Monday, June 28, 2021
Tuesday, June 22, 2021
Recently announced via the Contaminated Tones Newsletter, I will be offering an annual Subscription option. Here is the statement from the newsletter:
This annual subscription will include four seasonal packages which include copies of the full interviews conducted for Contaminated Tones (past and present), magazine-layout copies of all reviews, as well as other articles. The subscription also will include an annual best-of compilation tape with hand picked tracks, interview snippets, live recordings from the past fifteen years of show-going, and miscellaneous sounds and screams. The subscription offer for 2022 is open now and will close on December 31st. This is another step in pressing forward with my goal of pushing back against the digitization of media and art, keeping the underground tradition of physical interaction alive, and allowing the open-minded unfettered flow of ideas to reach those who want to hear them. I will distribute flyers, advertisements, and demo material with each package when available as well and all are . Anyone interested in submitting interview material, written letters, articles, rants, conspiracy theories, recommendations, etc, can reach out to me directly. I am going to offer the first year subscription at $20 which includes the postage.
If you are overseas or international, shipping rates are absolutely prohibitive for me to send packages each quarter. I will offer an international shipping option however the subscription will be compiled and mailed out in one package at the end of the year with everything included in the single package. I believe that package will cost $25. If you want to pay the exuberant shipping rates for each season, that's fine and we can work that out.
Saturday, June 5, 2021
Four years after their Plutonium Overdose 7" EP, a solid German Thrash influenced attack, Slovakians Radiation offer their full length, The Gift Of Doom, under similar command, though with a greater proficiency and accuracy. In fact, the two releases give credence to the perspective that a band can offer stylistically the same material with no recognizable overall change and yet put out a substantially stronger release. Radiation didn't need to change in any way from the EP with "Sword of Damocles" still holding a revered spot on my best of playlist, but where Plutonium Overdose offered one truly stand out song, The Gift of Doom offers several noteworthy tracks to build a more solid repertoire overall. It's this type of expanding repertoire which is key to maintain consistent fan interest and yet, paradoxically, for long-running projects with storied careers, is seemingly an impossible feat to achieve. Naturally, the artists and their die-hard fans will immediately love new material, but for less zealous listeners, it becomes increasingly difficult to find worthy new additions to storied careers.
Obviously Radiation are not Sodom, or Slayer, or Kreator. As such, Radiation does not have a laundry list of classic tracks by which new material continuously fails to live up to. The Gift of Doom does definitively add several cuts which I would consider necessary in Radiation's setlist, a setlist which I would pick over seeing washed up out-of-touch old thrash bands go through the motions. Radiation excel when guitarists Mraz and Riso discover memorable tails to their riffs, and repurpose those motifs throughout their tracks. "Praise The God of Nuclear Fusion" is one such example with a memorable opening riff that introduces a descending frill that is reintroduced throughout the song. "Eternal Toxic Fields" showcases this usage of strong reusable guitar licks as well, introducing a lower register element that is picked up again in the first half of solo and then repeating again. "Thrash The Bastards" does the same though replaces the guitar motifs with staccato pounding on the floor tom to give a savage barbarism to the album's tertiary cut. It's through these morsels that Radiation offer burn songs into the listener's psyche.
The Gift of Doom is likely one of the better underground thrash releases I've heard these past few years. Even though a surface reading of the lyrics might appear petulant due to the rough usage of the English language, the actual content offers some variety with songs like "Yperite" focusing on effects of the usage of mustard gas during World War I, and "Eternal Toxic Fields'" opening lyrics of "Poisons, drugs, smog and scums. We are consuming it every day. Municipal waste, garbage and scrap, but for good health we pray," pointing out the hypocrisy of personal health in a polluted world. It's all very dystopian. It's all very thrash at it's core. The rhythm production is genuine and natural; buzzsaw guitars, a tight clunky audible bass from Vrana, and a strong performance from drummer Janci who is full of energy and fire, though does not always find the most creative patterns. Along with guitars, Mroz handles vocals as well. His are quite harsh and raspy. I liken them to Van Drunen's vocals on Consuming Impulse.
