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Posts Tagged ‘Pig Destroyer’

Alright, folks, this is the first in a five volume series that is primarily about house-cleaning, but is also an attempt to keep myself honest.  Think of this, I don’t know, maybe like the ultra-shitty demo takes and ill-conceived Slayer cover a moderately-established band might tack on to a “deluxe” reissue of a debut album.  These early words about sounds from yours truly are, essentially, the reason the phrase “warts ‘n all” was made.

For the sake of journalistic integrity (quit laughing, that’s, like, a real thing), I have only made cosmetic alterations to these reviews, as found buried deep in the recesses of an external hard drive from seven years ago.

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Pig Destroyer, Terrifyer (2004)

Still terrifying after all these years

Grindcore has never been known for subtlety, and indeed, most of its purveyors would have it no other way.  With Terrifyer, however, the twisted nihilists in Pig Destroyer have provided an utterly convincing proof of grindcore’s continuing relevance and professionalism.  Building from the groundwork laid by 2001’s excellent Prowler in the Yard, Terrifyer lunges out of the speakers with confrontational intensity to grab the listener by the throat.

There is method to this madness, however – more so than ever before, as this savage trio has figured out how to incorporate into the speed and overall extremity of grindcore a plethora of muscular, memorable riffs.  Despite the fact that each song flows seamlessly to the next throughout the album’s 32 minutes of fury, what saves Terrifyer from being simply an exercise in brutal virtuosity is the conviction, precision, and feeling with which it is realized.  For as much as this album thrashes about with its grinding blitzkrieg, it just as easily falls into thunderous grooves, most notably on highlights such as “Thumbsucker,” “Sourheart,” and “Gravedancer,” the latter of which bursts out of the gates with a perfectly evil Southern rock n’ roll lick.  This diversity, coupled with the band’s obvious commitment to total aural destruction, results in an incredibly fresh sounding grindcore record.

On top of that, Terrifyer boasts a second disc which contains the single track “Natasha,” mixed as a DVD-Audio track in either Stereo or 5.1 Surround Sound.  Throughout its 37-minutes, Pig Destroyer alternates between brooding ambient passages with whispered vocals and various samples, and crushing sludge rock, at times bordering on doom.  This second disc, while staying true to Pig Destroyer’s monstrous spirit, further displays their desire (and more importantly, their ability) to broaden their swath of mayhem.  Add to all of this some appropriately disturbing artwork and vocalist JR Hayes’ equally brutal and beautiful lyrics (perhaps similar to what one might expect if Hannibal Lecter decided to front a grindcore unit), and it amounts to one brilliantly conceived and realized album.

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Rough.  Generic.  I know.  Stay tuned for more of these queasing shenanigans.

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One can hardly crack open any corner of the internet lately without being subjected to the annual rite of Wistfully Realizing That Summer Is Nearly Over.  That fact, coupled with the release this week of Iron Maiden’s latest album The Final Frontier (itself a potential wistfulness-fest in its own right), which seems to have been one of the more high-profile and highly anticipated metal releases of the year, has left me with that vague twinge.

You know, that “Ah, shit, 2010, it was nice to know you, but I guess you’re off to stay at that farm upstate where you’ll have all the room to run and play that we couldn’t offer you here at home” sort of twinge.

So, as a bit of a patch on this collective maudlin tendency, I thought I’d tally up some of the albums which are still slated to be released in this humble Year Of Our Narcissism 2010 for which I’m most excited.  This is by no means intended to be an exhaustive (or even particularly informative) list; this is just the stuff that I’m keeping tabs on, all sweaty palmed and fidgeting in my seat.
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– Blind Guardian, At The Edge Of Time.  The full-page ad I keep seeing in the magazines has a quote describing this as something like “ethnic and pure.”  Sounds a bit dodgy, but I’m just hoping “ethnic” is a poorly-chosen synonym for “folk-ish.”  A Twist In The Myth was a little dull for my tastes, so here’s hoping they spice things up.

– Venetian Snares, My So-Called Life.  Not metal, sure, but Aaron Funk has consistently put out some of the most intense electronic music of the past decade or so.  Plus, Detrimentalist was the fucking shit.

– Christian Mistress, Agony & Opium.  Classic NWOBHM tunes fronted by a Björk-esque singer?  Hell yeah.  Bring it on, 20 Buck Spin.

– Infernaeon, Genesis To Nemesis. Their debut from a few years back was more than a little shaky, but I’m hopeful for this one.  Sure, this is unlikely to be the second coming of Nocturnus’ The Key, but hell, there’s a lot more room in death metal for keyboard experimentation than in black metal.

– Cephalic Carnage, Misled By Certainty.  Cephalic Carnage have always seemed like the quintessential Relapse band to me.  I know they didn’t pioneer the stuff, but their widdly death/grind/tech/whatever whirlwind tends to satisfy like lemonade on a sweltering summer’s day.

