Sorry about the delay between updates. I've been in the lab with my partners Mike, Timmy, and Jaime. Along with many other fine folks, we've got some shit for y'all. Stay tuned!
From the unlikely death metal mecca of Portland, Oregon comes the debut LP from Frightmare. Maniac Neil, a legend in the PDX death/grind scene, is the lone mastermind behind Frightmare and he’s really into the gory death/grind of the early Earache days. Think Carcass and Entombed, both before 1993. He’s also heavily inspired by the slasher movies of the 1980s, which fuel most, if not all, of the lyrics.
Frightmare is not a modern death/grind band in terms of technique. First, the band isn’t all that polished. “Thorn in Their Side” could be stand to be tightened up, but that’s part of the charm. This band has the same old-school feel as Pungent Stench, Mortician, and Repulsion. Some of his leads may be weak, but Maniac Neil knows how to write a riff. My only complaint concerning the music on “Midnight Murder Mania” is the lack on imagination on some of the songs. Some songs mirror the influence too closely and the listener can easily identify the Carcass parts, for instance. It’s a minor gripe, but it’s still legitimate.
Portland is not only home to killer metal bands like Frightmare, Ghoul, Lord Gore, and Bung, but it’s also home to a number of comic book creators, including Spider-Man author Brian Michael Bendis. Frightmare supports the whole PDX scene by having two artists from Portland’s “Tales from Uranus” comics to do all of the album’s artwork. Very cool of them.
An LP version of “Midnight Murder Mania”, of sketchy origins I would guess, has turned up on store shelves lately. I saw one down at Sound Exchange not too long ago. Vinyl purists will want to jump on this quickly, since Razorback (unfortunately) doesn’t press vinyl anymore.
In short, this record gives you 10 tracks of slasher-flick-inspired, Portland gore-grind radness; plus a pretty brutal cover of “Devil lock” by The Misfits. Beware the PDX Ripper!
EDIT: Frightmare themselves contacted me to let all of you know that Ghoul are in fact from Oakland and Tales from Uranus comics are based in Illinois. Sorry for any confusion!
Hate Eternal’s 2005 effort “I, Monarch” is still the fierce, blasting death you’ve come to know and love, but Erik Rutan must have been possessed by the blast beat demons when he wrote this one; even more so than usual. This album reaches grindcore velocity, but make no mistake. Hate Eternal are meh-tul and don’t you forget it.
Once again, Derek Roddy’s drum performance proves that he is the man, even if some of this album’s later tracks get repetitive. This isn’t an issue for “To Know Our Enemies”, the best song on the album. If you’ve never heard this band before, download that track and check them out. You won’t be disappointed.
Apparently, Rutan wants you to know about Zero Karma, which is some band that he loves. Hate Eternal samples Zero Karma on the song “I, Monarch”, former members make vocal appearances, and he thanks them about 20 times inside the liner notes. Okay, I get it. I’ll check them out.
Here's the video for the title track off "I, Monarch."
Possibly the most fun band on the planet right now, Municipal Waste have blazed the trail for other 80s-minded crossover lovers to follow and “Hazardous Mutation” is the playbook that those pretenders will follow. The Waste are cool dudes, their live shows are a blast, and they’re constantly psyched to be able to thrash for a living.
If you’ve never heard them before, Municipal Waste plays crossover thrash in the vein of Wermacht and DRI. “Hazardous Mutation” is the band’s Earache debut and its almost too rad for humans to handle. The album is 15 tracks of killer retro thrash never sounds old or dated. It’s not a put-on and it’s nice to see a band having fun again. Watch out for the terror shark!
Here's the promo video for "Unleash the Bastards", off of "Hazardous Mutation."
DROWNINGMAN Busy Signal at the Suicide Hotline Hydra Head
I remember back in 1998 (the year of this album’s release) when Drowningman was constantly being compared to Botch. While not incorrect, I don’t think it’s an appropriate comparison either. Drowningman and Botch were both on HydraHead at the same time and both played acrobatic hardcore, but Drowningman was it’s own band with it’s own voice.
The album’s title track rocks hard. The lyrics of vocalist Simon Brody are written entirely in first-person perspective (minus two songs), which gets old. But they’re demented and Brody drops hate, so it’s cool.
Drowningman seems to take a stream-of-conscious approach to songwriting. As disjointed and angular as the recording can be, everything flows together smoothly, except when the drums are too loud (in spots) and overpower the other instruments.
The album’s cover art, assembled by Isis guitarist and Hydra Head founder Aaron Turner, features numerous screen captures from the legendary Twin Peaks series. I’m not sure that I get the connection between that show and this album, but that’s okay. “Busy Signal” is a great album that the listener doesn’t have to “get” to enjoy. Also, I absolutely love the guitar tone on this album. Even during the quieter, calmer portions for songs, they still sound heavy.
