tales from the
cutout bin XII
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
FROM THE CUTOUT BIN XII!
industry logic predicts that with the advent of the
illegal download craze, thousands of digital music
friendly fans will rid of their record collections as
fast as they can. But I havenít seen the cutout bins
getting fatter, or better yet, cheaper. Still, my
finds are aplenty and this installment shows a wide
gamut of extremists whose past outputs I got at bargain
prices. Read on and spread the word.
Nothing really prepares you for the Guitar Wolf
(pictured above) experience. Others will tell you that
you havenít listened to real rock and roll until you
listen to Guitar Wolf and thatís completely true. Forget
about Elvis! Listening to this brilliant and wild
Japanese trio is akin to your first time experiencing an
orgasm; itís disconcerting but you know itís good.
Incredibly good. The thing about the Wolfís music is
that their music was so loose and ragged all around, the
volume always seemed to be turned up to 11, the vocals
were raw and jittery, the guitars on the verge of noise
destruction. Turn the volume down and is just racket.
Turn it up, way up and realize the genius of these sons
of Nagasaki. This is how rock music is meant to be
played, with total disregard for logic and order. When I
saw a copy of their Ďgreatest hitsí Golden
Black retailing for $2.99 (Narnack, 2005) I nearly
creamed my shorts. Essential.
remember seeing Seaweed on the cover of Metal Maniacs
magazine back in the mid 90ís. I also remember
scratching my head. A couple of weeks ago I snapped
their Spanaway album (Hollywood, 1995) for $0.99
and was immediately taken by an underwhelming wave of
disappointment. Logic had always dictated that if
Seaweed were the exception of their punk rock ilk and
were so deservedly of the cover of an underground metal
mag, theyíd be a kickass band with a refreshing
attitude. The truth is Spanaway is a decent 90ís
melodic punk rock album with an indie rock spirit. Itís
much better than most of the shit Green Day ever wrote
but is hardly outstanding, let alone worthy of coverage
in Metal Maniacs. It also predates the crappy pop punk
wave, but I have little doubt of its influence on it and
because of it Iíll take away half a sparrow. Seaweed
also broke up in the late 90ís and, like many musicians
whose post-whatever band day careers didnít take off
higher than Mentos foam in a Coke bottle, reformed in
usually try to stay away from the big metal bands but
when I see their earlier, smaller, most likely,
crappier, early efforts I canít resist the urge to buy
Ďem. Especially if they are sold for $0.99. Somber
Eyes to the Sky is Shadows Fallís debut (Lifeless,
1997) and features one of the crappiest album covers I
have ever seen. Whoever designed this should have been
fired immediately. It also features the vocals of All
That Remainsí Phil Labonte; a dude Iíve seen in a lot of
magazines but whose music Iíve never listened to.
Musically, Shadows Fall actually rocks. Or most of the
time anyway. There is a pretty nifty balance of
technique and aggressiveness that definitely evidences
these guysí chops and subsequent rise in American metal.
There is also certain bad taste and indecision as
evidenced in some of the soft vocals in tracks like
ďPureĒ or in the continual jumping from subgenre to
subgenre. There is plenty of hardcore, some fluffy
acoustic moments, death metal, a few black metal riffs
and yeah, more crappy ridiculous and kinda stupid
vocals. If you want to be all over the place you better
be sure you are damn good and Shadows fall wasnít there
yet. Obviously, the talent was there, but the focus was
first time I listened to Nuclear Assaultís Handle
With Care I thought it was a masterpiece. A classic
of strident and annoying thrash / crossover. The second
time, mmmhhh, not so much. But still, to me that album
still stands out as the best example of what Nuclear
Assault was capable of doing. Plus, vocals donít get
more hysterical than John Connellyís. A couple of weeks
ago I snapped a copy of Something Wicked (I.R.S.,
1993), Nuclear Assaultís last pre-regrouping album and
boy does it blow turd chunks in all directions. What the
hell happened? Those that cried Sell Out!!! have a
point. The songs lack punch, power, attitude and
violence. The riffs are anything but creative and not
even the high pitch of Connelly seems able to salvage
this boring, tedious, tired and ridiculous album.
