La Torture Des Tenebres - Memoirs of a Machine Girl

It's impossible not to envision Huxleyan and Orwellian themes when focusing on La Torture Des Tenebres' album art which consistently depicts the kinds of futurist dystopian scenes and landscapes crafted in works such as 1984, Brave New World, 12 Monkeys, or Forbidden Planet. Many reviews have pointed to the classic Metropolis, by Fritz Lang, however it would easy to point to other early noir films with angular aesthetics such as The Cabinet of Dr. Caligari as visual simulacrums for La Torture Des Tenebres' futurist direction. More than any others except Orwell, however, the author who stands out most is Gordon R. Dickson, and his Dorsai series for it's equal parts dystopian romanticism and futuristic nihilism. Musically, however, this aesthetic doesn't seem to stand out to me, which is particularly disappointing, because the lyrical content strongly draws upon this bygone era's dystopian style; an era when science fiction still managed to knock at deeper emotional doors than what we often see in our current special effects-focused sci-fi films. The lack of musical effectiveness is truly what hurts my enjoyment of what otherwise is a well intellectualized social commentary.

Sole proprietor of this little corner stand of techno-horror is Jessica Kinney, who I applaud for the seeming ideological perspectives which she espoused in an interview with Mithratemplezine. As someone concerned over how generations of humans are allowing their individuality to be placed under duress without their consent, it gives me pleasure to find these concerns in others. I think underground metal fans - and extreme music fans at large - are more deeply aware of the importance of separation from social constructs which mold thought and habit, even if they are equally capable of self-destructing their own identities in the name of image. Kinney agrees that "a world in which genuine human connection is entirely replaced by social conventions and unbending self-interest" is a nightmare which must be confronted. In this context, the preoccupation with loneliness and depressed states of mind evidenced in her lyrics, falls in lockstep with the themes. Was not the entirety of 1984 a tragic love story? Was not Winston betrayed by the social constructs around him? Have we all not been betrayed by the social constructs around us? 



Memoirs of a Machine Girl is first and foremost a slab of audio experimentation beyond typical genre boundaries and so, for me, it is easiest to classify it as textural in nature. Were there more electronic elements - elements which would potentially aid the futurist vibes the album lacks - it would fall easily into the harsh electronic realm. The lack of electronic textures, and dominance of static and overlays of field and borrowed samples create a wall of white noise which can only be described as harsh ambient. The thematic content, magnified in topics such as loneliness, existential crisis, and depression - Kinney herself has explained that La Torture Des Tenebres "was started as a form of audio-psychotropic for the treatment of psychotic and depressive illness" - add a depressive element which can't help but pigeonhole the project into some sort of Depressive Harsh Ambient category. It's this depressive connotation which would appeal to fans of black metal. Otherwise, I find little in common with the genre as far as music alone is concerned.

Songs are long drawn out blocks of mashed up samples. A wall of static often blurs distinct sounds into incomprehensible mud. Occasionally melodic phrases fight their way through the morass for short bursts of clearance amidst the unsettling clamor. There isn't enough focus on these melodic passages - they become merely a dark cloud in polluted skies forgotten about as they pass. For something so outrageously layered and claustrophobic sounding, I'm amazed when moments fall into place and stand out such as the expansive screaming in the tail end of "Love Pumps Through My Veins as Quickly as you Kiss Me Goodbye" or the children and voices which occupy the interlude in "Somerwhere in Brockville, In a Restroom Stall." There are some excellent choices of sound design present, such as the bombastic and tense ending of "Staring at the Stars to the Sound of Trucks Revving In The Distance," the opening track, where under-water sounding spoken words are paired with horns or alarms sounding in the distance. Kinney's inability to highlight her purposeful choices of sampling and texture are my biggest concern with the project. I'd like more space, without the loss of the harshness and wall-of-sound. 

As alluded to earlier, at no point in the tracks do I feel like I am in a futurist setting. More rigid and angular rhythmic elements would help press this atmospheric form. I also question the usage of the drums or percussive elements which don't add anything to the imagery I view as La Torture Des Tenebres' goal. I really like the potential behind this project. It's one of the more interesting harsh noise / ambient tapes I've heard in a while. I'd like a more concerted effort to capture the retro-future imagery in the overall sound design, since the project relies so heavily on that aesthetic. Instead of being swept into a post-apocalyptic future world of broken machines, vacuum-tube adorned processors, and antennae arrays broadcasting mind-control signals, I feel like I've walked into a David Lynch setting. It's not a bad vibe, at all, but it doesn't complete the necessary whole to raise Memoirs of a Machine Girl to the lofty heights which others hoist it to.  

Zelkova Serrata #1 - Japanese Zelkova

This tree was gifted to me by a local resident reducing their collection in 2019.

Summer of 2019

Early Spring 2020, before bud-break

Early Spring 2020, after structural pruning

Mid-Summer 2020

Mid-Summer 2020 after pruning

Mid Summer 2020 - Early Wiring to set new growth

July, 19th, 2020 - The tree has some flaws, mainly the super straight low trunk which would only truly lend itself to a broom style, so that is likely what I will be doing. The wiring out of the tree helped me view where the tree's apex should be - the skinny wired branch about halfway up will be the new main trunk line. Next winter, I'll do another heavy structural prune and remove the top of the tree above that point. The tree also needs some root work done to it so, I will be repotting the tree into a shallower growing container.. I will possibly need to ground layer the tree if the roots are really bad or don't work with the currently planned front of the tree. I may eventually Ebihara the roots if I go this route. The trunk is thick enough to hold a screw and board.

Nameless Void - Nameless Void

Nameless Void's sole self titled release is yet another example of the dominance of cosmic atmospheres and existential nihilism that is so pervasive within the black metal / noise genres. The shift towards this deeply personal and individualistic attempt at fear and bleakness, at turning the spotlight on the insignificance of our lives by the measurements of cosmic phenomena and events, an ontological extremism in contrast to the overplayed angles, is ever more abundant in recent releases, it seems. By all comparisons Nameless Void is extreme in it's effect: unsettling, surprising, harsh, and depressing. There are no complaints from me at all along these fronts and the tape is successful in achieving it's goal of blatant unacceptable auditory terror coupled with its thematic displeasure.

