Albums That Pump Me Up: Rollins Band- "Weight" (1994)

Few records can alter my mood and demeanor quite like Rollins Band's 1994 album "Weight." Once this record comes on I am sucked right into the album's vacuum and all consciousness is at the mercy of four dudes with instruments. The band's most recognized release for their popular single "Liar," "Weight" displayed Henry and crew at their peak, when the band, like the man, seemed to ooze furious energy like the most destructive neutron bomb. This album is nearly flawless. Drummer Sim Cain and bassist Melvin Gibbs were arguably the best rhythm section in rock at the time and the grooves that they were able to write on this record perfectly echo the harsh, confrontational vibe of many of the songs. "Wrong Man" and "Civilized" display exactly what I mean. There's an almost tribal influence in many of the beats that certainly seems to be influenced by funk and early hip-hop that just breathes life into the tracks and commands a reaction from the listener.

"Civilized"

While I love the early work of the Rollins Band, particularly "End of Silence" and "Life Time," the crisp production of "Weight" highlights the power the band possessed like no other. Albums that can display a clear sound but not sacrifice an ounce of aggression are rare and commendable, this is no exception. Which mega rock producer was capable of such an achievement? Theo Van Rock, soundman for Rollins Band. The fact that the band's best sounding and most polished record was produced by their friend and virtually unknown sound engineer is not only astounding, it's a testament to how important the chemistry between producer and band is to make a high quality record. Equally as focused is Rollins' existential lyrics that articulate loneliness, self-loathing, despair, rage, paranoia, and the trials and tribulations of love and love lost."Tired" calmly articulates the thoughts of a madman on the brink of destroying others and "Liar" is written from the perspective of the deceiver, showcasing the frontman's ability to write from the perspective of the characters he creates who are extensions of his own personality. The strongest song lyrically, however, has to be "Step Back," a confrontational challenge to the superficial to defend their facade and their ultimate failure to do so when faced with someone capable of seeing through to their interior. Certainly the soundtrack to his psyche, "Weight" captured Rollins at his creative high point and in many ways helped him step out of the shadow of Black Flag once and for all and come into his own as a solo artist.


"Step Back"

This record is about volume and a clear headed attack on not only the world around you, but the one inside of you as well. "Weight" proved once and for all that Rollins Band and their chief mastermind stood atop the world of rock. They didn't drive to it in a fancy car or fly on a jumbo jet, they didn't suck the tit of record executives to get there, they didn't adjust their sound in a manner that pleased the MTV generation or Soul Asylum's publicist, and they didn't compromise an ounce of sweat to earn what they deserve. Period.

- Joe

Nirvana- "In Utero" 20th Anniversary Deluxe Release

It is the 20th anniversary of a record that all of us here at Illustrious Words love, "In Utero." I'm not going to go on a lengthy tangent about Nirvana, why I'm obsessed with them, why this record should be owned by every creature on the planet Earth, why Steve Albini's production is miles ahead of every jackass "producer" with a pro tools program on their mom's MAC, why the songwriting displayed a more inclusive approach  than previous efforts, why lyrically it's far more developed than "Nevermind," or any of that. I'm not. I'm just going to discuss why the reissue is so special as a product.

Some of What You Get:

* Seventy (yes, that's right) songs, forty of which are demos, unreleased tracks, B-sides, and live material.
* Scott Litt's final mixes of "Heart Shaped Box" and "All Apologies" AS WELL AS Albini's versions of the songs that were scrapped.
* Re-Mastered versions of all tracks courtesy of the good folks at Abbey Road Studios
* "Forgotten Tune," the most recent unreleased gem from Nirvana, an instrumental track that I will gladly display for you now.

A side note about this track: It is unclear exactly if the song was solely written by Cobain as it was written during the same time as "Very Ape," a song primarily written by Dave Grohl.
 
* Cobain's 1990 version of "Marigold," his first solo recording
* Re-Mastered live performance of the December 13th, 1993 performance at Pier 48 in Seattle for MTV's "Live and Loud"
* Director's Cut of the "Heart Shaped Box" Music video
* Cobain's hand written lyrics


Long story short kids, I'm beyond excited for this release and have already put in my order. Cheers!

- Joe

Livin' In Exile: Th' Inbred

Whether we're aware of it or not, environment can play the biggest role in the formation of a band's sound. Our very ideas, attitudes, and perspectives are in many ways shaped by our surroundings. In the early 80s, when hardcore was synonymous with LA, Boston, and New York in many aspects, Th' Inbred cultivated a hybrid form of hardcore that, despite not being the most recognized, was arguably among the most interesting. Hailing from Morgantown, West Virginia, a city known more for coal mining than punk rock, Th' Inbred originally intended to form as the first hardcore band to incorporate a banjo. While the banjo was not used, the band did manage to fuse jazz and even bluegrass into their music and challenged the conventions of an audience that made the narrow minded punks of today seem tame in comparison. Th' Inbred released two full length albums ("A Family Affair" and "Kissin' Cousins") and an E.P. ("Reproduction") before disbanding in 1989.


