Ne ho bevute un paio di troppo stasera nella disperazione preesami… ormai è così.
Nella infinita sapienza telematica del tubo ho riscovato dopo un po’ questo bel videino dei bei tempi andati a farsi friggere insieme agli hamburger vegan e ho pensato di farvi riflettere sul senso della vita.

Ve la immaginate una roba del genere sulla tsi???!!!! rai, mediashit, cazzonesò??!!!
Ancora 20 anni dopo gli avvenimenti di puro chaos di quel tempo, faccio fatica a capacitarmi di cosa sia realmente successo in un paese dove vige ancora la monarchia! Ma com’è possibile che in democrazia si vedano solo tette, culi, Polanski e Matteo Pellino, quando a fine Ottanta, sotto il dominio di una regina bisbetica e già morta si mandavano in onda ste cose in prima serata? Giudicate voi… Prima però godetevi la suite di archi in arpeggio!

Ci vediamo prestissimo!

Se non siete soci da merda comprate sto cazzo di 7pollicino folkloristico e spezzate la catena che vi tiene legati ai vadavial’vüc! Se siete dei soci da merda e non l’avete ancora acquistato siete veramente dei soci!

ATB con amore agronomico e timore alcoolemico

Correva l’anno 1986 ed Inghilterra dei giovinastri scapestrati si erano messi in testa di diventare la band più veloce del mondo.A vent’anni di distanza,gli allora adolescenti Napalm Death,hanno influenzato una miriade di band del panorama musicale odierno e sono definiti i padri fondatori del cosiddetto “Britcore”.

Sul loro primo album,”Scum“,(1987  d.C.)é presente la canzone più corta del mondo che mai sia stata registrata.Il titolo é “You suffer” ed é entrata nel Guinness dei primati dove detiene ancora il suo inattaccabile record.

Un aneddoto curioso riguarda il pezzo(il cui testo é:”You suffer,but why?”).John Peel,dj di BBC Radio 1 e vero precursore in radio di interesse per movimenti musicali underground,trasmise “You suffer” per la prima volta quattro o cinque volte consecutivamente facendo finta che la durata fosse un errore ma pienamente cosciente della realtà dei fatti.

Schiaccciate play e dedicate due secondi alla canzone più corta della storia.Com’é affascinante l’underground…

Jesu’s latest release is a four song EP entitled Opiate Sun.  For non-fans, Jesu is the brainchild of Justin Broadrick, founding guitarist of grindcore granddaddies Napalm Death.  He later helped to start another genre with the punishing industrial crunch of Godflesh.  Since 2003, Broadrick has been front and center in Jesu, where he’s been tapping into what he considers his more accessible pop music inspirations.

Opiate Sun is not a pop record-despite what JB says, Jesu is not a pop band-but the use of conventional song structures grafted onto Broadrick’s slowed down multilayered guitars is sorta poppish.  “Losing Streak” is Jesu at it’s melancholy majestic best.  Broadrick’s harmonized vocals and repeated instrumental motif build on top of each other to create a heartbreaking climax.  “Deflated” features a chugging metallic groove, but instead of going with a more-expected screamo wail or a hard core bark, Broadrick chooses to sing his lyrics, which creates an interesting counterpoint to the heavied-up guitars. 

This is not a record for everyone though.  No song is shorter than 5 minutes and change.  Like most of Jesu’s material, the songs take their time reaching their destination and take just as long to toddle off into the sunset.  More importantly, Broadrick’s decision to play all the instruments on the album leads to some iffy spots.  While great to good on guitar and bass, JB’s drumming only reaches the ”endearingly workmanlike” category.  A tune like “Morning Light” could’ve used some more nimble fills and runs.

These are quibbles though.  Opiate Sun is a welcome addition to the Jesu canon.  For fans of the band, Broadrick gives them what they’ve come to love about the group.  For noobs, it’s a tight introduction to JB’s 21st century musical pallette.  That’s as much as you can expect from any album and once again Jesu delivers the goods. 

Jesu-”Losing Streak” from the EP Opiate Sun.