This is still underground Teutonic influenced Thrash at its foundation and that will be a major consideration when deciding to give listening time to the record. Radiation is not going to make a person who gravitates away from the grittier German thrash into a fan. There are better historical releases for this, however, Radiation - and similar quality underground bands - will inevitably fill the boots of their forefathers as the aging 80's old guard moves on. Radiation offer a reverent type of banner then, which is evident in albums such as The Gift of Doom. It is their ilk who will still be marching onto stage one or two decades from now and inserting "Outbreak of Evil" or "Ausgebombt" into their setlist when Angel Ripper needs a walker and cane to get to and fro following fifty years of headbanging. Someone will be there to perform underground thrash equivalents to Rock and Roll standards, and having worthwhile original material to go along with the Old Hymns. I love the blinding highlighter yellow tapes with this packaging as well.
Sunday, May 23, 2021
A product of California, Nightshadow have embraced an almost purely homogenous European Power Metal foundation in their debut album Strike Them Dead. The quintet, featuring guitarists Nick Harrington (who courageously sent a copy of the album to me) and Danny Fang, drummer Sean Woodman, bassist Chris Bader, and vocalist Brian Dell, are offering a professional product, with the 'I's dotted and the 'T's crossed, but ultimately, Nightshadow's contract is typeset, and not written in blood. For me, European Power Metal doesn't draw my interest over our domestic product often. The best albums rely on melodically memorable anthemic and crowd engaging choruses, impressively talented vocalists who send the neighborhood dogs into convulsions, and virtuoso-level musicianship from all involved. Nightshadow does their best with what they have, which is quite a bit, but they will need to push their talent to the next level to match the big dogs.
Otherwise, Nightshadow has succeeded were you to pull out a checklist of expected attributes you'd look for in a Power Metal album. The production of Strike Them Dead, for example, is strong. The guitars are crisp and solos, rhythm tracks, and harmony sections are easily distinguishable. Bader's bass playing occupies the lower frequencies with room, evidence of the record getting a proper mixing and mastering treatment, and Woodman's percussion responsibilities are recreated with an industry standard treatment that gets little criticism - though at the expense of claiming zero accolades; safe and indiscriminate if you will. Song structures offer some variety but are not progressive - either unintentionally or due to mature-self actualization - enough to push Nightshadow into a category they can't compete in with Progressive titans. Dell's vocals are capable enough to fill the role of the average Power Metal vocalist but he can't seem to cross the proverbial threshold.
Nightshadow has a solid foundation in the twin guitar duo of Harrington and Fang who are impressive in their lead work and who invoke thoughts of Dragonforce's Li and Totman, but on codeine; Harrington and Fang are incapable of matching the British duo's ostentatiousness at this point, but maybe in the future with bionic augmentations they could get there. Still, they are the Nightshadow's best asset and support Harrington's founding of the project and persistence to get his music to listeners. One area which they do not excel is in the rhythm department, not in terms of performance, but in terms of creativity. There isn't a single rhythm on the album which is a standout; the band needs to develop a more substantial style in this department to set them apart. This could come in the form of a loose and reckless speed-metal inspired abandon, something slightly more aggressive such as the rhythmic section of Primal Fear or Grave Digger circa The Reaper, or an angle which would exaggerate the melodicism with more memorable chord progressions and drive more experimentation with the leads and harmonies.
Dell is at his best when he is not screaming or incorporating anything which resembles influence from a Metalcore point of origin, elements which pop up from time to time and which sound whiney and spoiled. For example, were the whole album to be as melodic and lofty as during the bridge before "Children of the Night"'s middling petulant sounding chorus, Nightshadow would gain the type of melodic overtones and memorability that would serve them like a court jester fettered with a Running Man-styled exploding neck bracelet. But it's the lyrical content which is the biggest detractor, content which Nick himself admitted in a recent interview with The Bone Yard is out of his hands. "Lyrically, I can not write lyrics to save my life. As far as the lyrics go, our vocalist Brian writes all the lyrics." Though Dell shows to be a strong vocalist, a poet he is not. I struggled to find any lyrics which roused my interest. A lot of thought seemingly goes into fashioning easy-to-engage crowd moments, such as the endless rousing calls to "Kill Kill Kill Kill Kill Kill The Witch Queen" in, you guessed it, "Witch Queen." Most songs have this typical attempt at anthemics but only Manowar gets a pass for it.
