Tuesday, July 10, 2012

Hard Day IV

Tuesday is, in my opinion, the hardest day of the work week: you're no longer energized from the weekend like you were on Monday, you aren't clearing the hump like on Wednesday, and the approach of the weekend isn't tangible like it is on Thursday and Friday. Tuesdays, thus, are fucking hard. And so, in commemoration of surviving Tuesday, every Tuesday I will post something that is hard. I would explain what I mean by hard, but I'm tired and I think that these videos will speak for themselves. Remember: THIS DAY IS WORTH LIVING.

Freddy Cricien-"Y Que?"

Hardcore artists doing rap can end badly; see Rick Ta Life. However, I will admit that I was pleasantly surprised by Freddy Cricien's rap output. His flow is good, his command of Spanish is exceptional considering that it's not his first language, and most of all, the song has a catchy beat to it that makes it quite infectuous. It's good when artists can shift genres so seamlessly; obviously, Madball should continue to be Cricien's main concern, but this is an avenue I wouldn't mind him exploring more of. And, of course, seeing as how it comes from the mastermind of Madball and one of the founders of DMS, it's fucking HARD.






Tuesday, July 3, 2012

Hard Day III

Tuesday is, in my opinion, the hardest day of the work week: you're no longer energized from the weekend like you were on Monday, you aren't clearing the hump like on Wednesday, and the approach of the weekend isn't tangible like it is on Thursday and Friday. Tuesdays, thus, are fucking hard. And so, in commemoration of surviving Tuesday, every Tuesday I will post something that is hard. I would explain what I mean by hard, but I'm tired and I think that these videos will speak for themselves. Remember: THIS DAY IS WORTH LIVING.

Day Three: Гарри Топор - "Каин"

Okay, so today was really not that hard for me, as I am currently on vacation.  That said, I am sure it was hard for all of you wingnuts who have to work in the brutal-ass climate change apocalypse heat that is now engorging the U.S., so we continue with the series regardless.  As I am currently in Eastern Europe, here's some stangry Russian rap from a guy who sounds very angry about something I cannot understand, as I don't speak Russian.  He will probably grow up to either shoot Krokodil or get shot by the Mafiya.  Maybe he'll make a sequel to "3 Guys 1 Hammer."  Either way, this is unpleasant rap from a region whose rap doesn't get enough love, and, as always, it's fucking HARD.



Tuesday, June 26, 2012

Hard Day II

Tuesday is, in my opinion, the hardest day of the work week: you're no longer energized from the weekend like you were on Monday, you aren't clearing the hump like on Wednesday, and the approach of the weekend isn't tangible like it is on Thursday and Friday. Tuesdays, thus, are fucking hard. And so, in commemoration of surviving Tuesday, every Tuesday I will post something that is hard. I would explain what I mean by hard, but I'm tired and I think that these videos will speak for themselves. Remember: THIS DAY IS WORTH LIVING.
Day Two: Thell Barrio-"Mi Verdadera Familia"
These guys are basically what Brujeria would be like if they were actually Mexican and played beatdown hardcore.  I'm not sure how "legit" they are, but given their improvised gang garb and the fact that they were able to get an entire barrio neighborhood out for the video, it seems likely that these guys are for real.  Angry, confrontational, willful, and unwilling to take shit: in other words, the perfect track for a hard-ass Tuesday.  Also, this is one of the few beatdown tracks to get breakdowns, pig squeals, and a false ending right (hint: one goes about such appropriately and judiciously).  By 2:40, you're about ready to spin-kick the wall into oblivion.  It's worth hearing just as an example of how to do tough-guy hardcore the right way.

Sunday, June 24, 2012

Endless Abyss



This is the only album of Blackthrone, a Kentucky black metal project courtesy of the prolific recluse Timpaler from the mighty Astrum and Kosmokrater.  It's decidedly crude and very, very, very lo-fi, but thankfully it's one of those releases where crudeness and blurry production are a definite asset.  Minimal, repetitive, and more than a little spooky, this is an album for late hours and dark houses.  If you like Les Legions Noires or Ildjarn, this should be right up your alley.

Enter the Cosmic Black

Tuesday, June 19, 2012

Hard Day 1

Tuesday is, in my opinion, the hardest day of the work week: you're no longer energized from the weekend like you were on Monday, you aren't clearing the hump like on Wednesday, and the approach of the weekend isn't tangible like it is on Thursday and Friday.  Tuesdays, thus, are fucking hard.  And so, in commemoration of surviving Tuesday, every Tuesday I will post something that is hard.  I would explain what I mean by hard, but I'm tired and I think that these videos will speak for themselves.  Remember: THIS DAY IS WORTH LIVING.
 

Day One: King-"Murder Murder Murder"


These guys are a beatdown hardcore band from Flint, Michigan, the poorest city in America and one of the leading cities in terms of homicide rates.  They're also the real deal: a friend of mine attending on of their Flint shows was forced to take his band shirt off for fear of being shot, as the band had become mired in the crossfire of a recently-erupted gang war.  This video isn't coy, it's not bombastic, it's not clearly a bunch of rich kids trying to act tough out of boredom, enlarged egoism and a sense of entitlement.  King is fucking REAL, a point which this video gets across really well.  They're also fairly unique as far as tough-guy bands go: in particular, the vocalist's technique is unconventional in the best way, his occasional spoken passages coming across as quite spine-chilling.  This music is inspiring without being hopeful: there's no hope, and where there's no hope, there's no fear and nothing to lose.  In other words, the perfect music for the hardest day of the week.