Definitely NOT a Smurfpunx concert!

People might think it was because it was in ‘Netwerk’ but it wasn’t… After their first passage with ‘Ripcord’ in ‘87, N.D. took a more commercial course and most of the Smurfpunx-crew didn’t want to get involved with them anymore. (There were also stories about sexual harrassment from some of the women in Smurfpunx.) There was some kind of a schisma and Michel De Cock went on to do his own shows (mostly death-metal oriented) seperately from Smurfpunx. Because he is from Aalst, he tried to continue working with ‘Netwerk’ too… This N.D. gig was with ‘S.O.B.’ from Japan.

Because of my criticism towards N.D., these were not too happy, to say the least. That same night, I was attending the bar at ‘De Gele Limonade’ (pub in the same street as ‘Netwerk’, where we bands playing our shows could sleep; in return the Smurfpunx-crew attended the bar from time to time). After their concert, some of the N.D. guys, who were informed I was there, came to pay a ‘visit’… They started to intimidate me but when they noticed I wasn’t going to change my opinions, they hit me in the face and took of again…

Brob

Talking about ‘Napalm Death’, remember that suprise show they did in that tiny village Wakken. ‘Hate Crew’ was also on the bill and there was big fight with Kockie and some drunk punks. I remember Kockie tearing a studded jacket in half and punching a drunk redneck with a cowboy-hat.

Hans

I wasn’t involved with Smurfpunx anymore in 1989 and I didn’t attend that ‘Napalm Death’ gig either. But it wàs indeed clear that a while before my departure  in June of 1988 there was a malaise amongst Smurfpunx and that ‘certain elements’ were central to that or at least actively tried to poison the climate.

There was criticism on Smurfpunx from their side and a lot of twitter in the pseudo-ideological vein (“Smurfpunx is ‘undemocratic’, ‘sexist’, etc. etc.”) but it wasn’t always clear to me what those people (definitely more than one person) actually wanted. What díd become clear in the end was that it was a nicely concealed aswell as a neurotic ego-battle, provincialism and bed-politics. Overall: the petty and darker sides of human nature, I presume?

Mind you: there were also others – in my opnion clearly ‘manipulated’ – who, at a certain moment, started to organise their own concerts seperately from Smurfpunx.

Concerning the accusations of  sexual harrassment: that happened more often with bands. Obviously there will have been such incidents in intoxicated situations, in other instances it was just settlements and defamation. That always scored. On the other hand we might remember that some were notorious known for flirting with band-members.

Duco

“¡Machetazos!” is a highly precious 7-inch because it catches Brujeria at their brutal, bass-y, stepping-on-skulls-with-a-leather-workboot best. Far from the inferior power violence-influenced material that came later, “¡Machetazos!” flaunts a death-metal focus and production so deep and heavy you can feel your balls shrinking like ruby-red plums in the sun.

[Be sure to click the photo to the right to read some of the effed-up lyrics, in Spanish! - ed]

Read these lyrics at your own risk, Spaniards. Click on image for a closer look!

Truth be told — and it pains me to say this because many will try to prove me wrong — but Brujeria’s early material might be the heaviest fucking sludge-death I’ve ever heard. That means heavier than Cannibal Corpse, Necrophagist, Death, Deicide, Morbid Angel, Blues and the entire Corrosive/Give Praise/Metalblade/Relapse rosters.

The key to ‘heria’s unmitigated heaviness is their side-project status, which allows each member to totally let loose without having to worry their careers (or even their identities) will be compromised. But, just so you know, Brujeria contains members of Fear Factory, Napalm Death and even Faith No More.

No matter; you’ll forget about the principles involved as soon as the giant brick of guitar buzz hits you square in the grill. OUCH MOTHERFUCKER! 

The riffs are simple but — like Korn’s early head-bashers — insanely effective, produced for ultimate pounding power. The drums and bass are simple-but-effective as well, the percussion often diving into pools of blast-beatery and double-bass bashery. The vocals, however, are the main attraction, distorted, slightly off-rhythm — as all the best underground singers are — and, most importantly, it’s all in Spanish so I can learn while I listen!

