreme metal band and also
the most successful Christian extreme metal group in the
world. Would some Australian please stand up? Yeah, the
first claim is arguable, (The Berzerker may be just as
successful and I am sure there are some others), and I
would bet that in the Christian extreme front Living
Sacrifice were at some point just as big, not to
mention, infinitely superior. But no doubt about it, for
a death metal band Mortification were big and for a
Christian death metal band they were fucking humongous.
That may also have been their biggest selling point
because listening to their music it’s obvious there is
nothing that justifies their success. Throughout their
career Mortification never failed to deliver subpar
album after subpar and mediocre album. Triumph of
Mercy dates back to 1998 and lyrically focuses on
bassist vocalist Steve Rowe bout and subsequent triumph
over leukemia. It’s pretty descriptive stuff. The title
track includes lines like ‘chemotherapy was just a 1%
chance but if I could find a donor with identical stem
cells, I could find a 25-40% chance of cure…’ And
then it goes on endlessly about his ordeal. Nothing
wrong with that, but Rowe’s literal song writing has
little in the way of artistry. The music is mild death
metal played with competency. Like most Metal Mind
reissues, Triumph of Death comes in a nice
digipack including liner notes, lyrics, photos and four
year later, in 1999, came Hammer of God,
Mortification’s thirteenth release. This one’s got a
less ridiculous cover artwork and sees the band taking a
stylistic shift towards a trashier style. It actually
fits Mortification better. Steve Rowe’s raw vocals are
naturally closer to thrash than to the super humanity of
death metal, the solos are outstanding and the overall
songwriting, especially the riffs, is more solid. Sure,
some of the lyrics are very Mortification-like, ‘god
rulz, god rulz, god rulz, god rulz, god rulz,…’.
Repeat that about a dozen times, but what do you
expect? There is also some keyword work prevalent in
several songs, but it’s all treated with care and it
never overwhelms the proper heaviness of Hammer of
a few weeks ago while aimlessly walking the downtown
streets of Lima in search for old metal I saw a guy
walking around sporting a Vulcano t-shirt. I was
surprised. I’d never see a Vulcano t-shirt before. It
made me think of the first time I heard this legendary
Brazilian band. It was 1988, I was a naïve young pup
and their third official full-length Who Are True?
had just been issued by Cogumelo Records. My other point
of reference for Brazil were Sarcofago, Dorsal Atlantica
and Sepultura. Of the four, I reasoned Vulcano (pictured
above) was the one with the most chance of making it
outside their land. They had the chops, plus I always
thought their moniker and logo were killer. Tales
From the Black Book dates to 2004, was first issued
by Renegados Records and besides the excellent 2006
split with Nifelheim (also courtesy of I Hate) is their
latest offering. For those who lost track of Vulcano,
Tales From the Black Book definitely signifies a
step in the right direction, especially since 1990’s
Ratrace was so lame it even featured another logo.
Dudes are in great form here, speed/thrash metal riffs
fleet by, deadly grooves gel the songs together, a
Celtic Frost on uppers feel invade tunes like “Face of
the Terror” and the vocals of the ironically named Angel
cause you to step back only if you need not get bitten.
Germany’s Warhammer might have formed as a Hellhammer
tribute band and listening to their songs is frankly
just as good an experience. These fuckers absolutely
rock and sound just like Hellhammer did back in the day.
This, despite the fact that Warhammer was formed a good
decade after Hellhammer disbanded. The voice
immediately makes you think of Tom Gabriel Fischer and
the guitars have the same ultra basic structures that
Hellhammer had in their first recordings. The wise
minds of Metal Mind are reissuing all of Warhammer’s
full-lengths plus their demos and I know I’ll be going
backwards by first covering Curse of the Absolute
Eclipse (Grind Syndicate, 2001), but it goes to the
band’s credit that this being their fourth full-length
still sounds like any band’s first. It’s super basic
stuff. Rudimentary metal that mixes doom with early
black metal. Good shit. It makes you think that perhaps
the world does not need Hellhammer anymore. Somewhere in
the liner notes it says that this album shows the band’s
progression. If so, I can’t wait to hear how the demos
sound. It may just be pots and pans and a dude shitting
himself. Warhammer broke up soon after the release of
Curse of the Absolute Eclipse, only to reform in
you hear their name you kind of think they must be a
joke. When you see the artwork that disgraces their
recordings you get totally convinced. And when you hear
their music you kind of just want to kick their asses
for sucking this half-assedly. Ok, there are some decent
moments in The Last Judgement, Chronical
Diarrhoea’s (Nuclear Blast, 1990) second full-length and
final recording but they are short and you can count
them with one hand. The artwork for this album is
actually not that bad. Silly as shit, yes, but not
sillier than their loose around the edges and all
throughout inside crossover. The drums sound like tin
cans and in some parts they sound as if someone was
finger tapping on formica and the rhythms, velocity and
vocal delivery are as forgettable as Michael Jackson’s
manhood. Still, bands with silly names make for good
Now this is a band worth talking
about. Rigor Mortis hailed from Texas and wrote some
pretty fucking good thrash metal. I would highly
recommend their two full-lengths along with their EP
Freaks. Their self-titled debut provided many
afternoons of joyful violence during my youth and their
second and last album vs The Earth (Triple X,
1991) absolutely slays. The album is laid down in
typical fashion as it starts with a guitar intro and
violently breaks in with “Mummified”, a speedy cut that
musically owes a big debt to Slayer. These guys had
great technique, the guitars were colorful and the solos
were not only melodic but also pretty inventive.
Vocally, Doyle Bright is not of the most talented
individuals, but thrash metal has never been known as a
subgenre of vocalists. There is only one Chuck Billy,
you know what I mean? Rigor Mortis covers The Ramones’
“Psycho Therapy” and is one of the few metal covers that
I wouldn’t be embarrased to blast at a party of non-metallers.
Main guitarist Mike Scaccia would go onto play with
Ministry and the Revolting Cocks.