Cavalera Conspiracy - Inflikted

Cavalera Conspiracy
Inflikted
Roadrunner



Let's get this out of the way up front: Inflikted (Why Max, Why?) sounds far more like Soulfly than Sepultura. You could probably guess that from the clever, non-cliche album title. It does sound somewhat like Sepultura, but in that way that everything these two do will sound like Sepultura. That said, Inflikted doesn't sound like any particular album or era.

On their debut album, the Cavaleras are joined by Soulfly's Marc Rizzo and Joe Duplantier from the mighty Gojira and they bash out 11 tracks of neo-nu-death-mosh-core-whatever. Hell, just knowing that Max and Igor wrote this should give away the sound.

A lazy person would say it sounds like Roots, but it doesn't. Inflikted sounds more like something Victory would have released back in the 90s. I wouldn't be a bit surprised if that was the Cavaleras' intent. For example, the keyboards on the title track are used the same way that Earth Crisis did on the Slither album. The record sounds like death metal at times and like Pantera at others. There's no hip-hop influence on Inflikted, so progress is being made. Most metalheads will dig this record. However, if you hate Soulfly, you should probably keep on trucking. Hey, my co-workers hate this record, so Cavalera Conspiracy did something right.




Cavalera Conspiracy - Inflikted




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Tim & Eric Awesome Record, Great Songs!

Tim & Eric Awesome Record, Great Songs!
Cinco Records



Oh man, is this awesome or what? If you don't dig Tim & Eric Awesome Show, what are you doing here? If you don't get Tim & Eric Awesome Show, then you just don't get American or Canadian comedy. Somebody out there remembers Mr. Show, right? If you don't know anything, here's the basic rundown: Tim & Eric Awesome Show is a live-action extension of Tom Goes to the Mayor that focuses on public access TV parodies and poor film-making techniques.



Well, now you've got all the music to the show. Music? Yeah, remember this?



or this one?



They're all yours now. Leave a comment if you DL this one, you ingrates. What do you like about this amazing show?




Tim & Eric Awesome Record, Great Songs! part 1

Tim & Eric Awesome Record, Great Songs! part 2




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Coldworker - The Contaminated Void

Coldworker
The Contaminated Void
Relapse



Coldworker was formed by the ex-Nasum members following the death of Mieszko Talarczyk. Coldworker was not intended to be an extension of Nasum and The Contaminated Void reflects this. Where Nasum was straight-forward grind, sounds like grind-influenced death metal, reminiscent of Dying Fetus but with less guitar wank.

Actually, on songs like the title track, I can hear some new-school, Unearth-type riffing. Alternately, Coldworker gets old-school when they slow down. The slower riffs sound like Autopsy or old Entombed. The Contaminated Void isn't anything progressive or ground-breaking. At the same time, it's not stuck on a nostalgia trip either. This is a solid debut by a good band with a bright future, who also seem to have overcome a deep, personal tragedy. The second Coldworker record should be killer.




Coldworker - The Contaminated Void





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Cops suck so much, they kind of rule.

This would happen in Dearborn. Thank you very much to Grim Chris, who passed this along.

Immortal Fate – Beautiful

Immortal Fate
Beautiful
625 Thrash



My first brush with Immortal Fate was seeing their name in an old 625 Thrash ad. The label described them as sounding similar to Incantation (who I think are the bee’s knees). I always wanted to check out the band, but I never did. Flash forward to years later and I’ve finally got my hands on the Immortal Fate LP.

For as much as this band claims to be death-metal inspired, I don’t hear it. Sure, they swiped Incantation’s breakdowns, but Beautiful is still firmly rooted in Bay Area grind. The death metal influence heard on this record sounds more like Autopsy and Obituary’s mid-paced moments. They aren’t anywhere near as fast as Incantation. For the most part, Beautiful sounds like Plutocracy, No Less and other Bay Area grind-violence bands. It’s pretty good for a bunch of punk rockers playing metal.




Immortal Fate – Beautiful




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Eyehategod – Dopesick

Eyehategod
Dopesick
Century Media



Eyehategod is one of my favorite bands. They’re the perfect mix of Black Sabbath and Black Flag. They’re pioneers of the NOLA scene and sound. They are one of the most respected bands in America and Dopesick is considered by many to be the band’s masterpiece. With that in mind, Dopesick is my least favorite Eyehategod record. I’m well aware that this logic is similar to choosing your least-favorite Snickers bar. If you like Snickers bars, then you’ll like them all; they’re all basically the same.

Yet, this is how I feel. What’s different about this one? Dopesick relies too much on the sludge/feedback aspects of the band. They don’t get into a Sabbath-style rock groove until “Ruptured Heart Theory”, an old song rerecorded for this album. The second side is more like the Eyehategod I know, with “Zero Nowhere”, “Lack of Almost Everything” and “Methamphetamine.” The early songs, especially “Masters of Legalized Confusion” and “Dixie Whiskey”, just sound like a drug-addled mess. Again, this is my least favorite Eyehategod record, but it’s still better than everything you own.