Seriously though, if you feel there’s a gap in your collection where there should be some truly murderous death-metal, Brujeria can fill it like a shallow grave. If not, check them out anyway; your entry into the seedy underbelly of drug-runner hardcore will soon begin.

My musical suggestion for Cerys Mathews’ virtual Road Trip on her BBC6 show is deemed too disturbing to play…

Shortly after this she plays Napalm Death.

Loudpark 09 occured in October.

Decibel Magazine is always a good read and definitely the the best glossy metal mag in the game. I’ve been meaning to scan some stuff from the December 2009 issue, so here ’tis. The Trouble interview and induction into Decibel’s Hall of Fame for their first record… a personal favorite of mine… is killin’ it!!! I also love the cutest kitties in metal and the High on Fire studio exclusive with a sick photo of Matt Pike rocking a ponytail and an acoustic guitar. \m/

En este episodio volvemos al mundo del stoner, con los siguientes grupos:

Solace
The Compnay Band
Trouble
Red Fang
Abdullah
Snail
Firebird
Sideburn
Masters Of Reality
Struck By Lightning
Solarized
Hermano
Unida
Queens Of The Stone Age

También se habla sobre lo siguiente:
The Dead Weather, Jack White, Pentagram, Neil Fallon, Clutch, James Rota, Fireball Ministry, Jess Margera, CKY, Brad Davies, Fu Manchu, Kory Clarke, Live In L.A., Bill Steer, Carcass, Napalm Death, Meteor City, John Garcia, Kyuss

El podcast se puede descargar en formato que prefiere desde aquí:

O escucha online aquí:

Det ser ut som jeg må skaffe meg Converges Axe To Fall. Bandets to forrige plater var strålende, og denne skal være enda bedre.

Converge
You Fail Me
Epitaph/Bonnier Amigo 2004
5/6

Nyskapende og genreknusende punkrock fra Boston-band. Et av 2004s beste rockesjokk.
Metal og hardcore kan både være ekstremt nyskapende og konservativ, og selv om flere band klarer seg utmerket på sin lille planet, er genrenes fremtid avhengig av artister som tør knuse båser, rive i stykker regelbøker og kaste seg ut på dypt vann. Gjerne samtidig. The Blood Brothers og The Locust gjorde det i fjor, og i år kan vi la øregangene ristes i filler av Boston-bandet Converge .

Deres fire foregående album har gjort kvartetten til semilegender i grenselandet metal og hardcore, og You Fail Me er så sterk at enda flere med sans for nyskapende rock bør rydde plass i platesamlingen.

Tekstmessig fremstår You Fail Me nærmest som et konseptalbum om bitterhet og følelsesmessig forræderi, mens de i løpet av 35 minutter brøyter ny musikalsk vei med referanser til så forskjellige artister som Fugazi, Napalm Death og Nirvana. Det sier sitt om dette albumet at Converge er i ferd med å skinne like sterkt på rockehimmelen som disse storhetene.

Converge
No Heroes
Epitaph/Bonnier Amigo 2006

Etter mesterverk som Jane Doe og You Fail Me er amerikanske Converge i eliten av band som rister løs ørevoksen og sprenger grenser mellom metal, hardcore og ekstrem støyrock. Kvartetten har verken funnet bremsepedalen eller kompromissknappen på sitt sjette offisielle album, men veksler mellom voldsomme adrenalinutblåsninger og innadvendte, dvelende låter som nesten ti minutter lange «Grim Heart/Black Rose». Ikke for pyser!

Bonus: Tidenes beste hardcore-album ifølge «justinjj» på Epinions.com.

1. Hatebreed: Satisfaction is the Death of Desire

2. Madball: Hold it Down

3. Blood for Blood: Living in Exile

4. Converge: When Forever Comes Crashing

5. Sworn Enemy: Negative Outlook

This weekend saw Damnation Festival roll into Leeds. In the space of a few short years, Damnation has evolved into a pretty  shit hot festival, in my opinion.