Here's the promo video for "White People are Stupid" by Drowningman.
Anodyne plays fierce, technical hardcore in the vein of Rorschach and Burnt By the Sun, but not quite as spastic as the previously mentioned bands. Anodyne’s album “The Outer Dark” has the same droning quality found on a large number of Hydra Head Records releases. This combination of influences seem to occur primarily in musicians from the northeastern U.S. Others try to copy it, but they can never quite pull it off. Maybe it’s the drastic winter weather that produces such a furious sound. If you like heavy, and by reading this I assume you do, then check out the closing riff on the song “Form Is Emptiness.” It’s beyond devastating.
An enjoyable facet of Anodyne’s mystique is the listener’s inability to accurately pin down exactly where this band is going, musically speaking. For instance, former Madball guitarist Matt Henderson helped to engineer “The Outer Dark”, but no traces of “tough-guy hardcore” can be found on the record, in spite of the potential influence from Henderson’s former band. One may have nothing to do with the other, but the temptation is there. Either way, I find the enigmatic nature of Anodyne appealing.
The songs on “The Outer Dark” are precise, if nothing else. “Knives” is a great example of Anodyne’s skilled playing. This precision is also applicable to the band’s lyrics. Much like Mastodon, their lyrics are abstract, repetitive (in a good way), and to-the-point.
Once again, PA’s Escape Artist Records outdid themselves in the packaging and design of this LP. The marble-gray swirled vinyl is as beautiful as the cover art.
“The Outer Dark” may not be for everyone, but those who appreciate rock music with an adventurous spirit are encouraged to check out this band. Something I’ve always appreciated about hardcore is the diversity of the music produced within the scene. Anodyne doesn’t easily fit into any mold, which is probably why I like them.
The mighty Hatred Surge is a one-man, Despise You-worshipping, grind-hate machine from Houston, Texas. No drum machine falseness here. Alex Hughes (UNT student, ex-MGR, sometimes Insect Warfare member) plays every instrument and does the vocals on this 9-minute-long debut.
What does it sound like? Lightning fast grindcore countered with terrifying power violence dirges. Alex is on a one-man mission (literally!) to bring back the feel of 90s DIY grind and power violence. If you love Despise You, Napalm Death, Rotten Sound, and any other band of the ilk, then go get this now!
“Club Mondo Bizarre” marks Pungent Stench’s transition from Carcass-inspired grindcore to death-n-roll. The lyrical transition for these Austrian perverts (I mean that in an endearing way) happened on the “Been Caught Buttering” album, when they moved from gore lyrics to pornographic subject matter. On “Club Mondo Bizarre”, Pungent Stench fully embraces rock acts like ZZ Top and Aerosmith while incorporating these influences into a death metal context. The results are nothing short of amazing.
In fact, “Club Mondo Bizarre” was a modest commercial success when it was released. Keep in mind that this was back in 1994, at the dawn of the Alanis-HootieFish years. The mid-90s was a stagnant period for metal, but Pungent Stench beat the odds. I remember hearing the song “True Life” on Z-Rock’s death metal show when I was a kid; quite an accomplishment for such a graphic band.
Speaking of graphic, the album’s lyrics are truly twisted in the Pungent Stench style. It’s all here, from scat fetish worship (“Klyster Boogie”) to autoerotic asphyxiation (“Choked for a Joke”). Of course, suicide, STDs, and murder make appearances as well. Giddy perversion aside, the strongest song on the album is “Pagar con la Misma Moneda.” In it, a raped woman takes revenge on her attacker. An ex-girlfriend of mine was very impressed that a death metal band was capable of being so empathetic, even in Pungent Stench’s unusual way.
Musically, “Club Mondo Bizarre” is Pungent Stench’s strongest performance. Each song on the record is a tight death metal groove that comes from the heart. It doesn’t seem forced, like mid-period Entombed. If the song “In Search of Perfect Torture” doesn’t get your hips shaking, then you should quit music.
Grab your girl (or guy), put “Club Mondo Bizarre” on the stereo, throw on some BDSM porn, and violate some commandments.
Here a live clip of "Klyster Boogie" from "Club Mondo Bizarre." The clip was recorded at a festival in Europe.
This is, without a doubt, Phobia’s best album. Yes, it’s even better than “Means of Existence.” “Cruel” is a focused and deadly grindcore masterpiece.
New drummer Danny Walker (ex-Uphill Battle) helps bring Phobia to a new level, in terms of songwriting and delivery. He holds down a foundation for the songs and does more than just mindlessly provide blast beats.
