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
REISSUES GALORE XII!
new batch of reissues spans a wide range of bands not
only from Great Britain and America, but also from
Central Europe and Asia. Also, we see how Metal Mind is
not the only hard-working label executing the big task
of reissuing old classics. Here we include reissues from
Sweden's mighty doom vault I Hate and from America's
versatile house The End. Lastly, these reissues not only
include the secular but also the Christian and the
Satanic. Everyone gets their little something.
Read on and spread the word.
very surprised by Czech Republicís Root (pictured
above). I read every promo sheet with much skepticism. I
understand that is the labelís job to blow out of every
bandís asshole but when they say that Root plays somber
and menacing black metal, they fucking mean it. The
Book (Red Black, 1999), Rootís fifth full-length,
isnít exactly your stereotypical black metal album. For
starters this is one of the few recordings that is
orchestrated and ambitious and doesnít come off as
ridiculous and overblown. Root play it at mid tempo,
which gives their arrangements plenty of room to
breathe, and which gives their tunes certain Ďdoomí
allure. The promo sheet reads verbatim, Ďif The
Satanic Bible had been composed into music the hymnal
The Book would have been the resultí. And sure, why
not? The sound is very esoteric. LaVey hated rock music
but the cool orchestrations give The Book certain wicked
classic elegance. To me achieving a balance between rock
and orchestration is enough of an accomplishment, but
here every song works. This re-release by I Hate
Records includes four bonus tracks three of which are
bare demo versions of songs included in the album.
eight years and Root were a much more bipolar band.
Hell Symphony (Zeras, 1991) is as ambitious as the
albums that would follow but also reveals a very crude
band. This is the second album of the band and in a way
is much more direct in its intentions and much less
atmospheric. The voice of vocalist Big Boss for instance
is very much in the grandpa black metal vein of the
early 90ís. It is more evil sounding but it is not as
enjoyable nor as unique as the one exposed in The
Book. Musically, Root very much knew what they
wanted to do as most of the songs are delivered in a
sure footed mid tempo. However there are songs where
Root switches to fast tempos (ďAbaddonĒ) and deliver a
fucking riff stompfest and there are occasions where the
band just goes
berserk and bad trip tribal-like during the hippie
satanic free jam of ďSatan." Hell Symphony is more
colorful, but also less focused.
next record is the 1995 reissue (Magnetic Air) of
Exciterís 1988 self-titled fifth full-length (Maze
Music). Besides this reissue Megaforce repackaged this
album in 2005 and re-released it as O.T.T. I have
a soft spot for these Canadians. Exciter and I go way
back, you see. As a kid, I remember listening to my
older brotherís vinyl copies of Heavy Metal Maniac
(Shrapnel, 1983) and Violence & Force (Megaforce,
1984) whenever he was out. I was always in awe at how
Dan Beehler was able to sing and play drums at the same
time. I always thought of Dan as a deity of some form.
Especially endearing are his high notes, which here
happen about every two seconds. I also remember not
digging neither album too much, but for some reason I
kept spinning them. This album shows some evolution
which makes it more enjoyable. The guitars are pretty
killer (some solos are incendiary) and even Danís
drumming displays some gusto not shown before. Beehlerís
vocals remain an acquired taste, but for the classic
metal lover they should go down like punch.
of the few differential traits of Brutalityís second
album When the Sky Turns Black (Nuclear Blast,
1995) is that it doesnít start with an intro. In other
words, there isnít much that sets this Tampa band apart
from the rest of their early 90ís cohorts. Except
perhaps quality and the two angelic sounding acoustic
instrumentals the band places in between songs. Say
what you like about the Morrisound Studios death metal
sound, I believe most of their early recordings suffer
of tepid sound. In the case of When the Sky Turns
Black, this remastered Metal Mind edition enjoys a
bolstered live sound that is as crunchy as it is
deafening. Thatís evident in their refreshing Black
Sabbath cover of ďElectric FuneralĒ. The rest of the
songs walk an enjoyable line between early standard
Florida death metal (with flourishing guitar technique)
and doom. Last thing I heard Brutality is back
Sigh has crafted a career out of being unpredictable.
Like many who started playing plain Satan worshipping
corpsepaint donning black metal Sigh too eventually grew
out of that phase and branched out into other subgenres
like progressive and experimental. By the time
Imaginary Sonicscapes was released (Century Media,
2001) their sound was so beyond their initial roots it
was hard to believe this was the same band that once
covered a Venom tune. A few things that will get you
addicted to Imaginary Sonicscapes are those
catchy pseudo power metal riffs, the fluent tempo
progressions, the complicated shifts, the psychedelic
sounds of a minimoog, a vocoder, a Fender Rhodes Hammond
and even the disco bit on the convoluted "A Sunset
Song". And if youíve heard the original version and
were discouraged by the ambitious songwriting and the
poor sound, well The End had James Murphy remaster the
album and it sounds titifuckinglating.