Quite a lot of people said that they wouldn’t surpass last years in terms of line up, but I think it was still a strong ‘un. 2008 saw the first British appearance by Carcass in 46 years or something, so it was a pretty big deal. And they were very good- there’s no denying it! So last year had the wow factor, that’s true, but this year wasn’t exactly second rate entertainment!

Headlining on each of the three stages were Life of Agony, Lock Up and Jesu. Something for everyone no? Well, again, that’s a critism I have heard levelled at Damnation- that they’re trying to please everybody. Well so what? As far as I can see it’s working! With a ticket price of £30, and a wide selection of bands on offer- for me personally, it would work out at approx £3 per band I would want to see. Not exactly a rip off for the likes of Anathema, Destruction, Rotting Christ, Therapy?, Electric Wizard and so on.

I suppose there are always going to be downsides to an indoor festival (much like how the weather is often a downside to outdoor festivals)- yesterday I was so ruddy bloody hot it was insane. I was sweating all over the shop. It didn’t help that they shut the lifts off to the dressing rooms, so in order to arrange interviews, collect bands and journalists etc, I ran up and down the same two flights of stairs approximately 12 times in an hour or so.  Ohh my, my thighs are made of steel today!!

I have a real affection for Gav, one of the main organisers of the fest. He has such a massive passion for music and for his festival it’s almost tangiable. A chat with him at any of the festivals he’s done, really makes me believe he’s living his dream. But it’s not just his festival and the bands that play it- his diving off a speaker stack at a gig just a few weeks ago is testament to that!! He accused me of baffling him with maths, but I really love working with him. For me personally it will be a sad day when Damnation happens and a band I am working with is not playing!!

Yesterday, the bands in question were Mistress and Lock Up. It was a special do for both bands; a sign off for Mistress as their last ever gig, and a kind of welcome back/reunion for Lock Up. Everyone seemed to have a good time, and it was nice to catch up with everyone. I had never actually met Tomas Lindberg before, but he seemed totally charming and a pleasure to work with.

The other good thing about the Damnation guys is that they make themselves known to the bands, they’re not hiding away in some production office/cupboard, and they make a point of asking how it went for the bands.  Last year they may have regretted that when Barney, launched into Festival Hints and Tips 2008!! But it’s done them no harm. Comments are always taken on board and sound relationships are fostered- I believe this was the fourth year with a Dave Hunt-fronted band on the line up!

As ever, I got sidetracked and failed to watch half the bands I had earmarked for attention, but I had an amazing, and knackering day.  Full respect to Damnation for an excellent festival. Roll on 2010.

• Ik haat de soldenperiodes. Tenzij we ‘t hebben over platenwinkels. Bij Relapse is ‘t van dat. Hier werden ‘t plaatjes van Napalm Death (Leaders Not Followers), High On Fire (Live From The Relapse Contamination Festival), Pig Destroyer (Natasha), Harvey Milk (The Pleaser) en Today Is The Day (Kiss The Pig). Namen en titels spreken voor zich. Genoeg lawaai voor nu.
• Is dubbelparkeren niet bij wet verboden? Ik wil lijfstraffen voor overtreders. Dubbele dosis in Brussel.
•  De nieuwe Auster is de beste in meer dan vijftien jaar. Intussen word ik bruut van m’n stoel gekegeld door het withete proza van James Ellroy.
• Ook nog online, for what it’s worth, etc: recensies van Black Cobra (Chronomega), Om (God Is Good), Mary Halvorson & Jessica Pavone (Thin Air) en A.F.Th. van der Heijdens Doodverf.
• Morgen niet naar Sonic Youth. Wel naar een van de beste gitaristen ter wereld, die neerstrijkt in de Vooruit.

NP: Pere Ubu – Long Live Pere Ubu

Napalm Death released its 14th studio album, Time Waits For no Slave, in January and things look bright. One of the highlights for the band was definitely the gig at this year’s Rebellion Festival, in Blackpool/UK, which is known as the biggest independent punk festival in the world. Just a couple of hours prior to hitting the stage, Mark Greenway kindly had a few words with us.