Eyehategod – Dopesick





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RE-UP: Cave In - Perfect Pitch Black

Cave In
Perfect Pitch Black
Hydrahead



Here's another old review, republished with a new link. Check out the original review, from No Funeral #1. What's changed in the last two years? Nothing's really changed. This album still rules. However, the liner notes (buy the record if you want to find out exactly what it says) alludes to Cave In making more records and touring. Well, that hasn't exactly happened. Maybe this year?



Cave In - Perfect Pitch Black




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RE-UP: wrestling vs. Man is the Bastard

I still have 12 FREE tickets left for the XWO match at the Johnson Coliseum in Huntsville. It's on Saturday Feb. 7th. Visit the XWO website for more details. For tickets, e-mail: no-funeral@hotmail.com

It's been brought to my attention that the link for Mancruel is in the lame MP4 format. I'm going to leave that link up for iPod nerds. For everyone that needs Man is the Bastard MP3s, click below.



Man is the Bastard - Mancruel




Stay tuned. Go Spurs.

Eyehategod – Preaching the End-Time Message

Eyehategod
Preaching the End-Time Message
Emetic




Between the creepy sample of Uncle Charlie and the ignorant, unbridled feedback which kick off this record, you should know that this is Eyehategod. Louisiana’s greatest (second greatest?) band hits us with another rarities compilation; their first release since Hurricane Katrina.

Preaching the End-Time Message is similar in content to 10 Years of Abuse and Still Broke. It features alternate takes of Eyehategod classics like “Methamphetamine” and “Serving Time in the Middle of Nowhere”, some live tracks and the poser-killing, 10-minute-long “Sabbath Jam.” Preaching the End-Time Message is a great starting point for Eyehategod newbies and it’s also a pleasant surprise for long-time fans. Recommended for everyone; like all Eyehategod albums.




Eyehategod – Preaching the End-Time Message




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Nile – Ithyphallic

Nile
Ithyphallic
Nuclear Blast



This is Nile. Most people (most metal people anyway) know Nile. For the uninitiated, they play American death metal that is thematically and lyrically inspired by ancient Egypt. They play faster than hell and they have a penchant for using non-traditional instruments. On their album The Catacombs of Nephren-Ka, they employed some human-skull drumming. They are death metal legends who, much like Cannibal Corpse and Morbid Angel, have actually achieved a modicum of mainstream success. In short, Nile is very good.

Ithyphallic is the first album Nile made for Nuclear Blast, their new home after leaving long-time label Relapse. Coincidentally, Ithyphallic debuted in the high 100s on the Billboard chart and Nile played the second stage of the 2007 Ozzfest. I’m just sayin’…

Nile has outsmarted itself this time. The band has long been criticized for being nothing more than fast. While Ithyphallic is certainly a fast record, the arrangement of the songs and the individual instruments haven’t been sacrificed to the speed gods. Karl Sanders’ lead playing has never sounded better and this Nile line-up isn’t stepping all over each other like on Annihilation of the Wicked. In short, Ithyphallic is every bit as good as Nile’s classic Black Seeds of Vengeance.




Nile – Ithyphallic




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Terror – Always the Hard Way

Terror
Always the Hard Way
Trustkill



I’ve always liked Terror, Vogel-isms and all, but Always the Hard Way sounds awkward. This record was written and recorded after Terror’s second line-up purge and it sounds self-conscious, as if they feel the need to “live up” to the first two albums.

It’s strange because, on Always the Hard Way, Terror stuck with its past game plan. The band didn’t go metal or emo or anything like that. It should sound the same as the others, although moments of genius can be heard. “Smash Through You” is a punishing hardcore song in the mold of the 90s Cleveland bands. The title track and “Last of the Diehards” both sound like the Terror that we all know and love. The clunkers on this album, like “Dead End”, are clichéd-ridden and sound hastily written.

Don’t get me wrong, Always the Hard Way is a good album, but only half of it is killer. The other half sounds like rejected/undercooked tunes from the One with the Underdogs session. I realize that this is all hypothetical and that you can’t read someone’s mind, so I could be way off on this. It’s just my educated guess. That said, Always the Hard Way comes across like a band panicked by high expectations. While not their best material, at least Terror has enough conviction to not collapse under the pressure.




Terror – Always the Hard Way




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Isis – In the Absence of Truth

Isis
In the Absence of Truth
Ipecac



Among those-without-clues, this record has received a bum rap. Everyone wants to rip on In the Absence of Truth for being a Tool knock off. While the album is certainly Tool-influenced, accusing Isis of plagiarism does a disservice to both bands.

When Isis first emerged in the late 1990s, during the Mosquito Control/Red Sea-era, it literally sounded like they might go down the traditional metal/hardcore route. Instead, Isis took the less-travelled Neurosis Blvd. all the way to musical glory and commercial success (for the most part). Now, 10 years into this voyage, why would you expect them to not make a record like this?

In the Absence of Truth is the most ambitious Isis record to date. It’s a sprawling epic that doesn’t have the space-rock vibe of Celestial and is far more focused than Panopticon. There are even fewer lyrics and vocals on this album than usual for Isis; which isn’t many to start. Isis uses their instruments to take the listener on a journey into the ethereal. They accomplish this with well-placed tempo changes, layers of feedback and unusual song arrangements. Isis knows how to build an atmosphere. Their down-tuned heaviness is a mental victory. Isis is not a slave to technology. This is recommended for the progressive-minded. In the Absence of Truth is Tool influenced; like that’s a bad thing.




