I've never been terribly fond of black metal though that is not to say that I haven't stumbled across the occasional gem here or there throughout the last 20 some odd years since its second wind. The black metal that I do enjoy is primarily more adventurous than say, your typical 'Transilvanian Hunger' clone. Bands like Emperor, Blut aus Nord and Wormlust I find to be infinitely more intriguing than those bands who opt to drone out playing an open tremolo over a monotonous skank for a duration of five minutes or more.
Thantifaxath are definitely pushing the envelope. Sure, there's plenty of ho-hum black metal bullshit going here, but if you hang on for a second, those time-worn passages will lead you to the most glorious of open spaces. All of this , of course, does not spell victory as I had mentioned above there are plenty of traditionally homosexual black metal-(j)isms flying around all over the place. Sure, if you have the patience your endurance will pay off but as I've gotten older I've realized that sitting through 3 or 4 minutes of blah just to get to the "good part" is just a waste of my time. Plain and simple. These days I want to hear something that's good from start to finish. I do not want to engage in an aural scavenger hunt in order to obtain a mere moments worth of listening pleasure. next.
Monday, May 12, 2014
Thursday, May 8, 2014
Goreaphobia - Omen of Masochism (1991)
Don't let the name fool ya, this is early '90's U.S. blasphemous death metal at its finest, trills, harmonics, bends and all!
Admittedly, the band name is a bit retarded, especially considering the music is most certainly not of the goregrind variety. Instead, we have a band that easily could have stood alongside the likes of Incantation and Immolation as far as their influence is concerned as well as their flawless interpretation of the darkness of the northeastern section of the U.S., instead, they managed only to languish in obscurity for well over a decade until a brief reformation allowed them to submit a duo of lackluster full lengths.
This, my friends, is where it's at! I have many fond memories of listening to this back in the early '90's with the Winter winds blowing wildly amidst the haunted New England landscape. The first two tracks are reminiscent of the band's 'Morbidious Pathology' -ep- released by the infamous Seraphic Decay label back in 1990. They have the same thrashy quality that is not unlike 'Altars of Madness' or even early Suffocation. That sort of "transitional" style that bridged the more progressive riffing of thrash with the then new and abrasive sounds of early death metal. The third track, 'Conqueror of Thorns', is real priceless gem here and pretty much the only song like this Goreaphobia ever recorded. Laden with Immolation-esque string bends and trills, almost the entire song is smothered by a blackened aesthetic that works beyond imagining. I wish that the band had not broken up and had stayed the course following this direction as this is one of the greatest and most evil sounding songs I've experienced yet. I remember at the time a friend of mine interviewing the band for his fanzine and one of them mentioning a full length that was to be released (this would have been sometime in '92.), alas, this was to never be and by the time they had released a full length the band's style had pretty much shifted as far from the technique found on 'Conqueror...' as it could get. Bummer.
As it is, early Goreaphobia is where it's at and they have long since earned their place amidst the pantheon of evil death metal bands that haunted the northeastern landscape back in the late '80's/early '90's.
Admittedly, the band name is a bit retarded, especially considering the music is most certainly not of the goregrind variety. Instead, we have a band that easily could have stood alongside the likes of Incantation and Immolation as far as their influence is concerned as well as their flawless interpretation of the darkness of the northeastern section of the U.S., instead, they managed only to languish in obscurity for well over a decade until a brief reformation allowed them to submit a duo of lackluster full lengths.
This, my friends, is where it's at! I have many fond memories of listening to this back in the early '90's with the Winter winds blowing wildly amidst the haunted New England landscape. The first two tracks are reminiscent of the band's 'Morbidious Pathology' -ep- released by the infamous Seraphic Decay label back in 1990. They have the same thrashy quality that is not unlike 'Altars of Madness' or even early Suffocation. That sort of "transitional" style that bridged the more progressive riffing of thrash with the then new and abrasive sounds of early death metal. The third track, 'Conqueror of Thorns', is real priceless gem here and pretty much the only song like this Goreaphobia ever recorded. Laden with Immolation-esque string bends and trills, almost the entire song is smothered by a blackened aesthetic that works beyond imagining. I wish that the band had not broken up and had stayed the course following this direction as this is one of the greatest and most evil sounding songs I've experienced yet. I remember at the time a friend of mine interviewing the band for his fanzine and one of them mentioning a full length that was to be released (this would have been sometime in '92.), alas, this was to never be and by the time they had released a full length the band's style had pretty much shifted as far from the technique found on 'Conqueror...' as it could get. Bummer.