Furthermore, there isn't much intellectual stimulation on the lyrical front. Songs are very typical. "Love and Vengeance" is notable for creating a narrative between the music and literature that is effective, with the 'love' portion of the song's lyrics encompassing the track's clean opening half and the 'vengeance' portion the overdriven second half, but it's so obvious to developed ears that it wouldn't even require mentioning if there were at least a single more interesting moment on the record lyrically. Remember above mentioned Primal Fear's "Formula One?" I think that's the only song I've ever heard which was so obviously about formula one racing. How many songs (and classic legendary songs) are there about Jack the Ripper? Taking the first four song's lyrics and putting them in an online resource which generates literacy levels yields a measurement of no higher than tenth grade. Comparatively, inputting this review, which is nearly identical in word count, yields a reading level of college graduate. In Nightshadow's defense, both Hammerfall's Renegade and Edguy's Savage Poetry yield the same reading level so it's possible this is an algorithm-related inaccuracy with putting in song lyrics, but when I put in the first four songs off Awaken the Guardian, that also yielded a college graduate reading level. Maybe European Power Metal, then, is just geared to those with GED's and lower back tattoos.
For me, however, there isn't much that would draw me back to Strike Them Dead over any number of other options in the same genre which are timeless examples of what makes the truly great rare European Power Metal albums stand taller and prouder than their brood companions. Hammerfall's Renegade, once again, is a prime example of what could have been as generic as what Nightshadow are offering but just has enough grit, enough masculine inspired (and Manowar) kitsch, and imaginative set design to march past the ranks. Edguy's Savage Poetry, also again, falls in line with such description. There is no correlation to US Power Metal to my ears, as the album lacks the dystopian/epic/occult influences of that scene and the thrash-inspired riffing so anyone hoping to find something even poking at the dirt Vicious Rumors or Liege Lord or Helstar or any number of others tread on can unpack their carry-ons right now. Fans of the heyday German Heavy Metal or NWOBHM will also be at a loss as Nightshadow will not push your Balls to the Wall or provide any Power or Glory. There's some intrinsic Iron Maiden influence as there is in everything. It's likely that plenty of Europeans who are rooted in their regional Power Metal exports could find some legroom under Nightshadow's dashboard and Strike Them Dead might travel well for them, but any European Power Metal albums have to offer me first class seats and accommodations, which Nightshadow doesn't, yet.
Friday, April 16, 2021
Sunday, April 11, 2021
Royal Anguish / The Risen / Oblation / Deracination / Faithful Witness / Mansoul / Final Prophecy - A.R.T. Records Singles Series Vol. 2
Another Thrashback Records Compilation, this seven-band sampler does less for me than Vol. 1. There are no tracks to compete with Drop Dead's powerful trio of death metal here, and the inclusion of seven different bands makes the compilation feel less focused. That the bands all had planned to release these 7"s on A.R.T. Records in the past might not be enough for some listeners to internalize the reason for this compilation's existence as worthwhile. While saving and digitizing these tracks for posterity is a laudable task, I'm not sure I would come back to much of this material unless it was tangentially related to something else. Maybe I would revisit a single track from The Risen if I was doing in depth research on death metal from Maryland. Perhaps I would come back to Oblation if one of the old members sent me something from a new project to check out. Maybe I would have to come back to Royal Anguish if the early to mid 90's Floridian death metal scene was a topic of discussion. But beside scholarship, this will likely see quite a lot of shelf-time and not a huge amount of play time as a complete album. These tracks, just like Vol. 1 of the A.R.T. Records compilations released by Thrashback Records, were from 7" single presses in the 90's. Unlike Vol. 1, these singles were never released.
The best of the 7"s compiled here is the that of Faithful Witness and Mansoul. Faithful Witness cuts, "Shadows" and "Trembling of the Spirit" are the best overall off that, however the Mansoul release is easily the most interesting from a criticism / textural perspective. The two Faithful Witness tracks draw heavily on Suffocation and the New York Death Metal scene. There is a generous gargle to their bottom heavy tone, and the swelling speaker fuzz is the perfect compliment to the slow breakdown in "Trembling of the Spirit", a track whose origins are elusive to me, as it was included as a bonus track, and was not on the original 7". "Shadows" is likely the same recording from their sole 1993 self-titled demo tape, just recycled for the split release. I would have loved to have heard the other two tracks from that release. Mansoul's "Justified By Blood" is simply a unique track. It starts off with low-grade death metal and rubbery bass before breaking into a Preces-styled vocal transition. The echoing and angelic vocals of the Preces section get truncated by oppressively distorted guitars with a hint of phasing. The track then moves into a Megadeth-esque thrash riff and so on. The whole introduction is unique and memorable and the shifts in style are unpredictable for the first few listens.