Maryland Deathfest Is Decadent And Depraved, Part Conclusion


Day 4

That damned Richard Street-Jammer!  That miscreant Donald Mulligan!  That bastard child of the great state of Ohio Josiah Szekler!  The gall, to simply sit there and play video games in air-conditioned comfort while their strength returned when we could have gone to the venue and further exhausted and debased ourselves in record heat surrounded by the foul stench of a thousand metal sausageheads whilst watching obscure hardcore bands!  Again, the kill instinct took over, but now I had to hold my fists even tighter, for the luck of the Irish was on the side of Dr. Dick-Jam and Don whilst Szekler was so tough that he had once gone to Flint, Michigan with the intent of going to Flint, Michigan.  They’d kill me instantly, Dr. Dick-Jam taking my skull to fashion into a crude goblet from which to drink IPAs out of while listening constantly to the dulcet tones of Twisted Tower Dire, Mulligan using my intestines as stage props, and Szekler selling my kidneys on the Toledo black market to augment his status as DMSDSU Crew Crime King of Toledo Ta Life (feat. Lord Ezec).  I could have tried calling Black Kat Killian to convince her to come over to dispatch the miscreants with a single glance, but chances were she was busy popping Dom Perignon with Wino and Liz Buckingham and thus hadn’t the inclination to bother to help out a single puny mortal such as myself from such a dire predicament.  I could only sit in anger as they squandered my time doing foolish things like relaxing and enjoying themselves and being sociable. No exit, no escape.  Still, we made it in time for Disma thanks for once to Dicky’s errant street-jamming, and Szekler had the foresight to wear his polka-dotted party pants that made him look like a Zouave in the Metal Legions (no amateur at the art of partying he).  It was a good gesture of reconciliation, and I forgave him as much as I could.  That Szekler’s a charming sociopath, all smiles and manipulation behind that handsome stubble.  Beware of him, o ye who find his slyly smiling Latin mug in your path, for he will lead thee down the road of temptation and with it desolation in emptiness.

Disma was hot.  Fucking hot.  Have you ever stepped into a room dominated by a brick oven, perhaps in an adobe dwelling in the Southwest?  Maybe you’ve  tried cleaning the engine on a ’54 Chevy in the dead dog days of August.  This was hotter.  I could feel waves of perspiration flooding across my person: no remorse, no escape.  There was no safety here, just heat and more heat.  As much from the band as from the cruel Baltimorean suns or the languid asphalt: Disma is not a small group.  Perhaps a wrestling match should be arranged between them and Crowbar in the ancient Japanese style of sumo.  Skill counts for nothing, only heft and gumption and the willingness to crush one’s enemies, see them driven before you, and hear the lamentations of their women.  This is not to say Disma lacked skill, however: three songs in and, in spite of the heat gently roasting upon my back, I was crawling along the slow-motion pit like a sandcrawler, a violent moshpit champion slowed by the sheer brutality of the merciless sun.  Perhaps we were a clade of modern-day Sufists, swaying methodically, meditatively in a virtually Anatolian sun to the paced rumblings of the band set before us.  Revolving around in a circle pit is only a single world removed from the singular spinnings of the mystics of Islam; perhaps Jung was right about his archetypes, all the same the world over, just bastardized to various degrees by the tyrannies of culture forced by the hand of geography.  The Sufist metaphor would likely not appeal to Craig Pillard, however.  Many have argued that he’s left his Nazi days behind him, which I can safely reported is not true in the slightest.  A Sig rune on your elbow, an Iron Cross worn proudly about your neck, and camouflaged trousers are not the garb worn by one attempting to dispel allegations of Nazism, especially when such allegations have not been officially refuted.  That said, at least Pillard’s one of the nice fascists: “Stay cool everybody, stay hydrated!” he announced pleasantly, a nice smile on his face like a master-race Little League coach.  These were his fans, his team, and he wanted them to play well but ultimately have fun (except for the ones that weren’t white, but maybe he was too hot to split racial hairs).  What a nice guy.

And still the idiots mosh.  Saint Vitus: a band universally known for its slow, Sativan plod, its almost gentle waves of fuzz loosening your muscles as Wino turns the good trip bad with his dire proclamations of addiction and loathing.  It’s not a moshing band.  You can’t dance to it.  You can only nod your head in approval, moving rhythmically in time to each chord from Dave Chandler’s axe like a marionette who finds himself trapped in a Jan Svankmajer nightmare.  And yet the troglodytes don’t get it.  They begin simply, aping that fat fucker Messiah Marcolin in doing a wide-gaited “doom dance.”  This is acceptable.  Trying to begin to mosh at that speed is not.  It’s moronic.  It reeks of degeneracy.  And these were goddamn degenerates, make no mistake: it was if all the scum of Maryland Deathfest had floated to the top of the crowd like a soup set to full boil.  A huge Nazi in a Marduk shirt swung his arms wildly, clearly trying to injure as was his philosophical mandate and taking his shirt off that anyone unlucky enough to stand in his way would be party to the foul sweat from that unholy space betwixt his man-breasts and his beer hall gut.  A complete burnout with a cornrow skullet and prison tattoos on his face moved along the pit, clearly unaware of where he was and with the thousand-mile-stare of a lifelong tweaker; touching him could give you herpes.  It was a madhouse, I tell you, and one which kept me from my adoration of the good Saint by virtue of not wanting to catch a right-hook in the eye from a syphilitic obese Nazi.  A pox on their inbred families!  To the dust may you fascist Philistines make a swift return, and leave me to partake of my doom in peace!  I was stuck.  At least these chuckleheads would be kept far in the back during Electric Wizard through the grace of the two-stage system.