As it is, early Goreaphobia is where it's at and they have long since earned their place amidst the pantheon of evil death metal bands that haunted the northeastern landscape back in the late '80's/early '90's.
Portal - Vexovoid (2013)
Not only do I not understand the hype surrounding this band but that goes for the 9,000,000 bands plagiarising their style. I just don't fucking get it. I could almost get a sense of the "evil" that everyone raves about but all of that is washed away by the band's insistence on covering everything with a wall of static and noise and I'm sorry but that is just not cool. I don't give a fuck how "extreme" you think you are for liking this shit, the bottom line is that it sucks. If they would clear up that highly annoying issue and maybe get a drummer who doesn't sound like he's nodding out after shooting up a bag of dope maybe these guys would be onto something, musically, but for now, these koo-koo clocks are better off collecting dust at the antique shop.
Wednesday, May 7, 2014
Exmortem - Labyrinths of Horror (1995)
Out of all of the Scandinavian death metal scenes, Denmark harbors perhaps the most brutal. Yeah, yeah, I know... Sweden, Finland, yada, yada... See, the thing is, sure, those countries boast some of the greatest death metal bands of all time, but there's something especially bloodthirsty and violent about many of their Danish counterparts. In fact, I'm fairly convinced that Denmark is more influenced by the U.S. death metal scene than they are their European brethren.
Exmortem is one of the more frighteningly brutal bands to emerge from out of the sewers otherwise known as the mid-'90's Danish death metal scene which also boasted the likes of Iniquity, Illdisposed, Infernal Torment and Dominus, to name a few.
If I had to pick a reference point I would probably have to go with the first Bloodbath album as well as Binah's debut. We're talking some fairly low-tuned, chunky madness here. The riffs can be surprisingly "notey" at times when things aren't being ground to a pulp under the weight and ferocity of the low end. The vocals are absolutely monstrous and have a habit of overwhelming the rest of the instruments once they rear their ugly head, of which I do not mind one bit.
I know many folks will tell ya that each Exmortem album sounds the same but I thoroughly disagree. This is by far the standout album in their career. Sure, the production may have gotten better with each subsequent release, but this is by FAR where the fuck it's at, not to mention that this may be my favorite death metal album to come out of Denmark.
Exmortem is one of the more frighteningly brutal bands to emerge from out of the sewers otherwise known as the mid-'90's Danish death metal scene which also boasted the likes of Iniquity, Illdisposed, Infernal Torment and Dominus, to name a few.
If I had to pick a reference point I would probably have to go with the first Bloodbath album as well as Binah's debut. We're talking some fairly low-tuned, chunky madness here. The riffs can be surprisingly "notey" at times when things aren't being ground to a pulp under the weight and ferocity of the low end. The vocals are absolutely monstrous and have a habit of overwhelming the rest of the instruments once they rear their ugly head, of which I do not mind one bit.
I know many folks will tell ya that each Exmortem album sounds the same but I thoroughly disagree. This is by far the standout album in their career. Sure, the production may have gotten better with each subsequent release, but this is by FAR where the fuck it's at, not to mention that this may be my favorite death metal album to come out of Denmark.
Dead Congregation - Promulgation of the Fall (2014)
There's something very strange about this band to me. They don't suck and they actually do a lot right where many other bands fail miserably and they play blasphemous death metal which is a style close to my heart, yet there's something about them, I don't know WHAT the fuck it is, that just doesn't totally do it for me. I'm at a loss, especially since this album is an improvement over the last, which was none too shabby itself.