Diamond Head may have been essential to the development
of metal music but on Canterbury (MCA, 1983),
their third album, they proved that their price for
whoredom was just as low as that of anyone willing to
break for a buck. Canterbury is, how do you
say?...a piece of shit. It sucks. It reminds me of that
lame synth heavy sound that Jefferson Airplane adopted
when they switched monikers to Jefferson Starship and
started writing crap like ďWe Built This CityĒ. Hell,
some of the songs even sound like Huey Lewis & The News.
All thatís missing is the harmonica and the power of
love. Itís horrible. There is not a trace of the old
band here. This isnít even the real Diamond Head.
Apparently, after the initial success of their first two
albums (Lightning to the Nations and Borrowed
Time) the band caved in to label pressures to oust
Duncan Scott (drums) and Colin Kimberly (bass) and with
a new lineup reinforced by Procol Harumís keyboardist
Josh Phillips-Gorse the band wrote this calmed and poppy
turd. Hey, the title track is a soporific piano ballad.
Upon its release, it was found that Canterburyís
first 20,000 copies had a problem which caused the
needle to jump. Considering how lame this record is that
may have been a good thing.
Destroyer and Strutter. Germanyís Warhammer is the
ultimate tribute band. To prove that this trio got so
into the gimmick they ended up creating their own brand
of Hellhammer-like worshipping doom. Towards the
Chapter of Chaos is the rawest of the Warhammer
bunch getting the treatment by Metal Mind because it
predates any of their official releases. This limited
digipack includes the bandís 1997 five-song demo along
with some rehearsal recordings taped between 1998 and
2001 ensuring that what we get is the most primitive
this band could get. And it shows. There isnít much
difference between the demo tracks and the rehearsals.
In all, we get a scuzzy downtuned and atonal guitarist,
a sloppy drummer who can barely keep up and a vocalist
that mimics Gabriel Warrior quite faithfully. The purity
of these recordings is charming, but get five songs deep
into Towards the Chapter of Chaos and it gets to
be enough of a good thing. Listening to Warhammerís next
recordings proved that evolution wasnít the key,
the time Spheres was released in 1993, Pestilence
was far removed from the thrash death metal sound that
had characterized their first release Malleus
Maleficarum only six years before. Line up changes and a
turn towards intricate technique took the place of
aggression and brutality and in this, Pestilenceís last
full-length before their break up, the band plays a
pretty non aggressive linear kind of progressive metal.
The jazz influences of guitarist Patrick Mameli are
clear. He riffs angular hook-less notes and solos with a
progressive clean mind and sings with a raw blistering
approach over mild melodic lines. The bass of Jeroen
Paul Thesseling is even more clear, showed along
modulating plenty of fluent playing. It is clearly noted
in the album sleeve that there were no keyboards used on
the making of Spheres, but the presence of synthesizers
is almighty. As a bonus the Metal Mind reissue includes
three remixed songs and two live versions recorded in
1993. Also, the cover artwork features unused Dan
Seagrave artwork. Not as spectacular as the original
artwork for sure.
the world have enough Mortification? Fuck yeah! I had
enough of this Aussie band after the first time I heard
them. Aaaahhh, the gig of a scribe can be a tough one
sometimes. Anyway, Mortification is very well-known for
being one of the most successful Christian metal bands.
The problem is not in their philosophy, the problem is
in the shittiness of some of their albums. Some are
quite decent, but others reek quite badly. In the case
of Envision Evangelene (Nuclear Blast, 1996),
Mortificationís sixth studio full-length, what
surprises is how pointless and ambitious some of the
songs seem. The album opens with an eight-part
eighteen-minute futile exercise in biblical
storytelling. Itís ambitious, itís long, it has
throbbing basslines, itís got lots of people chanting at
once, itís got piano and a discernible growl and it
sucks. In fact, it succeeds pretty greatly at sucking.
Itís like a poorly written Christian metal opera. Itís
more over the top than a hat on a giraffe. But get past
the bullshit and what we have is some comical Christian
death and thrash metal album with some decent guitar
solos for spice. And donít even get me started with the
production job. Laughable from whichever angle you see
it, but pretty entertaining nevertheless.