Electric Wizard is a band that shakes to the core.  It’s a monstrosity, a goddamned aberration, a walking, shuddering church from some quaint, dark village with a name like Bromley Moor.  Loud, too.  Louder than Jesus and hairier than that Jewish prophet too.  You watch them and feel almost a sense of jealousy at the mastery of their abominatory craft.  Who the Hell do these British wankers think they’re fooling with their repetition and fuzz?  A lot of static is what it is, by God.  But they do their part.  We all do our part in metal, don’t we? Go to a show, stand patiently for a band to spend thirty goddamn minutes setting up, and then rage to each band even if it makes us profoundly uncomfortable (physically, that is) because such is our duty.  We as metalheads really are legion: like the Marines, our oath is to the organization first and foremost and ourselves second.  You think only of the –core, maggot.  One two three four you love metal and hardcore.  Now drop your head and give me fifty!  You want to be near that stage, you need to be near that stage!  What is your major malfunction, shithead?  But Electric Wizard are not Drill Sergeants.  They are benevolent generals, marshaling the support of their fanatics through acceptance and patient manipulation underscored by the pretext of copious cannabis consumption.  It’s a shockwave of cycling riffs through a crowd-sea of nodding heads, a hive-mind if one could ever exist.  After 15 minutes, you break through into Nirvana, ascending beyond yourself, rocking back and forth on your feet like an Unholy Roller.  Transcendence is the only option.  And you realize just why they play on the last day: it’s a climactic event, the kvltmination of a three-day journey, like the Celtic mystics of old.  You have made it through, you have borne the brunt of the heaviest music the world can offer, and now you are at one with nothing on the day that everything became nothing. 

No reason to stay further.  Who could try to hold a candle to Electric Wizard?  Bethlehem could try, but unless they played “Dark Metal” in its entirety, that wasn’t happening.  And who the Hell is Mortuary Drape?  Nothing more for me.  Nothing more for us, really: a mass exodus to the gate following the Wizard’s set, exit music courtesy of Sargeist.  Joe Szekler and I making our way along the dimly lit streets of Baltimore, heading to rendezvous with Dr. Dick-Jam at the Inner Harbor superfund site, speaking in exuberant reverence as to the spectacle just witnessed.  Like the speech of two men who have just emerged from battle, the first American soldiers who made it off the beaches of Normandy, the 300 Spartans after the first day at Thermopylae, the 20th Maine on Little Round Top, Richie Havens coming off the stage at Woodstock.  There was no sense that this was the best it could ever be, just that this was a peak in a life full of them.  We had been raised up, born anew, given a passion for existence that would sustain for a good long while.  We could have stepped off of the sidewalk and into the air, feet lifted above the ground like a pair of hyper-literate, considerably-less-malevolent-though-out-of-no-lack-of-trying Randall Flaggs.  Transfigured like a kvlt Buddha, replete in their unholy Nirvana.  And to top it off, dangerous Dr. Dick-Jam didn’t even drive us back.  Nothing could puncture a hole in our balloon.  It was a high without intoxication, a feeling of completion and placidity.  You couldn’t know if you weren’t there: no one ever could.  We’d go back of course, and this would pass, but that didn’t matter.  For now, I was a monster reincarnation of Glen Benton himself: a metal man on the metal move, and just metal enough to be totally confident of the kvltness of his existence.

Monday, June 18, 2012

Maryland Deathfest Is Decadent And Depraved, Day Three


Day 3

We pulled up to the great brick monstrosity of the Sonar at three o’clock, time enough for the end of Dragged Into Sunlight.  One wishes they’d take a goddamn hint, as I couldn’t get a picture of them off.  I’m a journalist, dammit: I can make do with shitty pictures, but at least give me a picture to work with.  I couldn’t see my hand in front of my face!  They’re pretty good all in all.  I wasn’t going to stand around and let The Devil’s Blood give me a flashback to 1974, though.  It’s behind me now, even if I came twenty years too late to live through that year of your Lord, and it’s pretty arrogant of you to assume that I have some kind of unquenchable nostalgia for a decade I wasn’t even born in and whose sole claimants to any sort of throne of quality are Lynyrd Skynyrd and ZZ Top.  Deviated Instinct will soothe my raging beast better, thank you so much, and don’t give me shit for it!  To Hell with your antiquated, ironic retro-rock, to Hell with your eye-winking pathos that takes all that is true and authentic and regurgitates it up in a morass of decadence and filth.  I want the Truth.  I need the Truth.  And crust punk, with its over-earnesty and lack of any degree of self-awareness, will provide that Truth.  Were only all Americans so inclined: we spend our lived deluding ourselves with self-reference, leaving nothing sacred and everything open for profit.  Metal is our only respite, so often trapped in its own continuity that it can never annoy out of self-awareness.  Hail to Metal!  Down with the World!  Legalize murder!  For I am the Misanthrope! Hater of all mankind!

I had said before that Horna had shocked me with their example of how far second-rate black metal bands will take things in the pursuit of kvltness and authenticity.  This is best explained in dialogue, for to fully capture my thoughts at that moment simply cannot be accomplished by conventional methods of human communication (smoke signals or semaphore or some archaic Babylonian cuneiformic incantation or Norse runemagick are probably the only methods esoteric enough to convey this):


(All dialogue should be imagined as being shouted directly into the other party’s ear canal, as such was the only way that speech could be detected in the blaring noise holocaust of the Sonar.  Hence ! in place of .)