Basically, Dead Congregation is Morbid Angel crashing into Incantation. Unlike many who "tire" over the glut of bands who have chosen to go down this path, I happen to look forward to the next Incantation/Immolation/Morbid Angel clone. Unfortunately, a lot of these bands manage to fumble the ball when it comes to the shadowy quirkiness that the elder masters were so fond of sprinkling throughout their musical passages. Oddly enough, this is the one thing that Dead Congregation gets right beyond a shadow of a doubt. Many trills, many bent strings and many harmonics make their way into the proceedings, and yet there is something undeniably amiss. I just can't fucking call what it is!
Anyway, as it is, I'm sure everyone will love this and rightly so. It is a solid release that manages to leave its predecessor in the dust while retaining all the familiar elements that made that album what it was. Unlike the many other bands who ape Incantation, DC tends to throw in an admirable amount of variation and manages to avoid the cavern altogether with an almost thrashier vibe and sound. Kudos also to the band for staying the path as far as their cover art goes, which boasts an overall aesthetic similar to their -ep- and full length debut.
While this is certainly a good album, I can already tell that I won't be revisiting it much beyond this point. I don't know if its age or what but my interest level for this sort of thing has been dropping down a bit as of late. Oh well... I'm sure the kiddies will eat this up.
Basically, Dead Congregation is Morbid Angel crashing into Incantation. Unlike many who "tire" over the glut of bands who have chosen to go down this path, I happen to look forward to the next Incantation/Immolation/Morbid Angel clone. Unfortunately, a lot of these bands manage to fumble the ball when it comes to the shadowy quirkiness that the elder masters were so fond of sprinkling throughout their musical passages. Oddly enough, this is the one thing that Dead Congregation gets right beyond a shadow of a doubt. Many trills, many bent strings and many harmonics make their way into the proceedings, and yet there is something undeniably amiss. I just can't fucking call what it is!
Anyway, as it is, I'm sure everyone will love this and rightly so. It is a solid release that manages to leave its predecessor in the dust while retaining all the familiar elements that made that album what it was. Unlike the many other bands who ape Incantation, DC tends to throw in an admirable amount of variation and manages to avoid the cavern altogether with an almost thrashier vibe and sound. Kudos also to the band for staying the path as far as their cover art goes, which boasts an overall aesthetic similar to their -ep- and full length debut.
While this is certainly a good album, I can already tell that I won't be revisiting it much beyond this point. I don't know if its age or what but my interest level for this sort of thing has been dropping down a bit as of late. Oh well... I'm sure the kiddies will eat this up.
Thursday, April 24, 2014
Welcome to my Inscape

Above: The actual aircraft involved in the Flight 401 accident
Photo: (c) Bob Garrard Collection
“It’s these words and music that keep me living, keep me breathing…” – Life of Agony
As I stare at the monitor in front of me, struggling to come up with the opening paragraph of what may or may not turn out to be a lengthy entry, I arrive at a realization that this is my first official foray into blogging. In the past, I’ve written a few album reviews for ‘zines that never got off the ground, as well as countless amounts of dense, sleep-inducing term papers throughout my tenure in college. As a musician/songwriter, I am also the lyricist for my band; in fact, I firmly believe that my primary strength as a writer lies within the realm of words working in concert with the music to convey the emotion of the song as a single unit. To make a long story short, I am not a blogger, professional or otherwise. If my writing is horrible, my apologies. Maybe it’ll get better one day; then again, maybe it won’t!
A short time ago, my band completed the music for one of our new songs. When my non-musician peers ask me how we approach songwriting, I frequently compare the process to procreation. A song starts out with a riff (conception), develops into a framework (gestation) and, once all the arrangements are completed and flourishes are added, it is finally born. Some songs are written quickly, others take a long time to perfect. This particular song was born from an idea that was conceived over a year ago, one that was placed on the backburner several times, until it finally felt like the time was right to bring it to the forefront.
Over the recent months, I became extremely interested in the tragic 1972 crash of Eastern Airlines Flight 401 in the Florida Everglades and knew that I wanted to explore the topic from a lyrical standpoint. On the evening of December 29, 1972, Flight 401 took off from New York City’s JFK Airport, heading to Miami, Florida. The flight was serviced by a four month-old Lockheed L-1011 TriStar, a new widebody jumbo jet that was the pride of Eastern Airlines. On the flight deck were Captain Bob Loft, First Officer Bert Stockstill and Flight Engineer Don Repo, all three highly seasoned aviators. The flight was routine until its final stage, when the aircraft was cleared for landing. A “nose gear down” indicator light failed to activate, forcing the flight engineer to climb down into the avionics bay to visually confirm the situation with the landing gear.