Four Tracks from "A Family Affair" (1986)

The isolation of the band from the various hardcore scenes around the country in many ways helped shape not only the diverse music of Th' Inbred, it shaped the critical perspective that defined their lyrics as well. An all on assault on conformity, Th' Inbred challenged not only the conservatism prevalent in domestic politics but also the hardcore scene itself. From their isolated rural hell, Th' Inbred observed the mindlessness that existed in so much of hardcore from the popularity of straight edge crews (which the band likened to "punk rock fascists") to the profit-motivated practices of many independent labels who used a DIY ethos to exploit many bands. Were Th' Inbred brave or was their unique take on the world around them cultivated in exile from their musical peers? Regardless, that particular place was home to one of punk rock's most interesting and talented acts. Pick this stuff up kids.

"Positive Song"

- Joe

Rejoice in Ruin / Haunted Place

Chicago's The Repos are a punk/hardcore band formed in the early 2000's by ex-members of Charles Bronson and now a member from Ohio's own Vile Gash.  They released this record through Organized Crime Records for record store day this year and is probably my favorite material from the band yet. If you're at all into punk, or 80's hardcore or Poison Idea - do yourself a favor and check this out.  Hoping to catch them at the Infest / Los Crudos show in Chicago this September.

The Repos - Rejoice in Ruin / Haunted Place EP

And if you're into this, do yourself a favor (and give yourself a bit of a history lesson) and check out Youth Attack Records and pick some stuff up.

-WOODS

Morbid Angel- "Covenant"

 I first discovered Morbid Angel's "Covenant" in ninth grade when I stole it from the Cuyahoga County Regional Public Library. At an age when testing the limitations of musical extremities was pastime, this record became an essential piece of my music collection and a cherished item to say the least. The three piece's third official full length album, "Covenant" displayed stronger song structures and clearer production than their first two efforts and did what all classic albums do, it tested the bands abilities and challenged the listener with every track. "Rapture," "Angel of Disease," "God of Emptiness," and "World of Shit (Promised Land)" helped re-shape and re-define the concept of death metal as a genre and facilitated its rapid evolution that continued throughout the 90s. Ask any metal guitarist between the ages of 23 and 35 who their primary influences are and you will most likely hear Trey Azagthoth's name cited by most if not all of them. "Sworn to the Black" alone has better lead guitar work than most bands ever dreamed of and the band managed to display technically sound material without sacrificing quality of songwriting, something that makes this record so coveted, no pun intended.

Trey isn't the only member whose star shines brightly on this release. The drumming of Pete Sandoval truly came into its own on this album and his drumming technique helped death metal emerge from the shadow of thrash with beats and fills that made Dark Angel look like Black Sabbath. Pre-Genitortures David Vincent was at his peak also on the record and his viciously brutal, yet clear vocal delivery matched the music's intensity quite well. In a nutshell, "Covenant" is one of death metal' most pivotal releases and one that all musicians can appreciate in some aspect. Morbid Angel will be performing this classic record in its entirety at Peabody's on November 16th and if you have ears I encourage you to come to that show and witness this masterpiece in person!

- Joe

Playlist

Here's what I've been jamming lately, not that any of you give a shit.

Marduk- "Nighwing"

Released in 1997, "Nightwing" is the first of Marduk's "Blood, War, and Death" trilogy and a concept album about the 15th Century Wallachian Prince Vlad Tepes. If that isn't fucking metal, I don't know what is.

Today is the Day- "Sadness Will Prevail"

Another concept record (I'm sensing a pattern), "Sadness..." demonstrates the creative genius of Steve Austin who described this record as an "extreme metal version of The Wall." Combining heaviness with beauty, schizophrenia with sane focus, and the unexpected with the standard, this record is still miles ahead of many and comparable to virtually none.

Cathedral- "The Etheral Mirror"

One of the bands responsible for the revival of the entire doom metal genre, Cathedral's 1993 sophomore effort displayed their doom metal roots and began their experimentation with stoner rock that would continue throughout their career. The fact that so few of my friends like this band still pisses me off. I am currently working on a review of their last album that you can expect to see on this site by the end of the week.

Disrupt- "Unrest"

The standard bearer for crust punk in the 1990s, "Unrest" is a no holds barred assault on the ears, tradition, social convention, capitalism, globalism, corporate greed, animal abusers, and just about everything else you were taught in public school. If anyone says they "grew out" of this record, they probably either never understood it or never were into it to begin with.

That's all for now, I have to get back to work.

- Joe

Some shitter reading volume 2

Haven't been able to update the handful of readers of this blog with less-than-informative posts, due to having a life.  Here's the playlist that has been keeping me going as of late :

Primitive Man - Scorn

http://primitivemandoom.bandcamp.com/track/rags

Hailing from Denver, CO with loads of feedback and more depression and negativity put onto one record than a normal human being should be exposed to. This album was just re-released from Relapse as well, so pick it up.

Cannibal Corpse - Butchered at Birth

https://www.youtube.com/watch?v=OtkPxffMrCo

This band needs no introduction, everyone and their grandmother has heard of Cannibal Corpse.  Butchered at Birth is hands-down my favorite record of the Barnes era (although closely followed by Tomb of the Mutilated). Death metal the way it should be done with some grooves of their own thrown in the mix.  Who knows where death metal would be today without this band.

