Archive for the Thrash Category

Best of 2013

Posted in Badass and Grimness Podcast, Black Metal, Death Metal, Doom, Heavy Metal, Thrash, Viking Metal on December 20, 2013 by Badass and Grim

Best of 2013

Watch out assorted denizens of the internet, we’ll shortly be making our return, and first up is our Top 9 Metal Albums of 2013 show!

Metal Eurovision 2013 – Part Two

Posted in Black Metal, Death Metal, Doom, Goregrind, Hardcore, Psychedelic, Sludge, Stoner, Thrash on June 18, 2013 by Badass and Grim


Tricifix – Monothist (death metal)

As with Eurovision tradition, some golden oldies are brought out when there’s no hope left to relive their wonder years. This bunch from Donegal formed in the late eighties, and the track is taken from their 1991 album Diurnal Decay. Mixing smoothly flowing bass lines with an intricate and thrashy approach to death metal, Tricifix are worthy additions to any early death collection.


Betzefer – Doomsday (groove metal)

From their 2011 album Freedom To The Slave Makers, this track nods to Betzefer’s influences of Pantera and late Sepultura while still maintaining an original sound. Proof that keeping it simple can be as effective as any uberwiddly solo, the chorus chant has a tendency to lodge in your head all day.


Murk – In The Kingdom Of The Dead (black metal)

From Florence in Tuscany, Murk bring a dissonant and haunting breed of BM. Vocals are a little too reminiscent of a comical Strepsils advert for my taste, though these improve as the song progresses. Guitar tone and tempo however are spot on. Taken from the 2007 album Unholy Presences.


Grondh – Bads (black metal)

Taken from their only album Necilvēks, not much has been heard of the band since 2011. The track hurtles in at a gallop rather than creating atmosphere, but the vocal style is commendable.


Dinozauras – Įpareigotas Maitoti (sludge/goregrind)

While seeming an unlikely genre, it’s certainly proof that in metal anything is possible if you hit things hard enough. Meaning ‘Obliged To Defile’ in Lithuanian, crushing drums and staggering riffs create a disgustingly brutal tone reminiscent of an explosion in an abattoir, and while the grind part is seemingly absent, the gore is definitely there. From their album Ecce Cruor!, released in 2012.

Macedonia (FYROM)

Furion – Queen Of Thieves (thrash)

Released in February of this year on their first full-length album Thrashing Folks, Furion have a solid style of thash that brings in elements of their native music with great effectiveness, seen best in the way the track boots back from an instrumental break into full headbanging glory. Even before this album release, Furion won a Battle Of The Bands contest and played at Wacken in 2009. Certainly one to get heads nodding.


Thy Legion – Sadism Through Holy Intervention (blackened death)

Playing at Chains’R’Us is certainly a good formula for a music video, but it helps if the music is good as well. These Maltese metallers certainly deliver, with machine-gun blast beats, effective vocals and catchy guitar riffs. Taken from Venerato Diaboli, released in 2010.


Caligo – Behold Ragnarok (one-man black metal)

Immortal-like vocals reside in tin-can style production quality, adding to the grimness of this great track from solo black metaller Caligo. Released in February of this year, it’s the second track off his demo album Residing In The Black Void, which also features a cover of Darkthrone’s ‘Skald Av Satans Sol’.


Zaimus – Under The Unholy Spells Of Night (black metal)

More black metal, this time with two members, Khamul and Asmodai. While relying quite heavily on just a few riffs throughout the majority of the track, the track has a pretty nice tempo to it, lyrics are pretty good, and programming adds something new, particularly at around five minutes in. Taken from their self-released EP of the same name.


Acid Deathtrip – The Aftermath (sludge/doom)

Wonderfully crushing sonic dystopia, complete with ’60s moustaches and boobs. A relatively new band, they released their first EP on the 18th of March this year. Describing themselves as ‘blasphemous boogie’ and ‘getting face-banged by nudist midgets under a pagan moon’ should give you some idea. One to watch!


Summon The Crows – Menneske (crust/death)

Renowned for its prowess at most other kinds of metal, it was hard to find something a bit different for Norway’s entry. Translating as ‘Human’, this track from crusty riff-jugglers Summon The Crows is short-lived but amazingly intricate. It is the penultimate track on their EP; since then they have made two more full length albums and a split with Deviated Instinct.

A close second came Dødfødt with ‘Krigen’.