The tracks from the Royal Anguish / The Risen split 7" are average at best. "Retrospect" also appeared on the Killing Time compilation, and so is an immediate deduct for me. It appears to be the same exact recording and the additional track, "Shocking The Priest" doesn't do much for me either. Royal Anguish, through the tracks on these compilations have not won me over, even though they were a staple in the mid 90's in the Floridian scene. The Risen inhale their smoke from the polluted Northeastern death metal out of New York and New Jersey, going so far as to name their track, "Mortal Decay". There is no comparison quality wise, though, to the classics Dawn of Misery or Grisly Aftermath or pretty much most of Mortal Decay's catalog, really; the track is acceptable, but forgettable. The Oblation / Deracination 7" tracks, however, are solid death metal. Oblation's "Dead Unborn" is worthy of inspection with a unique main riff, and faster parts reminiscent of Scream Bloody Gore or Leprosy. Deracination's "Death by Fire" is a cool track with a thick Swedish guitar tone.
The CD also includes two Final Prophecy tracks from a 7". While I guess it's reasonable to include these since they were also released as singles, I kind of liked the whole theme of 7" splits as further tying the release together. "Through Eyes of Fire" is not substantially different enough for me from that which was included on the Killing Time compilation. "We Must Die", however, is new. Thrashier in sound and style, and with less brutal death metal vocals than the other tracks, it both stands out and is odd man out. So for a release which really shows a mixture of death metal bands of different influences and scenes, I'm not sure where/if the track fits in well. I would have preferred a dredged up 7" of death metal from the crypts from the A.R.T Records back catalog. For example, A.R.T. Records released a demo tape from a Christian themed death metal band from Kentucky called Corpse, which would have been cool to include. Absent the two Final Prophecy tracks, Corpse included, it would have pushed this compilation over an hour long, but may have been a better fit against the other Death Metal tracks. I like the Final Prophecy material, but I just haven't been able to enjoy it given the context I've been served it within.
This release should conclude Thrashback's Singles Series. The two releases as a whole are interesting and both have some worthwhile material for what surely is a rather small overall audience. Regarding these types of compilations of obscure material from bygone bands: I can't help but feel there are miscalculations regarding how much interest there truly is in these kinds of releases. For scholarship purposes these are essential volumes; before long these 7" singles and odd demo tapes will surely disappear into boxes, storage units, and the crevice between record shelves and backerboards, never to be seen again. So this compilation - and Vol. 1 - do serve a purpose, even if that purpose is infinitesimally relevant. From a purely entertainment perspective I think it's more likely that average listeners want re-releases of albums long out of print.
Sunday, March 28, 2021
Saturday, March 6, 2021
The necessity of tapes exemplified! Death Invoker, a Peruvian horde, have gone through some lineup changes, but the intent remains the same - relentless extreme metal in the style of the classics. "I met Unholy Perversor in 2003 in a Metal store. Then we got contact and spoke from time to time to play raw, bestial and classical extreme Metal. Everything finally started once we met Beast of Holocaust on 2005." In 2019, Unholy Perversor self-exiled. "Just he decided to go off from Death Invoker (and even his other band), because of personal decisions. So, I took guitar too, in addition of bass/vocals. Now Death Invoker continues as a duo. We have already recorded for 4 productions with this duo line up." That duo is rounded out by drummer Bestial Lust, since 2007. "The only fact is that we summon elder spirits of extreme Metal and unleash our necromantic noise, trying to put our own characteristics. Once we were called "Morbid and Unholy Peruvian Metal Bestiality", “Necromantical Metal of Death, “Necromantic Deathrash”, etc."
Necromancy, Damnation, Revenge was originally released on 7", however Death Invoker were forced to omit the opening track, "Divination Through Death Spirits". I received some explanation on this from main man Morbid Devastator. "We recorded "Divination…" originally for the 7EP, but it was excluded because of factory issues. At first, the EP would be released in Europe and the label asked for twenty minutes. But there were troubles. Finally, the EP was released in South America and the label and factory asked for fifteen minutes. So, we decided to take out “Divination…” which in fact was the newest, longest and the last (song) we had recorded at that time." Thankfully, Nihilistic Holocaust has solved this problem by releasing this excellent material in totality.