This is the first time you’re playing at the Rebellion Festival, right?
Yeah, we were invited last year but we were busy at the studio. As you know, we just got here and unloaded the van, and there were lots of confusion – it was pretty chaotic actually, but that’s what you expect in a festival like this anyway (laughs) – so I think it will be a good one. The atmosphere here is really good, it definitely reminds me of the gigs back in the day, you know, about 20 years ago. And it’s all good, as long as all that violence of the old days don’t come with it (laughs).

How has the latest album been received?
Really well, I think you can say it’s pretty much 100% approved, I mean, everybody is saying good things about it. People are responding well at gigs too, even though you can’t expect everybody to know the new songs the same way they know the old ones, but yeah, people seem to like it.

How would you compare it to the old albums?
It’s very hard to make a distinction, because there are natural progressions one from another, you know what I mean? The Code Is Red… Long Live To The Code was my favourite for a long time, but I’m more focused on the new one right now.

How long did it take to record Time Waits For No Slave?
Three weeks, from recording to mixing and mastering. We made and rehearsed the songs for about 6-7 weeks before that.

You’ve been working with Century Media for a few years now. How would you compare nowadays as opposed to when you were signed to Earache?
It’s worlds apart. I don’t wanna talk about all the negative things about Earache, because I already did it in several occasions years ago. The points have been made, it wasn’t a great experience in the last few years, but we moved on and everything is far much better now.

You’ve been delivering this very demanding type of vocals for a long time. How are your vocal strings nowadays?
I guess I’ve been very lucky because I don’t have any problem at all. I mean, all I do is letting it out, and it works! The only ‘technique’ I use is: I don’t smoke and don’t drink at gigs. I just try to stay healthy and it all comes alright.

Once the band got badly robbed by a Brazilian promoter, yet you still went back to Brazil a couple of other times and everything seemed to have gone ok. How much did your touring terms changed after that event?
Oh yeah, he literally ran off (laughs). But you know, I don’t have any problem whatsoever with the country, that was just one particular person. The way we book tours vary from each promoter anyway, so I’m not sure we changed anything dramatically after the occasion.

Changing a bit subjects, what changes you think Obama is gonna bring to the USA and the world?
Well, he’s just an assistant, so he’s only gonna be aloud to do so much – though off course he’s still better than some conservative lunatic. If he really doesn’t deal with the poverty in the States, I think he’s a bit of a failure. But I think the world is gonna realize, at some point, that things are not really working. I mean, people get killed all the time for stupid reasons, at some point there will be a change, like it always happens in history. I just wish people could leave in peace. I’m tired of violence, just things in general. Poverty needs to be tackled, things need to change. And unfortunately, it takes somebody to lead others, you might say, because people don’t just decide for themselves about big things like that.

Do you vote?
I did this time, voted Green. I also used to vote Labour when it was worth (laughs). I used to be a Labour Party member, years ago…

Was this during the Conservative days? How would you compare the Blair Years to Maggie’s Years?
Exactly. Well, very disappointing… No social justice; it all seems to be just business. I do understand a strong economy is necessary, but economy for the majority, you know?

Are you into conspiracies?
Well, it depends because mainly conspiracies are a matter of interpretation. If you ask me, in general, if I think there are things out there that we can’t see, I’d say ‘sure’. Let’s bring up an example; did the British government know about the torture carried out in Iraq? Off course they fucking did know. You can see in their eyes that they’re lying, it’s disgusting. So that would be a conspiracy, and I’d say I do believe in that one.

Do you believe man ever went to the moon?
Well, that’s a really tough one. I’m very much into science and I’d like to believe they did get there at that point. But did they really? They do have some pretty strong arguments, but I still don’t know…

I heard you like 80s thrash metal quite a lot. What do you think of those revival bands though, like Evile, Municipal Waste etc?
You know what, I wasn’t really a huge fan a thrash metal fan when it started. I do like the first Metallica albums, the very first Exodus album, some of the early Megadeth stuff, but I thought too many of those thrash bands were second rate. I do like the second generation, when they got lots of influence from Discharge, though. But I’m not gonna stand here saying bad things about it because it’s not something constructive. Some people like it, some people don’t.