Yet, If I may be so controversial in my assessment, there is no such thing as extremity any longer. The unintentional desensitization of the masses has reached it's zenith to a point where it is essentially impossible to create something which has the potential to impact the emotions of a listener so thoroughly that the mark remains an indelible scar on the psyche. Gone are the days when Black Metal was still something dangerous to discover, when Metal had a congressional target on it's back, and when a single hip-thrust ruined the innocence of a generation of women. To think, in terms of sexuality, there hasn't been anything so extreme as Elvis' lower half having to be cropped from TV in the modern era. Somewhere in the vast expanse of the cosmos is a TV signal which has the potential to destroy the procreation rituals of distant life forms; a human male butt in white leather pants shaking with a cultural lethality on par with that of a sniper's bullet.



But Nameless Void does a good job of creating ominous and tense cosmic atmospheres through a thoroughly balanced approach and were I to play any of these three songs for eighty-five percent of listeners, they would surely be uneasy to be in close proximity with me for the rest of their life. For laymen, most of this effect comes from the sections of war-metal blasting, but I find the gritty tonality from the synths which crawl over everything like a large spider to carry the main dreadful weight. Similar to Vessel of Iniquity's recently reviewed eponymous demo tape, Nameless Void combine the same basic ingredients, but where Vessel of Iniquity allowed the ambient, atmospheric elements to lay submerged, here they take precedence. Drumming is extremely distant, vocals are a flange-laden roiling slime where they survive, and the synths are the major foundational force for the music supporting the song structures.

Of the three songs, "Black Wormhole" happens to be my favorite of the bunch - probably because it is the only song which relies totally on the synth-horror. The six minutes of low, droning, evil, masochistic tones is a beacon shining light on where Nameless Void hide their best material. Undulating bottom-end frequencies sound humid and festering, thriving in the magnetic tape-hiss universe. At six minutes long, the track is not short by conventional means, however it also is not long, compared to the ten-minute long serpents which slither alongside it in this swamp of a tape. I think anyone who appreciates funeral doom with a blackened element would enjoy Nameless Void, especially fans of Nortt and Skepticism and the like.

Flyers: HELVETIC UNDERGROUND COMMITTEE

HELVETIC UNDERGROUND COMMITTEE

 

Flyers: REPOSE RECORDS

REPOSE RECORDS

Vessel of Iniquity - Vessel of Iniquity

Vessel of Iniquity has a similar effect as seeing Deiphago live. Sunglasses and all. A wall of sound with little recognizable composition structure or melodic movement; artillery firing continuously without reprieve or synchronicity; the call of crickets over frogs on a warm night in Pennsylvania; the stampede of human feet on busy city streets... and yet, in such droning cacophonies are patterns left to be discerned and discovered; the faster rate of fire of one specific gun with a more competent unit to load its shells; the one closest cricket's variegated chirp; a successful confident woman's high heels clacking above the impoverished soft-soled dirty sneakers of the homeless. Finding the individual elements to latch on to is limited in the sense of Vessel of Iniquity - there are only so many instruments and sounds in the arrangement at least - but it can be approached the same way. Music where you want to find music, beauty where you want to see beauty, extremity if you want to be alarmed.

Breaking down the components of S. P. White's project, then, can both help understand how to hear Vessel of Iniquity, as well as hinder the greater scene before us. At times, I wonder whether we want to separate the components or not. Does doing so lose something of the project's purpose of being? It would be simple enough to an extent to explain the underlying droning melodic elements which exist in all three of the tracks, to denote the atmospheric blasting drumming and percussive elements, and opine on the psychedelic black metal rasps which constitute White's vocals. Guitars offer an essentially indiscernible spray of static particulates across the mix, like distant blips of light in the pith of the cosmic expanse called 'sky'. An overall deep, low mix - perhaps a result of the tape media I am hearing this on - is just the right quantity of murk to add an opaque quality to the medium, without completely filling the recording with flotsam.



What is truly of note, is the combined effect of all these minutia. A swallowing gulping trio of big empty misery. It's funeral doom, but opposite. Instead of big long empty spaces between long singular notes, Vessel of Iniquity creates big empty walls of sound across flitting bursts of double bass, static guitars, and the endless droning of singular long-form melodic atmosphere that serves as an existential backdrop upon which all the other other instrumentation finds footing. In this grand funeral-doom sense, it's easy to view the three songs as one long song with two small breathing points, and doing so, it should not be faulted for feeling that the fifteen minute runtime is just a tad too short for even this EP. Considered as Black Metal, though, it's a perfect quick blast of hatred for the desirous ears.

It's easy to question the role of what I would deem solid-mass-metal in the current climate of extremity. For me, Vessel of Iniquity isn't more extreme than harsh noise power electronics. It also isn't as extreme in the opposite direction of incredibly melodic atmospheric black metal. Much like Thrash Metal, this too falls somewhere in the middle of extremity. So what does the genre, and Vessel of Iniquity truly offer us? It's the same enjoyment as a Word Search, but you've not been given words to find. Instead you decide what you want to discern and gleam from the patterns of sonic abandon. The final track on this tape, "Choronzon," is the most complete puzzle here, building from a sullen spoken word intro, slowly adding layers of droning guitar, distant percussion, the recognizable atmospheric hiss drawing the listener hither. The track exemplifies Vessel of Iniquity as creating something beyond sound; a complete maze to enter and exit.  

Flyers: VISCERAL CIRCUITRY RECORDS

VISCERAL CIRCUITRY RECORDS

Black Knife - Spell Caster

Black Knife's 2019 debut full length, Spell Caster, is exactly what I would have expected from the Kentucky based Blackened Punk band. The more I listen to Black Knife's discography, the more punk and black metal influence I hear and the less thrash influence. So for fans of blackened punk rock, Black Knife should be on the short-list. With Spell Caster, the band offers eleven tracks, four of which are re-recordings of tracks which have appeared on numerous splits earlier in their career. The album clips at thirty minutes long, a quick pace for the eleven tracks but not for Black Knife's often truncated simplistic riffs. A big part of the punk influence which is heard comes from the prevalence of Hellwulv's provided D-beat drumming rhythms and the super stripped down song structures.

Regarding the new tracks served, there are a couple standouts. "Graveyard Bitch" reminds me of Midnight - in fact a lot of the tracks remind me of Midnight. Black Knife drop any of the NWOBHM elements from their sound so nowhere to be found are the more metallic elements or guitar histrionics. "Ripper on the Loose" is unique in that Hellwulv's vocals remind me of Countess' Orlok - quick sharp barks of blackened rasps. Of the new tracks, It's my favorite. The opening sample and quick angry rummage through standard rock and roll structure, including a spiffy solo interlude, give just enough variation compared to some of the other tracks to be a definitive highlight.