The Author: Fuck yeah, Horna!  Goat’s blood and Devil’s Tits! Devil’s tits!  Big bloody huge mammaries lolling lazily from the infernal bosom of the lower Lord!

Pretty Metal Girl Adjacent To Me, Pissed At Having To Stand Next To Tit-Worshipping Journalist Cretin: Yeah…whatever!  Tits!  Yeah!  Awesome!

TA: *black metal screams*.  That fake blood is so awesome!  What smells weird?!

PMGATMPAHTSNTTWJC: You know what that is, right?!  What blood?!

TA: …corn starch?!

PMGATMPAHTSNTTWJC: (misheard) It’s minstrel blood!

TA: Minstrel blood?! How’d they get all those damn minstrels to give up their precious ichor, anyway?!  Did they kill them?!  Walk into a minstrel show and bleed them onstage, laughing with an audience perked up by the spilling of innocent blood to quench the needs of five men?!  Is this what America has come to?!  Fucking Finnish Nazis walking into our blackface routines and killing the great racially insensitive performers of our era?!  War on the Finns! Finish the Finnish!  End the job Stalin started, and keep our performers intact to sing “Old Black Joe” to geriatrics with no moral compass for another day!

PMGATMPAHTSNTTWJC:…not minstrel blood, menstrual blood! MENSTRUAL blood!

TA: (cue stunned silence for roughly 30 seconds, give or take) Really?!

PMGATMPAHTSNTTWJC: Apparently!

TA: Where…where do you get that?!

PMGATMPAHTSNTTWJC: From a woman!  From the looks of things, probably multiple women!  Maybe another animal that menstruates similarly to humans, possibly a primate such as a gorilla or a bonobo!  If they have access to that in Finland, that is!  So probably not!  Best guess is human!

TA: Well, yes! Huh! Wow! 

(Both parties stand awkwardly for rest of set, Author in disbelief as to how five Finnish degenerates came into acquired that much menstruation, PMGATMPAHTSNTTWJC in satisfied, slightly smug Morgendorfer-esque silence at finally having shut up the Cretin Journalist.)
The rest of the night was a straight line from Noothgrush to Winter.  Noothgrush posed a specific problem when the usual mosh-at-all-costers began to throw trash cans and a monstrously hefty Wesley Willis look-alike in a Brutal Truth cap entered the pit.  They weren’t moving fast, but this one had girth on his side, and I was standing before a pillar.  My God, if he was pitched into me, I’d be flattened instantly like a cricket beneath a truck tire!  I had to get away, but everywhere I was, he was to, a gargantuan homing missile that moved about the pit with the deftness of a ballerina in spite of his corpulence.  Getting out of there to Morbid Angel was supposed to be a respite, but Trey Azagthoth had other plans.  Halfway through, something happened to his machinery of a nature I could not see, and he made the decision then to extricate himself from the stage in the pursuit of World of Warcraft, leaving Dave Vincent and the other nameless players who now support him to finish the set.  Donald Mulligan’s Celtic features reddened beyond what I thought possible: “They can’t fucking do that!” he keened like a banshee, “It’s a complete betrayal of the fans!  I have looked high upon the sky and lo have I foreseen Morbid Angel’s imminent breakup!  You cannot argue this!”  I wouldn’t argue with Don anyway, though; his sly Gaelic tongue is as deft as Wilde’s, a wit about it that will lay you out as flat as a left from one stocky hand of his ruddy arm.  Morbid Angel did disappoint, then.  End of discussion. 

However, Winter salvaged the evening with a set that was probably as close to a massage as a metal show could ever provide.  Lots of low end, good for lower back pain and tired calves.  Granted, it does tend to loosen the old anus up a bit, but my Kegels are strong and the advantage of not eating on account of the despicably inedible fest food was the lack of shit in my colon to be ingloriously excreted.  I am an inadvertently clever man in this regard: everything I do works itself out whether or not I can think of it, except when it doesn’t.  But for tonight, it did.  And a sedate ride from Dr. Street-Jammer to boot, with the unlikely updated company of that irate Leinsterman Donald Mulligan and that mad, skinny, and madly skinny hedonist of the senses Josiah Szekler.  A man will have many moments in his life when everything fits into place and surprises to satisfy.  This came close.  The sweet-tea vodka was a low blow, however.  Some things should not mix: Trey Azagthoth and online computer nerd mouther-breather games, and sweet tea and vodka.  At least not if sanity is valued, which for a good journalist it is not.

