Sayyadina - Mourning the Unknown

Sayyadina
Mourning the Unknown
Sound Pollution



by Jason from Deadthyme


I reviewed Yacopsae's Tanz, Grosny, Tanz... recently and said that it was one of the best modern grind albums I've ever heard. I also said it was a shame that they are so unknown. Well, I'll say the exact same thing for these Sayyadina.

I have another album by Sayyadina, as well as tracks on Relapse's Swedish Assault comp, and they never cease to amaze. Mourning the Unknown is tight, blasting but controlled chaos somehow captured on vinyl to give grindheads orgasms. These guys might be just a tad more on the hardcore side of the metal/ hardcore mix which makes up grindcore, but most of the best grind bands are. Yeah I know, Repulsion and early Carcass are great bands but both are a little on the metal side of the mix. Then again, they're really the exceptions to the rule, unless you like the ridiculous level that goregrind and pornogrind have reached.

The key to amazing grind bands like Sayyadina and Yacopsae (besides the incredibly tight musicianship) is to include just enough originality for it to stay interesting, but not enough for it to not be considered grindcore anymore I guess since all kinds of crap is considered grindcore these days that really isn't, that might now be a moot point. Anyway, Sayyadina (whose name is taken from Frank Herbert's Dune book series) was, like Yacopsae, not mentioned in either Decibel or Terrorizer magazines' grindcore issues. Shame on them.





Sayyadina - Mourning the Unknown





Jason Beck produces and DJs the Deadthyme counter-culture music show. Listen to Deadthyme from 2:30 a.m. to 5 a.m. every Monday morning on KPFT 90.1 fm in Houston (and online).


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Earth Crisis – To The Death

Earth Crisis
To The Death
Century Media



Earth Crisis, the straightedge metalcore kingpins of Syracuse, returns after a sort of eight-year-long break and delivers a powerful album in To The Death. Like Metallica’s Death Magnetic, To The Death is the record that should have come out years ago; after Gomorrah’s Season Ends. It sounds enough like the pre-Breed the Killers stuff to get all the 30-year-olds psyched about dancing down, but this is no trip down memory lane. Earth Crisis delivers crucial, well-written metalcore-with-a-message that immediately rises to the top of the heap, legacy or not. Yes, To The Death is actually that good.

Earth Crisis’s musical growth is no shock. After all, they never exactly went away. Plus, while we’re on the subject, the attacks on Earth Crisis’s talent and musical ability back in the 90s were totally unfounded. These guys have always been good. Do you not realize how awesome Destroy the Machines actually is? These guys can play their asses off and, if you don’t dig mosh metal, maybe you should just keep on trucking.

With all of my gushing about the old Earth Crisis material, it should be noted that the Breed the Killers line-up recorded To The Death; considering how Kris Weichmann broke edge, joined Brand New Sin and whatnot.

To The Death isn’t a retro album but, instead, is an album dragging the old-school values into the 21st century. There are moments on the record that sound like Hatebreed’s Perseverance and there are moments that sound like Ceremony/Bitter End style modern hardcore; not to mention To The Death sounds like the old Earth Crisis albums. Whether you’re a plug-sportin’, flat-brimmed-hat new jack or a brittle-boned old fuck, To The Death can, should and will be enjoyed by everyone.

Houstonians! Earth Crisis is coming to Java Jazz on May 22nd with Walls of Jericho, Reign Supreme and Unholy. Other cities, you’re going to have to check online for your tour dates because DC the Medic and I are going to this one. See you there, Houston weirdoes!





Earth Crisis – To The Death





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Autopsy - Horrific Obsession

Autopsy
Horrific Obsession
Peaceville



by Jason from Deadthyme

Holy shit, they're back (briefly)! It's very hard for me to say what my favorite album is in any form of music but, in death metal, Autopsy's Severed Survival would definitely be in my Top 5. To commemorate the 20th anniversary (whoa!) of the release of that album (released in Jan. 1989), most of the original guys got together and recorded two new songs. They make a big point of saying that this is not a reunion; no shows or anything else. You just get two new tracks to celebrate the release of a classic.

And how are they? Well, they said that they tried to get back into the mindset they were in when they recorded that album (which evidently comprised mostly of lots of dope and gore flicks) so they could recreate the sound. However, both tracks make me think a lot more of the songs off their second album Mental Funeral (which is also an excellent album, though I still like Severed Survival better). Steve DiGorgio's bass is missed, but the songs are still the sick, twisted death metal Autopsy excelled at. The band's sound is pretty unique; you can tell Autopsy from all the generic death metal bands that are out there. The title track is the standout with the B side "Feast of the Graveworm" sounding like a B side; though it's still pretty good.

Horrific Obsession is also available on the two-disc re-release of Severed Survival that just came out. The reissue also features tons of outakes, live songs, rehersals, and, best of all, some earlier versions of songs that later appeared on Mental Funeral. The Horrific Obsession 7" is limited to 1,000 copies.




Autopsy - Horrific Obsession





Jason Beck produces and DJs the Deadthyme counter-culture music show. Listen to Deadthyme from 2:30 a.m. to 5 a.m. every Monday morning on KPFT 90.1 fm in Houston (and online).


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Violent Arrest - Criminal Record

Violent Arrest
Criminal Record
Grave Mistake/No Way



by Jason from Deadthyme

These guys must love the 7" format since they released Criminal Record as a double EP, instead of a 12" or something. Anyway, this is Violent Arrest's third release; the others being another 7" and a 12" EP. Violent Arrest has a pretty awesome history. It's two guys from Heresy and one guy (the singer) from Ripcord. They pretty much sound like Heresy with Ripcord's singer, which is excellent.

This is the kind of hardcore I love. Going all the way back to D.R.I.'s 1981 Dirty Rotten EP/LP to now, no one has really improved on the sound, but there have been no shortage of bands who love to belt out this kind of honest, fast thrashin' punk and hardcore. Violent Arrest have been doing this for a long time and it shows, with a tightness to the playing that a lot of hardcore bands don't have. Good stuff indeed.




Violent Arrest - Criminal Record





Jason Beck produces and DJs the Deadthyme counter-culture music show. Listen to Deadthyme from 2:30 a.m. to 5 a.m. every Monday morning on KPFT 90.1 fm in Houston (and online).


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Assuck - Anticapital

Assuck
Anticapital
Sound Pollution



Sometimes,an album is so good that you feel compelled to but it on multiple formats. Many factors contribute to such behavior, such as collectible fetishism, car and home stereos, and record-nerd vinyl completism. After all of the albums I've bought more than once over the years, I've noticed that these record tend to be remarkable achievements, considering the behavior they spawn. Anticapital is one of these records.

