Archive for April, 2013

B and G Podcast – Episode 4

Posted in Badass and Grimness Podcast, Heavy Metal, Interview, News, Prog, Viking Metal with tags , , , , , , , , , , , , , , , , on April 24, 2013 by Murderdeth

B and G Podcast – Episode 4

“Howdy Dicktits!” (Rumple Judas Clungeberry, 2013).

This week features, Get Dead or Die Trying by The Rotted and I Am Anonymous by Headspace as well as the triumphant return of the unsavoury entity we call Rumple.

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

Cheers

Murderdeth

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iTunes – Badass & Grimness Podcast
Twitter – @BadassnGrimness
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B&G Patch Watch

Posted in Black Metal, Merch with tags , on April 9, 2013 by Badass and Grim

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Pathogen – Miscreants of Bloodlusting Aberrations

Posted in Death Metal, Thrash with tags , , on April 4, 2013 by Badass and Grim

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I have a very dicey relationship with Death Metal, Death Metal is an audial mistress who does not permanently hold my metal interest. But sometimes, after repeatedly going home to Black Metal and growing tired of her repeated frosty sniping (it’s all “Kill for Satan” this and “You’re a worthless piece of shit who can’t even reclaim the nordlands in the name of the Æsir” that), I go out on the town. At first I try and meet up with my old buddy Doom, but turns out he’s headed out to the woods with Necrowolf to stomp around some iron age ruins, so after doing a few rounds of the block and a few rounds of white spirit, I end up back in the gore caked arms of my blast-beat harlot.

This time around the particular purveyors of sonic death are Pathogen, a four piece from the Phillipenes. Formed in 2001, they’ve forged their path to the present day on a path of cassette tapes, vinyl and CD-R. “Miscreants of Bloodlusting Aberrations” is their second full length release and the first to gain international distribution.

Before I get into the review it’s worth clarifying that my main beef with Death Metal in general is that of all metal subgenres it’s the one that I find the most jam packed full of mediocre, stock, album filler. There are some really outstanding acts as I’ve mentioned in past reviews, but there is also a lot of meh, and with so much out there to listen to the last thing I want is another 40min of the Cookie Monster and Co.
*Spoiler Alert* Pathogen completely avoid this trap, and drag their own furrow through a much trod wasteland.

We get rolling with “The Atrocity Exhibit”, and what’s obvious from the get go is that they’ve opted for a raw mix. This is fine, it works well within the context of the music and is probably a reflection of their history of releasing underground cassette demos with no option of squeaky clean digiclingfilm, and that’s the approach they’ve stuck with. What is also clear is that there are riffs (audience shouts “No Shit Sherlock”) but seriously, you’ve all heard DM albums which are just segmented blocks of shredded power chords. But not here, where there are frequent tempo and rhythm shake ups. Another tick off for reasons to keep listening. This track also features some beastly atonal descending guitar harmonies which are distinctive and make another appearance in later track “Leviathan”.

The prevalence of king riffage is also present during “Monolith”, with a super gnarly mid section which is then kicked into Slayeresque soloing and thrash background, further blending the offering stylistically. The next track drafts in sludge/doom elements, slowing right down as the Goremobile hits a swamp of filth, progressing through “Heretical Wisdom” in fits and starts as the tank treads find a bit of traction here and there before grinding through another verseload of grimness. I have to say that I found the album a little front loaded with less to look out for during the second half, but “Uranium Messiah” is a worthy closer, bringing together all aforementioned influences in a fusion of death, thrash and slower fist pumping lead breaks.

My criticism of the album has to be that for my tastes the mix could have been a little sharper at the top end and have had more depth at the bottom. The slow sections would have benefitted from the atmosphere that a bigger bass tone / reverb could have added. These are subjective style choices but for me that would have improved what are some really brutal pieces of writing. That aside this is an interesting release which finds its own way through the hoards of DM to offer up a reekingly fresh corpse of exhumed meaty goodness.

Deej

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Brudywr – A Full Stretch Of Night

Posted in Black Metal with tags , , on April 2, 2013 by Badass and Grim

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Despite sounding like another Welsh word for ‘rain’, Brudywr is in fact a solo project from the depths of icy Irkutsk in Siberia. Listed as playing ‘everything’, its sole member Stanislav ‘Brudywr’ Ambartsumov originally played in local death and old-school black metal bands before forming Morgana in 2000, where he turned from earlier influences such as Black Sabbath, Bathory and Darkthrone to the frosty and doom-laden tones of Burzum and Xasthur. After disbanding Morgana in 2004, Stanislav felt happier composing, writing lyrics and performing all the instruments himself under the name ‘Brudywr’, and has managed to create a rather tasty breed of lo-fi Russian black metal in the process.

The mention on Brudywrs’ page of mastering synthesisers as well as the one-man band approach initially provoked thoughts of prison-era Burzum, comprising more of atmospheric terror and possibly (in the case of Hlidskjálf) synth-folk bagpipe monsters. Having access to more than a keyboard has greatly aided the Siberian soloist, however, and the resulting tone is reminiscent of any full-strength band. The first track of eight, Empty Soul, begins with a suitably overdriven guitar riff that at first can seem perhaps a little out of tempo, but soon settles into a firm stride. Guitars layer upon each other like a tasty tremolo-picking sponge cake until the vocals and drums boot in at dead-on thirty seconds. The vocals are strangely reminiscent of Heart Of Winter-era Immortal; clean enough to hear the lyrics but still with the chilling rasp that is signature in Norwegian black metal. Throughout the album, the vocals grow more and more distorted, adding an interesting dimension when listened to in one sitting.

Living where winter is a slightly nippy -25C has certainly had an effect on the tempo of the album. Rather than defaulting to tit-kicking blast beats for every track, the drums offer plenty of variation like a battle through a blizzard. Some tracks drive through with a determined trudge like wading through waist-deep snow to the pub, where others reach firmer ground and pace ahead shouting at hungry ice bears to fuck off. After listening to earlier albums, the drums also sound a lot more natural and not with the slightly-too-clipped feel a drum machine can produce, though there are still parts where you can tell where one has been used. As for the synthesisers, these are used nominally to provide softer backing vocals or the odd touch of flair a lá Xasthur, and thankfully don’t turn the album into a post-blackened melodic pianowank as some newer bands appear to struggle with. A good example is at the start of the third track Autumnal Depression, where the dirge-like pace is echoed by chorused voices without being overly dramatic. When the vocals cut in with a gutteral and feedback-laden cry, it’s all the more effective for being so simple.

Call Of The Forest is another notable track on the album, if simply for the expert way in which feedback between the vocals and guitar tracks are managed. The vocals are distorted similar to those in Celtic Frost’s A Dying God, and bleed into plateaus of feedback that lead directly into brilliantly simplistic lead solos. There’s a wonderfully lo-fi feel to the whole album that suggests that it was recorded with tin cans and bits of string, yet the attention to detail and ingenuity in parts show how much effort had gone into polishing and improving his own work. It’s relieving to hear someone take inspiration from a fairly well-populated genre and then try to make something new out of it. If you have the time, I’d strongly suggest giving it a listen; though it’s hard to pin him down to a particular band or even style, Brudywr has produced something worthy of the title of black metal.

Venus In Binbags

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(NitroAtmosphericum Records, jamendo.org, BandCamp)