I hear the influence of mainly early Slayer, Sepultura, and Sodom but stripped of all semblance of complicating technicality. The production is ancient, and underground sounding, at times even emitting a Celtic Frost value. The major difference comes in the throat of bassist and vocalist Morbid Devastator who prefers a gruff lower growl than the wailing high pitches of Araya or mid-range rasps of Angelripper. This deeper vocal performance combined with lots of echo and reverb should be reminiscent of Blasphemy, or Mystifier. Maybe some of the Greek scene pokes through as well. I ear-checked my impressions. "In general, ancient and raw Metal as: Sarcófago, Sepultura, Vulcano, Sextrash, Kreator, Sodom, Destruction, Venom, Possessed, Death, Slayer; just to mention the classics, in addition of other raw noises from the entire ancestral Metal legions."
There is a subtle occult atmosphere to the tape, set in motion by the longish two-minute intro. The intro, which Death Invoker deemed important enough to remain in full on the 7" - important enough that it would have been worth omitting a full track for - sets an appropriate tone, with wailing distant moans and synths rumbling on in the foreboding melody of D#, F, A at first and then C and F. Maybe slightly longer than needed, but a solid introduction to the previously omitted track, "Divination Through Death Spirits." In truth, though, it is "Witches Hammer" that stands out to me as the most classically influenced track present and reminds me of Slayer more than the other two non-intro offerings.
The layout does not provide any hints as to the lyrical content, so I asked Morbid Devastator about this facet of the band. Regarding my favorite on the album, he alluded to the historical treatment towards those deemed witches. "'Witches Hammer' is related to the so called blasphemous acts of the so called witches, and punishment they suffered, although this, an eternal curse was unleashed." Elaborating further, "Death Invoker takes obscure events of history to be used as a manifestation of dark stuff along human life. In addition to death mysteries, ancient rituals, abominable mythology, obscure damnations, Metal apologies and morbid hallucinations."
Sunday, February 21, 2021
Thursday, February 11, 2021
Vrana is a man obsessed with all things nuclear and atomic. From his label, Atomic Vision Productions to his band Radiation, a thrash trio producing copies amounts of clicks on any local Geiger counters, there is a definite recurring theme present. Plutonium Overdose is a fast-and-bash effort. Five songs in twelve minutes crammed onto a 7" platter and ready to produce the type of energy required for a viable thrash release. There are few compromises present. All five songs are rippers with deafening bombast and unrelenting attack. Aided by a clear production which highlights all the instruments, the production, while underground sounding and raw, is still professional sounding. There's not much to complain about if you are a fan of classic Teutonic thrash from early Kreator, Destruction, and of course Sodom. Naturally, there's some seepage of other scenes into the reactor, but even so, the influences here are stable.
It's immediately apparent from opening track "Atomic Age" that Radiation have removed all frills from their stripped down attack. Sharp drum chokes accent transitions to give a sharp and violent pace to the track. Traditional thrash beats and double bass rhythms grace in between. The guitar tone is that of an old reciprocating saw on high speed. Bass is properly modulated to fill in the background with depth and heft. The Drumming is chaotic and reckless. It's all a perfectly respectful amount of abandon. "Towards a Shining Blaze" is borderline Aura Noir-esque thrashing black metal. Vocals are often barks and deeper grunts of spittle which slicken the tracks. "Orbital Bombanfall", an instrumental, is rigorous in it's back and forth between fast driving chugs ala mid-period Bolt Thrower and slower riffs more akin to Agent Orange Sodom.
"Sword of Damocles" is my pick for best track. It combines the fast, thrashing foundation of the band with simplistic shifts in melodic tension that stand out amongst the other tracks. The chorus is the key to my ears. It jumps up a step and a half from the Eb root note to an F# root note building a hefty aggressive sense of drama and impending doom. The track is a winner and goes straight into my favorite's playlist. Even though the overall EP length is expectedly short it is sure to please fans of the German school of Thrash or blackened Thrash overall. It's not breaking any barriers, not breaking any trends, but it will likely break a few necks. A no-nonsense 7" that will nest nicely into any metal collection.