Frankly, it sounds like Connelly took vocal lessons
before this recording took place, and that's just not
right. By the time Something Wicked came out
bassist Danny Lilker had deserted to form Brutal Truth.
The man knew what was good and this feeble attempt to
grow up and cash in was anything but.
Pavement Music logo in a CD is by no means guarantee
that the music will rule but this record by German old
school trash act Fatal Embrace isnít too bad. That
said, The Ultimate Aggression (Pavement, 2000)
isnít a fantastic record or a classic. Hell, it is
nowhere near those tags but itís far better than I ever
expected it to be. Sometimes it helps to come with low
expectations. The funny thing about this release is that
everyone knows that German metal rules and that it is
hard to find bad metal records made in Teutonic land.
But it seems like the proverbial suits at Pavement were
just unable to hit the nail on its head. The
Ultimate Aggression is a fun listen, if only because
it ineptly apes the Slayer formula. Fatal Embrace finish
this debut effort with a cover of Exodusí ďBonded by
BloodĒ. The band puts nothing of their own in the song,
but the track is perfect as it is, so who cares?
like free stuff. So every time I hit my local record
store I make sure to snatch as many free publications as
possible. One of the regular mags I used to read was
Arthur, a magazine that covers mostly music I dislike or
not care for. On one occasion I stumbled upon an
interview with Pennsylvaniaís Pearls and Brass in which
the author pulled no punches and downright got on his
knees and started sucking them off. I obliged and went
out looking for their album but was unable to find a
copy. A week ago I stumbled on a copy of The Indian
Tower (Drag City, 2006), Pearls and Brassí sophomore
effort, selling for $2.99 at my local record store. All
I must say is that it lives up to the hype. Pearls and
Brass played Ė the bandís status is set as Ďon
hiatusí - a very dexterous branch of stoner rock
thatís as pure as early blues. What a rustic sound and
classic sound! How the bluesy guitar notes bend and bend
some more and how vocalist/guitarist Randy Huth sounds
effortlessly soulful and relaxed as hell. Much of the
sound must be credited to producer Tim Green (The
Fucking Champs) who handled the job here, and who gets
some juicy performances and stellar sound.
Malevolent Creationís first two albums are precious
reminders of everything that made Florida death metal
great; brutal vocals speaking malicious lines; blurry
guitars that were just as technical as they were
visceral and atonal. So yeah, I was thrilled to find
Retribution (Roadrunner, 1992) for $0.99 because I
was instantly pummeled by the fat and blurry sounds of
the Morrisound studios. I have never been a big fan of
Scott Burns trademark production, and listening to
Retribution doesnít make me reconsider. But still,
put some headphones on and is hard to get away from the
killer guitars of Phil Fasciana and Rob Barrett. The duo
dished out some of the sickest riffs death metal had to
offer, building ugliness from simple escalations to
angular anti melodic riffs and chugga friendly
simplicity. In Brett Hoffmann, Malevolent Creation had a
majestic and evil vocal representation. Florida death
metal at its finest for only $0.99? I say, Yes!!!!
Shadows Fall, Unearth hail from Massachusetts. Unlike
Shadows Fallís Somber Eyes to the Sky, Unearthís
debut The Stings of Conscience (Eulogy, 2001) is
more focused and therefore more boring. While Shadows
Fall had an early career that displayed a bold, if only
undecided, musical approach that tickled almost every
branch of hardcore and metal, Unearth were way more
focused on playing some breakdown-enamored metalcore.
The guitar technique of Ken Susi and Buz McGrath was at
this stage blooming. The duo wrote some nice harmonics,
but they still sounded like timid splinters of dull
metalcore monotonous riffage. Still, itís useful to
listen to The Sings of Conscience baring in mind
its place in metalcore history. Because out of it, it
has very little validity.