While the flight engineer was in the avionics bay, the captain and the co-pilot were preoccupied with dismantling the assembly containing the indicator light. The L-1011 was equipped with a system that disengaged the autopilot at the slightest input of the control column; it is speculated that the captain may have inadvertently leaned against his control column while reaching for the indicator light assembly, which was located on the co-pilot’s side of the instrument panel. As a result, the autopilot was disengaged and the aircraft began losing altitude at a rate so low, that it remained unnoticed by the crew. The L-1011 crashed into the Everglades approximately 17 miles from the runway and 101 people, including everyone on the flight deck, with the exception of a company employee who was traveling in the jump seat and was in the avionics bay with Repo at the time of the crash, lost their lives. First Officer Bert Stockstill was killed instantly, while Captain Bob Loft, who survived the initial impact, died before the rescue crews could extricate him from the wreckage. Flight Engineer Don Repo survived and was taken to a hospital, but, due to the extent of his injuries, died the following day.
I try to write lyrics that are a bit more thought-provoking than overt violence, so writing about the crash itself was out of the question. What really piqued my interest was the aftermath of the catastrophe. Eastern Airlines was able to salvage certain equipment from the crash site and repurpose it for use on other L-1011s. It was right around this time when reports of ghost sightings of Loft and Repo on affected aircraft began pouring in. According to these reports, flight attendants and engineers communicated with Repo’s ghost, who warned them of impending equipment malfunctions. In another incident, a head flight attendant was conducting a pre-takeoff passenger headcount and saw an unidentified man in an Eastern Airlines captain’s uniform sitting in first class. The seat was marked unoccupied on the seating chart, so the flight attendant attempted to question the man. Unable to elicit a response, she summoned the captain, who recognized the unidentified man as Bob Loft. At that point, the man disappeared into thin air. The sightings continued for months, leading some flight crews to perform exorcisms on the affected aircraft.
Having seen things that I cannot explain on two separate occasions, I still consider myself somewhat of a skeptic, albeit one who is open to the possibility of spiritual existence on planes other than physical. According to John G. Fuller, whose book “The Ghost of Flight 401” proved to be an invaluable resource on the topic, apparitions of Bob Loft and Don Repo were “benevolent ghosts” whose only goal was to help their earthly counterparts. At the time of one noted incident, Repo’s apparition spoke to a captain of another L-1011, saying “there will never be another crash of an L-1011. We will not let it happen again.”
Regardless of motive, it’s extremely difficult to grasp the concept that there may, indeed, be life after death. Eastern Airlines, while publicly dismissing the reports of apparitions as “a bunch of crap” (Fuller) and referring staff members making the reports to the company psychiatrist, removed all the equipment salvaged from Flight 401 from its sister ships and destroyed the flight log books that included accounts of the sightings. This lends a fair amount of credence to the supposition that the decision makers at Eastern at least considered the possible existence of supernatural entities.
No matter what your personal beliefs are, the events that followed the crash of Flight 401 make for a very interesting lyrical topic. It’s also proving to be the most difficult song I’ve ever written.
By the way…the nose gear of the doomed L-1011 was locked in the down position all along. It was later determined that the bulb (a part valued at $12) inside the indicator light burnt out. Flight 401 should have landed safely and everyone on board should have gone home that night. The reality is that everyone’s number eventually comes up; the tragedy is that none of us know when it will be ours.
New Slayer Song 'Implode' (2014)
Ok, so here is the moment that all you haters have been waiting for! Personally, not a big fan of this. These are the same waters they've been drowning in since 'GHUA', but since I seem to be in the minority of people who are not so into the last three Slayer albums, this should go over quite well with most (although, considering Hanneman and Lombardo's absence, everyone will predictably hate this by default).
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