Florida's anti-everything grind champion Assuck earned its legendary status. The band incorporated metal techniques like harsh vocals and double-bass drumming into its political grindcore without falling into Napalm Death's trap of turning into a death metal band. Both Assuck and Napalm Death recorded at Tampa's infamous Morrisound Studio but Assuck never ended up on MTV. The band felt at home in the MRR/HaC style DIY scene and its message would have never flown in the mainstream. Unlike Rage Against the Machine, Assuck wasn't full of shit.

I bought my Anticapital LP at Austin's late, great Sound Exchange record store. A couple of years later, I saw the CD version for $8 at Austin's formerly great Waterloo Records. The CD version includes not only the amazing Anticapital LP but the Blindspot EP and three previously unreleased tracks. I've uploaded the CD version of this album and you can thank Sound Pollution Records for this radness. You're going to dig Anticapital so much that you'll be ordering your own copy before the end of the week. Better act fast, because Sound Pollution is closing down. This is highly recommended for everyone.




Assuck - Anticapital



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Void - Inner Ear Studios Demo

Void
Inner Ear Studio Demo
unreleased



by DC the Medic

First, let me say that Void is my favorite DC hardcore band. Yes, I like them better than Minor Threat and Scream, which is to take nothing away from those two great bands. Void played with a certain energy, even in the studio, that I haven't heard in many, if any, other bands. They seemed to create a maelstrom that threatened to make any song at any time fall apart into total chaos. Punk rock, indeed. Void were far from a technically proficient band, normally I would say that sloppy playing is not a valid aesthetic choice. However this is the exception that proves the rule. Although, to be more specific I don't consider Void to be sloppy or bad musicians, but rather reckless ones. All four guys just play as fast as they can as hard as they can, and if someone drops a beat, comes in late, or doesn't play in perfect synchronization with the rest of the band, then, oh well. Like I said before, the effect of all this is to create the legendary Void musical maelstrom.

Speaking of legendary, Void never seemed to get their due back when they were active. The closest they ever came to a full-length release was the Faith/Void split (still available through Dischord Records) even though they recorded Potion For Bad Dreams for Touch & Go Records. However, according to internet rumor, guitarist Bubba Dupree had some kind of undisclosed issue with it and has subsequently blocked the album's release for more than 20 years. And for Bubba Dupree, I found the comparisons between him and Greg Ginn to be both inaccurate and unnecessary. In my opinion, Dupree's work stands on its own and it should be enough for him to the manic guitar player from Void instead of "the Greg Ginn of the east coast" but I suppose there are worse people to be compared to.

As for the demos, they were recorded in the famous Inner Ear Studio in late 1980 and would eventually be released in a different track order as the Condensed Flesh EP. Different versions of some of these songs would later appear on the Faith/Void split. The sound quality here is excellent, and all the songs are killer. Recommended for any Void fan, any old school hardcore fan, and anybody else except for Hatebreed's lawyer.




Void - Inner Ear Studios Demo



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Wolves in the Throne Room – Two Hunters

Wolves in the Throne Room
Two Hunters
Southern Lord



If I may borrow from Conan O’Brien’s S.A.T. analogy jokes, Wolves in the Throne Room is to black metal what Giant Squid is to System of a Down-style heavy, radio rock. Two Hunters is epic and brutal but those seeking a Norwegian-style, church-burning good time will be disappointed. To put it another way, Wolves in the Throne Room deconstruct black metal by sticking to the tenants of the genre while putting its own unique spin on them. Many of the riffs and progressions on Two Hunters seem influenced by Bathory although they don’t actually sound like Bathory.

More than just the Bathory influence, Two Hunters is informed by the forefathers and standard bearers of black metal but the album in no way sounds retro or old-school. By respecting the music, Wolves in the Throne Room has achieved a timeless quality. The samples and electronics used on “Cleansing” are reminiscent of Neurosis. The term post-black metal doesn’t fit what Wolves in the Throne Room is doing. Two Hunters is the next step in the evolution of black metal. It’s not post- anything.





Wolves in the Throne Room – Two Hunters




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Hatebreed – For the Lions

Hatebreed
For the Lions
E1 Music



Cover song albums are a tricky lot. Sometimes, as with Napalm Death’s two Leaders not Followers records, they are a righteous insight to how a band’s sound evolved into existence. At other times, they can be ambitious failures (Slayer’s Undisputed Attitude) or colossal misfires (The Spaghetti Incident). With For the Lions, Hatebreed achieves a 70/30 split in favor of righteous.

Hatebreed’s, ahem, creative take on Slayer’s “Ghost of War” is counterbalanced by the band’s enjoyable version of “Suicidal Maniac.” Hatebreed truly shines when they cover Metallica, Black Flag and Obituary. It’s no coincidence that the best songs by the best bands are going to sound better than the others. Conversely, "Your Mistake" is kind of lame, but Agnostic Front is kind of lame. Hatebreed's versions of “All I Had I Gave” by Crowbar and Madball’s “Set It Off” are the most passionate performances on this collection. This is no cynical cash grab. For the Lions is Hatebreed’s salute to metal and hardcore’s class acts from the last 20 years.





Hatebreed – For the Lions




EDIT: Yeah, so someone on Hatebreed's street team (or something) threw a fit and e-mailed the band's lawyer, yadda, yadda, yadda, the link is gone. I didn't throw a fit because I honor all requests for link removal. However, I do think this is beyond ridiculous. If Korn doesn't care, why should Hatebreed? Hatebreed has now joined the ranks of Landmine Marathon and whoever controls Chuck Schulinder's estate as the only people who have complained out of 230+ records posted this year. I'm doing what they asked, but I don't have to like it. The old Hatebreed must have died with Lou Boulder.

EDIT 2: Jamie, you have nothing better to do than harass my friends into giving you my phone number? Really? How old are you?




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Insect Warfare/Hatred Surge – split EP

Insect Warfare/Hatred Surge
split EP
RSR



The ultimate Gulf Coast Grindcore split release has returned. Returned? It never really left. All of these tracks are available on the Hatred Surge Collection CD and the CD version of Insect Warfare’s Endless Execution Through Violent Restitution. Why then? Because we are all nerd record collectors. Seriously though, check out that awesome Daniel Shaw artwork. Shaw has been doing his thing in the Houston area for quite some time and I understand that he’s now tattooing somewhere on Richmond Ave.