Sunday, June 17, 2012

Maryland Deathfest Is Decadent And Depraved, Part Deux

Day 2
Donald Mulligan is an excitable little man, a bellicose leprechaun (leprechose?) with a beard as red as his temper, a knack for good beer, and a face made for covering with the dye of woad.  Flair for the colloquial and a pub-born belligerence seals the deal; had he walked off of the set of "Braveheart" and into the brave heart of Baltimore itself?  “As we say in New York, you'll ‘get swole up’ sure as the rakes of Kildare scrape upon the Stone of Blarney, by Faith and Begorrah” he chuckled insanely to himself as we discussed our relative fitness routines in a vain attempt to out-masculine each other.  “Get ‘swole’? Don’t you mean ‘swollen’? What in the ancient name of the sacred harp of Brian Boru are you talking about, man?” I thundered good-naturedly into his mischevious Celtic face.  Here was yet another insane Irishman, the last glories of Michael Collins and Padraig O’Keefe evolved (or perhaps de-volved) into one irate New Yorker, who jumped off the Brooklyn Bridge into Williamsburg and took his sanity with him.  He and Dr. Dick-Jam thus formed an unholy two-man band of Hiberninsanity that my beloved great-grandpappy, the late Michael Na Burca of Galway, would have felt at home with (was I the third leg of a triptych?  Perhaps so.  Ethnicity has an annoying way of sneaking up on you like Varg Vikernes on Euronymous in 1993).  Still, Donald had upon his pint-of-Guinness-sized person a bootleg Nihilist shirt, and for this we can all thank him.  Boyd Rice once claimed never to trust anyone who hadn’t been either arrested or tasted alcohol; I can’t trust anyone who doesn’t drink or listen to Gothenburg HM-2 metal, and Don passed both of these criterion ably and without fanfare.  Call it an ethnic weakness.  Anyway, the fetching of our Mad Mulligan necessitated another break-neck, break-face drive in the Little Red Sharklet (my peevish diminutive for the Street-Jammer Cobalt) from Linthicum to the Sonar, showing up just in time to see Castevet.  For me, anyway; Don’s lack of attending the first day meant he had to endure a torturous wait in line with the other Plebeians whilst I coasted on through.  Tragic yes, and a profound look at the failures of American capitalism: pay us first, get in without hassle.  First to cross the money line wins.  Still, the line as it was seemed fairly egalitarian: filthy crusties with dogs clearly raised on malt ‘40s mingled with well-groomed tech deathers, a class cross-section of the metal idiom like an evolutionary diagram from an ancient issue of National Geographic.  It would have been interesting to observe, but then as now, I had more important matters of the flesh and the mind to attend to.

Ghoul are a profoundly American band, in much the same manner as GWAR before them.  Instant gratification aligns with unbridled aggression and bloody machismo to create a gargantuan mess of a group.  Like Americans, they are faceless, burlap sacks breeding anonymity.  Like Americans, they are sanguine, their live show but a mere pretense to shower their slavish fans with mock blood.  And like Americans, they offer convenience and consumability: shortish, fast songs with great big old mosh parts to appeal to a wide cross-section of metal fans, heavy enough to sustain interest and moshing with the added cheap theatricality of the liquids issuing forth from the stage area.  It’s the bastard child of punk rock, or as a blog whose name I am simply too strung out to remember the name of once posited, “what happens when punks play metal.”  This, plus the added décor of the Grand Guignol blood that makes salmon-colored shirts out of white ones.  Do it yourself, America, you country that rots like pretty much every character on every goddamn piece of Ghoul merchandise.  Briefly entering the pit during “Graveyard Mosh” secured my attachment to this band, in all of its quick, cheap, whorishly ghoulish glory.  I had done my cheap thrills for the fest, and I lacked shame: you can’t have shame in a pit or at a show, because something that turns your world upside down will happen.  You will be sprayed with a copious shower of cheap domestic beer, blood will get thrown at you, perhaps even semen will issue forth from the syphilitic member of the portly hairball rotundly moshing about beside you and affix itself to thy hair.  This is a longshot, but stranger events have occurred.  More importantly, you may be beaten badly by a man much more fit than you, thus taking the biggest blow to the ego.  Ergo, to salve the ego, it is imperative that you enter a pit with no ego and that the band does not seek to start it with one.  And, quite frankly, when a band wears burlap sacks on its collective heads, it cannot be readily argued to have an ego (or, as Don Mulligan would put it, rambling full tilt in his Goidelically New Yorker voice, they are part of “the Fun Club”).
Now, by the time of Nasum, I was again thoroughly exhausted.  Unlike last night, however, there’d been a running train of desirable bands for me to stand and see (Negura Bunget, Napalm Death, Godflesh, et al; hell, even Macabre, which is saying much by saying little because any band whose frontman chooses to wear denim overalls astage, even ironically, should automatically raise in the listener’s head that age-old nagging of “My God, maybe I really do enjoy shit music) so by this time my calves were barking at me like the Hounds of Tindalos and my lower back screamed in agitation “No more, you son-of-a-bitch!  What the fuck is wrong with you?  No back should ever be forced to bear this strain!  Cease and desist lest I secede from thy spinal column!”  But a strong man will proceed with his metal viewing, regardless of the extent to which his lower back may protest.  After all, a firm backbone is needed to fully appreciate metal: all the lyrics about will-to-power, all the pseudo-fascist cajoling into maximizing one’s energy towards complete dominion, all the shameless teenage aping of LaVeyan philosophy, all serve to fortify the listener with an iron constitution that bodily harm is often at a loss to override.  Ergo, moshing, and to a more extreme extent the self-mutilation employed as shock by second-tier black metal bands (Horna would later provide a gruesome example of the lengths which bands will endure to get their point across).  Nasum were further testament to this need for will: it was an uphill battle either way all hour to claim my spot.  But I am the Rock of Chickamauga, the Altar of Sacrifice, and I move for no man.  My legs may be spindly but my God they can keep me in one place, stiffer than a tree.  Learn this well, o scion, for one day it will come back to help you: suffer no fool to take thy place in show, least of all when it is Nasum’s 20th reunion show (yes, there wasn’t Mieszko, but we can’t bring the dead back!  That’s blasphemy! Let the poor man rest in peace, dammit, and leave his memory alone you usurers.)  I was slick with sweat coming out, born from the brick-and-mortar uterus of the Sonar, a grindcore baby in the womb of sonic warfare.  Donald Mulligan, on the other hand, fared better, and spent the better part of the evening in a fruitless attempt to always be standing downwind from me.