The re-recorded tracks: "Devil's Rock N Roll", "Full Moon Suicide", and "Beyond The Mortuary", "Bury Your God", all worthy of a full length position, occupy their central positions on the album with aplomb. Fans of the band will appreciate these classics tucked in to keep the album's energy pushing forward; it's this neighborly love giving "Ripper on the Loose" it's tits, making it my favorite of the newer tracks. Tucked in between "The Devil's Rock N Roll's" anthemic Venomesque battle cry and "Full Moon Suicide's" blitz, it floats by association. Perhaps the same goes for "Graveyard Bitch" then as well, packed neatly into the space rounded out by "Beyond The Mortuary," a track that adorned with bells, whistles, and power windows would just almost pass for an early Witchery click track. It's this back and forth of new and old that drive the majority of the album for me, but with each song having some identifiable personality, my familiarity with the four returning cuts doesn't skew my perception.

Hellwulv / Bast

In truth, the album's two opening tracks do little for me. "Pentagram of Rats" is where the album grabs me, starts shaking me, and never lets go until the last moment. Spell Caster is a well done release, compiling the bands best songs with toppings, and is the most accessible of their music to date format wise, being in a standard album configuration. I have concerns at this point of where Black Knife can - or even should - go next. It's all fine and respectable to rinse and repeat with such simplistic music - hell it's worked for the mighty Abigail - but it's easy to stagnate as well. How can a band push boundaries and stay honest to their sound when a sound is largely defined by such simplicity and stripped down attitude? There's room to add in my opinion. Some attention to creative melodic usage and depth is one area for either Hellwulv on guitars to employ or bassist Bast to explore underneath, as currently her playing generally follows the guitar riffs admirably yet with little variation.

Ultimately, as is usually the case with well done Punk influenced metal albums, if anything is gained, it's the desire to hopefully catch Black Knife live some time. They are truly the type of band which deserves a packed dirt-floor basement romparoo, endless cheap thirty-packs of the local standard, well endowed scenery in leather and denim, and not a watch, clock, or time-piece on the premises. There's nothing like emerging from a mid-week basement show and realizing your late for work. As Dio famously sung, "It's the same old song, you've got to be somewhere at sometime, and they never let you fly... you've got desire, so let it out! you've got the fire! Stand up and Shout!"

Xenoglyph - Mytharc

The email subject line read, "Greetings sentient organism," so clearly it was not another mass promotional email sent by a hired sales-drumming company; it's so easy to tell these days. In fact, I am simply no longer even looking at most of the requests that come across now unless they are direct from the artists... or in Xenoglyph's case, direct from a distant species' terrestrial messengers. I'm not sure what the two beings from GJ357D are trying to tell us about their world on Mytharc, but the decision to model the soundscapes with vacuumous and echo-laden atmospheric layers mixed with sharp snappy drums perfectly expresses what the icy gases of their Gliese-world must be like. Mytharc is less a narrative telling or cinematic score and more the sound-image of specific scenes flashing into the imagination. In this respect, the album takes a decisively different path than albums which I associate with cosmic elements such as Arcturus' Sham Mirrors. I can find some general similarities to Benighted in Sodom's Dismal Ethereality Stellar Celestial Void, but Xenoglyph are far removed from the Depressive Black Metal austerity. In truth, the atmosphere is void of emotion. It is only a gateway for us to perceive the objective architecture of other intergalactic creatures.

Mytharc is quite light and airy. It is heavy in refined melody and guitar activity. This combination of weightlessness, and continuous downplayed intricacy teems with vista-fabrication. The percussive elements throughout the album are used not to add intensity, brutality, or complexity but the exact opposite. Set back in the mix, the snare and resonant high hat work are complemented by the undulating rhythm guitars which only occasionally find themselves riffing, such as the memorable mid-paced breakdown riffs in "Repression Regime." The percussion and rhythm gently propels the listener like a tourist guide wooing the listener through one finely decorated room after another. One element which I felt took away from this effect were the heavily effected vocals. Each throaty rasp smeared with an almost endlessly drifting reverb. While the reverb theoretically fits, the usage here interrupts from the scenery and draws my attention away from where I want it to remain; gazing at distant alien oilfields, hovering angular military escarpments, and tubular transportation hubs. Restraining some component of the reverb here, to provide more clarity could benefit the overall atmosphere; a shorter length to the effect, a quicker decay, more attack up front; the impression that these words being provided to us are the best these beings can do to mimic our Earthly pronunciations.

Opening track, "A Flickering Eternity" introduces the overall style of Mytharc nicely. It is a full, complete track that begins the task of removing us from the world we are accustomed to and replacing it with incomprehensible tests of our understanding of physics; it's turning a corner on a street and peering into a chasm of disembodied intellects drawing soul-material into fetal forms; horizontal tetrahedral habitation structures slowly gliding by; communicative nebula clouds sharing creation plans. The album title track follows. It is the most traditionally riffy to my ears of the five tracks and the most intense rhythmically. It is triumphant in a way. Solemn. A repository of alien warrior bodies preserved for posterity and reverence. Injected cultural nano-memory alteration devices force-assimilating slaves into the Mytharc fold. Mytharc dips slightly with "Shades of Illusion." The track has it's moments, such as an early guitar lead which on first listen sounds out of key  - tertiary listening overrules this poor initial impression - but I feel "Shades..." doesn't have an equivalent atmosphere to the other four tracks. It shifts back into form midway through, but I am lost at the outset.



Mytharc's best moments reside in the final two glimpses into the Hydra-system civilization, "Wraith Chamber" and "Repression Regime," the former being the release's best song. "Wraith Chamber" is a monstrous theo-spiritual journey into the cored out hollows of the Xenoglyphian homeworld's long dim pith. Heavy tolling bells sound the procession of alien coroners and floating vessels. We watch the cosmic decomposition rituals unfold from our vantage by way of what could only be described as an unknown civilizations courtly hymns. Interweaving guitar harmonies ascend and descend as the song's layers unfurl. The sarcophagus lid detaches and lifts against gravitational laws; within, the expired soul resides. Exoplanetary-soulular microbes are applied with precision pneumatic needles and the casket is closed, rotated, and inserted into one of the infinite slots in the compressed gaseous walls. It will be several thousand years for the isolated soul to fully break down. "Repression Regime" is complex structurally. At ten minutes long, mixing chunky rhythmic sections, as previously discussed, amid the albums busy melodies and tremolo guitars, the song properly capitalizes on the stylistic elements previously experienced while maintaining fresh and vibrant new moods.