Isis – In the Absence of Truth




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Weekend Nachos – Punish and Destroy

Weekend Nachos
Punish and Destroy
Cowabunga



Alright! Someone is keeping the Infest fire burning and that someone is Weekend Nachos. Even though they're from Chicago, they play the classic style of West Coast power violence. No, Punish and Destroy doesn’t break any new ground, but it’s so nice to hear a modern band play this style correctly; especially when so many other do not.

There’s more to Punish and Destroy than just the Infest love. I hear some Obituary-inspired riffing in there, as well as fleeting moments that are reminiscent of Brutal Truth. That said, the singer and drummer of Weekend Nachos both take all of their cues from Infest. Punish and Destroy is recommended for Infest fans. Otherwise, check out Infest first and then get Weekend Nachos. Infest.




Weekend Nachos – Punish and Destroy




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World Burns to Death – The Sucking of the Missile Cock

World Burns to Death
The Sucking of the Missile Cock
Hardcore Holocaust



Is World Burns to Death an angry band? Yes, in that way that the sun is just a tad shiny, yes, World Burns to Death is miffed. They’re not down with the current situation. Which one? Pick one.

Unlike most bands, it’s more than just imagery for World Burns to Death. Although the lyrics and artwork they use is decidedly anti-capitalist, anti-government and anti-Republican, World Burns to Death isn’t down with the current musical situation either. They play ripping D-beat-influenced hardcore that’s more than just trend-free. It has a timeless quality. This reflects a conscious decision to absorb and amalgamate the multiple sub-genres of hardcore into a pure and focused version of the style. In other words, use the best stuff and ignore the crap. World Burns to Death features ex-members of bands that you know, so there’s a hint as to their instrumental proficiency.

The other remarkable thing about World Burns to Death is that they, along side Signal Lost, have reenergized a formerly stagnant ATX punk scene. While the posers are whining about their girlfriends, World Burns to Death is out brutalizing listeners. The Sucking of the Missile Cock is more than just blinding speed. They slow it down when necessary yet no acoustic, Metallica-type riffs are to be found. As a matter of fact, this record is far less metal-influenced that most Scandinavian D-Beat bands. There’s no mosh on here either. Instead, The Sucking of the Missile Cock has an old-school, terrifying, Necros/Negative Approach vibe. This is very cool stuff.



World Burns to Death – The Sucking of the Missile Cock




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Watchmaker – Erased from the Memory of Man

Watchmaker
Erased from the Memory of Man
Willowtip



Watchmaker embodies fury. They are the ONLY band that may actually be more pissed than Insect Warfare. You’d know this if you had picked up the Hirudinea/Watchmaker split EP that was posted two weeks ago. If you want to hit the link real quick, I’ll wait…

Now that everyone’s caught up, you may have noticed that Watchmaker has two basic settings: blastbeat and faster blastbeat. Much like Discordance Axis, Watchmaker’s style of grind makes no attempt to mimic death metal. Even on “Therapeutic Dirt Nap”, one of the “slower” songs on Erased from the Memory of Man, the band can’t write a song that doesn’t reek of torment. Neither of the two guitarists plays lead. Instead of a lead/rhythm dynamic, everybody plays rhythm and the goal is to deafen people. Melody has no place here. The Watchmaker experience is equivalent to being murdered in the projects. This is not for the squeamish.




Watchmaker - Erased from the Memory of Man




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Man is the Bastard – Mancruel

Man is the Bastard
Mancruel
Slap-a-Ham (original)/Deep Six (reissue)



Man is the Bastard was more than just a power violence pioneer. The band played intricate, unconventional hardcore with the ham-fisted flair of a caveman-savant. In the years since Man is the Bastard disbanded, a mystique has grown around the band. They are considered to be these ignorant savages who miraculously cranked out some world-class rock music. I don’t buy into this No-Cal idiot-savant myth. I mean, Mancruel is as ignorant as can be, but they wrote a song and Ulrich Meinhoff, you know? This record is too well-crafted to be an accident. Check out Eric Wood’s bass playing. He’s got licks that would make Les Claypool blush. Is Man is the Bastard filled with geniuses? Probably. This band is so brutal that they’re credited with coining the phrase “power violence.”

Man is the Bastard didn’t have a typical rock band line-up. Instead of the usual drum-bass-guitar-vocal setup, it was similar to Cop Shoot Cop, with two basses, drums and power electronics (aka keyboards and such used correctly). While Cop Shoot Cop had an arty, NYC air about them, Man is the Bastard rewrote the book of brutal hardcore. Their songwriting style, as well as their instruments, was not used in a gimmicky way. This was the only way for them to achieve the sound they wanted. We are all better off for it.