Machine Head - Burn My Eyes

https://www.youtube.com/watch?v=euqtwPVuB5g

Yeah, this band turned rap metal in the later 90's and yeah they've recently started releasing decent metal albums again but Machine Head's first two records, Burn My Eyes and The More Things change are essential.  Beyond influential in metal and hardcore.  Try to tell me the last minute of the song "A Thousand Lies" doesn't make you want to rip someone's head off.

Thats it, dorks.  Just in case you've been living under a rock for the past two decades check these bands out.

-WOODS

Lock Up- "Infinite In Its Nothingness" (Give Praise Records, 2013)

A super group of sorts consisting of Shane Embry (Napalm Death), Nick Barker (Cradle of Filth / Dimmu Borgir), and Tomas Lindberg (At the Gates / Skitsystem), Lock Up has been dishing out a hybrid form of death / grind madness since 1998 when Peter Tagtren of Swedish death metal legends Hypocrisy teamed up with Jesse Pintado (R.I.P) to form a stripped down project that went for the jugular. Taking cues from grindcore, death metal, and classic thrash metal, Lock Up's sound blends the unique characteristics of the members' full time bands quite nicely while retaining its own unique elements that make for intense and confrontational slabs of destruction! "Infinite In Its Nothingness" is the latest single from the band and part of Decibel Magazine's "Flexi Series that includes singles by various legendary extreme metal bands including Brutal Truth, Cannibal Corpse, Cathedral, Electric Wizard, Carcass, and others.

2:18 of ferocity, "Infinite..." is an exercise in speed and tenacity that starts with a signature Napalm-esque Shane Embry riff and ends with a sharp, black metal influenced guitar riff that gives the track a distinct identity. Barker's drumming is absolutely devastating and proves once again why he is one of the best in the industry with his perfectly placed fills, rolls, and blasts. Tomas' vocals are what you'd expect from the best vocalist in extreme metal history, screams and belts that convey passion, angst, and malice like no other. Lock Up may not be comprised of the youngest in the game, but they demonstrate how meaningless age truly is with vicious tracks such as this. Cheers!

www.facebook.com/lockupofficial

www.myspace.com/lockup

- Joe

The Real Reason Mainstrem Music Irritates Me: Why Was Kimbra's Vows Not Played Incessantly On American Radio?

This is my first, and perhaps last, post on here since I will probably get laughed off and deleted after Novak reads it.  I enjoy a wide array of music from classic psych to grind and frankly bubblegum pop.  The latter of which this entry is going to be geared at.

I remember a year or two ago Gotye had that incredibly overplayed song Somebody That I Used To Know.  I enjoyed the song until modern radio bludgeoned it into my brain pan.  Anyway, not to digress, the female vocalist on that track was Kimbra, an artist from New Zealand.  In 2011/2012 (depending on where you lived) her first Solo Album Vows was released.  To say that the album was anything but pop would be misleading and it did do quite well in Australia...I don't remember it actually happening here in the states with the exception of a few commentators.

Flash forward to today Lorde has a track (Royals) currently getting heavy radio rotation which sounds like a cheap knockoff of the inventive approach to pop that Kimbra exhibited on Vows.  How did both Gotye and Lorde manage to do better in the states than someone who has a far better command of the craft than either.

Here is the big single off the album.  Pop but on a songwriting level the style and execution are brilliant. The rest of the album is equally as well constructed.

As if the fact that she makes interesting music in a boring homogenized genre she apparently is actually a capable musician as well.

I'm just saying that if you have any interest in Pop executed properly go dig up this gem of a disc and give it a listen...or continue listening to Vaginal Discharge...doesn't matter to me.

-Nicky P

Easier to Swallow

My post seem to be taking more time to write than they do to read. Here are some albums I've listened to this week with one sentence summaries on why I did.

I've been playing drums to this album all week and I always fantasize about playing with these guys.

 

Just saw this band live and they sounded amazing but could've been louder. 

This album gets better and better the more I listen to it. 

I posted about this on Facebook the other day and gave it a few listens in its entirety. 

This album actually gets listened to a lot the hotter it gets outside.

 

There literally hasn't been one week of my life that I haven't listened to at least one track off this album throughout the week. 

One of the employees at the hotel hadn't heard this band, so I had to show them! 

This album came on while as I was blogging from my bed and I woke up several hours later from my Stars of the Lid trance.

-Novak

KISS Albums That Don't Suck, Take Three: "Dressed to Kill"

Yesterday, after I finished up part two of Novak's favorite series on this site, I was reminded by my pal Jeff that "Dressed to Kill" is another fantastic KISS record that certainly does not suck. Don't believe me, ask Anthrax.

Anthrax: "She" (KISS My Ass Cover Album)

"She" isn't the only rocker this album has to offer, "Dressed to Kill" has plenty of hard rock tunes that make this album a true classic. The last of the "original three" KISS records before their big break with their breakthrough double live album "Alive," "Dressed to Kill" is the most stripped down of all of KISS' records and tracks such as "Two Timer" and "Room Service" demonstrate that when it comes to blues influenced rock, KISS knew how to deliver the goods!

"Two Timer"

"Dressed to Kill,"despite being an overlooked album in the band's catalog, demonstrates enough musical prowess and songwriting abilities to be considered one of the better hard rock records of the 70s and definitely one that dorks like Novak can enjoy without guilty feelings.