I am really impressed overall by what Mytharc has accomplished. When the songs debuted on a streaming site a few months back, I felt it was going to be an interesting release, but I never wrote down to follow up on it, so I am very thankful I received a copy. The material and sound sits in it's own throne in the black metal halls. The tape production is done well also. The album art stands out as some of the best of recent memory, the tape release from Glossolia is top notch, as expected, and leaves little to be desired. I think I would have enjoyed some form of lyrical content, but it's absence doesn't negatively impact anything because, for me, Mytharc is all about exploring my own imaginative constructions of alien worlds and unknown extraterrestrial civilizations. I am hopeful that Xenoglyph follow up Mytharc with an equally evocative and colorful sophomore release in the near future and I'm curious to see how the pair involved in it's creation build on this project. I can expect this to be one of my favorite releases of the year.

Whipstriker / Black Knife - Flying Death 7" Split

Whipstriker, the Brazilian speed metal assembly, and Black Knife, Kentucky Black Punk upstarts, link up for an accelerated blast of underground metal titled Flying Death sure to please the studded gauntlet mobs and dirty-denim kutte crowd. Being familiar with both bands - anyone remember that Hell's Bomber / Whipstriker tape that not enough people bought - my sentiments expressed regarding the competitive nature of the split format are less impactful here, assuaged by an ideal companionship and the nuanced differences between Whipstriker and Black Knife. So this quick one-two punch of underground rusty metal is ideal for a quick spin before starting the day and especially while brushing your teeth, as you can spit out those suds at the same time Vic from Whipstriker and Hellwulf from Black Knife spit out their guts. There's plenty of nastiness to enjoy in this small sampling of both bands.

Starting with Whipstriker's offering, "Flying Dead" leads off in all sorts of Venomy and Celtic Frostish glory. The track isn't overwhelmingly fast, however Whipstriker ingeniously arrange the structure to offer something sounding freshly harvested and crisp. The track opens with a half-speed chorus which is then chased by the verse and so on. Simply repeating the catchy chorus first makes the rest of the track sound faster than it is, and is just enough nuanced compositional modification for "Flying Dead" to be worth several listens. Add the memorable guitar harmony that crawls over the penultimate portion of the song and it's a clear target eradicating track worth the price of the 7" by itself. Following is a cover off Onslaught's cult classic Power from Hell, "Thermonuclear Devastation". Before Onslaught became too full of themselves, Power From Hell, and The Force were laid to wax for timeless enjoyment. Thermonuclear Devastation is an apt track for Whipstriker to do justice.



Black Knife's occupation of side B is more rock-and-roll than Whipstriker's metal assault. This is likely due to the clear punk influence which the band relies on. Also providing two tracks, "Chained to the Grave" and "Slow Death" Black Knife are different enough from Whipstriker to stand out stylistically, and present themselves as equals. Even if neither of these two tracks is as gripping as "Flying Dead," as a combination, perhaps Black Knife offers more for the listener who doesn't care much about an Onslaught cover track. Hellwulv's vocals are raw and presented with velocity. Midnight comes to mind immediately as well as Lustrum, who Black Knife have similarly shared wax with. "Slow Death" comes across as the punkier of the tracks, probably due to Hellwulv's simplistic drumming. The two tracks together are a solid pairing and will definitely fill the needs of metal-punks seeking their next band of consistency. Black Knife has been very consistent over the course of their output, and won't disappoint, as they haven't disappointed me. This 7" is available through Husk Records. The noteworthy noire artwork is by artist Yuri Costa.

Chaka - Neanderthal Tales

I'm leery when I get anything from any band willing to attach a gimmicky sub-sub-sub-genre label to their music. Chaka are no different in this respect, running with the label Cro-Magnon metal. Elsewhere, the term "Cave Metal" appears. Thematically, I'm all for the content. Years back I waded through a detailed anthropological account of stone-age tools, weapons, and flint napping techniques for fun which, naturally, was heavy in detailing differences between early hominids and human ancestors. Neanderthals generally are regarded as being stockier and bulkier; the brutish cartoon cave-man type. I believe my first thoughts regarding the project was my initial reaction to the EP artwork; thought provoking and so simple I couldn't help but love the concept presented and the comparison made. It also speaks to the fact that Chaka is focused on human history, progress, and evolution and not just early humans scraping rocks together and combing their long scraggly beards with pineapple fronds. So is the label they are hunting with sharp and accurate? 

Coincidentally, a few years back, myself and Maximum Oversatan's Atomic Destructor from Hell had been seriously considering doing a cave-man based speed metal band in a Carnivore vein and had a fully realized concept as well as had gotten together to attempt writing some material. Naturally, the only way to create such bulky, barbaric, and necessarily chunky Stone-age themed metal meant only bass guitars would be used, the stage set would be dressed up to appear to be a cave opening with jungle foliage, we we would wear animal pelts and be covered in dirt, and have half-naked cave-women on a stage with an actual real campfire with real meat on a spit roasting as we blasted out oversimplified songs about the haggard yet simple existence of early humans. We would then pull apart and devour the meat roasting on the fire at the end of the set as our basses draped us in beautiful low-end feedback. I believe we were going to call the band Caveslut and still lay claim to that band name. You heard it here first!

Chaka do some of these things well. Basically all the musical components Chaka hits on the head and while there were some minor disappointments such as not all the songs being about stone-age warfare, driving wildebeests off cliffs into pits of spikes, searching for the perfect raw core to produce flint from, or throwing spears at each other for primitive enjoyment, everything else contextually is solid. I read the lyrics to the songs before I actually listened to the music, and was astonished at just how well written the content was on that end - probably better written than what would have come out of Caveslut. Mark Sokoll's lyrics are witty, thoughtful, and clever such as in "The Battle Hath Begun" as the song culminates with "Since we're not the sons of Adam, only atoms of the sun." The first three songs all follow suit, but final track "Defekt" doesn't quite live up to the strong pattern set by it's predecessors; I also have a personal disdain for replacing "c's" with "k's" for no apparent reason.

