Archive for October, 2012

Ufomammut – Eve

Posted in Doom, Psychedelic, Sludge with tags , , , , on October 22, 2012 by Badass and Grim

First and foremost I’ll own up that I was pretty late to the Ufomammut party having only discovered their 2005 release ‘Lucifer Songs’ late last year but in that brief time the experimental Italian trio have grown on me immensely. Marrying psychedelic, sludge and doom isn’t genre defining but Ufomammut manage to stitch it all together in a pretty unique way, seemlessly blending heavy usage of samples and electronics without ever losing that sheer weight of the riff.

So ‘Eve’, just one track measuring an epic 45 minutes in length that takes us through a psychedilic journey about the first woman of Earth and her rebellion against her creator after he gave knowledge to Mankind, as far as concept albums go its pretty out there. The track is divided up into 5 distinct movements, moving between crushing crescendos of sheer volume to sample driven soundscapes, some of which wouldn’t be out of place in arthouse films.

Personal highlights include 22:00, where Poia’s riff begins relentlessly punching forth after the previous 5 minutes of rhythmic build up and 38:15 where the entire band begin to weave a maddening sludgy walts bringing this opus to a conclusion and leaving us with beautiful feedback and a rather insidious sample.

I’d stress though this isnt something you’d pop on for a quick listen, this is a piece of music that deserves the full 45 minutes, a comfy chair, maybe a beer or whatever else you enjoy and most importantly attention. This journey and whether you buy into concept or not you will always be getting an experience and beyond that slabs and slabs of riffs just like Mama used to make.

Necrowulf

Anaal Nathrakh: Vanitas

Posted in Black Metal, Death Metal, Grindcore with tags , , , on October 18, 2012 by Badass and Grim

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I have to declare an interest from the start, I have been anticipating this album for the past few months and have been a massive fan of this band ever since “When Fire Rains From The Sky…”. So apologies if you wanted something clinically objective here, I can’t do that with this band. Anaal Nathrakh are arguably the most potent force in extreme music in the UK and even the world, eschewing any specific genre, mixing elements from Black Metal, Death Metal, Grindcore to name the most obvious starting influences.

Vanitas is the Latin root of the modern word “Vain”, although its original meaning is closer to the word Futility as in ‘To act in vain’. This is also the title of an artistic movement of the same name which often focused on the fleeting nature of our existence, with paintings of cadavers, rotting fruit, a hoard of possessions after the death of their owner. Well it may be a few centuries off but this album certainly fits that bill.

Dave Hunt’s vocals are as ever a great mix of effects, at times ferocious, at others sounding like he’s being dragged backwards through a meat grinder, as well as the signature operatics which ascend out of the chaos. Guitar-wise there is no dip from the usual high standard, interestingly during the first track “The Blood Dimmed Tide” there are hints that the soul of Mistress still inhabits this beast somewhere, with some really dirty riffs present.

As with all my favourite albums, these songs make the hair stand up on the back of my neck and remind me why I love this genre so much. These guys will turn you into a misanthrope, with a Nietzschean despair at humanity. ‘Thus Spoke Zarathustra’, but not soon enough, and we are living in the nightmare of ineptitude that is left, Forging Towards the Sunset in vain. This is the musical equivalent of a book club run by Nietzsche, Ortega Y Gasset and The Marque De Sade.

Most Nathrakh albums have a curve ball moment, on Passion is was the truly insane “Tod Huebet Uebel”, this time around it has to be as I passed 1 min 2 seconds into “Metaphor for the Dead” and pretty much did a double take in the middle of the street as the chorus kicked in and I realised I was listening to Vesti La Giubba (Put On The Costume) from the opera Pagliacci. This is well executed musically, but thematically the choice is inspired, taken from a point in the opera where the clown internally weeps at reality but must mock and laugh on the outside; fitting perfectly with the mission statement expressed in an older interview with the band,

to write music not to horrify, but because they are horrified by the human condition.

Thus Spake Dave Hunt.

Deej

The Badass and Grimness Podcast – Pilot

Posted in Badass and Grimness Podcast, Black Metal, Death Metal, Doom, Hard Rock with tags , , , , , , , , , , , , , , on October 17, 2012 by Badass and Grim

Well Guys,

As promised earlier here is the Pilot episode of the Badass & Grimness Podcast.