Seriously, seriously though, all of these releases deserve their own space to breathe and exist; especially the Insect Warfare stuff. That’s a band that ended too soon. Plus, special mention needs to be given to Sandro and the awesome job he’s done with RSR over the years. Everyone should check out his distro for your mail order needs. Euro No Funeral readers, you guys don’t have an excuse.





Insect Warfare/Hatred Surge – split EP




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Beastie Boys – Ill Communication

Beastie Boys
Ill Communication
Grand Royal/Capitol



Ill Communication provides a glimpse of what could have been. Back in 1994, rap had a choice. It could have followed the Beastie Boys model of live band, rock-based hip-hop. Instead, rap chose the easy cash of keyboard-driven pop and we, the listeners, are all worse off for this betrayal. Ill Communication is more than just a successful album. Did it sell millions of copies? Yes. Did it spawn a popular MTV video? You bet. Large arena tours? Totally. Cultural and critical respect? Just a smidge. More impressive than all of these accolades is the window that Ill Communication provides into a world where hip-hop didn’t sell out.

The Beastie Boys provide far more than the brand of lyrical wordplay they patented on Paul’s Boutique. The punk side of the Beastie Boys, not seen since the Polly Wog Stew days, reappears. True, the punk stuff showed up on Check Your Head but Ill Communication seems largely driven by punk rock. This would explain the jam band feel of the instrumental songs peppered throughout the album. Songs such as “Sabrosa” and “Futterman’s Rule” have a stoner-fog, spiritual punk quality that, musically speaking, is far more in line with Santana than anything with the dreaded emo label.

What’s the best Beastie Boys record? That’s a matter of debate; to be debated during internet-fuck-off time at work. Ill Communication gets my vote for the Beastie’s best. The record is powerful, timeless and a modern classic.





Beastie Boys – Ill Communication


EDIT: The Beastie Boys are a bunch of lame-os who took the link down. They now join the ranks of Landmine Marathon, Death, and Hatebreed as a bunch of sour-grape spoil sports.\\





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Yacopsae - Tanz, Grosny, Tanz...

Yacopsae
Tanz, Grosny, Tanz...
Obscene Productions




by Jason from Deadthyme


Holy crap, Tanz, Grosny, Tanz... is some chaotic, insane, intense grindcore, man. Pure blasting mayhem, yet with a stop-on-a-dime tightness to the playing. I've had some past releases from Yacopsae (which evidently means 'Jakobs', because they didn't want a "silly, brutal name"), but they've really outdone themselves on this. One of the best modern grind albums I've ever heard, yet these guys are virtually unknown. Both Terrorizer and Decibel, two of my three favorite music magazines, did special grindcore issues and neither of them mentioned Yacopsae. It's a pity, really, because this is the shit.




Yacopsae - Tanz, Grosny, Tanz...




Jason Beck produces and DJs the Deadthyme counter-culture music show. Listen to Deadthyme from 2:30 a.m. to 5 a.m. every Monday morning on KPFT 90.1 fm in Houston (and online).



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Kottonmouth Kings – High Society

Kottonmouth Kings
High Society
Suburban Noize/Capitol



The poster boys for the LA suburbs return to spread more bud-fueled mayhem and they brought most of the Suburban Noize family with them. Johnny Rictor joins D Loc and Brad Daddy X as the lead rappers. With those three as the core of the group, High Society is able to stay focused even with all the guest musicians. High Society produced the hit single “Peace not Greed” and what should have been a hit single “Day Dreamin’ Fazes.”

You’re going to love this album, even if you don’t normally listen to hip-hop. Besides, it’s 4/20. What else do you have to do today? Work? You need to keep it real with the Kings.





Kottonmouth Kings – High Society





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Kottonmouth Kings – Royal Highness

Kottonmouth Kings
Royal Highness
Suburban Noize/Capitol



It’s 4/20 so that means Kottonmouth Kings and lots of ‘em. Did you ever see that movie Alpha Dog? This record is kind of like an audio interpretation of that movie’s Orange County lowlifes.

Royal Highness was the Kings’ first major label album and “Bump”, the album’s hit single, was featured on the Scream 2 soundtrack. Saint Dog is featured prominently on Royal Highness. These days, Saint Dog and his brother are a hip-hop duo on Suburban Noize. Listen carefully and you’ll hear remnants of Brad Daddy X’s pre-Kottonmouth Kings punk band the Humble Gods. This is the album for people who wish rap had more of a punk influence.





Kottonmouth Kings - Royal Highness




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Total Devastation – Total Devastation

Total Devastation
Total Devastation
Arista



While the Nazis are out celebrating Hitler’s birthday, us freedom-loving, socialist-beating Americans can honor the true meaning of this day. No, not that. It’s April 20th, better known as 4/20! Let’s get budded and listen to Total Devastation.

Total Devastation is from the Mission District in San Francisco. Their self-titled debut LP is an underground legend not just in hip-hop, but in the High Times circles too. This is rap from the NWA/Wu Tang Clan/Beastie Boys school of rap. In other words, it’s actually musically interesting. The Total Devastation album is a bit sample-heavy, but it’s nothing when compared to today’s keyboard addicts. I hesitate to call Total Devastation influenced by reggae because they seem to specifically be fans of Peter Tosh and Bob Marley. That doesn’t count as a genre influence. I love NWA but I wouldn’t call myself a fan of rap. I don’t know. I suppose, ultimately, that’s for you to decide. In either case, this record rules.







Total Devastation – Total Devastation




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Insect Warfare – World Extermination

Insect Warfare
World Extermination
625 Thrash



You fuckers want extremity? This is the most extreme album ever made. World Extermination is the best grind album ever made. Rahi is not here to take your shit and Beau will decapitate you with his guitar. Dobber (ex-Viral Load) plays all of the killer, death metal double-bass parts that the other guy couldn’t do or was unwilling to do.

No Funeral readers know that Insect Warfare is one of my favorite bands; up there with Metallica and Acid Bath. World Extermination is the perfect musical document, capturing the best thing to happen to Houston since Dead Horse and oil. Why aren’t you downloading this yet? You can read and click at the same time. Insect Warfare is the only band that is any fucking good, when you really get down to it. Evolved into Obliteration!





Insect Warfare – World Extermination




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Queens of the Stone Age – Queens of the Stone Age

Queens of the Stone Age
Queens of the Stone Age
Loose Groove



The mind-twisting, self-titled, first LP from the Queens of the Stone Age set the stage for what was to come later. For anyone who thought this was some cute rock band that played on Mad TV and SNL but was shocked at the Era Vulgaris album, this is where the weirdness started.