Man is the Bastard – Mancruel




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Napalm Death - From Enslavement to Obliteration

Napalm Death
From Enslavement to Obliteration
Earache



From Enslavement to Obliteration could be considered the grindcore version of Damaged by Black Flag. Both records are culminations of past events/evolutions and both records are considered to be each band's last "true" album. In Napalm Death's case, they started mixing death metal and mosh riffs into the material after this record. This was also the last Napalm Death record with Lee Dorian and Bill Steer in the line-up.

Regardless of your feelings about Napalm Death's career, From Enslavement to Obliteration is a classic and is (arguably) their best album. "Unchallenged Hate" is my favorite Napalm Death song ever.

The funny thing is, if you've seen the band live in the last few years, that they play this old material so much faster now, it's sometimes unrecognizable as recorded here. This is a must-have. Recommended for living humans.

Napalm Death - From Enslavement to Obliteration




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Free wrestling tickets! XWO reborn! Full Blown Chaos!

Our friends over at XWO Reborn want you to see the match over at Johnson Coliseum (on the SHSU campus) on 7Feb09. I've got 14 tickets that are up for grabs. Support this independent, sincere operation! If you would like to request some of the free tickets, shoot an e-mail to:

no-funeral@hotmail.com

...and I'll hook you up. While you're at it, check out the XWO Reborn website and myspace. In celebration of this giveaway, here's one of the most ass-beating records ever made. This should keep you hyped up until Feburary the 7th.



Full Blown Chaos - Wake the Demons



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Black Flag - The Complete 1982 Demos Plus More!

Black Flag
The Complete 1982 Demos Plus More!
bootleggish type thing



by DC the Medic

The 1982 demos show an interesting aspect of the Black Flag discography. Damaged was recorded as a five-piece, but the songs were written with one guitar in mind. However the later material, especially My War and Slip It In were written for two guitars, but were recorded with only one player, Greg Ginn. The Unicorn lawsuit prevented the band from playing or recording anything as Black Flag for the better part of two years, muzzling the band during a period of peak creativity. When My War was finally released, it must have seemed like an entirely different band calling themselves Black Flag, and for all intents and purposes Black Flag was a different band. When the group finally emerged triumphant from the Unicorn lawsuit, Chuck Dukowski, Dez Cadena, and ROBO had all left the band. Undeterred, Greg Ginn found new players and continued to push the group forward, and Black Flag started releasing, in rapid fire succession, all the material that had been shelved for the previous two years. The rest, as they say, is history.

However in 1982, mired in their legal battles, Black Flag said to hell with court injunctions and went to the studio to record a demo of their new material. The 1982 demos are the post-Damaged material the way it was intended to be played. The lineup was Greg Ginn, Henry Rollins, Dukowski, Cadena, and Chuck Biscuits (post-DOA, pre-Danzig) on drums. These songs, especially "My War" and "Can't Decide" show the full, and unfortunately unrealized potential of Black Flag with two guitar players. When I hear the 1982 version of "My War" I wonder why modern bands who insist on covering this song (I'm looking at you Bleeding Through) don't take their cues from the layered sound Ginn and Cadena created. Biscuits' drumming fits this material surprisingly well, even though this was the only time he recorded with the band. The first two songs, "What Can You Believe" and "Yes I Know" were written by Cadena, and when he left the band he took the songs with him, so Black Flag never played or recorded them again. The session ends with a brutal version of "Nothing Left Inside" and "Scream" played back to back, or as I call it, eleven and a half minutes of pure hate.

The Plus More! consists of three songs and an interview from the Radio Tokyo studio which were recorded just before the band embarked on the My War/Slip It In tour in 1984. By this time the lineup had morphed to Ginn, Rollins, Kira Roessler on Bass, and Bill Stevenson on drums, which personally speaking, was always my favorite Black Flag configuration. They do not disappoint as they shred through killer versions of "I Love You," "My War," and "Swinging Man" showing a group reaping the benefits of countless hours of practicing. The interview gives some insights into the individuals' thought processes and feelings about being on tour, the infamous The Bars tattoo, and other topics.

The 1982 demos are a missing link between Damaged and My War and they show the progression of the band as it added more elements to its sound. They also make any Black Flag fan wonder what could have been if the band had never signed that deal with Unicorn records and had been allowed to record and take the audience along as they grew and progressed. The Radio Tokyo 1984 songs bring us back to what actually was and remind Black Flag fans that despite all that could have been, what we had/have is still worth listening to, still killer, and still better than most of the stuff you hear today. Needless to say this is one of my favorite Black Flag albums.



Black Flag - The Complete 1982 Demos plus more




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Marduk – Panzer Division Marduk

Marduk
Panzer Division Marduk
Osmose

Marduk is one fucking grim black metal band. There’s no arguing that but Panzer Division Marduk is so intense that it verges on simply being Satanic grindcore. This is not for wimps! However, with song titles like “Fist Fucking God’s Planet” and “Christ-Raping Black Metal”, the Pitchfork Media crowd is already aware of this.

Panzer Division Marduk is more than just speed. Morgan "Evil" Steinmeyer Håkansson does some amazing guitar work on this album. Marduk establishes the kvlt, frost-bitten feel of Scandinavian Black Metal without resorting to the tired gimmick of “gothic” keyboards. Of course, Marduk’s guitar picks are heavier than anything released by Cradle of Filth. Highly recommended for parolees and people living on the fringes of society.

