UNDERGROUND REISSUES XIII
War Hammer, Treponem
Pal, Blind Fury, Destroyers & More.
RETRO METAL SQUARE
Havok, Whote Wizzard,
Cauldron & More.
A JOLLY NIGHT WITH NAPALM
Monks, Hatesphere, Fairyland & More.
THE GOOD THE BAD THE
Ethereal Dirge, Old Timer & More.
METAL REISSUES GALORE XII
Brutality, Mortification, Diamond Head & More.
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
Underground Reissues Galore XIII!!!
reissues just keep on piling up. I have enough in my
trunk to fill about three more of these feature
articles. I think I got down a nice variety here, from
the brilliant punk of the Subhumans to the experimental
metal of Today is the Day and the cult classics of
NWOBHM Blind Fury. Read on and spread the word!
Germany’s War Hammer are a rarity because they have
blatantly built a career out of copying the music of
Hellhammer. As they attest, if a songs comes out
sounding too personal or too un-Hellhammer-like, they
discard it. On their 2000 third album The Doom
Messiah (Grind Syndicate, 2000) the band gets back
to basics so to speak. Actually, their music couldn’t be
any more basic than it already is. It’s like the riffs
are being played by a mongoloid, or a caveman just got
handed a Les Paul, a distortion pedal and some crappy
ass amp. And that’s just fine. War Hammer is almost
about regression, and in parts it seems like the band is
taking that idea to heart, regressing in the quality of
the songs too. The Doom Messiah includes the
band’s Apocalypse Unleashed single from 2001. The
sound is a little worse there, but who cares? It's War
Hammer we are talking about.
Carnivore’s second full-length Retaliation
(Roadrunner, 1987) has one of the nastiest intros I have
ever heard. It may be the morning but it made me queasy.
Get past that and we have one of the funniest hardcore
albums ever. Peter Steele’s in your face humor is
scribbled all over the lyrics with jabs and mocks about
politics, race (‘don’t call me your brother, cause I
ain’t your fucking brother, we fell from different cunts,
and your skin’s an ugly color’), and more politics
and war and then religion (‘Jesus Hitler, Adolf
Christ, is this the second coming or the fourth reich?’)
and ignorant nationalism (“USA for USA”). Stylistically,
Carnivore had moved onto crossover territory. This
digipack from the mighty people from Metal Mind also
includes three demo tracks; the first of which “World
Wars III & IV” is very melodic and rock and roll for
Carnivore standards. Also the guitar is buried in the
mix which gives their sound a strange almost post
Excess & Overdrive (Roadrunner, 1993) is Treponem
Pal’s third album. For those who don’t know this French
industrial combo, they are highly regarded mostly in
European circles. Treponem Pal’s music is pretty organic
for industrial standards; the drums, though beat
standard structures and timing and the mixture of heavy
guitars give this album a pretty 80’s or early 90’s
feel. If you are of those that upon hearing the tag
‘industrial’ think of Ministry, well, then think of
Treponem Pal as Ministry played in less revolutions. The
vocals have the same type of cold throaty feel, the
guitars are heavy but very repetitive and the general
tempo of the album is pretty damn regimental. There is
also a Swans-like feel to some of the tunes, especially
in the excellent title track, where the tempo is odd and
the sounds get dragged.
twat! I’ve never seen a sexy half reptile/half woman
with a vagina in her forehead but leave it to classic
Polish thrashers Destroyers to create such abomination.
I wonder if she gets a headache after getting banged.
Destroyers’ debut Night of the Lusty Queen
(Barricade, 1989) is one old school treat featuring some
of the strangest vocals I’ve ever heard. Do you remember
the first time you heard Mayhem’s Dead singing and
though ‘what the hell is that’? You’d have to
experience vocalist Marek to believe his approach. The
guy is all over the place going from a menacing tone to
a hilarious falsetto worthy of all our laughs and
respect. The music pf Destroyers is your typical 80’s
thrash with plenty of nice riff acrobatics, and tasty
solos. In typical old school fashion there are vocal
helps from the backing band. All of course, is sung in
Polish which adds to their colorful delivery. This Metal
Mind reissue includes nine bonus tracks.