Queens of the Stone Age is a band of dangerous lunatics. Sobriety is an enemy of this band. Every member of Queens of the Stone Age was in Kyuss at one point or another. It’s as if Kyuss was too normal for them and they needed to stretch their wings. “Stretch their wings” is secret code for “travel with half of Columbia under the bus.”

Did you know that the Queens of the Stone Age LP was released on Pearl Jam bassist Jeff Ament’s late, not-so-great label Loose Groove? In spite of the unusual nature of this record, "If Only" coulda/woulda/shoulda been a massive radio hit; if only Clear Channel didn't own all the radio stations. This is a landmark album in the history of weirdo-core. Get it now.





Queens of the Stone Age - Queens of the Stone Age





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Coliseum – No Salvation

Coliseum
No Salvation
Relapse

The crust-metal, Kentucky weirdoes in Coliseum make their Relapse debut with No Salvation. Before you start thinking Coliseum is a bunch of backwoods hicks like Brody’s Militia, these Kentucky weirdoes are veterans of the Louisville hardcore scene (ex-Black Cross, National Acrobat, etc…). These Southern, libertarian hardcore musicians are quite opinionated; as evidenced in their recent interview with Canada’s Hard Times webzine.

When compared to Coliseum’s early, Level Plane-era releases, No Salvation sounds polished. The record is polished enough to send the Maximum Rock and Roll faithful into fits, but it’s nothing to worry about. No Salvation is a raw-sounding, mostly analog recording without any Pro Tools monkey business. For the uninitiated, Coliseum plays crusty-punk-influenced metalcore in the vein of Trap Them and Cursed. No Salvation is recommended for fans of Cave In, -16- and everything in between.







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Skrew – Burning in Water, Drowning in Flame

Skrew
Burning in Water, Drowning in Flame
Metal Blade



During the early 90s, Texas (particularly Austin and Houston) decided to whole-heartedly embrace industrial music. Like Ministry, who eventually moved to Austin and then El Paso, several thrash and hardcore bands added electronic elements and went industrial. The Skate-Nigs were one of these bands. Skrew was another. Skrew rose from the ashes of Corpus Christi thrashers Angkor Wat when Adam Grossman, Danny Lohner and Chris Ault went robo-crunch.

Burning in Water, Drowning in Flame, the first Skrew LP, was certainly a team effort. Phil Owens of the Skate-Nigs produced the album and contributed some guest vocals. Al Jourgensen and Rigor Mortis’ Mike Scaccia played guest solos. It’s obvious that a ton of hard work went into Burning in Water, Drowning in Flame and that everyone gave their best. The end result is an album that sounds like a cowboy version of Nine Inch Nails; which, I believe, was the point all along.




Skrew – Burning in Water, Drowning in Flame




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Terror – One with the Underdogs

Terror
One with the Underdogs
Trustkill



Terror was a band in both turmoil and transition during the creation of One with the Underdogs. The entire record was written and arranged by vocalist Scott Vogel, drummer Nick Jett and guitarist Todd Jones, with Jones leaving the band immediately after. After the unprecedented success of Lowest of the Low, with new members in tow and a new deal with the Trustkill label, Terror set out to conquer the hardcore world once again.

In large part, Terror succeeded. One with the Underdogs is filled with bouncy, groove-laden rhythms and tight, deadly riffs. The record’s metal influence isn’t overpowering, but it’s there. My only knock on the album is the rah-rah nature of the lyrics. Am I listening to a hardcore record or am I getting fired up about the district finals against Conroe High? I suppose the whole positive-youth vibe is an extension of hardcore’s love affair with sing-along choruses and chants. In that one, specific way, it makes One with the Underdogs sound typical. Then again, after taking in the album as a finished product and after considering that Terror made a slamming record, the rah-rah B.S. can be easily overlooked.





Terror - One With The Underdogs




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Agoraphobic Nosebleed – Agorapocalypse

Agoraphobic Nosebleed
Agorapocalypse
Relapse



Holy shit! Agoraphobic Nosebleed actually made a record! This isn’t another group of 50 or so 20-second-long songs. Agorapocalypse is a “record” record with actual songs, choruses, bridges, solos and the whole nine yards. This is new, but not totally unexpected after the Domestic Powerviolence split LP with Apt. 213. That material sounds similar to the new album.

Scott Hull is a musical genius. Agorapocalypse is the most advanced and complex of the ANb material. It’s simultaneously traditional and iconoclastic; not that Hull did this all by himself. Richard Johnson dropped some bass nonsense; as opposed to base nonsense, which is something else entirely. All of the ANb vocalists sound good on Agorapocalypse but J. Randall really brings it on this one. If you’re a No Funeral regular, I don’t even have to tell you how highly this is recommended.





Agoraphobic Nosebleed – Agorapocalypse





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Cross Stitched Eyes - Coranach

Cross Stitched Eyes
Coranach
Alternative Tentacles



by Jason from Deadthyme

This is dark, metallic hardcore very close to Rudimentary Peni (mainly the Death Church-era Peni); however with influences ranging from death rock (bands like Samhain and even Joy Division, paticularly on Become Earth) to C.R.A.S.S. style anarcho-punk (like the schizophrenic sounding 'Suffer', as well as some of the tribal-rhythm sounding drums). This is the third Cross Stitched Eyes release, following 2 EPs, and it features eight songs from their past releases, plus six new songs, which are mixed together and blend seemlessly with one another.

Cross Stitched Eyes features an ex-member of Zygote, the band who formed from the ashes of Amebix. However, the member who went on to form Cross Stitched Eyes was the only Zygote member who was not in Amebix. You can hear some remants of that bands sound in the jagged guitar lines and gruff vocals. Most of the music on Coranach is fairly simple, but seeped in atmosphere with a dreary production that I quite like (and is a nice contrast to all the bands who use Pro-Tools, which make every new metal band's guitars sound the same).

The Coranach LP, which comes with a CD of the album as well, is out on Alternative Tentacles records, who also just re-issued Amebix's first 3 EPs on CD. Label founder Jello Biafra says, "No one has done these styles this well in as long as I can remember, plus they add more!"


Jason Beck produces and DJs the Deadthyme counter-culture music show. Listen to Deadthyme from 2:30 a.m. to 5 a.m. every Monday morning on KPFT 90.1 fm in Houston (and online).