The :Egocentrics – Mystic Initiation (psych/stoner)

A truly commendable effort, this song just builds and builds with some truly amazing tone. This stoner-psych behemoth is from their demo, and checking out their other releases is highly recommended for lovers of the overweight chub riff.


Камни (Kamni) – Bong of Satan (stoner/doom)

Taken from their 2010 EP, crushing riffs and some pretty awesome wah-pedalling make Kamni’s ‘Bong Of Satan’ a pretty damn good track. Vocals sound oddly like Ramesses pretending to be Phil Anselmo, but it fits the style they’ve created nicely.

San Marino

Nothing Inside Eyes – The Day Skies Fall On Earth (thrash/hardcore)

The ever-valued Encyclopaedia Metallum is often vital in searching for new bands, but unfortunately San Marino, a country of just over twenty-four square miles, turns up two results, both of whom had split up. One of those, Alchimia 2012, went on to create this band after departing, and the result is a pretty modern-sounding ‘core affair. Released in July of last year.


Putrid Blood – Kontraudar (thrash)

Meaning ‘Counterattack’ in Serbian, ‘Kontraudar’ has that rare quality of native-tongue songs that means once the words (or at least their approximate sounds) are learnt, it’s just as fun to chant along to as any other song. Even with Google Translates’ erratic guessing, the lyrical themes are pretty key to many other thrash tracks, and the riffs hammer them home well. Taken from their 2012 album Absolute Profit.


Somrak – Howls From The Devil (black metal)

Slovenian for ‘Twilight’ (though luckily no relation to a franchise of the same name), Somrak focus on Satanism and the occult as their inspiration, and between the four of the they’ve created some pretty good stuff, even if the vocals falter at times. Taken from the 2007 album The Abhorred Blessings.


Monkeypriest – Hanuman’s Dance (sludge/doom)

Breaking straight out with some Phurpa-style throat singing, ‘Hanuman’s Dance’ soon settles into a distinctly crushing plod, almost impossible to resist nodding along to. The opening track from their 2011 album, The Psalm, it sets both the pace and tone for the remaining six tracks brilliantly. It’s well worth listening to the album in one hit to get the full effect of it.


Soliloquium – Crossroads (doom/death)

From Sweden hail Soliloquium, a two-piece band from Stockholm. The band mixes atmospheric clean-sung passages with more brutal sections, similar to the style of Katatonia and October Tide, but still manages to remain unique and intriguing, using switches between both vocal styles and tempo to keep the listener’s interest peaked. Taken from their new album The Concept Of Escape.


Moonfrost – Cleanse (black metal)

With their name winning triple points in Black Metal Scrabble, Moonfrost bring this fantastically desolate track forth from the land of snowy peaks and traffic incursions. It has some brilliant instrumental parts at the beginning that lead back nicely to well-paced BM, but the piano sections at the end may lead some to turn it off early. From the album Starfall, released in December 2011.


Marauder – Atrophied King (thrash)

With a vocal sound akin to Australian thrashers Mortal Sin, this Kiev bunch throw themselves headlong into a superspeed thrash assault for just over two minutes. Short, but sweet. Taken from the single of the same name, which was released in February of this year.

Venus in Binbags

Metal Eurovision 2013 – Part One

Posted in Black Metal, Death Metal, Sludge, Thrash with tags , , , on June 9, 2013 by Badass and Grim

It’s been that time of year again, when countless screaming wannabes and several metric tonnes of glitter and sequin have been poured into a studio and left to simmer for two weeks in a bid to show everyone how lovely Europe can be when we’re singing and not kicking the shit out of each other or hunting cats for food. However, despite the best efforts of strange falsetto-singing Romanians and Thor in a dinner suit, it turns out that several people around the globe quite like kicking the shit out of each other and hunting for, if not cats, then at least the nearest bar. This is the B&G metal version of Eurovision, with enough grind, death, thrash, stoner, doom and black metal to drown out the sound of next door and their skinny-gin-and-tonic caterwauling. There’s a band for each country that entered this year’s spandex-fest, some of which you may have heard of. Some are resurrected, some no longer around, but in the fashion of the original show, hopefully most will be new to you.


Gverr – Sprained Instinct (prog-death)

First up are Albanian band Gverr, purveyors of prog-death and tasty basslines. Formerly known as Trout (?!), they blend an intriguing mix of old-school death and thrashiness with compelling guitar solos. Taken from their 2010 album, nothing has been heard from the band since 2011. Shame really!