Sunday, January 24, 2021
I've never quite understood Dan Lorenzo's trajectory after The Downside and Damnation. While the last Hades albums' progression made sense to me, and were in many ways good records, his solo material always seemed to lack a certain... seriousness? Edge? There was always an unpleasant tang of gimmick jumbled in with the inside joke tracks and I will never understand the decision to include three other band's songs with a hype up track on Cassius King. Lorenzo's audacious ambivalence for convention is in every way a NJ attribute. That is for sure. So, I do not expect another Resisting Success - how could I? - but I've always hoped. Dan Lorenzo's collaboration with Nathan Opposition in Vessel of Light is a recent project, but the material presented, at least on this years Last Ride, explains a lot of what I've not understood about Lorenzo's progression in other projects. The doomier setting, somewhere between Sahg and Alice In Chains, gives insight into the thrashless tone of his solo records. There is, of course, the formative influence of Sabbath present, as well as stoner bastions like Down. Vessel of Light is not as gritty as any of the Down material, but a shared architecture can be found nonetheless. Perhaps the best comparison would be locals King's Destroy - particularly their 2013 album, A Time Of Hunting.
Long time followers of Lorenzo's storied and illustrious career will recognize the entourage. Bassist Jimmy Schulman, Lorenzo's long-time wingman, has followed him into the project. Lorenzo just drags him wherever he goes, it seems, but Schulman is a naturally gifted bassist and effortlessly suits the material. Drummer Ron Lipnicki, another Lorenzo henchman, also has moved into one of the project's bedrooms, kicking N. Opposition out of the percussion role, leaving him to handle the vocal element singularly. Though I'm not familiar with previous records from Vessel of Light, Last Ride is a very professional sounding affair. The guitars carry the jagged resonance of seasoned tweaking. Lorenzo does not spend much time, unfortunately, gracing us with guitar solos or leads on this album and his position is mostly of a rhythmic affair. A few good wailings and unadulterated shredding, which he is capable of, would have provided highlights in some songs. Schulman's bass, though, is a highlight for me, as it adds depth and subtlety to each track and I spent at least two listens only listening for his bass lines. Lipnicki's drumming is interesting and varied throughout, especially in a track like "Carving Station". I do wish there was more punch to his kick drum during the slower beats on the album.
If there was a major complaint, it would reside in the song structures. Throughout, on almost every song, the movement and pacing is essentially the same, with a short musical refrain followed with N. Opposition following shortly with opening verses. While there may be shifting of the location of bridges, and some short instrumental spaces, the patterning could become irksome for someone actively listening for deeper musical elements. I felt some tracks, like "Torture King" were wordy. Structurally, this became an issue for me and it carried into my enjoyment of the thematic elements. Initially I was not sold on the lyrical content, unable to poke my finger through the architectural issues. In fact, I still am not entirely invested into the predominance of serial killer and sadist themed songs but objectively I really can't find much to be sour about. Each song's lyrical content fits well with the tone of the track. A song like "Disappearing Pact," one of my picks for best track on the album, with it's quicker tempo and lighter mood plays well with the narrator's expectation of finding hope in suicide.
Similarly, a track like "Carving Station" is notably darker and heavier, like it is dragging a weight behind it. As Opposition somberly describes his character's motive operandi, the big thick chugging rumbles on. The track also marks the spot in the album where I felt Lipnicki really started to shine. The songs throughout are generally well matched with the lyrical content and with the persona which Opposition takes on as well. While on most songs and choruses, he channels Layne Staley, there are times when he shuns the emotionally distanced demeanor in favor of something darker and deadlier. I think the vocal style may unfortunately hinder fans of more epic doom or traditional doom from truly welcoming this record though, as both of these underlying vocal styles is unlikely to sit well with elitists. "Awaken in Dreams" is one of the more unique tracks on the record, sporting a quiet mellowed section that breaks up the B-sides. Closing track, "The Death of Innocence" closes the record appropriately for me. I get the feeling of the ending credits rolling, the theater emptying, until only one person remains, their killer having already disappeared into the night.