Saturday, June 16, 2012

Maryland Deathfest Is Decadent And Depraved, Part the First

So, at this year's Maryland Deathfest, my Invisible Oranges colleague Richard Street-Jammer and I were discussing the inevitable task of writing the fest up whilst driving there in his car.  During the course of the conversation, Street-Jammer began to drive erratically, as he is wont to do, prompting me to comment how much he drives like a character from a Hunter S. Thompson novel.  Cue an escalating conversation, the end result of which was how much someone should write up Maryland Deathfest in the Gonzo idiom.  This, o my brothers/sisters, is the end result.  It was too over-the-head to have a place on IO, but here it should have a good loving home.  Brace yourself.  WE CAN'T STOP HERE, THIS IS METALHEAD COUNTRY. 

Maryland Deathfest Is Decadent And Depraved
By Hunter-Hunt S. Thompson-Hendrix
(Names have been changed to protect the guilty, with the exception of Richard Street-Jammer, and he’s so mysterious that no one knows who the hell he is either.)
Day 1
We were about four miles outside of BWI when that goddamned maniac Richard Street-Jammer started playing Rotting Christ in his car.  It was a Thursday and hot as goddamn Hell.  We’d been going hard all afternoon, roughly navigating the mean, sidewise looking streets of Bodymore, Murderland past the fat pigs and aggressive motorists that clog its blacktop.  Traveling together in the heat of the bloody Atlantic Coast was me, Dr. Dick-Jam, and that international metal warrior Black Kat Killian all crammed into that tiny Cobalt: thankfully for us, Kat had just gotten into town, and was placated by lack of sleep and hangover.  Ordinarily she’d take one look at the situation and slay us instantly for being the insufferable nerds we are, leaving our carcasses to be roadside attractions for fat tourists and wannabe black metal bands, but for now she was placated by the soft thrum of the car engine and the bottle of Jack Daniels making its rounds throughout her Valkyrian bloodstream.  How she could sit as patiently as she did through that morass, however, escapes my wildest thoughts, for Street-Jammer drives like a maniac, all muscle and fury in his emasculating red Cobalt.  His is the American metal dream: too nerdy to live, too kvlt to die.  Brake hard, brake late, break faces.  “Good God, man, slow it down!” I growled irritably as Dick-Jam nearly neatly plowed his bumper into the monstrous obscenity of a Mack truck that scoured the blacktop before us.  “Haven’t you ever gone this fast before?  It’s the point of living, for I am the Street-Jammer!” Dicky cackled maniacally.  I could see by the wild eyes that popped out from behind his glasses that he meant business: men who wear that expression are not to be trusted, especially while driving an innocuous red two-passenger sedan that nonetheless bears the name of the greatest metal band of 2009.  I’d have to do something here, but what?  I couldn’t arrange for him to be killed in the pit at the first night of the show: his combat skills were probably too well honed from a lifetime spent mimicking the moves of Mortal Kombat that he played constantly.  No self-respecting neander-teutonic mosher could ever expect to get the better of Madman Dick-Jam.  My god, it would be a goddamn bloodbath: limbs and patches of the most obscure metal bands flying every which way in a miasma of whirling death!  No, if he was to stop driving like this, I’d have to kill him myself.  But how do you kill a man who fears nothing?