Bokrag – Mental Sickness (death/melodic death)

Armenian metallers Bokrag bring at first a slightly more brutal flavour of death metal, with ample technicality and catchy riffs. Rasping vocals courtesy of Alex Amiryan lend a more sinister edge to it than conventional death growling, but the melodic section is quite surprising after the initial fast pace of the first few minutes.


Ellende – Von Vergänglichkeit und Trost (black metal)

Translated as ‘Of Transience And Comforting’, this track clocks in at almost nine minutes long, and while mostly instrumental paints a satisfyingly bleak landscape in native German and haunting cries. Taken from Rückzug in die Innerlichkeit, the four-track album is available on Bandcamp.

A close second was ‘Todesschrei’ (Death-Cry) by Dunstzorn. Taken from their 2011 Mein Inner Kampf, it has an appealing lo-fi dustbin-lid feel to the drums, and keeping things simple riff wise ensures that they lodge in your head all day long. The militaristic vocal style is a nice touch, too.


Fatal Nation – Lord Of Another World (crossover thrash)

Though spoken in broken Englishes, it’s certainly better than my Azerbaijani and is ten times more relatable than most Rihanna songs. A commendable effort mixing thrash with Eastern music influences makes for something quite unique.


Infestum – Void Of Nebulae (black metal)

Think Space Black Metal didn’t exist? Think again! These Belarusian black metallers use the gaping galactic maw as inspiration for fast-paced riffery, with synth and industrial tones to boot it into more suitably futuristic realms. Taken from the 2012 album of the same name.


Saille – Fhtagn (symphonic black metal)

This Flanders band have based their most recent album, Ritu, around the writings of H.P. Lovecraft with suitably epic songwriting to boot. Indeed, the name of the track is part of a phrase in the Cthulhu mythos, roughly translating as ‘Dreams’. The haunting guitar tones are backed by well-executed and menacing vocals, and orchestral parts are tastefully restricted to eerie choirs rather than listening to Moonspell drive off a cliff with a full orchestra in tow.


Enthrallment – Cane The Messiah With The Crook (death metal/grindcore)

Cookie Monster vocals and rapid-fire blast beats abound in this track taken from their 2008 album Immerse Into Bloody Bliss. Fronted by Ross Kemp’s Bulgarian twin, Enthrallment have been happily chugging away with Suffocation-style death metal since 1998.


Nekrist – Slava Satan (blackened death metal)

Unfortunately no longer with us, this track was taken from their final 2010 album Dux Deus, which is also their only full length album. It’s a shame, as their satisfyingly blasty approach to black metal (complete with key changes) would be a fine addition to playlists everywhere.


Sabbah Navahthani – Pions And Prutend To Omit (sludge/doom)

This track, taken from their self-titled album of 2007, is a veritable bowel-rumbling doom effort from Nicosia. Catchy riffs and rolling basslines are great to bang your head along to, and feature members from Great Coven and Eight Hands For Kali. The drummer, Tas, also played bass for Electric Wizard from 2008-2012.


Essence – Lost In Violence (thrash)

These Danish brutes have been dishing out Big Four-worthy thrash metal since 2005, and their new album, Last Night Of Solace, came out in March. This track, taken from the previous album of the same name, is pretty lengthy at nearly eight minutes, winding seamlessly through balls-out thrash and slower but beautifully intricate bass parts.


Talbot – Cayenne (stoner/doom)

Wonderfully crushing, Talbot also have a new album this year that came out in April. From their previous album Eos comes this little beauty, full of lead-laden tones and lashings of cymbal bashing.


Garden of Worm – Hollow (doom)

And for Finland…Lordi! Only joking. Instead come Garden Of Worm, named after a King Crimson song. This track from their 2010 self-titled album initially sounds pretty much like old-school heavy metal slowed down with a couple of tonnes of lead thrown in for good measure. Clean vocals have a fairly monotonous and dirge-like tone to them (which sounds better than it reads), which can make an interesting change to other similar-sounding bands.


Benighted – Slut (death metal with grind influences)

A genre not often seen, but you can really see it work at around thirty seconds in as precise blast beats marry perfectly with death metal manic shredding and growling vocals. Taken from the 2008 album Icon, this track shows influences of Dying Fetus and Aborted but still manages to sound somewhat original.


Bohema – Eternal Slaves (brutal death metal)

Another death metal band, this time a more brutal mix incorporating Sumerian mythology and mysticism, and some fairly intricate bass lines. Their new album came out around Christmas, but this track off their first album of the same name slows slightly more ferocity and inventiveness, and some bloody nippy double-pedal to boot.