– Black Anvil, Triumvirate.  Pretty psyched for this, and you should be, too, if you’re looking for an updated take on Darkthrone’s mid-period crust-covered Celtic Frost-isms.

– Unearthly Trance, V.  The upward trajectory of this band has been astonishing over their past four albums.  Electrocution was a pitch-perfect distillation of what it seems like they’d been working toward all-along, so who knows where they’re going next?

– Melechesh, The Epigenesis.  Melechesh have lately been everything Absu quit being a while back.

– Drudkh, Handful Of Stars.  Drudkh’s form has changed deceptively little over the years, leading some to interpret that as stagnation.  Listen carefully to the last few records, though, and you’ll hear the results of slight tinkering to an entirely unique sound.  The prominence of bass on Microcosmos alone should have signaled that no matter how hateful the forests these Ukrainians haunt, they’re deadly serious.

– Salome, [Title Still Unknown].  Profound Lore has been dropping some tasty hint-morsels lately about this album.  Vocalist Kat added the third prong to Agoraphobic Nosebleed’s triple vocal attack on lats year’s Agorapocalypse, but hearing her vocals attached to scathingly crippled sludge is another thing altogether.

– Torche, Songs For Singles.  Rumor is, the record’s too short, and maybe also too awesome.  Blown off as pop metal by plenty of those who don’t realize that Torche combine some of the best attributes of pop and metal, meaning maybe the epithet’s actually a back-handed compliment.

– Enslaved, Axioma Ethica Odini.  The title seems like a Latinized version of “The Ethical Axioms of Odin.”  Presumably that gives just as little clue to the musical contents as the Latin version, though.  This is one of my most feverishly anticipated records, though; Enslaved have been completely unstoppable to this point.

– Krieg, The Isolationist.  Okay, so I really dug The Black House, but thought Blue Miasma was uninspired and dull.  Adding Leviathan’s Wrest to the band (on bass) is more than sufficient to pique my interest, though.

– Cradle Of Filth, Darkly Darkly Venus Aversa.  Wow.  This may actually be a worse album title than the new Enslaved.  Plus, it’s Cradle Of Filth, so any credibility I may have had is likely a shredded mass of bloody pulp by now.  But you know?  I still kind of dig Cradle Of Filth, and Godspeed On The Devil’s Thunder was light years better than most of their recent tripe.  So, y’know: Fuck off.

– Therion, Sitra Ahra.  Here’s to hoping that bringing things back to a single-disc release can bring slightly more focus than recent efforts.  Sure, Sirius B / Lemuria worked well in tandem, but given how good just the right amount of Therion is, too much Therion is a headache-inducing proposition.

– October Tide, A Thin Shell.  More gloominess, please.

– Sailors With Wax Wings, Sailors With Wax Wings.  Pyramids side-project with tons of unexpected participants and collaborators from throughout the metal world?  Excellent.

– Kylesa, Spiral ShadowStatic Tensions was one of my favorites from last year, so I’m pretty psyched that they’ve already got a new album coming out late October.

– Vulture Industries, The Malefactor’s Bloody Register.  Slightly off-the-wall black metal from a who’s-who of mainstream underground (it’s a fine, confusing line) Norwegian black metal.  Not for the ‘true’, likely, but true for the rest.

– Virus, The Agent That Shapes The Desert.  I did a little plug for this upcoming album a little while back.  I’m hoping the band can get enough pre-order support from all you good folks out there in Awesome Metal Appreciation Land to make this a 2010 release.  Fingers crossed, then…

– Aborym, Psychogrotesque.  Completely fucking no joke, a few days ago I was posting on Twitter about how I was hoping to see some new music from Aborym someday soon.  Lo and behold, maybe the very next day or so comes through the news item that they’ve got a new album coming out this year.  Shit!  Generator trimmed back on some of the detrimental excess of With No Human Intervention and cranked out some seriously deranged black/industrial anthems.  That title’s a bit shit, but still my soul hungers for the bleakness.

These last few are already out in Europe, to be fair, but I’d really love to see them picked up by a U.S. distributor rather than paying import prices:

– Ondskapt, Arisen From The Ashes.  Last one was a beast.  Make this one beast-ier?

– Kvelertak, Kvelertak.  Everything I’ve read about this band has made me want to drink some beers and crank the record.  And yet, if I am forced to pay import prices for it, I will have no money with which to drink some beers.  An existential conundrum if ever there was one.