The Bridge People are stoked! Play fucking loud!




Marduk – Panzer Division Marduk




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Bleeding Through – Declaration

Bleeding Through
Declaration
Trustkill



Declaration is better than The Truth and on-par with This is Love, This is Murderous. Brendan isn’t nearly as whiny on this one and the lame emo vocals are kept to a minimum. New guitarist Jona Weinhofen, from I Killed the Prom Queen, shreds and Marta’s keyboard performance really shines. She’s clearly become one of Bleeding Through’s driving creative forces since replacing what’s-her-name-that-couldn’t-play years ago. It's always nice to see a veteran band maintain a certain level of excellence.

My only true complaint with the record is the 300 sample. Coupled with the previous Boondock Saints samples and it’s clear that Bleeding Through has shitty taste in movies. I blame it on them being from suburban Los Angeles. No one is So Cal knows what a good movie is. Have you seen the shit that Hollywood releases?




Bleeding Through – Declaration



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Shank – The Curse of Shank

Shank
The Curse of Shank
625 Thrash



There’s there's an undeniable power-violence vibe on this record, but it’s closer in spirit to the Society of Friends than Man is the Bastard. Speaking of Society of Friends, Shank was also a super-technical band that played really fast. The Curse of Shank is almost like grindcore but it’s way too rooted in hardcore fury to be grind. Besides, grind is often far more straight-forward than this record.

Shank is one of those bands that plays a combination of familiar styles, in a new way. It’s original in the sense that Warhol was original. To put it another way, Shank is kind of like listening to a Tarantino movie. No mosh, no metal. Just brutality.




Shank – The Curse of Shank




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Testament – Low

Testament
Low
Atlantic



Low was a remarkable achievement during the early 90s. Back then, the big names in thrash were producing some genuinely embarrassing music. Stomp 442. Youthanasia. Yikes. Testament was the rare (lone?) exception who got better as time went on. They actually got heavier on Low.

Not only that, they got heavier without trying to sound like Pantera. Two key elements made Low a better record than, say, Practice What You Preach. One was the varied vocal delivery of Chuck Billy. This was Billy’s best performance and it helped to divorce Testament from the thrash masses. The other thing was upgrading drummers from Louie Clemente (and possibly even Paul Bosteph) to John Tempesta. Finally having a drummer who could competently double-kick really opened up the rest of the band. Also, let's not forget the spectacular lead playing by James Murphy. On Low, a confident band made timeless music without any specific subgenre classifications. It’s simply awesome.



Testament – Low




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Strapping Young Lad – Heavy as a Really Heavy Thing

Strapping Young Lad
Heavy as a Really Heavy Thing
Century Media



Here is the debut album of frisky cyber-thrash from everyone’s favorite guitar-playing mental patient, Devin Townsend. On Heavy as a Really Heavy Thing, recorded almost entirely by Townsend before SYL had a proper line-up, the Teen Cthulhu/Bleeding Through debate emerges again. Strapping Young Lad’s style of industrial-influenced metal is very similar to Fear Factory’s style, minus all the “bro-ing down.” Of course, Fear Factory existed first, but Strapping Young Lad plays this style so much better than them.

This album is start-to-finish intense without letting up, ever. The keyboards on Heavy as a Really Heavy Thing add atmosphere to the album without trying to be the lead instrument. This isn’t for Metal Maniacs. It’s metal for maniacs. Recommended for people who play lots of video games.




Strapping Young Lad – Heavy as a Really Heavy Thing




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Floor – Floor

Floor
Floor
No Idea



At this point it’s a cliché, but Floor is what I think of when I hear the words “alternative rock.” Floor is heavier than gravity, yet no traces of metal are to be found. It’s not really punk either, in that it doesn’t have a “punk sound” (whatever the hell that means).

In spirit, Floor is totally punk. It’s punk in the same way as The Minutemen. Plus, Floor is so heavy. How heavy? Optimistic Eyehategod heavy. The guitars and the vocals drift into Jupiter-era Cave In territory but the drums and the bass remain firmly footed in their Kyuss/Sabbath home. There’s some Meat Puppets and some Radon in there too. Download this if you’re looking for daring, challenging, original music.



Floor – Floor




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Trap Them – Live on WNYU

Trap Them
live on WNYU



Here’s a live set from Trap Them, recorded a few weeks after the November release of Seizures in Barren Praise. Having never seen them live, I really enjoyed this set. I hope that you do as well. Total brutality.




Trap Them – Live on WNYU




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Phobia – Destroying the Masses

Phobia
Destroying the Masses
Pessimiser



If you’ve been reading No Funeral since the print issue days, then you’re probably already familiar with Phobia. They're one of my favorites and they’ve been covered here extensively in the past. Destroying the Masses, released on the late, great Pessimiser records, brings us more of Phobia’s patented, super-fast, lockdown So Cal grind. Phobia is the U.S. Napalm Death, right down to the brutal vocalist and bassist; both of whom will beat you. Grind your fucking head in!