Obelyskkh – Horned God (stoner/psych/doom)

Delivering a wonderfully rich and crushing tone reminiscent of Monolithian, this song is one of many delights found on their 2012 album Mount Nysa. Describing their band interests as ‘weed, acid, space, Captain Future’ etc. is certainly a good start for such a genre, but the all important wall of sound has certainly been perfected here.


Convicted – Merciless (thrash)

With a distinctly Rob Dukes Exodus-like tone to the vocals, ‘Convicted’ is perfect headbang induction material. Chugging riffs, war-cry lyrics and solid drumming make this and the rest of the self-titled album worth a good listen.


Grizzly – Dagon (stoner/sludge)

Free album downloads are always good, particularly when the music you’re getting is as well-written as this. These Budapest-based stoners mix crunching riffs with Orange Goblin-esque stoner, with the addition of extra sludginess. Taken from their 2012 album Fear My Wrath, available from Bandcamp.


Svartidauði – Flesh Cathedral (black)

Meaning ‘Black Death’ in Icelandic, Svartidauði use urban decay and more modern themes to bring about sonic destruction. Looming and oppressive, the sound they have created in this behemoth 11-minute track, and throughout the album of the same name, is a must-hear for lovers of ingenuity and the art of crushing terror.

Pathogen – Miscreants of Bloodlusting Aberrations

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

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.



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.



Nazgul Fest – Gig Review

Posted in Black Metal, Folk Metal, Gig, Prog, Thrash with tags , , , , , , , , , , , on December 4, 2012 by Badass and Grim

T’was a grim & frostbitten night in Exeter and I was drunk enough to objectively review some bands. Despite being named like a Lord of the Rings swinger’s party, Nazgul Fest promised to bring together some of the best bands of the South West, topped off with a Brummie garnish in the form of the mighty Anaal Nathrakh headlining. If I’m honest, I would have paid the ticket price to see them alone, but the chance to see some other bands of varying quality while drinking cheap lager was an attractive prospect that could not be passed upon.

If anything, the evening became an exercise in managing my expectations as that old enabler, The Internet, had led me to expect things that simply weren’t true. Cornish opening act Morgawr were a prime example of this, being described as folk/prog/black metal. Consequently, I was expecting some kind of musical shit-pasty filled with pennywhistles, half-arsed paganism and morris dancing. What we actually got was a many-headed metal beast that had taken the best bits of a multitude of genres and then blended them with frozen chords like an orthodox black metal frappucino. While they may seek to achieve too much with their bizarre combination of thrashing/chugging/grinding/tapping and sweep-picking, the band were clearly ecstatic to be playing somewhere outside of the Mighty Kingdom of Cornwall, and their enthusiasm carried their performance. Morgawr have their sights firmly set on the UKBM trail currently being set ablaze by the likes of Winterfylleth & Wodensthrone, and I see no reason why they won’t get there. Closing with their namesake track ‘Morgawr’, they somehow blended grim iciness with the crushing maritime weight and depth of Mastodon’s ‘Leviathan’. Oddly compelling stuff.

With all drinks in the house replenished, Cryostorm took the stage and immediately filled it with flailing hair and synchronised windmilling. As can be inferred from their name, they are techy, shreddy deathy young men, and the guy down the front with the Amorphis back patch loved them. As soon as they did the ‘over the top of the fretboard’ playing thing I wanted to dislike them intensely but goddamn it, I just couldn’t. Frontman James threw himself into the performance with the passion & enthusiasm of a skinny Andrew WK, and the whole band was visibly delirious with excitement to be supporting Anaal Nathrakh. As soon as they started throwing toy penguins out into the crowd as bribery for participation I was won over: Cryostorm do fist-pumping, headbanging, fretboard-melting metal. And make no apologies for it. Just add beer.