– Winterfylleth, The Mercian Sphere.  Their debut full-length The Ghost of Heritage was quite impressive, but had a few too-ragged edges.  Here’s to hoping they’ve smoothed out in all the right places.  Still, these guys and Wodensthrone are making an awfully compelling case for an English black metal renaissance.
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So, as you can see, friends, it looks like there’s still plenty to be looking forward to this year.  And that’s just counting the ones that I’m actively looking forward to; who knows how much metallic gold remains to be mined with everything I’m sure I’ve forgotten or overlooked?  Embarrass me with the breadth and exquisite sheen of your “Most Looked Forward To’s”

Oh, and I know I can’t include them here, but Devin Townsend has been hinting that the last two albums of the…quadrilogy (?) will both be released in March.  So, sorry, Ghost and Deconstruction, but I can’t put you on 2010’s list, even though I am milliseconds away from pissing myself with glee as I type.

Plus, I keep hearing random whispers about expecting a new Pig Destroyer one of these days, but nothing definite yet.  I mean, I keep prowling all over the damn yard, looking for something new with which to terrify my phantom limb.

My bones quake with the sickness.

The world is a frightful place, and hope the only salve.  Heavy metal for the common good.

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Nails, Unsilent Death (2010)

Quiet Unlife

Okay, sure, so Nails may be one of the more hyped bands of 2010.  Thing is, I was pretty much oblivious to all that hype, and just stumbled across this album at the record store a few weeks back.  I had just read the news item that Nails had just signed to Southern Lord and were going to be reissuing this album, so I figured, why not pick up a copy of the Six Feet Under CD issue?

Holy shit, does this record smoke.  I suppose the complaints about calling a 13+ minute release a ‘full-length’ are valid, but they sort of miss the point.  And in fact, when these dudes get around to putting out another release, I think that will be the real test of their skills, because while this release is nearly perfectly crafted for its running time, it remains to be seen how this sort of material will be handled over a longer expanse.

Stylistically speaking, this record takes a little bit of everything nasty and grimy, throws it in a concrete blender, and lobs noise grenades unmercifully in your general direction.  Sure, it’s a bit grindcore, but more like old Napalm Death grind (circa From Enslavement to Obliteration, say) than any of the more modern crop of death/grinders (Pig Destroyer, newer Brutal Truth, Disfear, maybe even fellow Southern Lords Black Breath, and so forth).  It’s also a little bit crust, more than a little bit hardcore (this is Todd Jones, ex- of Terror, after all), with a bit of bruising sludge tossed in the slower parts of the two lengthier tracks on display.

Listening to the album, though, doesn’t make it sound quite as much like a convoluted mash-up as I’ve just described it.  One of the greatest things this album has going for it is its sense of fluid motion.  The three-piece careens from one song to another with great finesse, while keeping the whole affair swathed in a gooey, rattling production, rather like fighting with a badger inside of a dumpster.  They also use guitar feedback quite effectively, either in tight, staccato bursts, or as a way to transition between songs.

Also impressive is their ability to write actual songs, even crammed into 30 or 60 second bursts.  “Scum Will Rise” is one of the most effective tunes on here, blasting through an identifiable verse-chorus structure before locking into a pummeling breakdown for its final ten seconds.  It’s precisely the sort of breakdown that metallers lacking in self-confidence might look askance at, but it’s still far from hardcore thuggishness, so breathe easy, friends.  No one will look down on you for stomping around like a maniac.

The guitar tone verges on the classic Swedish death metal sound, but it twins very nicely with the thick, dirty bass tone.  In terms of composition, the bass typically follows or doubles the guitar, meaning the songs aren’t generally very intricate, but exceedingly powerful and driven.  The title track is a nice example of this, with its sullen, stomping death march feel.

I do hesitate to describe this as grindcore too much, but “Scapegoat” definitely shows Nails at their most Nasum-esque, while a song like “No Servant” is a bit more straight-ahead hardcore/metal with a slightly Slayer-ish guitar solo.  Closing track “Depths” might just be the best one here, with its doomed-out opening riff playing like their own filthy version of Black Sabbath’s classic tritone.  The tune later breaks into some classic d-beat drum patterns, and eventually sludges its way to an equally doomed-out close after wrecking nearly everything in its path.

The album has a very nice sense of symmetry in its ‘sides’, with each batch of five songs blasting through four short, fast crust/hardcore/grind/death/whatever tunes before closing out with a longer, sludged-up capstone.  I’m a sucker for this sort of thing, as it gives the album a sense of thoughtful unity, rather than just a bunch of pissed-off tunes slapped together.

All in all, this is some fierce, filthy noise, and Nails are definitely a band to watch.  As I said above, I’ll need to see what they can do on a 25 to 35-minute release before I’m thoroughly convinced, but Unsilent Death is ample cause to be excited for whatever it is that Nails do next.

Overall rating: 78%.  Nothing much new, really, but sure as hell kicking the shit out of the old like it’s going out of style.

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