Southern records is also rolling out some reissues from
the legendary English punk band Subhumans. The digipack
for their third full-length Worlds Apart (Bluurg,
1985) comes with a poster and an insert with all the
lyrics. These reissues actually feature a remastered
sound along with improved artwork. Worlds Apart
is the last album this band recorded before their 1986
break up and its workman-like attitude and dub reggae
influences bring to mind the by then already spoiled
sound of The Clash. The excellent “Fade Away” is a full
blown reggae punk tune, while “Someone is Dying” sounds
like an experimental ska tune gone right and “Get to
Work On Time” smells of rockabilly. The big merit here
is that the Subhumans crafted quite the colorful album.
They weren’t about straight up punk tracks and with
Worlds Apart they managed to pull in all those
worldly influences together quite flawlessly.
Subhumans EP-LP is a 1986 compilation of four
EP’s released through the band’s own Bluurg Records in
1985. First up is the Demolition EP, which was
recorded in 1981 and released in December of the same
year. The contrast in sound compared to Worlds Apart
is obvious. These EP’s feature a more straight ahead
punk sound. Their creative and personal songwriting is
obvious starting on 1982’s Reason for Existence,
as evidenced on the fade out in “Big City” and the
doomladen break on the title track for said EP. Later
that same year came the furious Religious Wars
EP, where the band accelerates the tempo and unleashes
some lethal social tirades. Last but not least is
1983’s Evolution where the OI and rock and roll
influences is crystal clear from the get-go. Communal
choruses add to the spirit. What a band!
SuperNova Records is the label of Steve Austin, the
leader of left field extremists Today is the Day.
Amongst the label’s last physical releases are reissues
of the early works from his band. Their self titled
third album (AmpRep, 1996) is pretty much ugly music
from outer space. The acerbic, crude and raw vocals of
Austin give the album an otherworldly feel and in tracks
like “Ripped Off”, with its delicate female vocals,
there seems to be a sci fi aura intoxicating the music.
The rest of the songs are just as strange; angular riffs
create radical noise, obsessive repetition, belligerent
screams intent on delivering sweet melodies, clear
strings, and tailed at the end, a pornographic lullaby.
Without a doubt a potent record. Surprisingly
Supernova is Today is the
Day’s 1993 debut (Amphetamine Reptile) and introduces
the band’s awkward sound. Their left field leanings are
still in evidence though, the voice of Austin is very
corrosive and the guitar sounds rotted and electric as
feedback. The songs are more amorphous with the band
experimenting endlessly in closer “Self Portrait”, going
down in the twisted and cluttered doom of “Silver
Tongue”, gone acid swimming in the instrumental
psychedelia of “Blind Man at Mystic Lake” and offering
some quirky hammering metal in “Adult World”. That
Austin and his two cohorts at the time, Brad Elrod on
drums, and Mike Herrell on
bass guitar, where able to
craft an album that is this crude and yet it has such
range and reach is a testament to Austin’s skewed
I was a kid I was a huge fan of Satan’s Court in the
Act. I always wondered why they never got any
recognition. Blind Fury was actually formed in 1983, by
two members of Angel Witch. After they recorded a demo,
vocalist Lou Taylor deserted to become the vocalist of
Satan. There, he turned the band into Blind Fury. Out
of Reach (Roadrunner, 1985) is the band’s only
full-length and the fine masters of Metal Mind are
reissuing it in a nice digipack that includes an insert
with all the lyrics and a detailed family tree outlining
the member transgressions into other cult bands like
Pariah, Avenger, Atomkraft, Skyclad, Sabbat and D.A.M.
Blind Fury belong to the NWOBHM; therefore the
musicianship is flawless, especially the guitars of
Steve Ramsey and Russ Tippins who play great building
melodies together and do it even better when one
provides the rhythm and the other solos with gusto. Lou
Taylor is a capable vocalist, if there is valid
criticism to his high notes is that they don’t
distinguish themselves from the majority of the heavy
metal vocalists of the time. Out of Reach is as
good of a record as anything the NWOBHM gave us.
Unfortunately, Blind Fury did not gain the recognition
it deserved mostly because the band didn’t last long
enough and because Roadrunner was at the time just a