What's more cult than reading a black metal-packed fanzine by candlelight while blasting a copy of the accompanying 12" of rehearsal-room deathrash from Norwegian legends Morbid? Why, taking an evil dump at the same time!
Monday, January 31, 2011
BLACK METAL MONDAY: BLACK METAL BATHROOM READING
What's more cult than reading a black metal-packed fanzine by candlelight while blasting a copy of the accompanying 12" of rehearsal-room deathrash from Norwegian legends Morbid? Why, taking an evil dump at the same time!
Friday, January 28, 2011
NO KOOKS
These guys were pretty much a novelty band but they were capable of occasionally puking up some of the best punk schlock in my record collection (as well as a lot of weak filler). All the good stuff is contained on the first two albums, My Beach and Locals Only, which you can probably find if you keep an eye on the dollar bins.
Fun fact: from what I've heard, Drew Steele's skateboard guitar was actually rideable!
Monday, January 24, 2011
BLACK METAL MONDAY: MASTER'S HAMMER
Sunday, January 23, 2011
And the award for "Best Concept for a Music Video" goes to...
Saturday, January 22, 2011
Iggy Pop & James Williamson - Sticky Fingers Kill City
1. “Kill City” – Best track here. Basically a typical Stooges riff alternated with the the Stones’ “Brown Sugar.” Nothing wrong with that. Some (most) of the best songs in rock history are lifted from someone else’s tune.
2. “Sell Your Love” – Could be an alright song if you cut out all that wanky-ass sax.
3. “Beyond the Law” – What the fuck? This is “Brown Sugar” again.
4. “I Got Nothin’” – A slow one. Kinda got a “first half of ‘Freebird’” vibe. Not too bad.
5. “Johanna” – See #2. Sounds like the fucking SNL theme song.
6. “Night Theme” – Very nice little instrumental interlude with guitars and noisy saxaphone. Only about a minute long.
7. “Night Theme (Reprise) – This is the exact same track with some backwards drums tacked onto the end.
8. “Consolation Prizes” – This sounds like another Stones song but I can’t quite put my finger on which one. “Honky Tonk Woman?” Nah. It’ll come to me later.
9. “No Sense of Crime” – “Gimme Shelter”
10. “Lucky Monkeys” – This is what happens when you slow down “Brown Sugar” and give it a stupid song title.
11. “Master Charge” – Another instrumental. Slide guitars and cheesy synths (in a good way). Uh oh, here comes the sax again.
Overall, Iggy’s performance is pretty good but there’s no sign of James Williamson’s razor blade guitar sound that I’ve come to expect from Raw Power and Metallic K.O. And what is up with the sax? Where the hell is Steve Mackay? Did you lose his number?
Thursday, January 20, 2011
POSTER DUMP
Tuesday, January 18, 2011
Monday, January 17, 2011
Tuesday, January 11, 2011
Monday, January 10, 2011
Saturday, January 8, 2011
COSMIC PUKE
Sunday, January 2, 2011
BLACK METAL MONDAY: THE RUINS OF BEVERAST
In my Black Metal Monday segments for the mighty Archers’ Guild, I try to stay on top of shit; that is to say, I’d rather review/highlight recent releases than stuff that has been blogged to death by dozens of other metal websites/zines/message board warriors. However, this album slipped through the cracks for me, so here it is: The Ruins of Beverast, “Foulest Semen of a Sheltered Elite,” released in late 2009 on Ván Records.
A one-man army of darkness hailing from Germany, The Ruins of Beverast specialize in a very evocative, almost cinematic brand of black art. Long songs, meandering structures sometimes with repeating musical motifs, strange samples, choirs, pseudo-industrial “clangs” and “plonks” – these tools are all at Ruins mastermind Alexander von Meilenwald’s disposal. This is a very dense, very long record. The CD version tips the scales at around 80 minutes – the maximum amount of time the format can support – and the double LP is even longer thanks to a nine-minute Tiamat cover! (I would like to hear that cover, but I just have the CD…) Most of the songs are over 10 minutes, and this isn’t always Burzum-esque riff-repetition style black metal. There is a LOT going on in this record, which makes it pretty hard to fathom. I think that’s the idea however. This has the feeling of a musician’s magnum opus, a real labor of love (hate?) and intense creativity. That’s not to say it’s a perfect record, but it does have some pretty incredible and awesome moments.
The music on “Foulest Semen of a Sheltered Elite” – cool title, eh? – ranges from tremelo-picked blast fests ala old Mayhem, to doomic crawls along the sludgy pits of Hades, but definitely favors the slower tempos. I guess they give the music room to breathe a bit more, though with the claustrophobic atmosphere present here fresh air is a rarity. I find the slow pace pretty cool for the most part, but I wish it were broken up more regularly with faster sections a bit more often to keep it from getting monotonous. The middle of the album sure feels like a trudge with so much slow, doomy stuff, only picking up after about 20 minutes of constant pounding with the second to last track, “Blood Vaults II,” which throttles you with some wild thrash tempos for six minutes before slowing it down again.
The good news is, although the lack of speed is kind of a drag at times, there is always something interesting going on musically. Though the tempo remains in first gear most of the time, the riffing style changes up a lot with some death-doom stuff, some plain slow black metal and some more traditional doom riffs. This guy can really play, and spices things up with interesting leads, solos and guitar licks along with some tasteful drum patterns. The recording is not piss-raw, not too dense, but with enough gray areas to lose yourself in the kind of haze that good atmospheric black metal strives for; I would say the production job is just about perfect here.
The vocals favor low, almost death-metally rasps – not too much shrieking going on – with a lot of clean passages that recall Enslaved. You may notice I’ve been dropping a lot of old Norwegian names in this review, though don’t think this is just a ripoff of that all-too-aped style. Ruins of Beverast has its own thing going – professional, passionate, heavy as a bag of donkey balls (to quote Obituary), and DARK black metal. There are many layers to this record and I think I’ve only really scratched the surface.