- Joe

Criminal Damage- "Call of Death" (Feral Ward, 2013)

Four years in the making, "Call of Death" is the third release from Criminal Damage, a Portland punk rock outfit featuring Paul Burdette of Tragedy on Guitar and Vocals. Formed in 2005, Criminal Damage plays late 70s / Early 80s UK style punk with a prominent Oi! influence in the vein of bands like Blitz, Sham 69, and The Business. For those unfamiliar with Criminal Damage's first two records, they are certainly worth picking up. The band's self titled LP, for example, is one of my favorite releases on the Feral Ward label and Criminal Damage's use of melodies and harmonies nicely compliment their approach to punk. While not the band's strongest material, "Call of Death" contains some interesting and well written songs, particularly "The Storm" with its infectious bass line and "Call of Death" with its signature dark melody that accents the album's lyrics of alienation, depression, and displacement. Although many of the songs are memorable and fun listens, the album's production doesn't separate the elements enough making them run into each other and stumble over one another. Generally speaking, the awkwardness of the production distracts the listener from appreciating some of the qualities of the album, particularly Burdette's vocals which don't quite make themselves known in the mix. On tracks where the vocals are pronounced, the drums appear distant and at times missing from the sound of the record, particularly on "Hopeless" which, although a strong and solid song, lacks the kind of backbone that a well recorded drum track can offer. This lack of consistency in the recording of the album prevents this album from being a celebrated effort despite its obvious strong points. Regardless of this, "Call of Death" is sure to please fans of this style of punk and many of the riffs on the record are quite infectious, particularly that of "Laid to Waste" which is a loose and energetic track that stands out quite nicely. What I find most appealing about Criminal Damage is how free and easy the songs appear to be executed, a trait that I find enjoyable in most bands that play this particular style of punk rock that focuses primarily on simple, one to three chord riffs that are meant to be memorable more than impressive."Anxiety" is also a powerful track on the album and its anthemic chorus brings to mind what I fell in love with classic punk in the first place. Despite not being the most innovative record to come out in recent memory, "Call of Death" has enough spirit and hooks to make this a part of any punk's record collection.

7.5 / 10

- Joe

Records I Would Kill For: MC5- "Looking At You / Borderline Single" (A-Square Records, 1968)

The MC5 need no introduction and as far as sought after records are concerned, this single is at the top many of my lists. Released in 1968, "Looking At You" was the group's second single that introduced the 5 to the world and ushered in one of rock's greatest stories ever told. This version of "Looking At You," the best version in my opinion, is one of the greatest songs written by an American rock band ever. Rob Tyner's soulful, gospel blues influenced bellow is more profound than on other live versions of the track and Michael Davis' smooth bass line gives the track its distinct character. A soulful description of the first sight of a beautiful woman, "Looking At You's" primitive sexuality and rebellious demeanor perfectly embodied the attitude and conviction of the young activist spirit in a subtle rather than abrasive manner. The album's B-Side "Borderline" is a more straight forward rocking tune that perfectly contrasts the former track with its sense of urgency and use faster tempo. Loose and free of restrictions, the MC5's 1968 single was the soundtrack to a very turbulent time in United States history, a time when the future seemed uncertain despite so many influential figures trying to stake claim over shaping it. You can hear that turbulence in these songs, you can feel the strength in the words sung, you can hear the footsteps of the protestor, you feel the freedom of love, and be inspired by one of music's greatest gifts to the world. This is the MC5.

- Joe

KISS Albums That Don't Suck; Part Deux: "Rock and Roll Over"

The fat girl that gives great head is back for another installment of KISS and this time it's "Rock and Roll Over." My personal favorite KISS record of all time, "Rock and Roll Over" is a no holds barred, innuendo filled, double fucking platinum rocker. The songs rock, plain and simple. From Peter Criss' blues rocker "Baby Driver" and heart tugger "Hard Luck Woman" (originally written for Rod Stewart by Paul Stanley) to Simmons' anthem "Calling Dr. Love," this record is full of classics. Give a listen!

"Calling Dr. Love" will make the panties drop, true story

Ace Frehley, despite not writing any tunes on this record, shines the brightest as the solo on the previous track demonstrates. You may have heard many people attribute a lack of talent or ability to KISS and, while any and all criticism of the quality of the band member's characters or their musical philosophy are warranted, questioning their musicianship is sometimes unfair. Perhaps "Rock and Roll Over's" best attribute is its dynamism, the fact that the album contains both heavy hard rock and soulful (but not derivative or cheesy) heartfelt ballads. "Hard Luck Woman," though not as commercially successful as "Beth" on "Destroyer," is certainly a more well written song and one that better represents the abilities of Peter Criss.

Have a listen:
  
"Hard Luck Woman" from Unplugged in 1995

"Rock and Roll Over" is the loosest of all KISS albums and demonstrates KISS at their peak in the 70s. Paul Stanley's songwriting was definitely at its best on this one folks and his ultra cool, questionably gay delivery is best exemplified by the album's opener "I Want You."

IT'S A FUCKING TOE TAPPER!!!! YOU KNOW IT!!! 