Editor's Note: Due to several technological factors converging at once, the Coranach LP isn't quite ready yet. I will notify everyone as soon as the corrected link is posted. In the meantime, please enjoy Cross Stitched Eyes first EP 1. Check back at the No Funeral Twitter page (which you should have joined already) for the Coranach link, when its posted.
- Brian No Funeral




Cross Stitched Eyes - 1



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Unholy Grave/Pretty Little Flower – split EP

Unholy Grave/Pretty Little Flower
Split EP
Rescued from Life/Psycho Wolf



Somehow, a grindcore apocalypse got pressed onto 7” wax. Japanese, anti-terrorism grind-freaks Unholy Grave rage through five tracks of hyper-fast thrash grind. Houston grind maniacs Pretty Little Flower cover an Unholy Grave song and blast through three originals, mostly about rednecks and paranoia. This is an ultra-rare, early release by Psycho Wolf, so good luck finding a copy. I bought mine at an Insect Warfare show a million years ago. Terrorism really has Unholy Grave bummed out. Don’t they have bud in Japan? This is highly recommended for all grinders and thrashers.




Unholy Grave/ Pretty Little Flower – split EP




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Various Artists - Up the Dosage!

Various Artists
Up the Dosage!
Wonderdrug



After three years of life as a zine and almost four months as an MP3 blog, this review marks the first appearance of the phrase various artists. It’s time to start posting some compilations, especially if there is some arching theme or motif to them. I’m toying/preparing a movie soundtrack theme week, but that won’t be for awhile. Yeah, I know record labels used to churn out those cheaply priced and assembled sampler CDs, but some of those companies actually put some effort into them.

Take Wonderdrug records for example. This Boston-based label worked almost exclusively with bands from New England. Up the Dosage! provides a snapshot of New England metal and hardcore in the late 1990s. The disc is filled mostly with tent-pole bands from the Boston scene (Reach the Sky, Miltown, Tree, etc…) and New England bands that had (or eventually would) rise to the level of national touring bands (Diecast, Blood for Blood, Scissorfight, etc…). Two of Boston’s craziest and unpredictable bands, Anal Cunt and Non Compos Mentis, make their presences known.

Most interesting of all is the appearance of a pre-Flip Records Staind. The band played “Spleen”, a song that would later appear on Dysfunction. This version of the song is pissed as fuck and kind of sounds like Hatebreed. It’s a far cry from the major-label monstrosity they became. Can you believe that Staind sold out and wussed out so fast for, of all people, Fred fucking Durst? This is a highly entertaining compilation CD and this unique interesting moment in rock history can be yours, right now.









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Burnt by the Sun/Luddite Clone – split EP

Burnt by the Sun/Luddite Clone
split EP
Ferret

This record features the all-star team of New Jersey metalcore. There are two now-legendary bands on this CD, splitting three songs each. Burnt by the Sun introduces themselves to the world with one of its greatest songs, “When Corporations Rule Your Mom.” It’s on now, as these ex-members of Human Remains and Time’s Up shred through “Blow Job City” and “There are Pictures of Me on the Internet.” Burnt by the Sun might be the single best metalcore band ever (we’ll see what Converge has to say about that) and this was just the beginning of something really special.

New Jersey’s Luddite Clone was apparently just too rad to live. The amazing The Arsonist and the Architect EP (coming soon) and these three songs were all the material that Luddite Clone produced. Speaking of produced, Luddite Clone’s side of this EP was produced by Ben Weinmen of the Dillinger Escape Plan. You know you need this.











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Botch – American Nervoso

Botch
American Nervoso
Hydra Head



Botch started life in the mid-1990s as hardcore band with a desire to sound like Unbroken, as reflected in the band’s early material. With the American Nervoso LP, Botch superseded the definition of hardcore. There are no rules in this music, right? So no one will mind is a band from the Pacific Northwest combines the intensity of the Jesus Lizard and the intricacy of Rorschach with the fundamental rock-and-roll boogie of Black Flag? That’s right. Botch is from Seattle; a city that’s produced a diverse collection of bands beyond the scope of its grunge reputation.

The conventional wisdom is that Botch’s We are the Romans LP is the band’s masterpiece. This may be true in the context of a forward-thinking math-metal record but, when the goal is to hear mind-warping metalcore, American Nervoso is the hate. This was a reputation-making release for Hydra Head Records. This album is a modern classic and this band is much-missed. You’re out of your mind if you don’t pick up American Nervoso.





Botch – American Nervoso




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Oceano - Depths

Oceano
Depths
Earache

Earlier today, musical genius/Huntsville weirdo Shane Doyle dropped this off over at the compound. Listening to this album, I applied my consistent, if slightly illogical, method of evalutating this modern breed of metal band. The bands of this style that I hate are deathcore. The bands I like are doomy-nu-metal-grind. Oceano plays doomy-nu-metal-grind.

Many of these new bands play the (now) standard Slipknot-meets-Napalm Death, deathcore approach, but not on Depths. Oceano ignores the typical by playing a fascinating mix of Korn, Trap Them and Suffocation. Oceano does play some deathcore riffs. That's going to happen but Oceano, like Iwrestledabearonce, is not bound by the limits of the subgenre. Oceano is adding to this sound, not leeching from it like so many others do.








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Coalesce – Give Them Rope

Coalesce
Give Them Rope
Edison



Coalesce’s 1997 LP Give Them Rope, released on the uniquely-run Edison Recordings, stands as a testament of opposition. Coalesce opposed mostly everything but the band had a particular disdain for conformity (like that’s changed since they reunited, again). They were in a terrific mood during the process of writing, recording and releasing Give Them Rope. The abrasiveness of this album is like taking a cheese-grater to your junk.

Regular readers are probably aware that Coalesce is a No Funeral favorite. This band’s music not only deconstructs hardcore but it challenges the definition of what a song is. Coalesce plays as tight as any group of pseudo-intellectual, progressive musicians but they don’t forget that people came to the show to dance down. Name a band besides Coalesce that can create and destroy at the same. E-mail me when you can name one. In the meantime, you need Give Them Rope.




Coalesce – Give Them Rope




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Flux – Protoplasmic

Flux
Protoplasmic
Relapse/Release



What can I say about this one? James Plotkin, the experimental guitarist of Old Lady Drivers/Khanate/Phantomsmasher notoriety, was the mastermind behind this thing. Flux is about as far removed from O.L.D. as possible. This is the sort of electro-pop I expect to hear in some Austin vintage clothing shop. I could also see this being played in a South Houston shooting gallery, a result of all other records being pawned for dope.

I ended up with Protoplasmic because it was packaged as a two-pack with a Slab! CD that I actually wanted. It's pretty good, but there's something about it I find unsettling. Now, I’m turning it over to you. The power is in your hands. Besides, someone out there has to like this, right?