Arriving at the venue around four, I scouted first for a good place to sit down.  Any music journalist worth his weight in salt and ice knows that, to really think about music, one must sit frequently to focus one’s thoughts and give one’s calves a break.  After all, I do have delicate calves.  Extermination Angel’s vocalist looked like a cartoon character as he shuddered spasmodically on stage like some epileptic dunce suffering from a gunshot wound in a Cormac McCarthy novel.  The rest of the band was adequate.  By the time Absu took the stage, however, I was ready to sit down.  But could I?  I am an Absu fan above the average Absu fan, and I could not allow myself to sit down, not least of all when Proscriptor McGovern took the stage in balls-tight leather pants, sleeves that failed to connect at the shoulder like a decent human’s would, and a spangled tiara from which dangled precariously the mic into which he expressed his esoteric lyricism.  It was certainly a sight to behold, but the damn fools behind me moshed too hard for me to enjoy it.  At one point the swirling mass of chaos that was the pit even slammed me cock-first into a pretty girl who’d been holding her ground athwart me: one evil stare from her cold blue eyes told me that, yes, it was my fault that this rabble of unwashed ruffians, their beards a malevolent shade of black and eyes like fires from wicked mountaintops had lifted me unceremoniously from my pedestal and brought me down through the ages of the Earth to disgrace her back jean pocket with the impact of my crotch. Her red hair warned me like a beacon that I had a few less teeth in my immediate future, but the gods of luck and fortitude are on my side, for I narrowly escaped the situation with my life.   You can never tell with the Irish (which I am assuming she was, for as the scion of the clans Burke, Miller, and Houlihan I can smell a fellow potato-eater from a full fathom five).  Which is precisely the reason that I had found myself attempting to stave off the urge to murder Richard Street-Jammer earlier that day: he can’t admit it because he works in the highest echelon of the American murder-industrial complex, but his real name is more Irish than James Joyce drinking a stout on Grafton Street with Gerry Adams and a damn leprechaun.  And to just wait until that sorry sack of Hibernian horseshit Donald Mulligan blustered into town.  To which I also think: where the hell was Primordial this show around? 
The night slipped on as one would have expected it to: eyehategod showed up drunk and lolling gloriously.  Agalloch transcended mortal words, save that the idiots who had moshed to every other band previous still insisted on moshing to Agalloch.  You can’t mosh to Agalloch, you bastards!  The music simply does not allow it: there are no convenient breakdowns or single-note half-time riffs for you metal mongoloids to slam into.  Leave me my breathing room and get the hell out of my face, you fascist mosh-thugs!  Still, “I am the Wooden Doors” was a revelation, and for that the author expressed his gratitude.  Autopsy was last and took too long to set up.  This would come back to bite them right on their soft, finely aged SoCal buttocks when, around 2 am, security promptly shut the show down with police assistance.  I bit my lip in that queer mixture of apprehension and glorious anticipation: on the one hand, a riot of filthy, unwashed cretins seemed imminent, and that meant potential bodily harm to me.  On the other hand, a riot of filthy, unwashed cretins seemed imminent, a slap in the face to the donut-munchers of the Baltimore PD and an unwelcome blight upon the sanitized face of the city closest to our nation’s capital.  It was electric, real and true, a beacon of freaks in this world of duplicity and industrial lies. Someday we should all be so lucky to look back and say “I was there when the forces of metal nearly succeeded in turning the tables on all the foul men of this earth” to my grandson upon my knee in a new kvlt world.  Of course, nearly wasn’t good enough, Autopsy played a quickie, and the show ignominiously ended. I was dejected but not out; a weekend in Baltimore surely has more surprises than the Revolution failing to take hold.  That said, I did require a ride back from Dr. Street-Jammer, and it was 2:30 am in Downtown Baltimore.  How can I report on the coming age if I get shot tonight?  Or crippled in a car crash?  After all, was that gunfire or fireworks two blocks over from the venue?  And was that maniac Dick-Jam sober?  There are some times in one’s life when having a gun seems a good idea, and now was one of them.

Sunday, June 10, 2012

The Longest Day

I had hoped to post this on the sixth, but work and other factors interrupted me.  So it goes.  But four days is not too late.


June 6, 2012.  Today, 68 years ago, 6,603 Americans didn’t make it off of the beaches of Northern Normandy.  They died fighting the greatest threat to human existence that had yet been seen, and they did it with valor that few other battles have ever equaled.  No matter what you believe about patriotism, no matter what myriad flaws America suffered from at that time, we cannot allow ourselves to forget that these men died for our nation to survive, to grow.  It was the last of the great citizen-armies of the world.  They were us.  All our flaws and all our graces.  You could have been one.  Anyone could have.  Consider this, now, 68 years on.

Sunday, June 3, 2012

San Patricio


I'd like to see any martial industrial group try to even match the intensity and glory of this.  Irlanda para siempre.

Wednesday, May 30, 2012

A Quick Flash Fiction

Hint: it's about Jesus.  I was going to call it "Onward to Golgotha," but it looks like someone took that already...



Way of Grief

The martyr struggles slowly up the cobblestone road, the jeers of the vengeful and the fearful ringing in his ears.  The weight on his shoulders is heavy, and the Levantine sun is hot against the loose flesh of his lacerated back.  The harsh, jeering crowd begins to pelt this inverted King with spare rocks, silently encouraged on by the arrogant, corrupt elders who look imperiously down the Via as their own kind are flogged and mortified, always in the pay of their Latinate oppressors.  Behind him are the legions, trained, cold, dispassionate, their whips not a punishment so much as incentive for motion.  But the hill is long, and his load is great.  The strength of the martyr falters as a rock grazes his head, pushing the halo of thorns he wears into the yielding flesh of his skull, and he stumbles to the rock-smooth ground.  The soldiers continue their beating, profanely urging him to get up and shoulder his load but a little further to the hill of skulls.  As he turns his head up to the hot blue sky in silent desperation, he notices a shape in the crowd.  It is a young woman, a Jewess as he is a Jew, dressed entirely in solemn funerary regalia yet with an encouraging stare.  Beneath her tunic is the slight bulge of conception, the slightest hint at the screaming circumcised generation to come.  He sees her.  She sees him.  He knows she carries their child.  He prays God will vindicate him, doubting that, when the blood in his veins throttles his lungs at last, He will.  As the soldiers retrain their whips, the martyr shoulders his wooden cross yet again and marches steadfastly to the place where the skulls lie.

Tuesday, May 29, 2012

"For The Hog Killing"

"Let them stand still for the bullet, and stare the shooter in the eye,
let them die while the sound of the shot is in the air, let them die as they fall,
let the jugular blood spring hot to the knife, let its freshet be full,
let this day begin again the change of hogs into man, not the other way around,
for today we celebrate our lives' wedding with the world,
for by our hunger, by our provisioning, we renew the bond."

-Wendell Berry


Mere words cannot describe how beautifully this encapsulates the relationship of man and beast.  Had to post.  More original content later.

Sunday, May 20, 2012

Proceeds The Weedian



Here are the collected recordings of stoneriffic Kentuckians OSSM, culled from various demos (which were never named, so I always included them under the singular title "Cannabass") and from their split album with Sowbelly and Maegashira.  This is DOOM: long, slow, and thick, like biscuits and gravy on the hottest day of the year, consumed with a tall glass of bourbon in a cabin deep within the woods.  And then, naturally, followed by the largest bong rip of all time.  Get heavy.