Along with the strong lyrics, main-man Mark Sokoll's bass playing fits the mold for what I had also envisioned being a necessary component for this style of metal. Chunky, massive bass tones wash over the EP, with distorted clanks and clatters cruising through the mix. Guitars are thin and crisp, allowing huge amounts of room for the bass, while also easily finding their own space. Chaka lays claim to sounding "in the vein of old Celtic Frost, Venom, Cro-Mags, and Black Sabbath" however personally, I described them to a friend as even parts Carnivore's Retaliation and Megadeth's "Dawn Patrol." It's a strange combination when you add in the hardcore background of Sokoll and Cro-Mags which is also audible. "Anthroapology" will make sense of this all to you, and it's my pick for best track as well. Not only do the lyrics here seem to resonate most strongly with the paleolithic themes I am looking for most, but the plodding pace resembles the hulking frames of our ancient ancestors ambling about the terrain in search of berries and foraging for their next meal. The "Dawn Patrol" vibes given off here are strongest as well, which is such a unique feature that I can't help but appreciate that weirdness of it all; Chaka truly find their own space for the two-and-a-half minute length.

Chaka has several strong components going for them beyond the theme. Mark Sokoll's vocal performance is passionate and vibrant, full of more personality than is lugged around in the average pelt bindle. The bass-heavy tones are refreshing for the genre though I can't help but seem to be noticing way more bass-heavy mixing of late - I am not complaining. If some of the extraneous nuances can be refined, Chaka has a good chance of really finding their own sound; they're hovering around the entrance to that hallowed cave now really. I would drop some of the vocal effect processing, maybe rough up the production just enough to add some more grit to the sound, stick with the nastier melodic sentiments of "The Battle Hath Begun" and "Anthroapology" versus the bluesier vibes of "Flak." Though originally hesitant towards the potential gimmick barrelling my way, Chaka rinsed away my skepticism and misgivings. Neanderthal Tales is more than anything else proof that originality can still be found in the foundational metal genres.

Shemale Penetration / Pigtails - Split 7"

It took me longer to come to a decision relating to the manner in which I present my coverage of this 7" that was sent to me, than to have an opinion on the music. I am vehemently against censorship of any form, as should be obvious and I also do not want to have an age-verification window pop up when someone comes to try and look at the website simply because it may deter visitors - whoever that may be. I link to the site in my email and I am involved in other groups which communicate through email where members may potentially report content should they stumble on it. It was never a question of actually doing the review. And it was never a question of whether I would show the artwork or not - the Pigtails cover of the split is not egregious in any way. It was more about the inner sleeve specifically, whether to show it, and how to discuss the content, specifically the Pigtails background imagery, which appears to show underage girls being photographed in a sexually provocative manner. The more I thought about it the more fierce my intent to show the entire release became. As offensive and taboo as the subject matter covered is, showing the content openly is necessary to confront topics which, as sad as it is, are part of our societies, species, and - for some - human nature.

So I am showing the full release artwork. This includes both sides, uncensored, as well as the inside. Unless done so by our digital dictators, I will eschew personally putting any age verification gate on the site for any reason. If an adult comes across the content and takes offense and is affected and wants to report the site, so be it. As if that person has never had thoughts worse than the artistic depiction of a female religious figure with a schlong; as if someone offended by sexual taboos doesn't deeply harbor their own unfulfilled kinks and desires they dare not speak about. I am, honestly, more concerned about an under aged child stumbling upon the content. It is this concern that left me with reservations but ultimately, I feel imagery such as that shown below is more likely to result in questions and an opportunity for parents to educate and have a mature conversation than anything else. Additionally, it is not my place to answer for under aged children surfing the web unsupervised without parental controls any more than it is the government's place to answer for parent's allowing / unable-to-supervise their children from seeing gory movies or playing violent video games. I know how I would explain the topics to my kids if I had children - openly and honestly - and that is all that matters to me.

And to be honest, there are way more horrific album covers, jacket artwork, offensive topics, subjects of a taboo nature circulating in the extreme underground scenes. If simply a momentary glimpse of a painted female with a penis or the sad reality of the sex trafficking of barely legal teenagers from third world countries is enough to upend all inner stability and cause endless trauma, I dread the result of such a person tripping over Peter Sotos' Buyers Market, which exists uncensored on Youtube or reading even basic news reporting on the treatment of women by Isis fighters.* Is the artistic representation and presentation of topics any worse than their coverage in the news, or on Dateline with Chris Hansen? The attempt to purify information to only be that which gatekeepers believe is acceptable is an affront to open discourse, the free flowing of information, and ultimately, solutions to the world's most difficult problems.

Pigtail's side of the split concerns the legal case against Gloria Trevi, a Mexican pop-star who had married Lifehouse bassist Sergio Andrade and was accused of recruiting underage teenagers to have sex with him.+ The Mexican legal system found them innocent and released them. Pigtails offer a tight regimented style of pornogrind which is clear and precise in many ways. Vocals are quick burps of sound over thick downtuned guitars. Each of the songs begins with samples in Spanish, which I can't understand, but are never-the-less mood setting. Sharp minimalist drums define the three songs rhythmically and simple repetitive riffs fill in between. For example, "Orgias, Violacion, Sumision, Dominacion, Musica, Esclavitud Abuso, Explotacion, Y Diversion, Eso Era Clan, Que Perfecto Plan", the second of their three tracks, has a singular repetitive riff in lockstep with the tinny crisp snare drum that is so pronounced in their songs. The combination is nothing unique, but the tightness of it all is very well done. The heavy contrast between the gurgling vocals, the downtuned simplistic riffs, and the tight upfront sharp snare is a strong combination.

Where as Pigtails is near militant in feel, Shemale Penetration gives a distinctively more upbeat and looser atmosphere. Shemale Penetration's three tracks are noticeably more elaborated in their arrangement and construction. This relative increase in complexity is mainly due to the inclusion of numerous vocal techniques used throughout their songs. While the opening track is an introduction track with a sample - a wasted opportunity to include a more substantial offering in my opinion - it's their two full length tracks which serve to highlight the subtle difference between the two bands. At first listen, "Sentimiento Binario" appears to follow in suit to the Pigtails tracks, but as the song comes to it's halfway mark, it devolves into a breakdown riff with another vocal sample acting as a transitional guide, before being plastered with pig-squeal vocals. The ease at which Shemale Penetration maneuvers this is an example of sampling used with structural purpose to strong effect. Their second song "Tres Cuios" follows with a similar structure. The song gives us the higher pitched hardcore / punk vocals, pig squeals, ultra low guttural vocals, as well as myriad oral noises in between. The end of the track has a weird keyboard solo which was unexpected and bizarre; I enjoyed it as such.