Scott Hull, of Pig Destroyer and Agoraphobic Nosebleed fame, produced “Cruel.” No wonder it sounds so good. If he doesn’t know what heavy should sound like, then no one does.
I realize that long-time Phobia members Shane and Steve dealt with some serious personal issues a few years back. I wouldn’t say that the albums in that period, such as “Serenity Through Pain”, suffered because of it. Rather, I think Shane and Steve did the best they could under the circumstances. With their problems behind them, “Cruel” has proven that Phobia is the true kings of west coast grindcore.
The CD is available through Willowtip and the LP through Deep Six. You get a free poster and colored wax if you order the vinyl directly from Deep Six. Mine is purple.
Seriously, this record is heavy. Even if you’re a jaded grinder who has heard it all, “Cruel” will melt your brain. It’s unrelenting. I’ve never heard a band that plays this fast sound so heavy. Really, you need this.
Here's the infamous Real TV clip featuring Phobia.
Insect Warfare Endless Execution Through Violent Restitution 625 Thrashcore
It’s always cause for celebration when the pride and joy of Gulf Coast grind, Insect Warfare, release a new record. In addition to the new EP, the fine gents in Insect Warfare have also taken this opportunity to release their music on the compact disc format for the first time. So now all you non-kvlt, non-turntable-having types out there have no excuse.
The Endless Execution CD has both the Endless Execution and the “At War with Grindcore” EPs, their tracks from the Hatred Surge split and the Gulf Coast Massacre compilation, their 2004 demo and a Celtic Frost cover. It’s a common practice for new bands to release discography CDs every couple of years just to have all of their material available. What’s not common is the unbridled brutality that Insect Warfare delivers with every song.
The new EP features the same blast-heavy, old-school grindcore attack that we’ve all come to know and love from these guys. However, Endless Execution differs from their past works in two distinct ways. One is the production, which makes this EP the best sounding of all their material so far. The other is a new-found death metal influence. I’m not speaking of the mosh-slam-death that’s so prevalent in the state these days. No, I mean a tip of the hat to bands such as Entombed and Suffocation; those bands that did heavy correctly.
Here's Insect Warfare live at the UG Speed Trials fest in San Fransisco, recorded March 2007.
Straight out of Laredo, Texas comes Flawless Victory. This band plays metal-tinged hardcore that’s reminiscent of Pantera and the bands that picked up where Pantera left off, like A Perfect Murder and newer Throwdown. It’s good to see a Texas band keeping the Pantera sound alive and keeping it fresh at the same time.
The five-song EP “Neustra Herencia” is filled with bone-crushing breakdowns that will set it off in any pit. The hardcore aspects of their sound are in the vein of such luminaries as Madball and Terror.
Some Swedish-style riffing can be found on “Neustra Herencia”, but not enough to warrant the dreaded metalcore tag. It’s just proof that Flawless Victory’s game is tight. They are one of the few new bands that can effortlessly float between styles and create their own sound. Nothing sounds forced, which is something that can’t be said for many of their peers.
Flawless Victory keeps it real by singing the song “Neustra Herencia” is Spanish. Metal and hardcore are an international community and Flawless Victory don’t let anyone forget that.
“Nuestra Herencia” is a great recording captured at Houston’s Origin Sounds. This studio is fast becoming to Texas what Trax East is to the NYC area.
Here it is, the new Mastodon record. The dreaded, sell-out major label debut. More on that later. Ethics aside, the music rocks.
The Mastodon style, which fully took shape on the “Remission” album, has been perfected on “Blood Mountain”. Their order-from-chaos guitar noodling, Thin Lizzy-meets-Metallica riffs, dueling vocalists, fearless rhythm section, and adventurous lyrics are all represented here.
Long-time Mastodon collaborator Matt Bayles has produced their best sounding album to date. “Blood Mountain” has all the complexity of Tool (more actually), but with the heaviness of classic Metallica. The guitar tones are godly and Troy Sanders’ bass is actually audible this time.
Brann Dailor has slightly toned down his manic drumming with positive results. By not gravity-rolling every piece on his kit simultaneously, as he has shamelessly on past records, the percussion on “Blood Mountain” is more powerful and has room to breathe. As a result, the sparse, spastic mashing of his drum set is used to greater effect.
Mastodon is fast proving that they can out-play any band on the planet. The two extended, instrumental portions of “Capillarian Crest” seem otherworldly. Can humans really play this well? It’s not all progressive indulgence on this album. “Hand of Stone” cranks up the Motorhead quotient.
The use of guest vocalists on “Blood Mountain” is not employed in the hip-hop sense, so as to raise the record’s profile. Instead, the singers (Scott Kelly of Neurosis, Josh Homme of Queens of the Stone Age, and Cedric Bixlar-Zavala of The Mars Volta) are all like-minded creators that share Mastodon’s sensibilities.