Apologies in advance for and poor quality, mistakes and general cock ups, but it is a pilot episode so let us off for now.

In this episode: Nile – Ithyphalic, Electric Wizard – Witchcult Today, and Dark Frotress – Ylem.

[audio https://badassngrimness.files.wordpress.com/2012/12/bg-pilot-copy.m4a]

Let us know what you think and we might do more.

Cheers

Murderdeth

The Badass and Grimness Podcast

Posted in Badass and Grimness Podcast with tags on October 17, 2012 by Badass and Grim

Exciting news, we’ll be releasing the pilot of the new Badass and Grimness Podcast into the wild later today.

Each episode we’ll be picking three older albums we both enjoy and attempt to be informative and entertaining.

New Badass and Grimness media hint!

Posted in News on October 14, 2012 by Badass and Grim

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Enslaved: RIITIIR

Posted in Black Metal, Prog with tags , , , , on October 12, 2012 by Badass and Grim

Black Metal is often seen as a style of music which is introverted and hostile to innovation, with little tolerance for those who stray too far from the accepted archetype. While this is not altogether untrue, there is another side to the genre, one which stands on the borders of Krieghelm, surveys the ripe territory of neighbouring artists, and thinks “Domination”. This side unleashes its unholy hordes on the unsuspecting plains of Prog, Post-Rock, Industrial et al, and remakes them in its own sinister image in a cruel and mighty mockery of these imperiums’ former masters. Sort of like Lord of the Rings. Ok, ok, I’m getting to Enslaved.

Ever since 2001‘s Monumension Enslaved have steadily expanded the progressive element in their music, and have forged a truly unique sound, not just distinct from other bands but with each successive album possessing a character all of its own. I have always found these to be growers, requiring my patience and perseverance, but also as having a massive pay-off for that. My first encounter with the band was 2008’s Vertebrae, which I got completely sucked into for the next two months, always finding something new with each successive listen. RIITIIR is no different in this regard.

The tracks on this album are huge (the shortest song is 5:26) without becoming stale or boring, with a practised timing, moving on from each musical idea before it becomes repetitive. The band give themselves plenty of space to explore new territory with some melodic passages which won’t be a surprise to anyone familiar with their previous two releases, while retaining an extreme undercurrent (if at points you are lulled into dropping your guard and forget who you’re listening to you’ll be rewarded with an obsidian mace to the face as Grutle screams razor-blades at you).

High points include “Thoughts Like Hammers”, “Roots of the Mountain” and “Riitiir”, although with most progressive music this album is all of one piece, and is best enjoyed as the sum of it’s parts. Although I wouldn’t recommend this to those into more orthodox manifestations of BM, this is well worth exploring if you enjoy something you can get your teeth into. Enslaved still sit high on the black throne they have built over progressive music.

Deej

Orange Goblin: Eulogy for the Damned

Posted in Hard Rock with tags , , , , on October 3, 2012 by Badass and Grim

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Orange Goblin have, over the last 12 years proved that if it ain’t broke, don’t fix it!

From the first drone of feedback on ‘Scorpionica’ from their 2000 album ‘The Big Black’ to the single ‘Some You Win, Some You Lose’ from 2004s ‘Thieving from the House of God’ all the way to their latest offering ‘A Eulogy for the Damned’ Orange Goblin, to me, have been the sound of true modern British hard rock.

As a guitarist, the tone on ‘Save Me from Myself’ or ‘The Fog’ is something that you can search all your life for. The riffs and solos easily match the feel, melody and chunkiness of ZZ Top or any of the great Tony Iommi’s finest work and have the structural solidity of Led Zeppelin or Deep Purple but still retain their own refreshing originality.

Millard and Turner (Bass and Drums respectively) lay down an iron clad foundation so that the relentless riffing and tone can continue through the entire album. All of which is augmented perfectly by Ben Ward’s raw vocal style serve to remind of when music was not injection moulded, plastic wrapped and force fed to the listener via phone in vote.

Along with the likes of Electric Wizard, Viking Skull and Motorcity Daredevils it seems that British rock is not something of the past.

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See you later shit lords.

Murderdeth