Flux – Protoplasmic




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Cynic – Focus

Cynic
Focus
Roadrunner



Cynic was the band that brought melody to Florida Death Metal and Focus is a landmark album. On Focus, Cynic brought progressive instrumentation into the death metal sound without sounding like a bunch of Berklee College of Music graduates. Focus inspired bands in the 90s, like Meshuggah, and modern bands, like The Faceless. In the history and evolution of metal, this album was a huge step forward.

Cynic even pulls off vocoder vocals, and I almost uniformly hate those. Focus is a very special record. In fact, it’s almost perfect. What’s wrong? Musically, nothing is wrong. Focus is recommended for all people, past, present or future. No, what’s wrong is that mild Dream Theater vibe found in everything Cynic has ever done. It’s a minor gripe, but that vibe produced rad photographs like this. The photoshopping was done, not by me and certainly not Cynic, but some awesome online angel with a killer sense of humor.







Cynic – Focus




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Dismember – Indecent & Obscene

Dismember
Indecent & Obscene
Nuclear Blast



Here’s more death metal from the most metal country of Earth: Sweden! Dismember formed from the ashes of Carnage and, along side Entombed, is the marquee Swedish Death Metal band. Dismember is from Stockholm which, unlike Gothenburg, produces bands with a serious garage-rock feel. Imagine a lower-budget Motorhead obsessed with early Slayer LP and gore movies. This is an accurate description of the Dismember experience.

Like Entombed, Dismember features the buzz-saw guitar tone. If you dig modern bands that use this guitar tone, like Cursed and Trap Them, then you’re going to love Dismember. Lyrically, Indecent & Obscene deals with censorship and the aftermath of Dismember’s global battles with censorship following the release of the Pieces EP; plus the usual death metal topics. Drummer Fred Estby and bassist Richard Cabeza produce one of music’s most devastating rhythm sections while lead guitarist David Blomqvist causes major sensory damage with his playing.

Who am I kidding? You all stopped reading after the first sentence. Indecent & Obscene rules. This is Dismember’s best album. All hail Swedish Death Metal!




Dismember – Indecent & Obscene




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Fuck… I’m Dead – Bring on the Dead

Fuck… I’m Dead
Bring on the Dead
Razorback



Fuck… I’m Dead, the greatest Australian import since Yahoo Serious, is also one of the world’s greatest grind bands. They may be from Australia but they play like they’re from Texas. Fuck… I’m Dead plays the same style of brutal, DIY grind as Insect Warfare and Pretty Little Flower.

Bring on the Dead was recorded with a drum machine but this was due to the limited number of drummers available in Eastern Australia. They play with a drummer live and now have a drummer in the band. I bring this up because the drums are not programmed in the Agoraphobic Nosebleed style of impossibility. Bring on the Dead is a great grind album in league with Scum and World Extermination. This is recommended for everyone.




Fuck… I’m Dead – Bring on the Dead




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Impaled – Choice Cuts

Impaled
Choice Cuts
Deathvomit/Necropolis



Bay Area degenerates Impaled are one of the best gore-grind bands. With Carcass as the single biggest inspiration in the gore-grind subgenre, it’s easy to see how bands end up becoming poor-quality copies of Carcass. Impaled avoids this trap by not sucking (which, apparently, is a lot to ask) and by adding enough West Coast grind violence to make things interesting.

Choice Cuts is a collection of vinyl rarities from Impaled’s early years. Featured on the CD are two separate two-song demos, the “From Here to Colostomy” EP, Impaled’s side of the split 7” with Engorged and Carcass and Impetigo covers. The sound quality on the different EPs is consistent throughout. To top things off, the cover art was created by bassist Ross Sewage and guitarist Sean McGrath. Choice Cuts is mandatory for fans of all things blood-soaked.




Impaled - Choice Cuts




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Maylene and the Sons of Disaster – II

Maylene and the Sons of Disaster
II
Ferret



Maylene and the Sons of Disaster is the Southern Rock-influenced metalcore band formed by original Underoath vocalist Dallas Taylor. The band’s second album II is a solid album, if slightly overproduced. I can’t not notice the slickness of the record and I’m honestly trying to do so. The Southern rock thing seems forced. The band is going out of its way to show you how much it boogies. At least they know what the hell Southern Rock actually is, unlike Every Time I Die.

The three guitar attack used by Maylene and the Sons of Disaster is key to the band’s sound. The playing of these guys is unnecessarily muddied by the studio tricks. I know that it sound like I’m ragging on Maylene and the Sons of Disaster but that not the case. I really enjoy II. It’s just that I want to hear a great record from these guys instead of a good one.





Maylene and the Sons of Disaster - II




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The End – Within Dividia

The End
Within Dividia
Relapse



The End is a hyper-technical metalcore band from Ontario. The band is frequently and undeservedly lumped into the category of early 2000s, East Coast metalcore. There is so much more going on with The End. Yes, the obvious comparison is the Dillinger Escape Plan and there’s a ton of Botch in their sound but this band is not blindly following, nor regurgitating, any trends.

Within Dividia is a concept album about a haunted mansion. As stated before, I don’t fear concept albums and usually enjoy those that are meaningful and well-planned. Musically, Within Dividia has Rorschach-style, discordant hardcore played at blinding speed with unpredictable twists and turns. You actually have to sit down and pay attention to this one. I encourage you to track down a copy of this CD/LP because you really need the artwork and lyrics to truly enjoy the experience. The End put a lot of time and energy into Within Dividia and you, the listener, are rewarded for their hard work. Highly recommended.




The End – Within Dividia




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Wurdulak – Ceremony in Flames

Wurdulak
Ceremony in Flames
Baphomet/Housecore



Wurdulak is (was?) a blackened death metal side-project band featuring members of Necrophagia, Immortal, Mayhem and Bloodthorn. Ceremony in Flames has an old-school feel to it. Wurdulak’s black metal side is influenced by Mayhem (duh) and Bathory. The band’s death metal influence is the sloppy, down-tuned, late-80s sound of bands like Autopsy, Pungent Stench and Impetigo. “Cauterizing the Wounds of Christ” is the best example of two older sounds combining together to make a killer song.

Phil Anselmo has a connection to Wurdulak, aside from his friendship with vocalist Killjoy. Ceremony in Flames was one of the early releases from Anselmo’s Housecore label. Also, Bard Faust from Emperor wrote the lyrics to “Containment of Inferno.” As you can imagine, this record was tremendously hyped when it was released. Wurdulak never turned into the modern Bathory or any of that junk, but Ceremony in Flames is a solid album.