Although often cited as a transitional record for its being between two of the band's most commercially successful albums, "Rock and Roll" over proves once again that, while they often fall short of impressing even the most open minded critics, KISS certainly does not suck!

- Joe

Bands I Miss: Voorhees

Formed in Durham City, UK in 1991, Voorhees existed for ten years and released some of the grittiest, urgent, and best hardcore the world has ever seen. During a decade when most American bands were flirting with metal and purchasing basketball jerseys, Voorhees kept their approach focused, clear, and straight forward by churning out no nonsense hardcore tracks. Informed by American bands such as SSD, Necros, Negative Approach, and DYS, Voorhees blended their love for US hardcore with hometown influences such as Ripcord and Heresy to make for a slew of enigmatic and powerful releases. Throughout their career Voorhees released three full length LPs, a split LP with Devoid of Faith, various singles, and split singles with the likes of Stalingrad, Insult (NL), Kill Your Idols, and Out Cold. I first acquainted myself with Voorhees with their split with Devoid of Faith via Coalition / Gloom Records. While I loved (and still do) Devoid of Faith's bombastic style (along with a pretty righteous Bastard cover), it was the Voorhees side of the split that stood out for me with its blood churning vocals, heavy low end tone, and subtle homage to classic UK punk that so many American bands lacked. In hindsight, Voorhees' arrival must have been a breath of fresh air for many in the hardcore community in the 1990s given the direction many bands were taking during that period. Their sound was one void of crossover appeal that instead invoked the angst, alienation, frustration, and power of straight edge b.c, before youth crew positivity became the norm and melody became standardized. I miss this band but I am happy to spread their music and legacy.

- Joe

Tree No Leaves

Tree No Leaves- Blind Tiger

(Click the album artwork to stream the full album)

Now here is a band I am always anxious to update everyone on, Tree No Leaves. A band that always goes above and beyond what most national acts do, let alone local bands! A DIY band that always looks and sounds more professional than the garbage being pumped through the radio waves. Never afraid of changing their sound or looks, this band has put several years of hard work into their sound. I would know, I used to be a part of the Tree No Leaves camp several years back. 

While most local bands' music sadly never sees the light of the day, this band makes a conscious effort of giving you both high quality audio and visuals available for your eyeballs' pleasure both live and in physical form. Whether they're releasing a jam album, live album, or full length record, you can always expect it to be a thought out and well presented piece of art. 

The main vein for TNL is this guy, Dustin Galish. A very dear friend of mine. Dustin started the band back in 2007 with his now ex girlfriend, Sarah Smith. When I was first asked to collaborate, we were all a little nervous as to how it would turn out. At the time it was just piano and quiet guitar parts, and there was me behind a full kit I was used to beating the absolute shit out of. We had a very inspiring and challenging time finding a balance of dynamics at first, but it only took a few very exciting rehearsals to get the sound we were going for. In my opinion, from there the band evolved into the glistening and wonderful monster that it is today. Dustin broke out of his shy shell and his personalized lyrics and hand crafted performances exploded into the recordings and live shows almost instantly. 

 

 A big contribution to the TNL world has always been visual artwork. Most recently TNL have teamed up with the immensely talented Will Santino. Artwork that truly transcends the typical barriers of the typical human imagination. Artwork that's just weird enough to still be instantly appealing yet still has enough to it that you can see different things pop out each time you see it. An artist whose work proves how much hard work and talent goes behind the process, much like the band. A very tasteful touch to the vibrant sounds of the band.

Lastly, another concoction from these mad fucking scientists is this wonderful video for the song "Lesson Bringer" as pictured above. This is a perfect example of a band going beyond what most bands do with the ideas in their heads. I mean no offense to the hundreds of local musicians who have great ideas, but these guys are executing it flawlessly. An idea is just an invisible piece of absolutely nothing until you attempt at bringing it to life. 

Don't miss your chance to see my band He-Chaw Frunk team up with these guys in BGSU in September! Rock n' Roll band meets psychedelic electronic band. See you there!

-Novak

Ringworm- "Bleed" Teaser

The underground is a buzz over the upcoming release of legendary Cleveland hardcore / metal / hell on Earth ragers Ringworm's new E.P. entitled "Bleed." The title track has just been released via Metalsucks.com and, as expected, Ringworm appear to have hit it out of the park yet again. "Bleed" rages from its speed metal infused onset to its hardcore midsection all the way to its crushing ending. "Bleed" encapsulates Ringworm's approach in one outburst and welcomes the listener into their depraved and schizophrenic musical mind. Time, the mortal enemy of so many bands, seems to be Ringworm's closest companion as they have released exponentially better material since 2007's critically acclaimed "Venomous Grand Design." Vicious, uncompromising, honest, and fierce, Ringworm's follow up to (now fan favorite) "Scars" doesn't look like it will disappoint anyone. The CD release show for this E.P. will be held at The Foundry (where good friend of the Illustrious Words crew Bill Z works) on October 19th and supporting acts include local Cleveland thrashers Order 66. You don't want to miss this one, trust me. Ringworm live is unmatched by many in the underground. Fucking bleed!

