Archive for March, 2013

Strangle Wank – Death Erection

Posted in Heavy Metal with tags , on March 29, 2013 by Badass and Grim


Write these boys off as a sub-Anal Cunt joke band at your peril, ʻDeath Erectionʼ is a towering phallus of concrete standing proud amongst a blackened steel wool pube forest. Formed from the tangled wreckage of all of the metal bands in Bournemouth, Strangle Wank appear to have achieved that delicate, sought after balance of crushing heaviness and soaring transcendence: the guitars & vocals are bang-on early Mastodon, while lingering chords here and there give it an etherial, floating quality reminiscent of a binbag caught in a tower-block updraft. Each mid-paced track takes advantage of being a pummeling slugfest through low-tunings, rather like a version of Meshuggah without the odd time signatures. While doing all of this, every song appears to be a straightforward ode to the simple act of jizzing everywhere, which is something to be applauded. In effect, Strangle Wank have achieved the considerable task of being a band you can take very seriously while still laughing your tits off. Bravo, gentlemen. Buy their shit on bandcamp because itʼs worth more than giggling at the track titles like a dribbling retard.


B and G Podcast – Episode 3

Posted in Badass and Grimness Podcast with tags , , , , , , , , , , , on March 28, 2013 by Murderdeth

B and G Podcast – Episode 3

Greetings to you all. Here’s you fill for this month so deal with it!

Featuring… Iron Monkey by Iron Monkey and In the Chapel Of The Black Hand by The Wounded Kings and Rumple’s appearance leaves much to be desired.

Please remember to subscribe on iTunes and follow on Twitter. Other social networks are available, links can be found below!




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Incinery – Nothing Left EP

Posted in Thrash with tags , , , , on March 26, 2013 by Badass and Grim


Fresh from the Midlands Metal Oven, Incinery offer up a delicious Thrash pie, oozing with meaty riffs and succulent shreddery, encased within crunchy drum pastry. Because youʼre a greedy flabber itʼll burn your face off. If you listened to it before double-fisting handfuls of it into your tubby gaping cake-hole, you will find a painstakingly constructed modern thrash EP, mixed and mastered over many many months and the follow up to something else they released previously. It opens with an early-Sepultura clean intro thatʼs been given a latin name to sound fancy (et tu, Dave Hunt), then builds progressively into punchy thrash attack ʻBehind The Liesʼ. Because it isnʼt 1982 anymore, vocals are of the angered Hardcore variety, complete with shouty sing-along chorus on ʻLegionʼ and which nails the Incinery colours to the mast as serious metal devoid of pointless falsetto shrieking. Throughout thereʼs the odd harmonised bridge but the chugging thrash riff is never neglected or forgotten, much like a nail factory that someoneʼs graffitiʼd some artistic boobs on. Likewise, solos are executed with precision and skill that stop short of any Dragonforce fretwank sweep-pricking. ʻNo Salvationʼ is perhaps the slugfest of the album (in the sense of battery rather than a night in my basement), with a little harmony at the end to keep it classy. Although titling the final track ʻNothing Leftʼ at first suggests an overpowering stagnant lethargy to close the EP, the pace is maintained and anger upheld to a shuddering post-solo climax.

All in all, Nothing Left is better than being hit repeatedly in the bruised, swollen testicles by a dead-eyed toothless Eastern European hooker with an out-of-date-phonebook, and also cheaper. Itʼs finely nuanced with articulate drum-fills, chugging riffs that deliver what they promise (i.e. Thrash), locked-in vocals passionately delivering thoughtful lyrics that arenʼt just about punching cows, and also thereʼs some bass. Hereʼs some criticisms though, because Iʼm not paid to like stuff because Iʼm not paid at all. On first listen a few of the tracks sound roughly the same, but for argumentʼs sake Slayer got away with that on Reign in Blood and now theyʼre big enough to routinely demand this: http:// . Itʼs not as outright catchy as previous release Dawn of War, but again, this isnʼt the Top 40 poop chart and youʼre not a teenage girl. Unless you are, in which case email me. Final criticism: 4 and a half tracks ainʼt much for a band that should really be looking to put out an album in the imminent future.