Both bands offer short bursts of music; the entire split is only eleven minutes long. This short playtime makes the release very palatable for someone such as myself, someone who does not spend a huge amount of time listening to grindcore or even brutal death metal. The presentation of the split is well done on multiple levels. There is a definite level of extremity reached on the visual and thematic side of things; sexuality, especially taboo subjects, is often an uncomfortable subject to broach and both bands throw caution to the wind with a full-frontal assault. It is more difficult for me to go deep into the Shemale Penetration tracks on this thematic level, since the lyrics are all in Spanish and I honestly am not sure if there is an overarching theme or concept to the band. A listener who lives day and night for pornogrind might find the release banal or hardly provoking, but I feel the tracks have some merit and character worth a listen.

* https://www.independent.co.uk/news/world/middle-east/isis-releases-abhorrent-sex-slaves-pamphlet-with-27-tips-for-militants-on-taking-punishing-and-9915913.html 
+ https://usatoday30.usatoday.com/life/2002-12-23-trevi_x.htm

Eutanos / Anal Vomit / Aka Funeral / Luciferian - Alianza Madita Sudamericana Split

Another split, this one from Black Dragon Productions, features four bands from four different countries. Eutanos seems to be the key here, with James Peterson being the man behind the Black Dragon Label as well as behind Eutanos. How the other bands got involved is a mystery. James is currently based in Maryland, though originally Eutanos graced the terra firma of República del Ecuador. The tracks on this split all fall into a black metal framework, giving a consistency to the overall release. Subtle stylistic characteristics between the four bands give each personality a chance to stand out to the right listener, especially since the quality of the different productions is all at a similar standpoint. Significant attention was paid to the booklet, giving each band a section of the six-panel insert. Unfortunately, my copy did not come with the jewel case back insert because there are no song titles with my cover, if in fact there ever were song titles provided.

An intro, two full minutes of what sounds like a wooden train whistle duet, is definitely unique and original to my ears. It seems intended to invoke the original Mezoamerican cultures that inhabited the continent. It is no musical harbinger of things to come, though. "The Satan God" offers the first glimpse into Eutanos' unmasked sound. A solid production greets us at the door mat; chunky bass, strong guitars, clear and punchy drums. James Peterson's vocals are the odd component here. His vocal style is in line with Eyehategod's Mike Williams which, when paired with Eutatnos' modern thrashy black metal, adds frustration and desperation to Eutanos' attacks. Bassist German Mora is an absolute monster on these four tracks. Mixed perfectly with the thinner guitars, he adds not only low end, but a lot of character to the songs which are otherwise forgettable structurally and melodically. As a full entity, Eutanos doesn't do anything new or overwhelmingly innovative, but what they offer sounds professional and thought-through. More modern black metal fans might enjoy Eutanos but they don't offer me much. "Guillotina De Sangre" is their most impressive construction.

Peruvians Anal Vomit follow Eutanos with their own serving of black metal, this time coated with some speed metal and thrash elements which gives them a distinctively South American black metal sound which I liken to Mystifier. Slayer is a definitive influence as well. Vocalist Possessor carries a good harsh rasp in his bellows and retains appropriate levels of disgust balanced with emotion. Their five songs blitz by quickly which emphasizes the fact that each has different production levels and design, but somehow assists in keeping a heightened level of interest. There is no stagnation. "Sandero Siniestro" is easily my favorite of the five tracks they offer. The track is fast, intense, and aggressive relying on memorable riffs, particularly the chuggy half-time riff midway through the track. Their five tracks include a Sarcofago cover of INRI which is done especially well, likely out of a sense of personal obligation to the South American legends. Honestly, though I think their band name is puerile, their quick violent assault impressed me.

Aka Funeral, Brazilians, provide a second-wave black metal style in line with Emperor's later work and Immortal. I believe the three songs they offer here are from their debut album, Stormy Tides, and include the album title track as well as "Faceless" and "The Eternal Hourglass of Existence," which follow in succession on the album. It's like a three song preview of their debut, really. Aka Funeral excellently blend interesting and unexpected transitional phrases and melodic shifts into their songs, as evidenced in "Faceless." All three songs are interesting and dynamic. Vocalist Algol has a dry painful rasp and does his best to add theatricality as well. The songs are purposefully constructed and intentional. "The Eternal Hourglass of Existence" is an impressive track, built on an ever-escalating tension formed from continuously falling back into the E-minor scale from riffs rooted lower down in the scale. The song has a phenomenal musical break two thirds of the way through with an evocative guitar solo over slow powerful bass notes. A highlight for sure.

Final band present is Luciferian, a Columbian outfit, playing a fairly typical style of Black Metal. Elements of Dissection, Immortal, etc... Their overall sound is more modern and polished than the other bands and comes across as oily. I'm not sold on the generic elements nor the predictable flow their music takes through their songs. "The Chalice of Sovereignty" is their best song here, namely for the second half of the song after a spacious patient transitional section with interesting bass fills courtesy of four-stringer Demiurge. Objectively, their performances are all great, the production is stellar (as previously mentioned), and they present well put together songs. Vocalist and guitarist Hector Carmona is rigid in his delivery of standard black metal screams over the tracks, if passionate. Unlike previous band Aka Funeral, Luciferian lack the dynamics which keep tracks and songs interesting. For me, I'll be vigilant for the first Aka Funeral and Anal Vomit records after this split; these two bands appeared to offer me the closest to what I'm on the hunt for.

Flyers: NUCLEAR WAR NOW PRODUCTIONS

NUCLEAR WAR NOW PRODUCTIONS

Alnus Serrulata #1 - Smooth Alder

This little Alder tree has quickly become one of my favorite since starting it last year. I collected the seeds in February 2019 from a tree on the edge of a field. I had read that in nature, alder seeds fall into creek and river waters and actually float down the river, germinating while floating in the water. I attempted to mimic this germination process by taking the seeds and leaving them in a cup of water.
 