 Here is the link to stream "Bleed" via MetalSucks, enjoy!
http://www.metalsucks.net/2013/08/20/exclusive-track-debut-ringworms-bleed/

- Joe

Brainoil- "Death of This Dry Season" (20 Buck Spin, 2011)

 Oakland's sludge metal vets Brainoil may not have as much recognition as some other bands but their 2011 LP "Death of This Dry Season" is a must have for any fan of groove-laden metal goodness. Full of down tuned hooks and memorable licks, "Death of This Dry Season" melds the genre familiarity of Eyehategod and Iron Monkey with a noticeable crust influence and powerful production that accents the band's sound without compromising the approach. The guitars are powerful, the drums punishing, and the vocals are painfully pleasurable. Some of these riffs are sure to be legend, especially those on tracks such as "Death of This Dry Season" and "Dark Eyes of My Past" that creep up on the listener at just the right moment to give the songs the perfect touch. Although their sound doesn't venture too far away from the confines of sludge, Brainoil's songs are well crafted and interesting enough to get away with such a strict formula. In general, this is a fun listen. "Feet Cling to the Rotting Soil," for example, is an upbeat and energetic punk inspired tune that brings the groove at just the right moment. It isn't brain surgery folks, but there's beauty and dynamism in its one track mindedness.

Brainoil began in Oakland in 1998 and released splits with Cruevo and Iron Lung before putting out their self titled debut in 2003. A rather long hiatus in no way deterred the band from writing solid material and "Death of This Dry Season" represents a focused and deliberate attack on the senses years in the making. Now that they are back and in attack mode, Brainoil will be playing Now That's Class on October 3rd as the opening act for Lecherous Gaze. Live reviews of the band's performances suggest sweat, damaged ear drums, alcohol abuse, and enough sticky icky to melt even the strongest brain cells. Consider yourself encouraged and warned simultaneously.

- Joe

Scales of Absolution / Thrash Yr Tits Off

Is the balance true, or which side feels too heavy?

/////

Lick the fucking slime. Taste my fucking breath.

Acme- "To Reduce the Choir to One Soloist" (Edison, 1996)

The enigmatic and illusive Acme's only record (other than a demo) is arguably one of the most aggressive and interesting records of the 1990s. With recordings dating back as early as 1993 and various sought after demos, Acme remains virtually unknown by many in the hardcore community and that is a shame because people, this album is nothing similar to or even resembling a joke. "To Reduce the Choir..." contains crushing heaviness that resembles and rivals death metal, the familiar discordance of metalcore, a punk attitude, and a vocalist who I truly believe made an honest effort to destroy his larynx. Hailing from Bremen, Germany, Acme created a sound reminiscent of Integrity, Dragbody, and Disembodied so devastating to the ears that it is truly hard to believe that they didn't garner more attention in the United States. This record is flawless nearly from start to finish and, while the reviewer inside of me would like very much to find something to critically assess, I am far too busy trying not to leap off of my chair and start moshing in my living room as I type up this review. It all starts with a guitar tone that, quite frankly, sounds like a downtuned Earth Crisis. The clever and well disguised sludge metal influence is also apparent as the heavy breaks in songs such as "Blind and "Ordinary" aren't played in manner that pays homage to New York style groove but instead is derived from the ugliness of American sludge and European death metal. Does Acme bring to mind feelings of nostalgia as these breakdowns and sludgy riffs penetrate the eardrum? You bet your candy ass it does. Brutal sonically without sacrificing the integrity of a hardcore outfit by appealing to the metal conventions of the day in the manner that so many of their American peers did, "To Reduce a Choir..." succeeds so well mostly because it doesn't appeal at all to the lowest common denominator, it destroys it. If you are into older metalcore or if you simply like powerful and aggressive music, I recommend finding this record in any format you can.

10 / 10

- Joe

New York Hardcore: Two Great E.Ps

Despite its late arrival to the hardcore party in the 1980s, New York City has managed (for better or worse) to have the most lasting impact on the history of hardcore music. While kids the world over enjoy the latest craze of bands employing the influence of Madball, Dmize, Crown of Thornz, and others in today's modern hardcore scene, there are many bands whose influence and albums shouldn't go unnoticed or unappreciated. This is New York hardcore sucka!

Antidote- "Thou Shalt Not Kill"(1983)

Antidote's "Thou Shalt Not Kill," released in 1983, is the only testament to Antidote (NY)'s power and fury. The buzzing guitar tone and powerful riffs of songs like "Real Deal" and "Something Must Be Done" make this record a true classic and certainly worthy of acclaim. I first acquainted myself with Antidote after their influence on Belgian hardcore band Dead Stop was documented in an interview. Dead Stop was at the time growing in popularity in the European hardcore scene in 2005 and when they name dropped these New York legends I knew I had to check them out.

The Abused- "Loud and Clear" (1983)

Combining the abrasiveness of Sheer Terror with the tonality and heaviness of Boston hardcore., The Abused created something unique to say the least with "Loud and Clear." Before the East Coast filled up with suburban kids in Champion sweatshirts playing youth crew anthems, The Abused's "Drug Free Youth" was New York's first and most powerful straight edge anthem that would profoundly influence later bands such as Judge and Integrity.  If one aspect stands out most on this E.P., it's the subtle lead guitar that carries the powerful guitar tone so well one each track, particularly "War Games," one of the best hardcore songs ever written by a New York band that foreshadowed the influence of heavy metal on hardcore. Pick this one up kids, it's worth it.