You think punk is still relevant today?
I’ve been connected to punk for many years and you know what, punk is not a uniform, it doesn’t matter what you wear; it’s whatever makes you happy, it’s in your mind. Also, there’s no such thing as ‘real’ punk because blind devotion, even to punk, is also bad. I think that’s what killed it in the first place. On the other hand there are bands which call themselves punks and get money from big private organizations, so what’s the point? But again, I don’t wanna go judging people, because it’s supposed to mean freedom and free choice. The whole thing became really bitter when those wSo were supposed to be the ‘real punks’ started to stab each other in the back. What’s the fucking point? They’ve missed it completely.

Denis Augusto

[SOURCE: ROCKONNECTION NEWS]

Artist: The Red Chord
Album: Fed Through The Teeth Machine
Label: Metalblade
Website: http://www.myspace.com/theredchord

The Red Chord is part of a long legacy of great bands to rise to prominence out of Massachusetts. In the early 2000’s bands like Killswitch Engage, Unearth and Shadows Fall led an vibrant and creative metal, thrash and hardcore scene within the Commonwealth. The Red Chord made their mark in the hardcore arena to begin, but have since evolved into a bruising death metal band with melodic interludes and all business! Or should I say, they are all bloodshed?

At first blush, “Fed Through The Teeth Machine” could come across as another death metal band pumping out blast beats and layering in vicious vocals. But after several listens I have started to appreciate the envelope they are pushing. For example, 3/4^ths of the way through “Demoralizer” they give the listener an evil melody that fits in perfectly and reminds me a bit of All That Remains with a powerful death metal flare. During “Hymns And Crippled Anthems” there is a dirge where the band slows down the gunfire fest in favor of twinkling string work that slides in nicely. It is a welcomed interlude from the smash mouth, pile driving the listener is assaulted with during 95% of the record.

Let’s be honest, Death Metal is an acquired taste. I like Dying Fetus and Napalm Death, but what is really needed is a band with a big set of nards to push the sounds envelope while keeping it death. The Red Chord has introduced just enough dynamic elements keep it interesting and different, yet appeases the hardcore listeners. “Fed Through The Teeth Machine” is a 2009 Death Metal album. I tend to think they feel like the past is the past, so why not look to the future. I like what I am hearing if the future is in fact- now!

Rating: 8 out of 10, warfare, gore and melody?
Suggested Tracks: “Demoralizer”, “Ingest The Ash”, “One Robot To Another”

Track Listing:

01. Demoralizer
02. Hour Of Rats
03. Hymns And Crippled Anthems
04. Embarrassment Legacy
05. Tales Of Martyrs And Disappearing Acts
06. Floating Through The Vein
07. Ingest The Ash
08. One Robot To Another
09. Mouthful Of Precious Stones
10. The Ugliest Truth
11. Face Area Solution
12. Sleepless Nights In The Compound

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Nella mai troppo lodata e lodabile Radio Dio è iniziata una rubrica curata da noi ragazzi (da me, insomma), si chiama MO’ TE BLASTO ed è dedicata ai pezzi cortissimi, tendenzialemente grind e inintelligibili, con un testo scritto da noi e recitato da Marco Caizzi alla velocità della luce col preciso scopo di non farvi capire un cazzo. Ovviamente la prima puntata è dedicata al manifesto, che potete immaginare quale sia. Lo staff di Bastonate ha anche deciso di accompagnare il rip della puntata inviatoci da Marco con un video. Ve lo ciucciate qui di seguito.

La puntata intera, uno dei vertici della cultura contemporanea, si intitola PHUTURO VERDEO e la trovate QUI.

PS: il video si chiama BLASTAAR in onore a uno dei più fichi supercattivi dell’universo Marvel. I nostri alleati da Latveria sarebbero orgogliosi.