Phobia - Destroying the Masses




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Employer, Employee – SIC,[SIC]

Employer, Employee
SIC,[SIC]
Robotic Empire



Employer, Employee is one of Austin’s truly unsung greats. They were one of the early signings to the once-promising Robotic Empire label and then promptly broke up, right as they were hitting their stride. As someone who was there, I can testify that they assassinated people in the live setting. The members went on the form such bands as Asp and Sea of Thousand, but it wasn’t the same.

SIC,[SIC] is stuffed with blistering tech/grind in the vein of Burnt by the Sun, but played faster and nuttier. This was Employer, Employee’s only LP and it should be savored as such. Robotic Empire has been promising to reissue SIC,[SIC] for years. I suppose we’ll have to settle for the mediafire link for now. Hey, Robotic Empire! How about a vinyl reissue?




Employer, Employee – SIC,[SIC]




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Obituary – Xecutioner’s Return

Obituary
Xecutioner’s Return
Candlelight



This album smokes. It sounds like Obituary is releasing all that pent-up rage from their dealings with Roadrunner. After signing with the well-respected Candlelight Records, the band refocused its efforts and, in 2007, delivered a soon-to-be classic that will sit along side Slowly We Rot and The End Complete. Unlike Metallica, Guns n Roses, Monster Magnet, Stone Temple Pilots, and the rest, Obituary actually did recapture the magic of the old days.

Allen West's lead guitar work on Xecutioner’s Return is outstanding. John Tardy sounds great. The whole band sounds great. Donald Tardy, Trevor Perez and Frank Watkins are still the masters of those stoned, caveman, almost-Black-Flag-like metal riffs. This band rules. Hail Obituary!




Obituary – Xecutioner’s Return




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High Life cancelled

Due to guitarists flying back to Chicago, High Life will not be playing in Huntsville tomorrow. Send all hate mail here.

Trap Them - Sleepwell Deconstructor

Trap Them
Sleepwell Deconstructor
Trash Art



This record is brutal and destructive, but it's more than just the sum of its parts. Trap Them is taking the best elements of modern heavy music and is steering them in a new direction. On Sleepwell Deconstructor, you'll find:

The epic feel of Converge, from "The Saddest Day" on
Entombed's guitar tone
Crazed, D-beat rhythms
Maniac vocals
a virtuoso guitarist
Mike freaking Justain
The brutality of death metal and black metal's coldness, filtered through a hardcore lens.

What are you waiting for?

Trap Them - Sleepwell Deconstructor



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Infest - Discography

Infest
Discography
Deep Six (eventually)



You know that Infest CD that Deep Six Records has said will be "coming soon" for, like, five years? Here it is. Everything (well, damn near everything) released by the titans of West Coast power violence.

If you don't know the Infest sound, where have you been? They are too pissed to live and too ignorant to be free. The man is not down with Infest. You should be. This is hardcore, played at a ridiculous speed, with caveman sludge and an intense hatred for everything and everyone. Highly, highly recommended, 10 fucking skulls, yakkity-yakkity, wocka, wocka.

Seriously, you need this.

Infest - Discography




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Skeletonwitch - Beyond the Permafrost

Skeletonwitch
Beyond the Permafrost
Prosthetic



I can't tell if these guys are false or not. They opened for Danzig and Dimmu Borgir at the House of Blues, so they've got that going on, but I can't overlook the music. As far as I'm concerned, all of the "thrash revival" bands are trying to ride the coattails of Municipal Waste and Sleletonwitch doesn't seem to be any different.

They play that oh-so-hip style of Wermacht/D.R.I. thrash worship but Skeletonwitch went with the grim and kvlt image instead of the party-time image. Aside from the "blackened" vocals, Beyond the Permafrost sounds just like Hazardous Mutation. No one is saying the record isn't good (it is), I just question Skeletonwitch's intent and originality.


Skeletonwitch - Beyond the Permafrost



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Nostromo - Ecce Lex

Nostromo
Ecce Lex
Overcome



This band is pissed. Nostromo plays nyper-active math metal. Ecce Lex features tons of syncopations, start-stop riffing and even some Coalesce-style hardcore fury. Imagine Botch playing with the speed and intensity of Vulgar Pigeons. It's not that Botch didn't play fast. It's just that Nostromo uses that Botch style while playing just a shade slower than Discordance Axis. It wouldn't surprise me one bit bands like A Life Once Lost and Animosity cite Nostromo as an influence. Highly recommended, especially if you're into Relapse or Deathwish Inc. bands.

Nostromo - Ecce Lex



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The Endless Blockade - Turn Illness into a Weapon

The Endless Blockade
Turn Illness into a Weapon
Sound Pollution



Check it out, another quality release from these grind/violent Canadians. I didn't dig it as much as their split with Warzone Womyn, but it's still better than 99% of all recorded music. Not for wimps or hipsters.