- Joe

KISS Albums That Don't Suck; Part 1: "Creatures of the Night"

Listen, I hate capitalism as much as any other grad student whose face is glued to the Chomsky Vs. Foucault PPV and that includes parasitic creatures such as Gene Simmons who would rather sell "fans" tampons than condescend them by putting out another record. KISS' values suck, but anyone with a frontal lobe worth a shit already knows that. Although they are a band which literally represents everything that is antithetical to my personal beliefs (the commodification of art, the subjugation of women, phallocentrism, should I go on?), not all of their albums "suck," or "blow," or whatever other homoerotic negative descriptive adverb that the "punks" or "indies" can throw at them.

"Creatures of the Night" was released in 1982 and is the first album to feature drummer Eric Carr and the last (for a while) to feature infamous lead guitarist Ace Frehley. "Creatures of the Night" is heavy, abrasive, and one of the hardest hard rock records of the early 80s, period kids. Take a listen!!!

"War Machine," definitely one of the best riffs ever written by human beings and one of many greats on this record. You don't want to like it, but it's good....kind of like the fat girl that gives great head. You sneak the fat girl that gives great head into your house late at night (we can't let the roommate or anyone know that she's there of course), you always feel like a chauvinist for taking advantage of her mouth even though you can't stand her or her ridiculously boring conversation, and you can't stand that your attraction to her is at odds with most of what makes up your personality. Nevertheless, this rocks, and so does that BJ. Sometimes we have to set our convictions aside for a moment and just indulge in the superficial, the carnal, and the primitive. If we don't do that, how can we truly call ourselves progressive? If liking KISS means I can't one day write for Maximum Rock n' Roll or ever be invited to Thurston Moore's house, so be it.

Here's another great gem from "Creatures..."

- Joe

*DISCLAIMER* 

Please don't let KISS know that I used their name and or likeness as I am sure that my effort to encourage the appreciation of their music will not prevent them from suing the living fuck out of me....peace.

Soilent Green- "A Deleted Symphony for the Beaten Down" (Relapse, 2001)

Soilent Green's second full length LP for Relapse, "A Deleted Symphony for the Beaten Down," still reigns as one of the label's best releases and arguably one of the best extreme metal albums of that particular decade. "A Deleted Symphony..." builds upon the groundwork laid by the band's early work as well as their extremely influential and impressive debut "Sewn Mouth Secrets" while adding clearer production and throwing even more curve balls at the listener. Soilent Green's use of grindcore, sludge metal, and death metal is like no other and even now this particular record still manages to astound me. The unique time signatures and shifts in sound throughout tracks such as "Hand Me Downs" and "She Cheated On You Twice" demonstrate how, although complex and intricate, these songs can keep the attention of the listener by incorporating the right changes at the right time in each track. What I think I love most about this album and Soilent Green in general is that they don't bleed dry what makes them unique. While the use of sludge metal and Black Sabbath groove is apparent on tracks such as "Later Days" and the riffs in "Swallowhole" eerily represent an affinity for black and death metal, Soilent Green carefully introduce these moments to the listening experience rather than bombard the listener with them. If Soilent Green teaches younger bands anything, it's that it's all about timing, knowing when to change a song and adjust the sound by incorporating a riff or beat from an influence perhaps outside of the listener's expectations. While they could easily beat the listener over the head with an array of obviousness, Soilent Green's clever placement of certain riffs and musical moments makes them and this record so enjoyable. The aforementioned track "Swallowhole" is certainly my favorite on this record and showcases the talents of my personal favorite guitarist Brian Patton also of legendary New Orleans sludge destroyers Eyehategod. Patton's eclectic style of playing broke new ground in the 90s and his ability to both hypnotize and punish the listener with his instrument is unmatched. Equally impressive is the vocal assault of front man Ben Falgoust whose range is among the best in metal. Falgoust's diverse vocal style includes a powerful mid-range howl that is as articulate as it is intimidating, guttural growls, high pitched screams, and a rather subtle spoken word that is sprinkled throughout certain tracks. Lyrically, Soilent Green's dark, haunting, and depraved passages perfectly represent this record's maniacal and schizophrenic sound. Despite all of these attributes, I feel this album is fading into obscurity without its proper recognition and I hope that by writing this it will encourage at least someone to pick this record up for the first time.

- Joe

This review is dedicated to Anthony Biello who bought this album for me as a Christmas gift in 2001. Although certain choices in life have taken us down very different paths, I will never forget my friend nor will I forget how much this record meant to me then. Cheers my man, keep your head up. 

Frank Zappa- "Hot Rats" (Bizarre / Reprise, 1969)

Zappa's second and arguably best record has been in constant rotation for me for quite some time now and with good reason, it's one of the best albums ever made by anyone with a pulse. Composed, arranged, and produced by the master himself, Zappa's "Hot Rats" is a world apart in many ways from anything else he ever did. The album's extensive compositions and arrangements that contain various solo arrangements (particularly on lead guitar) make the album an experience unlike most others and each track takes the listener on a unique, fascinating, and mysterious journey where the mind melts and the spirit swoons. From "Willie the Pimp's" brooding blues, rock guitar jam to the Jazz masterpiece "Peaches en Regalia," no one track or even part of a track on this record is borrowed from something else or even something in an of itself, a feat that few musicians or artists can claim other than Zappa.