Letʼs face it though, checking out this EP would be a better use of your time than what youʼre currently doing, i.e. filling medicine bottles with smarties like theyʼre pills then necking them while crying needily on public transport because youʼre a hopeless twat who loves the attention. You can even get your hands on it old-school style by writing them a letter, or downloading straight from their facebook which means you donʼt even have to stop browsing your sisterʼs barely legal friendʼs holiday photo albums for titillating bikini snaps.

Even better – Because they live in a warehouse, thereʼs also a good chance youʼll be able to see them live for the price of a few beers or some pick ʻn mix; however, legend has it that pit-ups are standard for Incinery gigs, attracting only manly men from the steelworks and hot ladies. The interwebs says that tours & gigs are lined up aplenty, offering you ample gutter-vomiting opportunities if UK thrash is your particular cup of super-lager. Thrash or die.



Under Vultures / 466/64 – 10″ Split Release

Posted in Black Metal, Grindcore, Hardcore, Power Violence with tags , , , , , , , , , on March 14, 2013 by Badass and Grim




Under Vultures:

Formed in 2009, and hailing from Fuenlabrada, Madrid, Spain, Under Vultures deliver Grindcore with a Black Metal undercurrent. This record kicks off with a suitably grim sample “My life for hate, a vision dims…”, before hurtling into the first 16 minutes of the 10” which makes up the Under Vultures side of the split. The first thing to say is that for my taste these guys get the balance between the Grind and BM elements in their music right on the money. “Ions Inside” exhibits the discordant guitar harmonies of the far off frozen hinterlands before calling an emergency stop into beat-down territory, then the pedals back down for a race to the finish; that’s a lot to pack into 1:12 of song.

There are also some more straightforward Grindcore tracks, such as “Screwing Sickness”, “Trying to Avoid Death” or the brief 13 second double punch “And You More…” to keep those of you who prefer to have that pneumatic drill split your skull open unmolested by such heresies as song progression or tempo variation. However, the highlight is undoubtedly the three middle tracks “Where Life…”, “…And Death…”, “…Converge”, showing off the best of everything Under Vultures do. “Where Life…” is a minute of grim Nathrakh-esque bile, which dumps you into “..And Death…”. This a breakdown worthy of an on-site ambulance to deal with the quantity of snapped spinal cords and whiplash I foresee following its delivery. Finally “..Converge” jumps back into full speed Grind-mode. This a well executed collection of tracks which will appeal to fans of Dragged Into Sunlight, and you can look forward to another split release from Under Vultures later in the year through “The Path Less Travelled Records”.

If you’re a fan of grindcore definitely go and listen to these guys, there’s absolutely no excuse not to as this split is available for free on their bandcamp page ( They will be playing at Summon the Dead Madridfest II with other great acts including Mumakil later in the year, and will also be playing with French Blackened Noisecore act Nesseria.



Tip: If you search for 466/64 online the first suggestion you’re likely to get back from the google meta-brain is “7.28125”. If you are astute enough to add the qualifier “band” to your enquiry you will find almost jack diddley fuck, which is to say, these guys aren’t interested in you Liking their latest blog post / fashion parade / release from South African jail. What they are interested in is force feeding you bite sized portions of aural shrapnel interspersed with Spanish quotations and if you’re lucky some chunks of broken glass. The band bio that is available was in Spanish, and contained such revealing information as “one of the most powerful musical projects who have never seen the Canary Islands”. Intrigued yet?