A bunch sprouted roots in the cup of water. I only had one spare seedling cell and not a lot of room on my windowsill to give them light at that time, so I planted eight or nine of the seeds in the available seed cell. Unfortunately, of the eight or nine that I took out of the water and planted, only one seed survived. The other seeds dampened off (a common fungal disease affecting newly germinated seedlings).

Left: the seedling as it was after germination and allowed to grow for several weeks. It was tiny, yet showed promise as it quickly grew and gained strength.Within about five or six weeks in this cell, roots had begun to grow out the bottom of the cell and the tree needed an upgrade into a bigger pot. The leaves of the tree very small, indicating a good possibility for them to slowly reduce over time. Alder is not used much for bonsai, but it shows a lot of promise to my eyes.

The seedling was planted in a small terracotta pot sometime in early June. I used a process called 'slip-potting' for this transfer, simply removing the alder from the smaller pot, and backfilling around the roots in the larger pot with additional soil. This means the roots of the tree aren't impacted much. As expected, the tree wasn't affected at all by the summer repot. I would not normally repot the tree at this time if I was doing more significant root work. I even saw the beginning of branching starting to occur.

By the end of the summer, the tree had grown incredibly strong. An emergency repot in August was necessary when the terracotta pot was knocked off the  benches where I keep my trees. This had happened while I was at work however a rain shower that day kept the tree's roots wet enough for me to be able to put the tree in yet another pot when I got home with no issues. (Left) The tree in October started to go dormant and lose it's leaves. It didn't put off much color, which was disappointing, but the loss of leaves revealed a mature branch structure for a tree just under one year old.

I repotted the tree again this spring at the proper time, just as the buds were swelling. I did some minor pruning as well, removing a few branches that were unnecessary for the long-term design of the tree. I'd like to try and keep this tree rather small. The roots looked great, with a really nice root spread. At the close of March, the tree leafed out. The little red buds all over the tree putting out new growth in unison. Long term goals for this tree this year are to further thicken the base of the tree and eventually choose the branches which will become the main part of the structure. 

Eris / Chikara / Dishate - 3 Way Split

Split releases are something of a conundrum for me. I've released several, I own a crap ton, and I just can't pinpoint exactly what their purpose is. The social aspect of having two or three bands with small followings collaborating on a release is tempting. This is even more-so the case when on a split with a high-profile act. A good split has bands which complement each other, don't sound the same, are equal in overall quality, and can expect each of their fan-bases to find something worthwhile in the other band or bands' offerings. An example of a split release done extremely well would be something like the Altar of the Old Skulls 3-way split with Deathevokation, Mandatory, and Kingdom. While Deathevokation proves to have the strongest tracks ("Embers of a Dying World" being a total beast of a track), Mandatory and Kingdom fit right at home, and are well served feasting at the same table.

For all the positive potential opportunities, there is also a sense of competition. It is impossible not to compare the quality of the bands on the split to determine what material stands out. Why would a band with a crappy recording put their songs on a split tape with bands with much better recordings? Doesn't that show one band in a negative light against the other bands on the split? I think personally I would much rather listen to a three or four song EP from a single band than listen to a ten or twelve song split tape with three bands on it; focusing on one band's specific qualities becomes much easier in this format. Going back to the previously mentioned split, this is entirely the case with Mandatory, whose Curse of the Undead demo alone is more impactful than following Deathevokation. The impact which bands can have on each other is especially true on this split featuring Eris and Dishate from Serbia and Chikara, a mixture of Swedish and Bosnian musicians.

This split ambles out of the gate with a handful of tracks from Serbians Eris. I personally am not truly impressed with their raw black metal punches, especially the first two tracks, though I can see some hope for the band after better efforts, "Unholy" and "The Coming of Darkness". There are no lyrics available in the cassette insert, but it doesn't take a doctorate in English to take a stab at the thematic content. I admire the rawness but a lot is to be desired. Another issue for Eris is that it sounds like these tracks are taken from numerous recordings. The opening two tracks are thin and low volume wise, "Unholy" is darker and deeper with more bass. "The Coming of Darkness" is likely the best production-wise with clear vocals, and lo-fi but clear guitars and drums. The track is the most complete as well, with definitive opening movement, numerous interesting transitional phrases, and well-composed melodic flow. It is difficult to hear the kick drum, which would have likely made this track very noteworthy. Eris includes two covers as well. One of these is a cover of Havohej's cult classic "Dethrone The Son Of God" and a Mortician cover. I found the inclusion of the Mortician cover a strange choice for the raw black metal band.

The four Chikara tracks thankfully fly by. For a total of eight minutes, bashing and hammering of drums, muffled screams, and what sounds like improvised guitars get their chance to swim. My hope is that Chikara sinks into the abyss and fail to resurface in the pond that is extreme music at least until I have gone deaf. The opening three tracks of their release include almost a full minute of silence as an intro to "Insane Fucker", the endless rattling of awkward incapable drumming, riffs with no defined beginning or end, and raspy yelping drivel splashed across the surface of the tracks like some unknown liquid on the wall of a gas-station toilet stall. I searched high and low for something worthy of fragmentary positive mention and found not a single meritorious quality present in any moment of Chikara's tracks. Absolute trash. Their portion of this split is wasted tape. I tried really hard to like aspects of "Wounded and Bleeding" but just couldn't stomach the disorganization of rhythms, horrific vocals, and purposeless composition.

The last band on this split, Dishate, even themselves a substandard mix of grind and death metal, proves too much for Eris and Chikara to compete with. The five grinding tracks are the best produced of all the bands present and were originally recorded for Dishate's debut EP. Compared to Eris and Chikara, Dishate sound like the veteran band on the split, even though they had been in existence for only a year at the time this material was recorded. What I particularly picked out was the awesome bass tone on "Realize the Matter", which almost sounds mechanical. Each note is discernible and highlighted with a percussive hollow clanking which reverberates across the tracks. "Nothing Less" is probably my pick of the litter. The last of their tracks, "Grindignation" sounds totally different than the previous tracks. Gone is the unique and awesome bass tone which I adored so much. The vocals sound more aggressive and spiteful on the track, but the guitar tone is washed out. Though better than Eris and miles ahead of Chikara, Dishate still don't impress me all that much.