The Endless Blockade - Turn Illness into a Weapon




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Christdriver - Everything Burns

Christdriver
Everything Burns
Profane Existence



This is one fucked up hardcore record. When I say hardcore, I mean unconventional rock & roll; which is exactly what Christdriver provides. Is this mysterious Seattle band neanderthal industrial? Electronic power violence? My mental picture when listneing to this album is Godflesh and Man is the Bastard hanging out in a Brooklyn squat, listening to old SPK and Throbbing Gristle vinyl. Everything Burns features that signature, chruning industrial bass tone and, oddly enough, Neurosis-like, bellowing vocals. Christdriver is another band that falls under the category of "heavy as fuck, weird as shit." Everything Burns sounds like human suffering.

Christdriver - Everything Burns



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Free show! High Life at the Stardust Room. Monday!

Click on the flyer.

RE-UP: Flesh Parade - Kill Whitey

Flesh Parade
Kill Whitey
Relapse



Here's the second attempt in the learning-to-correctly-use-the-vinyl-ripping-program program. Enjoy Kill Whitey by Flesh Parade, with the original review (from No Funeral #1) in italics and a fresh MediaFire link.

Deep from the bowels of Louisiana, Flesh Parade has crawled out of the bayou and they’re not having it. These maniacs have dispatched some of the most brutal grind ever recorded. Released in 1997, “Kill Whitey” stained the already prolific New Orleans metal scene and has been causing post-traumatic stress disorder in listeners ever since.

Their vocals are delivered by a pure madman. It’s the finest is tortured “vo-kills”. Buzz saw guitars keep one killer riff after another flying out of the speakers. Flesh Parade’s devastating rhythm section will beat you into submission, and then bang your wife.

Take the best elements of Suffocation, old Napalm Death, and Mortician, add Abita Beer and Tabasco Sauce, and you’re left with the best grindcore band in the south. I have the 7” (gray marble vinyl, ha ha), but the CD has bonus tracks on it. If you’re into grind, go get “Kill Whitey” right now.

Although the band was devastated as a result of Hurricane Katrina, they’re currently working on new material.



Flesh Parade - Kill Whitey




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RE-UP: Trapped Under Ice - 2007 Demo

Trapped Under Ice
2007 Demo



Here's the fixed link for the too-pissed-to-live debut from Baltimore's Trapped Under Ice. Get it now if you missed out the first time.


Trapped Under Ice - 2007 Demo



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Iron Lung - Sexless/No Sex

Iron Lung
Sexless/No Sex
Prank



Sexless/No Sex is the landmark album by Seattle/Reno/wherever's Iron Lung. They play crazed, two-man power violence with issue-oriented lyrics. No, Iron Lung isn't one of "those" bands. When I say message, I mean that they are a thinking person's hardcore band. I wish more bands could write outstanding, original songs like "Pig Hands", "Medic" and the title track.

Sexless/No Sex has tempo changes every 10 seconds and the song structures are unusual, to put it mildly. DC the Medic gave me this LP for Christmas and it hasn't left the turntable. It's one of 2007's best albums; as well as one of the decade's best.


Iron Lung - Sexless/No Sex



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Weedeater - God Luck and Good Speed

Weedeater
God Luck and Good Speed
At A Loss



Weedeater's 2007 full-length doesn't deviate from the band's previous game plan. This is a good thing. They're still banging out grizzled Southern sludge, so what's different?

This time around, the sludgy parts are written cohesively into the songs. They don't feel slow for the sake of being slow. Weedeater is also looking beyond the basic rock band anatomy by adding a banjo in a rock context. Don't worry, the speedy, punk-rock parts are here too.

Anyone who's into Eyehategod, BuzzOv-en, Sourvein, Facedowninshit, and the like, should check out God Luck and Good Speed. This record kills posers.

Weedeater - God Luck and Good Speed

Weedeater - ...And Justice for Y'all

Weedeater
...And Justice for Y'all
The Orchard



Weedeater is the band that picked up where BuzzOv-en left off. ...And Justice for Y'all is packed to the gills with chicken-fried Dixie-sludge marinated in Sabbath LPs and bong resin.

The song "Monkey Junction" is a monstrous epic that is rapidly becoming one of my all-time favorite songs. Why wasn't this song a big, hit single? Oh yeah, America has no taste. All the poser, hipster bands playing "rock-n-roll" should take note. Weedeater is grizzled as fuck. This is what hate sounds like.

My only complaint is that the bass is mixed too loud and it drowns out the guitar during the faster songs. Then again, Dixie Collins (ex-BuzzOv-en) is one of the tunesmiths, so his instrument is bound to be displayed prominently. You need this is you claim to be down with ignorant Southern metal.




Weedeater - ...And Justice for All



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Incantation - Deliverance of Horrific Prophecies

Incantation
Deliverance of Horrific Prophecies
Relapse



Excruciating is the only word that can describe Incantation's brand of blasphemous death metal. This EP was recorded around the time of the might Onward to Golgotha. That's why it's heavier than Oprah. If you don't know Incantation, they are one of the USDM legends that constantly gets ripped off by shitty bands. This is the real deal.

Incantation - Deliverance of Horrific Prophecies



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Hirudinea/Watchmaker – Split EP

Hirudinea/Watchmaker
Split EP
Bestial Onslaught Productions



This is a killer EP. Hirudinea knock the first four tracks out of the park with their brand of furious grindcore. As for Watchmaker, its members should consider going back on their meds. It’s some of the most violent music I’ve ever heard. This is not for wimps. If contempt for your fellow man made a sound, it would sound like Watchmaker.