Artist: The Destro
Album: Harmony Of Discord
Label: Ironclad Recordsings
Website: http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=4545289

A few years back Trevor Phipps (Unearth) started a label called Ironclad Recordings with an eye on signing indie bands he got a chub for. Over the course of this time his label has put out a number of nasty releases, but with The Destro – he has smacked a home run and dragged gore around the bases behind him.

The Destro is for fans of Unearth, who would be curious to hear what the early Unearth material would sound like with Napalm Death influences. Breakdowns and dizzying pit musi, with a distinct Unearth sound mixed with bruising death metal, made me instantly think- Napalm Death! Hell yeah!

“Thorns Of Truth” is a galloping monstrosity. It layers in two vocal patterns, one a raspy voice while the other showcases trademark death undertones. A destructive breakdown lays waste 3/4^thof the way through. Fast paced, bruising and complete insanity! Well done.

With “Mouth Of The Heretic” you get a Sepultura (Beneath The Remains era) assault musically, while again the vocals mash your brains into hamburger with death metal like vocals. The perfect mixture of the best elements of metalcore with classic death metal parts. Ken Susi (Unearth) did a masterful job of stitching together the sound to make it work.

Rumor has it that Trevor called The Destro to fill in for another band at a tour stop in Dallas. With just minutes to spare The Destro showed up- played the gig, wow’d Trevor and the rest is history! Based on the growth of the band and their ability to fill a niche, I suspect the decision will pay dividends for Trevor and The Destro on October 13^th. Pick this one up…

Rating: 8.5 out of 10
Suggested Tracks: “Justifiers Of Malice”, “Thorns Of Truth”, “Persistence Of Ignorance”, “Face Down In Regret”

Track Listing:
1. ‘Justifiers Of Malice’
2. ‘Thorns Of Truth’
3. ‘Pestilence Of Deceit’
4. ‘Angel Killer’
5. ‘Mouth Of The Heretic’
6. ‘Persistence Of Ignorance’
7. ‘Dead Eyes Divide’
8. ‘Overcome (The Flame)’
9. ‘Face Down In Regret’

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Am citit acum câteva luni un post. Mi-am propus atunci să ascult şi eu albumele, mai mult din curiozitate. Între timp am uitat ce îmi propusesem. Apoi mi-am amintit, dar întâmplarea a făcut că atunci chiar nu aveam timp de ascultat. Acum… singurul lucru pe care îl am cu adevărat e timpul, aşa că era cazul să termin dacă tot aveam asta în gând. A nu se considera recenzii… nu de alta dar nu am mai ascultat [încă?!] un alt album de la trupele de mai jos. Ordinea este total aleatorie.

Iar dacă vă întrebaţi de ce ascult astfel de formaţii, răspunsul e cât se poate de simplu: vreau să mă descopăr muzical.

Mournful Congregation – The June Frost

Australia, 1993

Când am văzut că piesa doi are 17 minute mi s-a făcut rău. Am dat play şi prima piesă m-a lăsat mască. Mă bucuram că am decis să ascult albumul la căşti. Apoi a urmat piesa cea lungă pe care nici nu am sesizat-o ca fiind atât de dificil de ascultat [cum îmi imaginasem]. Mai spun doar de piesa care dă numele albumului – superbă. Sinceră să fiu nu mă aşteptam să îmi placă atât de mult întregul album.

Napalm Death – Time Waits For No Slave

UK, 1982

Mi se pare că toate piesele seamănă între ele, apropiindu-se de a fi identice. Recunosc că albumul acesta a fost prea mult pentru mine.

The Arrival of Satan – Vexing Verses

Franţa, 1999

„Vai de capul meu!  Eh… hai că nu e atât de îngrozitor. Ascultă în continuare… poate, poate!” Începutul piesei Morbid Libido mi-a plăcut… sau ca să fiu corectă mi-a displăcut cel mai puţin. Ultima piesa m-a derutat un pic cu tusea aceea, dar oricum acceptabilă. Un album pe care nu l-aş mai asculta a doua oară.