I often criticize bands in my reviews for not being inclusive enough musically, particularly bands who make an honest effort to be experimental. Not that I have an issue with simplicity, often I welcome a band that can play a specific style well and with a purist's devotion. If you do want to experiment, however, take notes from the master himself and from "Hot Rats." Zappa's instrumental diversity went beyond the normal when his unique recording style created the octave-bass, a bass guitar track slowed down and recorded at half speed in order to appear to be an octave higher than a standard bass. This kind of recording genius makes "Hot Rats" so special and is something that all music fans can appreciate regardless of taste or trend. "Hot Rats" was among the first records to incorporate the mulit-tracking of drums (something put to use extensively later on by metal bands), the first to utilize Zappa's Frankenstein Sixteen Track Recording, and taught a generation of producers how to manipulate sound using overdubs effectively, all while respecting the integrity of each song's mission to rock honestly and effectively. There really isn't much else to say other than that if you don't listen to this album once in your life, I honestly feel sorry for you and will loan it to you if you want your soul saved.

- Joe

Exacting the Ethereal

Howdy cowboys. This here is wirelessdarkness, serpentine and slithering into new gardens, summoned from a NWN! post and appreciating old friends. I don't get to see people I care about enough. I know two of the writers here and only of the third. Hails to old friends and new ones! I haven't typed anything but technical documentation for a solid nine months+, let's loosen my fucking collar and start with some assgrabbery.

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(**If you consider me warming up my fingers assgrabbery.)

If you guys don't know who I am by now, you may recall everybody calling me Lil' Duck at parties. I also wrote this song and a few other hit songs of the 80s and 90s alike.

All arms are strained from drywall in a new basement and physical labor I was never too good at: the taxing, monotonous bore of your wallet and life draining. As my own stomping ground has sort of collected a fair amount of dust, (and spammers too, holy fuck. Do you guys here get like 150 bigger dick now pills in your comment box a day? Can't tell if Russian or NSA...) I wish to warn you now: There will be no sympathy nor promises for my contributions upon you. There will be no yielding to either the unwilling or the folded. At least until the team kicks me off their authorized list. As usual, we descend upon the toes of the unwilling.

The recent Underrated Death Metal post here is true, and I fucking love it. Screams of Anguish is another classic by Brutality that never gets any credit. There's no denial that when I enjoy death metal anymore, it's few and far between. I take such delights in the painful, lo-fi mess that can be black metal. However, Witchrist and Vasaleath? Cool. Disma and Portal? Tubular. How about Mitochondrion? Not literally, name sounds like more like a "boring and acute" disease than a band, but it's just a cute little organelle in reality. Hailing from the Great White North and rarely leaving, this ritual turned satanic psyclone will give metalheads a headache and probably pull some possession parlour tricks on your friends. From banging their head too long, listening to what's being said, or trying to map their scale, people might kind of tweaktofreak out. Not in some dick-holding brosport "THEY ARE SO FUCKIN TECHNICAL /twohandsashornsinair" bullshit type of way, but in a legitimately make you uncomfortable type of way. Turn up the volume. Gives a whole new meaning to Satan's Kickin Yr Dick In...

It's all a great mystery I've yet to figure out, and as a terrible cryptographer, I'm leaving it to you devoted readers to lift a curse and a blessing from me and take it upon yourself...

You are the finite  / infinite

You are the order / consuming order

Within right and left

Both for and against disorder / pure order 

In the true symbol and nature of the beast

We enthrone the shape of the worm

In the false perception of prevolution all are

For god dwells within benthos: blood, and sperm

Oh hallowed parasite, to consume the benign

Ingesting all life, infecting beyond damnation

A needless evocation, of the unrestricted god malign

Axis of form and corruption

Divinity in the DISGUSTING

Perfection in CONSUMATION

Absolute instinct metastasized, (the monolithic question remains)

When will you actualize?

Like some strange woven journal, I've been able to encapsulate a few of the qualities:

1. Numerology. Time signatures. Sigils drawn into fretboards. There is some mathematical mystery at play here. A clever pun on reality. 3 8 11 13 17 56 27 12
2. There are peaks and there are crevices; a harnessing on all spectrums of what some consider to be extreme. The facade that this is somehow not also black metal is one that will only be drawn by those who seek to fulfill a purpose in branding what they enjoy or oppose.
3. There is an attempt to obscure certain words, phrases, and concepts that trickles sprites of flame, while titles remain obtuse; all lyrics are attuned and thrust like a spear. From the wound comes light.

And that's just the "Pestilentiam Intus Vocamus, Voluntatem Absolvimus" trilogy, or "Plague Within We Call, Free Will We Absolve." It may be a sign of the times, but if I demand to be crushed, you may as well make it sound like you're going to flatten me under a hammer. One that so happens to be smoldering redgreys and whitehots. Now if only they'd do a split with Antediluvian, I can finally give birth to some strange spiritual beast. Or at least cum blood, like I always remembered from that Cannibal Corpse song. Fuck.

Did I just mention Cannibal Corpse? Okay. Okay. Getting awkward. I'm going to go have a smoke.