Hirudinea/Watchmaker - Split EP




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Trash Talk – S/T EP

Trash Talk
S/T EP
Trash Talk Collective



On their self-titled EP, the Sacramento maniacs known as Trash Talk play a unique brand of hardcore. It’s Fucked Up’s methodology mixed with the heaviness of Cursed and, it goes without saying, that this mixture sounds great. I’ve seen Trash Talk described as power violence and I just don’t hear it. Maybe it is, in the sense that it’s unbridled and free-thinking. Either way, this record rules.



Trash Talk - S/T EP



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Saviours - Warship

Saviours
Warship
Level Plane



Here's another EP of occult-obsessed, retro-inspired groovy metal from Oakland's Saviours. Everything from the Crucifire review applies, as Warship fits smoothly into the Saviours discography.

Saviours - Warship



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Saviours - Crucifire

Saviours
Crucifire
Level Plane



These East Bay menaces sound a lot like The Sword. A lot. Call it futurist/prog/retro-metal or whatever but, seriously, Age of Winters and Crucifire sound damn near identical. It's not plagerism. Both bands formed, gigged, and recorded around the same time. I think it's a happy accident that benefits the listener.

The differences between the two records have nothing to do with music. Saviours features ex-Yaphet Kotto members and their lyrics are anti-Christian/occult in nature. The Sword have a reputation for being false hipsters (not true), so I guess that makes Saviours more kvlt, but who cares? You'll dig Crucifire if you're into the current retro bands like The Sword, Early Man or Priestess.

Saviours - Crucifire




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Teen Cthulhu - Ride the Blade

Teen Cthulhu
Ride the Blade
Life is Abuse



Blackened fastcore? Demonic hardcore? Metalcore black metal? Okay, that last one didn't make sense, but you get the idea. Seattle's Teen Cthulhu rose through the late 90s metalcore ranks playing very fast, overloaded with keyboards and with an intense black metal influence.

Here's where things get weird. Bleeding Through also did the same thing (kind of) at the same time, yet Teen Cthulhu is clearly the superior band. Bleeding Through rode that Hot Topic vibe to Ozzfest glory while Teen Cthulhu kept it real and played better. I suppose Ride the Blade said some things that America wasn't ready to hear. Fortunately, you can.

Teen Cthulhu - Ride the Blade



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Agoraphobic Nosebleed/Insect Warfare split EP

ANb/IW
split EP
Relapse



This EP ends as quickly as it begins, yet you immediately want to hear it again. That's how you know it's quality.

Much like on their split with Apt. 213, Agoraphobic Nosebleed continues to explore the power violence of its psyche. Don't worry, there's still plenty of blasting. Insect Warfare's side of the split is some of their last material, since they regrettably broke up last year. The shit is too pissed for words and Rahi doesn't get buried in the mix. Killer.

ANb/IW - split EP



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Master's Hammer - Ritual

Master's Hammer
Ritual
Moniter



Master's Hammer is a first-wave black metal band that dates back to communist Czechosolvakia (1983). They play grim, epic black metal from the wrong side of the Iron Curtain. It's even more ignorant than it sounds.

Ritual, recorded in 1990, was the end result of state repression and cultural sea change. Too early for chruch-burning Norway, Master's Hammer was one of the bands that transitioned from the Possessed/Bathory sound into something more akin to Bathory. Ritual isn't as fast as you'd think, but it's kvlt as fuck.

Master's Hammer - Ritual



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Bolt Thrower - Realm of Chaos

Bolt Thrower
Realm of Chaos
Earache



Realm of Chaos is the masterpiece created by England's own Warhammer-playing death metal lunatics. Bolt Thrower has influenced everyone from Earth Crisis to Insect Warfare. The band is known for its down-tuned, crush-your-skull metal but this record takes things to disturbing new lows.

Since its Realm of Chaos' 1989 release, something strange happened to Bolt Thrower. During the last 20 years, Bolt Thrower has been adopted by the crusty punks. I've lost track of the number of bands who describe themselves as Bolt Thrower-style crusty metal. It's my assumption that, while writing and recording Realm of Chaos, that "crusty" and "D-beat" never crossed their minds. Then again, you never know what someone else is thinking.


Bolt Thrower - Realm of Chaos


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Impaled Nazarene - Tol Cormpt Norz Norz Norz

Impaled Nazarene
Tol Cormpt Norz Norz Norz
Osmose



This is the most batshit-crazy black metal album I've ever heard. Impaled Nazarene never went in for the Kiss make-up thing. Instead they took the demonic S&M angle and mixed it with a D-beat influence, but don't get the wrong idea. Tol Cormpt Norz Norz Norz is as grim and frost-bitten as any Abigor record.

Plus, I have happy memories associated with this record. Money Mike and I used to blast this album in the Ft. Hood barracks while getting wasted on boxed wine. Ah, good times.

Impaled Nazarene - Tol Cormpt Norz Norz Norz