Wurdulak – Ceremony in Flames




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Agoraphobic Nosebleed – Frozen Corpse Stuffed with Dope

Agoraphobic Nosebleed
Frozen Corpse Stuffed with Dope
Relapse



At the time, it seemed like Agoraphobic Nosebleed’s second LP was never going to come out. Their first album, Honky Reduction, came out in 1998 and this one was promised to surface in 2000. Frozen Corpse Stuffed with Dope didn’t show up until almost three years later, but it was certainly worth the wait.

Frozen Corpse Stuffed with Dope is classic drug-addled, 1000 mph, crack-smoke, drum-machine grind. Three vocalists (Richard Johnson, J Randall, Carl Shultz) provide the appropriate amount of lyrical carnage while grind-guitar genius Scott Hull (with Johnson on bass) causes permanent hearing damage and rectal trauma. ANb covers Nuclear Assault and invites a half-dozen other like-minded musicians/weirdoes to contribute to the mayhem. Frozen Corpse Stuffed with Dope, in spite of being a total audio headfuck, is recommended for everyone. Google the lyrics to the song “Fuckmaker” and tell me those aren’t the best lyrics ever. Check out this hate.




Agoraphobic Nosebleed – Frozen Corpse Stuffed with Dope




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Slab! – Descension

Slab!
Descension
Relapse/Release



You love Godflesh and so do I. If you don’t love Godflesh, you probably meant to click here. Now then, for as much as we all love Godflesh, Justin Broadrick loves Slab! Descension is one of the first appearances of that down-tuned, apocalyptic bass tone that Godflesh made famous. After listen to Descension, it’s abundantly clear how much of an influence Slab! was on Godflesh.

Slab! was a group of veteran musicians from England’s dance/techno scene who strived to create more musically ambitious electronic music. The result was what we now refer to as industrial music. Slab! combined dance loops and programmed drums with the afore-mentioned bass tone, David Gahan-style vocals and feedback-laden guitars.

Originally released on Ink Records in 1987, Descension was and still is a touchstone industrial album. We’d be here all day if I listed all of the bands and artists influenced by Slab! In fact, two of Slab!’s more enthusiastic fans, Relapse Records founders Matt Jacobson and Bill Yurkiewicz, coordinated the reissue of this classic LP. Speaking of which, go to the Relapse website and order a copy of this CD, if you dig it. They're selling them super-cheap. In addition to the Descension LP, this CD features the “People Pie”/”Railroad” single as bonus tracks. This is highly recommended for all fans of electronic music.




Slab! – Descension




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Every Time I Die – Gutter Phenomenon

Every Time I Die
Gutter Phenomenon
Ferret



Every Time I Die started life in Buffalo as a scene band. Beginning with the Hot Damn! album, the band’s sound began to evolve past mosh riffs. On 2005’s Gutter Phenomenon, Every Time I Die is a bizarre amalgamation of Botch, the Eagles of Death Metal, Unbroken and Thin Lizzy. Yeah, it’s weird. As far as Every Time I Die’s oft-touted Southern Rock influence, I don’t hear it. Some of the heavier moments from the Murder City Devils are present, but nothing that sounds like the Allman Bros. or Lynard Skynard.

Every Time I Die is no band of trendy, pretender chumps. The rhythm section and the rhythms of the songs are all steeped in an infectious boogie reminiscent of Black Flag and Kyuss. The breakdowns on the album are given plenty of breathing room and they sound more like something Drowningman would play as opposed to anything modern.

Speaking of old Hydra Head bands, Every Time I Die reminds me of Cave In; not is sound but in spirit. Nothing on Gutter Phenomenon sounds forced or, even worse, “false.” If nothing else, Every Time I Die has an interesting take on metalcore. I enjoyed it immensely.




Every Time I Die – Gutter Phenomenon




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Nuclear Death – Bride of Insect/Carrion for Worm

Nuclear Death
Bride of Insect/Carrion for Worm
Extremist



When I listen to Nuclear Death, I hear grind or at least grind tendencies. I think what I’m actually hearing is the bands who count Nuclear Death as an influence. Nuclear Death itself plays grimy, filthy death metal in the vein of Autopsy and Impetigo but played just a hair faster. This is one of the rare 80s death metal bands that had a female singer, Lori Bravo. Bravo did not play the role Sean Yseult did in White Zombie. In addition to singing, Bravo played bass and was the chief lyricist.

The two LPs that comprise this CD were originally released on the much-maligned Wild Rags Records. For those that don’t know, Wild Rags was the shadiest record label ever. Richard C, owner of Wild Rags, pulled every scam you can think of and then he invented a few. Anyway, of the two LPs, Bride of Insect sounds the most like a grind record but Carrion for Worm is the more extreme album. Lyrically, Lori Bravo goes in some weird directions on Carrion for Worm. You can’t go wrong with either and you get them both anyway. Highly recommended.




Nuclear Death – Bride of Insect/Carrion for Worm





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Pig Destroyer – Painter of Dead Girls

Pig Destroyer
Painter of Dead Girls
Robotic Empire



Here’s an Easter present for the No Funeral faithful: more Pig Destroyer. Painter of Dead Girls is another collection of vinyl rarities. This CD features Pig Destroyer’s side of the split EP with Gob, the band’s picture disc 7” EP and an unreleased cover version of “In the Meantime” by Helmet. They also do covers of The Dwarves and The Stooges, but both were previously available on wax.

Nothing on Painter of Dead Girls sounds drastically different from the band’s latest releases. It was while recording these 7”s that the Pig Destroyer sound emerged. You’re going to want this one. Those EPs have disappeared into the abyss called eBay (I have the S/T picture disc). By the way, did you know that Jon Kortland, currently in Iron Lung, was a member of Gob? This was the good Gob, not the one that toured with that MTV chick April Levine.




Pig Destroyer – Painter of Dead Girls




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Jesus Fucking Christ - 2006 Demo

Jesus Fucking Christ
2006 Demo



I've been going through files and straightening up lately. During this cleaning process, I found two reviews that have never been posted online. They slipped through the cracks somehow. Here's the second of the two: Jesus Fucking Christ. This review originally appeared in No Funeral #1. -BNF

Hailing from the bay area is punk rock super group Jesus Fucking Christ. To get this out of the way, the band is Larry from The Rickets, Jamie from Pitch Black and Dave from Neurosis. That said, Jesus Fucking Christ sounds nothing like those bands.