Friday, January 1, 2021
Monday, December 21, 2020
Coronavirus claims its first victim: my involvement in Sacrificial Blood. Because of Coronavirus shutting everything down, and all the shows being cancelled, and only a few ways to have fun during the pandemic... my wife and I will be having a baby girl in May (forces beyond be willing, of course). I expect that will be around the time when we will see things in the music world shifting back to normal somewhat but I simply won't have the time to be playing shows and practicing on a weekly basis while there are diapers to change, excrement to clean, sleep to occasionally find, etc. Sacrificial Blood has been the best experience I've ever had with a band and it has been an honor to be involved with one of the few current New Jersey projects which represents what extreme and underground metal should be. I wish Mike, Jeff, and Arnie all the best going forward. I'm particularly proud of Cursed. The final product was exactly what I think we had all hoped it to be: a captured essence of our live energy and aggression all wrapped up in no-frills death thrash.
Wednesday, December 16, 2020
A four way split between four bands related only by the A.R.T. Records' label. The 7" releases which are shared here are essentially lost to dusty attics and meticulously organized record holds, and so other than the occasional copy showing up, it may be tough to snag these otherwise. The bands, all active in the early to mid 90's, are from different corners of the United States and materially, display a mix of thrash and death metal with some teaspoons of crossover drizzled into the soup. A small amount of sleuthing work revealed the connections behind A.R.T. Records and Thrashback Records but I'll hold onto that info for another time. As with the previous Thrashback Records releases, this 4-Way Split is done with the same professionalism and attention to packaging. The liner notes, while not extensive, have a lot of great information for those interested in obscure underground metal from this time period. There is some negative space in the layout, particularly on the page with the lineups for the bands. Some bigger pictures could have filled in the booklet there, but it's a minor thing.
This compilation or split or whatever you want to call it is worthwhile for the three Drop Dead tracks alone. Pummeling and powerful death metal, the three tracks, two culled from the 1993 March of Empire 7" and a bonus track recorded for an unreleased full length, are tight, precise efforts in aggression with a thrash underpinning up front, yet also display similarities to the belchy and gory artfulness of the Dutch scene through the addition of a keyboard outro on "March of Empire", the highly melodic solo on "Oppression", and the sopping moist vocals presentation of Kevin Marby. Kris Weiskittel's drum performance is worth noting as the foundation of the band's thrash element. This is evident on opening track "Clouds on the Horizon" as he slips into a typical eighth-note double bass death metal rhythm with snare on the second and fourth beats halfway through the song, contrasting the typical thrash beats previously used in the song. Drew Pearson rounds out the trio on bass commendably. The three songs are all worthy of attention.
Also noteworthy are the Final Judgement tracks, an interesting mixture of Thrash, Death, and Doom metal. The tracks wouldn't be entirely out of place on an early Paradise Lost or My Dying Bride styled album. The Atlanta, Georgia band then are an oddity, seemingly playing in the UK style of Doom Death. Two tracks here are from the 1993 Drastic Dose of Reality 7". "I Do What I Do Not Want To Do" is notable for the bizarre transitions and pauses, a habit which is picked up again at times during "Punishable By Death." Vocalist Chad Cross provides a strong performance with deep bellowing gruff barks of vocals, but is restrained enough to not overwhelm the instrumentals. "Punishable By Death" is their most effective track, but at just over six minutes, it could have been cropped into a more reasonable length. There is a bit too much repetition as the track drags on. "Habitual Sacrifice", another strong track which was intended to be released on a compilation at some forgotten time in the past, is included as a bonus track. The three tracks are strong enough here to make me want to check out their 1994 full length, Desolating Sacrilege - if I can find a copy under $100.
The other two bands, Dry Bones and Godhead, are not the same caliber. Dry Bones is out of place here, but their inclusion acts more like an aperitif. Dry Bones, with clean vocals and politically charged lyrics don't carry the same dark heft as the death metal bands. The band is really nothing more than a Suicidal Tendencies or S.O.D. tribute in many ways, but where the originators managed to maintain an aggression and violence through some of their tracks, Dry Bones doesn't. Some of the songs have solid riffs, but overall I found them mediocre and uninteresting. Perhaps they would be a fun opener to get some moshing going, but that isn't happening in my office at 8PM on a weeknight when I have to potentially shovel a foot of snow tomorrow morning. Godhead closes out the four band release with typical sounding death/thrash. I get bits of the NY and Floridian scene from the Toledo project, but not particularly well produced. "Unspoken Madness" is the best of the three tracks with interesting bass and drum interplay throughout the track, however this release is truly all about Drop Dead and Final Judgement.