The 15 tracks which make up the 466/64 side of this split are a mix of Grindcore/Hardcore and Power Violence (a genre pioneered by “Man is the Bastard” according to THE INTERNET). What you’re getting here is 12 minutes of convulsive violence which vacillates between bass drum barrages and punk laden riffage. The word that really comes to mind is chaotic, like a rabid dog who’s just eaten all the red skittles and has been thrown into a strobe lighted chicken coop. It’s not pretty but after 12 minutes it comes out filthy, covered in blood, sated but a little bit confused; very much like my ear drums after hearing this.


Overall I give this: 7.28125 out of 10




Hordes – II

Posted in Black Metal, Blackened Everything with tags , , , on March 8, 2013 by Badass and Grim


Hordes – II, the second tasty morsel from the latest grim offering out of Birmingham, sucks you even deeper into its depths than their previous release. This time recorded in their ‘studio’, i reckon its just the same lock up with a new porn mag in it, even surpasses their inaugural record in its nihilistic filth deliverance.

Opening track ‘Tooth and Claw’ begins nicely, squealing feedback paired with steady doomy drums intermixed with the even-better-than-the-first-EP screams of Duncan. You immediately feel that II has a much more measured feel to it than I, the frantic bare bone racing riffs of I have evolved, probably due repeated exposure to Special Brew, resulting in a darker and danker sounding records.

‘Parts Unknown’, begins where ‘Tooth and Claw’ left us, trempicked shreddings over relentless percussion but soon devolves into simply toms and tortured bellows. Whilst on paper it sounds odd, its perhaps one of my favourite moments on the EP, demonstrating a band willing to break out the traditional verse-chorus form and do what the hell they want. The song also ends on 40+ seconds of feedback and air raid sirens, what else do you need?!

The final track, morbidly named ‘I Have No Mouth and I Must Scream’, is the slowest paced of the 3 but no less effective in smacking you round the face with its miserable brutality. The various tempo changes throughout the entire EP continue to show how these guys can meld black metal and sludge together so well (necrosludge anyone?).

I’m thoroughly impressed with this EP and Hordes in general, from a Tweet I saw 2 weeks ago to a band I’m telling everyone i know about. Where II lacks in rawness of I, its slightly more measured approached has led to what i can only describe as the Brummie bastard love-child of Altar of Plagues, Twilight and Dragged into Sunlight and i fucking love it.



Hordes – I

Posted in Black Metal, Blackened Everything with tags , , , on March 5, 2013 by Badass and Grim


We live in a lucky world where you can just come across new bands at a drop of a hat. Gone are the days of sharing tapes of some DIY crust band your mate saw play some caravan park in ’92 or requesting your local record store buys in that obscure Icelandic acid noise jazz band you like. Whether its MyFace, Bandcamp or whatever else, the worlds music is literally at your finger tips. Which neatly brings me onto Hordes a band came across these guys following a tweet by Paul Kenney of Kroh & Devizes infamy.

Hordes are a relatively new 5 piece from Birmingham (where else!) pushing their own brand of blackened everything. Very kindly these guys have released both their EP’s as “name your price” want downloads.

Simply entitled I, and recorded in a lock up somewhere in Birmingham this release doesn’t fuck about. The opener, ‘All the White Crosses Stood In Rows’ is perfectly dark and foreboding, setting the EP up as something particularly grim. The next track, ‘The Darkest Conjuration’, forgoes any fancy intro and jumps straight into trem picked kvlt nastiness. A minute and half later Duncan joins the fast paced frenzy, screeching and wailing like a torture victim, displaying some of grimmest vocals I’ve heard recently heard. Simple yet damn effective the song progresses through slower, heavier moments but always returns to its black metal roots.

You could think the entire line ups changed with the opening notes of ‘Betrayer’, sludgy, down tuned filth but then you hit upon what Hordes do best, melding sludgy hatred with brilliant UK black metal. They switch comfortably between the two sounds and tempos, reminiscent of Dragged Into Sunlight’s ‘Hatred for Mankind’. ‘Betrayer’ culminates in a thundering BM sprint to the finish followed by the obligatory eerie clean guitar and obscure horror film sound clip, whilst not detracting from the track I don’t feel it really adds anything either.