Jesus Fucking Christ play classic bay area punk with elements of northwest hardcore, specifically Poison Idea and The Accused. They keep it simple without being boring, which is a feat most bands can’t pull off.

The five-song CD (available from the band for $2 [not anymore -ed.]) eschews any modern elements or trends, instead choosing take it back to a time when punk rock was music for outsiders. Jesus Fucking Christ are ugly, raw, and jaded.

They are also very talented. With their musical skills honed over the years in their other bands, the 2006 Demo sounds classic without sounding dated. From the blistering “Deadly Levitation” to the rocking “Intromental”, Jesus Fucking Christ are a breath of fresh air to everyone who’s sick of all the cookie-cutter crap clogging the shelves for your favorite record store. Do yourself a favor and pick up this CD.




Jesus Fucking Christ - 2006 Demo



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Will to Live - Tested and True

Will to Live
Tested and True
Spook City



I've been going through files and straightening up lately. During this cleaning process, I found two reviews that have never been posted online. They slipped through the cracks somehow. Here's the first of the two: Will to Live. This review originally appeared in No Funeral #1. -BNF

Houston’s long-time hardcore heroes Will to Live deliver the goods with their Spook City debut Tested and True. Since 1998, Will to Live has spread its message of unity and loyalty across the country through neck-breaking, pit-inducing hardcore. The new record continues to open minds and melt faces while keeping that old-school spirit alive.

The most notable thing about this album is its production. The recording and mixing are very slick and each instrument and the vocals are individually audible on every song. Upon subsequent listening sessions, I found this polished production to be an asset rather than a detriment.

Too often, a record is hastily recorded so that a band will have a release available. Even worse is when a band, in an effort to be more underground than everyone else, intentionally produces a muffled effort.

Tested and True is the sort of hardcore record that would appeal to more moderate metal and punk listeners. I’m sure this wasn’t the bands intent. However, through their desire to make the best record they could, Will to Live has reaped an unexpected benefit.

Regardless of how it sounds, there need to be songs worth listening to, right? Don’t worry. Will to Live brings it. They play classic NYHC style hardcore mixed with mid-90s neo-thrash. Think Judge and Sepultura. With Scott from Terror and Ray from Full Blown Chaos on guest vocals, Rob to Live delivers pit-friendly anthems that encourage the disgruntled youth to stick it out through the hard times and stay true to themselves.

Fortunately, Will to Live doesn’t fall into the trap of playing breakdown after breakdown that befalls so many bands these days (looking at you Bury Your Dead). Tested and True features a classic sound that doesn’t sound old or modern hardcore that rises above the fads.




Will to Live - Tested and True



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Skinless – Foreshadowing Our Demise

Skinless
Foreshadowing Our Demise
Relapse



Skinless plays brutal death metal but with several abnormalities. Like Suffocation before them, Skinless incorporates hardcore breakdowns and tons of mosh riffs into its music. Like Mortician before them, Skinless uses a movie sample to kick-start almost every song. Unlike Mortician, Skinless isn’t limited to just horror movies. Skinless uses movie and TV samples in the same way as artists like White Zombie and Skrew. Listen for the WWE’s Vince McMahon to kick off “The Optimist.”

Although they stick with many of the genre’s conventions, Skinless is an imaginative and highly enjoyable death metal band. Maniac vocalist Sherwood Webber was still in the band at this point and performed lead vocals on this album. If you’ve been reading No Funeral since the format change (1Jan09-present), then you will love Foreshadowing Our Demise. A strange combination of traditionalism (not nostalgia) and experimentation produced the single best metal album ever released on Relapse.




Skinless – Foreshadowing Our Demise




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Clutch – Live at the Googolplex

Clutch
Live at the Googolplex
Megaforce



Live at the Googolplex is one of many live albums by Clutch. On this one, the 15 songs are choice tracks from four separate shows (Chicago, Kansas City, Montreal, Columbus, OH) during the band’s 2002/03 tours. I’ve seen Clutch live many, many times and Live at the Googolplex damn near bottles the energy this band can generate on stage. All of the songs are high quality recordings and the set list could be considered Clutch’s greatest hits. I love Clutch. You love Clutch. More to come from this awesome band.




Clutch – Live at the Googolplex




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Candiria – The Process of Self-Development

Candiria
The Process of Self-Development
MIA



Candiria became the band that we all know and love on The Process of Self-Development. This is the record where Candiria started playing around with jazz, rap and prog-rock. That love affair hasn’t stopped, especially since they’ve reunited. Christian from Ill Nino and Jamie from Hatebreed do guest vocals on “Mathematics” and “Work in Progress” respectively.

For as heavy as this album is and for all of its diversity of influences, The Process of Self-Development barely dips its toe into the metal pool. Like Rage Against the Machine before them, Candiria goes out its way to make sure that everyone knows no samples or triggers were used on this album. I appreciate the sentiment but I don’t think that people need to act like Luddites. Do what works for you.




Candiria – The Process of Self-Development




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The Black Dahlia Murder – Unhallowed

The Black Dahlia Murder
Unhallowed
Metal Blade



I’m going to start Unhallowed’s review by talking about Miasma. Of the three Black Dahlia Murder LPs, Miasma is my favorite yet it hasn’t performed as I expected. I’ve seen them live twice and, each time, there were damn near 1000 folks there screaming there name and dancing down specifically to the Black Dahlia Murder. This enthusiasm is not crossing over into the online realm. I did have the thought that, maybe, most of this blog’s readers may already have downloaded/bought/shoplifted/whatever-ed Miasma.

So, we’re doing this again. Even though Unhallowed is my least favorite of the three Black Dahlia Murder LPs, it’s still better than everything else out there. I want to see if you respond to this album in the same manner that you responded to what I think is the superior record. We’ll do Nocturnal next month so, for now, please enjoy Unhallowed.




The Black Dahlia Murder - Unhallowed




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Napalm Death/Coalesce – In Tongues We Speak

Napalm Death/Coalesce
In Tongues We Speak
Earache



This is one of the all-time great split EPs. In Tongues We Speak features two songs from each band; not nearly enough. Grindcore world champion Napalm Death plays “Food Chains” and a demo version of “Upward and Uninterested.” Those kings of Midwest weirdness Coalesce play “A Safe Place” and “Harvest of Maturity.” If those song titles sound familiar, it’s because both songs are also on the 002 A Safe Place 10”. Here’s your Easter present: two of the best bands ever on one disc.




Napalm Death/Coalesce – In Tongues We Speak




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