So this tape is a pretty mixed bag, an inevitable situation when the structure of a format pressures the listener to compare, even subconsciously, what is worthwhile and what isn't. For the losers, Eris and Chikara (the worst of all), the comparable quality displayed by Dishate highlights even more that there is no reason for further investigation into their music. Why would someone purposefully look into the worst bands on a release like this? The same thing applies to compilation CDs as well. Why would I want to listen to the worst band when given other options? I don't believe that Chikara would honestly believe their music on this split is better than Dishate's or even Eris'. Even Dishate's music barely interests me when separated out and listened to as if it was the original EP. Somehow, the other bands make Dishate sound worse simply by association. Even worst of all, I doubt I will want to go and see if Grim Reaper Records has any other worthy releases based on this tape. The label can't even spell their name right on the j-card. Focus your attention elsewhere... if you like C or D-grade grindcore, maybe give Dishate a spin.

Flyers: HUSK RECORDS

HUSK RECORDS

Quercus Rubra #1 - Northern Red Oak

Quercus Rubra - Northern Red Oak

This oak was growing in the ground next to my fence. I liked the kink in the trunk and the taper that the tree already had. I left it in the ground last year, as I knew that digging it mid summer would have killed it. I decided I would dig it and pot it this spring as the buds were beginning to swell, right before leafing out. Early April of this year I potted the tree. By the end of the month, it's first buds had opened and began leafing out. I knew I had some decisions to make with this tree. There was a thick branch crossing mid-trunk. It had been cut back in the past causing the two side branches. I also needed to hope roots regrew from the cut tap-root. There were no branches low as well. The kink in the trunk was now looking truly weird, with a sharp angle that jutted out to the left. The more I looked at it, the more I decided it was a flaw in the overall style.

The tree grew through the spring and fully leafed out quite nicely by mid-summer. By mid June, the tree was growing nicely, with several pushes of foliage growth, but no evidence of growth down on the trunk. I decided to attempt to wire the branches up top at this point to try my hand and getting some different angles off the trunk to potentially grow the trunk into. Having not decided on the final style for the tree at this stage, wiring the trunk away from each other and into the sun also afforded the leaves a chance to all get as much sunlight and growth as possible. I covered the soil, a formula of 100% Napa 8822 Diatomaceous Earth, with sphagnum to keep some moisture in the pot. I fertilized throughout the summer occasionally with 14-14-14 Osmocote slow release fertilizer.

Towards the end of the summer, around August, I began using a small amount of water soluble solid fertilizer with each watering when I felt that the slow release was not giving me the healthy growth on the oak. I used the leaves on my Alder as a reference point for this. Because Alder is a nitrogen fixing tree, which can produce it's own nitrogen, I can compare how green it's leaves are to other trees to determine if trees that should have dark green leaves are getting enough fertilizer. This tree wasn't. After beginning the new regimen, it's leaves began to green up. This tendency can help gauge other trees as well so an Alder is a good tree to keep in a collection for this reason.

Today, I captured some of the tree's early autumn color setting in. Just like fully grown trees, bonsai will turn colors with the season. Here, you can see some of the red coming into view. Note the small front branch low on the tree. After I removed the branch from the middle of the tree that I didn't like from the beginning, the tree began activating buds lower on the trunk. This branch grew from a bud in the perfect location. Next year, I will allow this branch to build up some strength by pruning the upper branch that is most vigorous. Eventually, I will chop the whole tree back to this low branch to grow out from that point. Currently I do not know the age of this tree. I expect it to be around three or four years. I will know for sure when I do my first cut back to the low branch - I will be able to count the rings on the trunk at that point.

Here, you can see the smaller leaves turning the distinctive red which Red Oak is named after. Note the size of my finger; oaks are notorious for having leaves which do not reduce well however I have had several buds on this tree push leaves that were smaller in size once in the pot. Red Oaks have different growth habits compared to White Oaks. You can tell the difference between the species by the type of lobes on the leaves - Red Oaks have pointy lobes while White Oaks have rounded lobes. White Oak species do not require a stratification period for their seeds to germinate while Red Oak species do. I have not seen many people with Red Oak bonsai so this tree is an experiment but I am pleased with this leaf size. If through ramification the leaves naturally reduce to this size, this will become a very nice tree to train.

On the trunk, there seem to be some more latent buds which have appeared. Hopefully next spring, I will have more low branches to work with on this tree and I can work on getting a good start on developing some long-term branching to grow out. I also am interested to see how the bark comes along next year. At the moment, this is one of my best prospects for a nice potential bonsai. There is another one growing in the back by the shed so I may have a second by this time next year.


 At the end of 2019, this was the state of the tree, with it's nicely colored, though large, leaves. The lowest left branch will likely become either the next leader for the tree (a branch selected to continue to the trunk after chopping the top of the tree off) or the first low branch. The major flaw in this tree is still the awkward kink in the trunk just below the split into two branches. The upper branches right now are simply to power the tree until some better branching develops lower on the trunk.

There were dormant new buds on the trunk of the tree all over, so I hoped that these buds would become further low branches, and allow me to begin to make decisions on the future long-term styling of the tree. The top of the tree is always strong, so being able to remove the top of the tree at the right time allows the lower parts of the tree to become strong. This is the process by which a tree is kept small, and compact, and how leaves reduce to smaller sizes.

Close up of the lower part of the trunk with the left low branch. If you look closely just above that branch's origin point on the trunk towards the right, you can see another latent bud which hopefully would leaf out in the spring.

With the buds swelling in early April of 2020, I went ahead and took the opportunity to work on this tree's roots and repotted the tree at a slightly different angle.

Pictures show the process. Any questions on this process I can answer in comments.

Left: the root ball after taking out of the pot. A lot of fine roots present. This is my first time see the growth on this tree's roots. Every species has slightly different roots.

Right: A worm had made the pot's root ball home through the winter. I put it back in the garden.

Left: I removed the soil and raked the roots out the best I could. There were a lot of good roots towards the first curve at the base of the trunk.

Right: I went ahead and cut off the majority of the remaining tap-root, since I had enough strong root mass above this point. A flat root ball is important.

Left: After removing the roots I did not want to keep, I still had a good amount of fine roots to allow the tree to grow strongly. The tree is forming a decent radial root system.

Right: The new planting angle. It looks much more interesting than the perfectly vertical trunk in the original planting.