For all the hype this year about retro-metal jam bands, Mastodon schools them all by simply playing their own style. Other acts like The Sword, Early Man and Priestess can’t hold a candle to tunes like “Bladecatcher”.
It’s weird to see a Reprise logo on the CD case. If you’re reading this, you hopefully know on which side of the major label debate to be. If you don’t want to support Warner Brothers, then buy the vinyl from Relapse. If Relapse has pissed you off lately, then burn it. Just don’t discount the music on “Blood Mountain” because MASTODON signed with a big corporation. The record is good and they’re the most interesting major label act since MR. BUNGLE.
I, too, wish that they had stayed independent, but here’s the reality of the situation. Mastodon made a great record, even if you don’t like their ethics.
UPDATE: I got to see Mastodon play at SXSW in Austin last month. It was my first time seeing them play the new stuff. It was, without a doubt, the best Mastodon show I'd ever seen. They're still the most interesting major label band and even MTV is now playing the "Colony of Birchmen" video. The Blood Mountain saga isn't over yet. Here's what you missed:
Employer, Employee Mother Spain and the Wayfaring Myth Relapse
For a few glorious years in the early 2000s, the late, great Employer, Employee was the best band in Austin and maybe the whole state. They were known best for their live shows, which could only be described as spectacles, and their hard-to-find, full-length album SIC[SIC], released on Robotic Empire Records in 2001. That said, the Mother Spain 7” is probably their best release.
For those that don’t know, Employer, Employee played Rorschach-style hardcore with traces of math metal reminiscent of the Dillinger Escape Plan. Of course, it’s not that simple.
Employer, Employee followed in the tradition of unusual Texas hardcore bands like the Butthole Surfers and The Hates. The members of Employer, Employee weren’t bizarre people, but their music was certainly unpredictable.
For one thing, EMPLOYER, EMPLOYEE was intense. Even on vinyl, as opposed to the live setting, their music stimulates the adrenal gland. For another, they were fearless and original. String quartet? Check. Frightening spoken-word pieces? Check. Complex drum rhythms? Check. Murderous riffing? You know it.
“Mother Spain and the Wayfaring Myth” can’t be considered anything other than a classic. The members’ subsequent bands (Asp and Sea of Thousand) were outstanding, but it’s Employer, Employee that will stand the test of time.
If you weren’t there, then seek out this important band in the history of Texas hardcore. If you were there, it never hurts to get reacquainted with an old friend.
This band is so kvlt that no decent pictures or video was available!
If you’re an old-school KPFT listener, then you’ll likely remember the song “Slapfuck” as a regional hit which received heavy airplay on the Sweet Nightmares and Big Jesus radio shows. “Slapfuck” is also the prototypical example of Soilent Green’s psychotic Sabbath-meets-Discharge death/sludge/grind.
Before they became the long-time Relapse Records staple they are today, Soilent Green crawled out of the New Orleans scene. Along side EYEHATEGOD, Acid Bath, Crowbar, and many others, Soilent Green helped turn heavy music on its ear back in the 90s.
“Pussysoul”, their debut full-length on the long-defunct Dwell Records, laid the foundation for all Soilent Green music to come. Grindcore blasts, ripping death metal, D-beats, and thick as molasses sludge riffs all beating the Christ out of each other and causing irreparable hearing damage in the process.
With all due respect to guitarist Brian Williams (also of EYEHATEGOD), the most dynamic and innovative member of the band is vocalist Ben Falgoust. He can do what many other extreme music singers are incapable of doing: three drastically different vocal styles. Plus, he can seamlessly switch between them. Falgoust blends death grunts, tortured screams, and creepy spoken-word passages into a tapestry of terror, usually all in the same song.
A common complaint with “Pussysoul” has been the record’s production. While it’s certainly not the best, the muddled production of “Pussysoul” gives the album character. The fast parts have a grim feeling, the slow parts are given a sense of punch-drunk clarity, and the heavy parts are immoveable.
Throughout the years, Soilent Green has suffered more tragedies and setbacks than any band should. From van accidents to ex-members passing away, they’ve persevered and they deserve every bit of their success.
In closing, let’s not forget original members Scott Williams and Glen Rambo, both of whom are no longer with us.
Here's a clip of Soilent Green playing "Mad Scientist", recorded in 1989 with original vocalist Glenn Rambo. Rambo died during Hurricane Katrina.
No Funeral is a metal and hardcore zine based in Austin, TX. This blog began as the online collection of material from the magazine, but has grown into a beast of its own. All content written by Brian No Funeral, unless otherwise noted. All link removal requests will be honored. For more information, visit:
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