Vanhelgd – Cult Of Lazarus

Suedia, 2007

Prima piesă interesantă, chiar mi-a hrănit curiozitatea de a afla ce mai urmează. La Heaven in Lost mi-a plăcut cum se aud tobele. Avlad I Synd cu începutul chiar fain, are ceva ce m-a atras. La Drunk Beyond Death tobele joacă din nou un rol important. Totuşi ultima piesă cam seacă.

Beyond Ye Grave – Raping The Creation Of God

Rusia, 1999

Repede, repede să nu ne prindă cineva. Parcă asta ar spune piesele, parcă ar fi pe fugă. La Beyond the Seventh Sphere am crezut că mi s-a blocat winampul, dar nu… chiar aşa sună. Nimic interesant, nimic provocator aici.

Orcustus – Orcustus

Norvegia, 2002

Aici se întâmplă nişte treburi mai complicate ce mi-au atras atenţia. Dar vocea parcă pe de o parte răguşită, pe de altă parte sugrumată nu m-a atras deloc.

Absu – Absu

USA, 1990

Nu m-a atras nicio piesă în mod deosebit. La un moment dat am auzit un solo la chitară ce a părut interesant, parcă pe la piesa opt. Spre sfârşitul unei piese de pe la sfârşit este un moment mai uşurel destul de plăcut, dar urmat de nebunia din restul albumului. Cam atât. Nu pot spune nici măcar că a fost de nesuportat, pur şi simplu a trecut.

Blood Of The Black Owl – A Feral Spirit

USA, 2005

Superb album. Piese lungi, dar deloc plictisitoare. Toate sunetele şi vocea alcătuiesc o poveste ce chiar mi-a plăcut. Nu am nimic în plus de zis, doar că merită să fie ascultat.

IXXI – Elect Darkness

Suedia, 2006

Underworld, Nothern Floods, A Bitter Lesson încep chiar promiţător, sfârşitul plăcut, dar mijlocul le face să îşi cam piardă din farmec. Nu am găsit nicio piesă care să îmi placă în totalitate.

Kreator – Hordes of Chaos

Germania, 1984

Singura piesă ce mi s-a părut OK cap-coadă a fost Amok Run. Mi-au mai plăcut pe ici pe colo: To The After Burn, Distroy What Distroys You, Absolut Misantropy. Momentul de respiro pe numele lui de Corpses of Liberty foarte reuşit. Restul deşi destul de digerabile, mai greoaie pentru mine. Cred totuşi că mi-ar fi plăcut mai mult albumul dacă era doar instrumental.

Archgoat – The Light-Devouring Darkness

Finlanda, 1989

“Hopa! Ia taci că aici e treabă serioasă. Nu mai glumim!” Asta credeam după prima piesă. M-am lămurit între timp. Nu pot spune că îmi place cum îi sună vocea, nici că o detest. Dar prea se apropie de grindcoreli, iar grindcorelile chiar sunt peste nivelul meu de rezistenţă. Albumul m-a plictisit, de abia aşteptam să se termine.

Au fost două albume ce nu le-am găsit: Afflictis Lentae – Chaos Fire Hate; Teitanblood – Black Putrescence Of Evil. O să încerc să fac rost de ele şi probabil că o să revin cu aceste ultime păreri.

Închei într-un ton mult mai liniştit. Nu se aliniază ca gen cu cele de mai sus, dar o să scriu şi despre ei. Am auzit o piesă de-a lor într-un trailer şi chiar am fost curioasă ce altceva mai au.

Coheed and Cambria – Good Apollo, I’m Burning Star IV, Vol. 1

Vocea cam lasă de dorit, dar nu mă deranjează atât de mult încât să spun că nu îmi place. Sună chiar bine, dar piesle au o notă cam tristă. Iar acum nu prea aş avea nevoie de aşa ceva.

oh yea, here we go. talk about some metal. the dude who runs indigotunes.com rebuilt his site, so it is more “pretty”. he went ahead and created an artists index of of a whole lot of metal album releases.