Monolithian were the first band of the night I was gleefully anticipating. Once again, I hadn’t heard much of them before but with their lineup consisting simply of 1x drummer & 1x bassist, Mr. Internet had led me to believe this would be a doom drenched riff fest at the pace of a crippled snail meandering through feedback. And it was until that first blast-beat kicked in…and then it was sublime. At their slowest, Monolithian are Electric Wizard on a bad acid trip, at their fastest they touch on Black Breath with utter bleak minimalism hailing Darkthrone. It’s aggressive, heavier than a bodybuilding elephant and at times it gave the headliners a run for their money in terms of sheer unbridled ferocity, especially when frontman Simon decided microphones are for losers and thrashed around howling into empty space. There’s something crushingly beautiful about the tone of one bass run through twin amps, and it’s a definite finger up to some of the other bands of the night who were dicking around with 7 and 8-string guitars to sound heavy. Meanwhile, drummer Shannon mercilessly battered her kit as if she had to destroy it to claim a new one on insurance by the end of the set. Astonishingly, the rage was kicked up a gear for their final song when they were joined onstage by a guest vocalist in the form of a drunk crust-punk gentleman who flailed around as if covered in invisible ants that were also on fire. I have no idea who he was, but after that set I was only just sure of who I was. Highly recommended, go and see them.



One more trip to the bar, and I needed it because Saturnian were on next. At this point, I want to make it clear that I bear them no ill-will and did not go in there prejudiced. You may be aware that Mr. Necrowulf has already reviewed them live for this blog and was not overly impressed: I wished to give them the benefit of the doubt and watch them with an open mind. After all, it seems they have been touring constantly since the summer, and I therefore respect them for their determination & work-ethic. Hell, even though symphonic black metal ain’t my bag, I still have the odd Dimmu album kicking around next to all my expensive leather-bound books. And just because I don’t appreciate something personally doesn’t mean it’s bad, I mean I enjoy Steam Rallies and Bargain Hunt for god’s sake.

However, that’s where my good will ran out. Seeing a bunch of corpse-painted chaps on stage blasting out symphonic black metal while a lovely young lady at the back belted out soprano operatic vocals, I couldn’t help thinking that Cradle of Filth were doing this ten years ago. Almost everything I saw, from the stage costumes & armour to the Nergal signature 7-string guitars, were things I had seen before being done by different people at different times. They’re tight live, they’re determined to get where they’re going and I wish them the best of luck, but they need to do something new and drastic to pull more people in.



After a few stretches & preservation prayers to my heathen gods, it was time for Anaal Nathrakh. There are few bands in the world that can pull off outright fury with such consistency and as predicted I had my ass handed to me. The final curveball of the night however, was that they opened with ‘In the Constellation of the Black Widow’ rather than any of the devastating new tracks from ‘Vanitas’. This seemed an odd choice, and threw a lot of the crowd who were too confused to try and throw each other through the walls/floor/ceiling outright. It was a bit like poking a sleeping tramp with a stick to see what he’ll do before setting him on fire, rather than just dowsing him in petrol and getting on with the BBQ. ‘The Blood Dimmed Tide’ followed immediately after and chaos duly erupted, extorted by the everything-deprecating banter of Mr. Dave Hunt. ‘I would discuss the inspiration behind the music for this next one, but you don’t care about that, do you?’ he lamented half bitterly, ‘You just want to get drunk and punch each other.’

‘Nathrakh may be unfortunate in that they’re caught in a neverending brutality spiral: how do you top the unrestrained aggression of each evening’s performance? They weren’t coasting in Exeter because they care deeply about their music and delivering it to self-imposed high standards, but this wasn’t a festival set in a new continent where they had to raise their game for a new crowd. This was a basement filled with 150 drunks on a rainy Sunday night. It was savage and met expectations, but christ knows where they go from there. If anything, the gig allowed Mr. Hunt to mess with the crowd to some extent, revealing that they were ‘going to play a fast one’ or that they were going to ‘mix things up a bit by playing a song about the failures of the human condition, because we never do that.’ ‘Pandemonic Hyperblast’ was missing from the set, but that’s probably for the best as it meant I didn’t have to go home via the hospital, which was nice. Anyway, for reasonable reasons explained in detail there was no encore and the set thundered to a cataclysmic conclusion, leaving shambling punters stumbling listlessly searching for missing teeth & fingernails before staggering off into the cold wet winter night. A quick chat on the offchance with Mistress stalwart Drunk revealed no plans for any upcoming Fukpig gigs, but watch this space. Nazgul Fest complete.


“Play a fast one”


B and G Podcast – Post Damnation

Posted in Badass and Grimness Podcast, Black Metal, Death Metal, Doom, Gig, Grindcore, Psychedelic, Sludge, Stoner, Thrash with tags , , , , , , , , , , , , , on November 29, 2012 by Badass and Grim

In this Post Damnation episode we discuss last months Damnation Festival in Leeds.

Featuring: Electric Wizard, Winterfylleth, Wodens Throne, Witch Sorrow, Vried and more.

Apologies for the audio quality at points.