The opening seconds of ‘Sadism in the Name of God Part II’ display exactly what this bands about, guitar volume audibly increasing and recording crackling. I’m not the biggest fan of traditional one man sitting in a cave hitting a biscuit tin black metal recording but the low-fi nature of I just marries so well with the music, no bullshit, no pretence just face sheering noise. More varied in its structure ‘Sadism’, pushes on the atmospherics and is no doubt a fantastic finisher for a live set, the languished guitars ringing out over pain filled howls in stark contrast to the frenetic riffs between these moments.

Hordes don’t mess about, there’s no solos or histrionics just ‘blackened everything’ and with an EP you can pick up for the price of a pint you’d be an idiot not to.



Let It Die – Let It Die

Posted in Hardcore with tags , on March 3, 2013 by Badass and Grim


Describing band interests as ‘melting faces’ certainly makes for a good first impression. At a shade over 12 minutes long, Let It Die’s self titled EP is an affable effort from the Kettering three piece, with cover art reminiscent of a bleak mountainside, desolate clouded moonscape or your mum. You can hear the progression from their 2011 demo album, both in the production quality (which is managed by Alex Smith, the drummer) and in the inventiveness of their riffs, though the demo is a highly recommended listen.

Not wishing to go into an EP too lightly, the intro song ‘Hangman Blind’ hurtles straight into rain, thunder and the bad heavy metal of the heathen bells, and a riff reminiscent of the start of Diamond Head’s classic ‘Am I Evil?’ so much that you almost begin humming the next part out of habit. No such luck, however – the meaty guitar notes ring solidly between each bell before driving drum lines help to punch out space for the vocals like the widening of a mosh pit before impending doom and a visit to the medical tent. Amply performed by experienced lung-owner Red Sismey, the lyrics are launched towards the earholes with suitable levels of venom and ferocity, gathering pace to explode at full gallop around 1:30. The combination of this along with hailstorm drumming and a disgustingly brutal guitar tone from fret-raper Ben Collins creates a sound that is almost impossible not to nod, stamp or punch things along to.

Instead of the typical hardcore barrage of nanosecond long songs, Let It Die is split like a tasty rage sandwich, with morsels of three-minute long filling peppered with fiery 30-second bouts of angry hot sauce. Each song by itself is something easily listened to, with the half-minute tracks a good way to navigate to memorable riffs, but the shortness of the album means that it is just as effective listened to as a complete song separated into chapters, much like Dragged Into Sunlight’s Widowmaker. It is hardcore, crusty and glorious like stolen trophy underpants, with the perfect balance of breakdown and fast-paced enthusiasm that makes it an ideal crowd-pleaser in live performances.

Through the monotone carpet-cleaner vocals of Red Sismey, the lyrics to the songs are applaudably original and well thought out. Rather than choosing the over-elaborate New Wave Of Masochistic, Capitalist, Bohemian Tosspot Mocking, or the more amateur ‘everything is shit and you are too’ approach to hardcore, Let It Die have instead chosen the Fukpig route. It is anger at the people who are making the world go wrong rather than blaming various classes or each other, as with the lyrics of ‘Funeral Of No Tears’ and ‘The Judge Is Guilty’, launched into life by a barrage of jutting riffs and driving snare attacks that bring worrying pace to venomous lyrics. If it weren’t for the duct tape, screaming “your mind is your only weapon” at the neighbour’s cat would make for an enjoyable pastime. The album is commendably more thought-provoking and enthralling for the trouble.

The band are currently writing material for an upcoming split with doom-mongers Monolithian, which is certainly something to look forward to if this EP is anything to judge them by. If you get a chance to see these guys live, go. It’s sure to be quite an experience.

Venus in Binbags