Follow the smoke to the riff-filled land

Sunday, May 13, 2012

CRITICAL ASS



Mass Unrest's demo from 2009, recorded on a four-track in a basement.  Fast, angry powerviolence from the angry young men who now set down law and order in Stabler.  Highly recommended if you like In Disgust, Despise You, No Comment, goatse.cx, or general misanthropy.

LET'S FUCKING GO! KICKASS!

WHO'S ON THE CROSS NOW?



Here's the first demo from SET/BACK, recorded in a classroom using a mic suspended from the ceiling on a borrowed drumset.  All in all, I think it turned out OK, and if nothing else you have a good idea of where we're going.  Oh, and the title refers to the type of drums we use.  Get your mind out of the gutter, you sillies.

Here's to shameless self-promotion

Wednesday, May 9, 2012

It All Begins With A Story

This isn't a particular good way to start of the blog, but I can think of no better.  This shall be a blog that primarily focuses on my writing, my experiences in the world, the music i love, and my thoughts on various matters both philosophical and social (including but not limited to feminism, masculinity, agrarianism, environmentalism, anarchism, DIY culture, and so forth).  As incentive to start you folks reading, I'll post a story I did that got turned down from my college literary review magazine.  I hope that it failed to pass muster because it was too brutal, but something tells me that's not true.  Anyhow, here we are: if you seek a monument, look around you.


Jeśli Szukasz Pomnika, Obserwować Wokół Ciebie


The spademan carries with him the bile of ages, a generation lost within himself to the purging flames of Birkenau, Belsen, Flossenberg.  On his knees shoveling gravedirt in the hard Earth of a brutal land that hated him with a blind moron passion.  A lifetime of ice in the Gulag, years spent angrily gesticulating in waist-thick snow before the fetid spruce of Yakutsk.  Trials, tumbrels, guns, grenades.  He has seen things too terrible to tell, but he can still tell them; that which he cannot tell is that which every man can understand but refuses to say.  It’s…uncomfortable.  He was half-dead before the flames reached his pyre, and his death trails him like a deep grey man.  The iron-and-concrete horizon of a November in Danzig weighs upon his shoulders like the tallit, accelerating the acerbic digestion of the bile in his gut.  A long time ago he could have learned something about letting go.  But that was a long time ago; now is not a long time ago, now is just discomfort.  Maybe he’ll get rid of it, maybe he won’t.  All the disgust and exhaustion with the world churns at the lining of his shrunken innards.  It’s bad for an already injured man to carry so many afflictions.  So much hate, too.  The tattoo on his arm shrieks at him like a little snake of numbers, eating into his flesh with acidic ink and a legacy of unbridled disregard.  The tattoos on his chest mumble foul oaths towards life in general.  But this was not solely the invention of Heydrich and Yezhov, oh no, it was as much him too.  He was a hateful man.  He was a disagreeable man.  In fact, one could go so far as to call him a stupid man.  Above all, he was a dispassionate man.  He’d never had a wife because he’d never gotten the chance nor cared to take the chance when it was hanging right above him (young Magda Katczinski came the closest to achieving a breakthrough, and considering how far she got it was as if she’d never gotten anywhere at all.  And even then, she hadn’t known what he was truly, which would have prevented it from happening at all).  Perhaps somewhere, after dark deeds in prison camps and halting, stilted encounters in the brothels of Lodz he’d conceived a little shitkicker, but he wouldn’t have known about.  Rape-born in the camps it would have gone to the showers anyway, and to carry the son or daughter or failed abortion of an ex-Polish Jew for the six years that Poland and Germany were one was a mistake no one with any sense of self-preservation was likely to make.  If he’d discovered one, he wouldn’t have acknowledged it anyway.  It wasn’t worth his effort.

When he was---how young was he?  Fuck, it was so long ago, so many worlds away---probably a lad of thirteen, anyway, it was after his grandfather, the proud Jacek Lewartow of Siedlce, sat him down (more like threw him down) and tried to tell him about how to succeed in life: “Place your trust lightly in goyim, heavily in women, and never, in any case in any part of this world, in fucking Russians.”  He was right, at least partially; perhaps he had something against Germans, but the Orthodox child-killers were always the main enemy, and who could blame him?  He never saw 1939 coming from the stalks of winter wheat where he’d spent his life curling a scythe in an arc through the parched dry midsummer air, his blade scattering the cut like the armies of the Austrian and the Georgian had scattered the last vestiges of the ragtag glory of Sobieski, Pulaski, and Pilsudski.  He’d gone long before that, died of consumption in the last year before Germany awoke from the dead.  The father hadn’t said anything when they sent Jacek Lewartow into the fertile Masovian loam with the Kaddish to keep him company.  He’d just stared at his son like the son didn’t get it, like he’d been expected to learn something from this and had just come up a shallow face, a cretin on Purim staring blindly at a Christian Easter procession, knowing that something is happening but unable to know what it is and feeling cheated as a result.  They didn’t really talk after that.  Mother would talk to him, but mainly when she wanted something done.  She lacked vision or concern beyond the every day.  Naturally, when Army Group North rumbled through, she was the first one to be shot, as a practical joke by a screaming gaggle of teenage Prussian sadists unaccustomed to power.  That she had not cared of the affairs of the Earth had sealed her fate.   She was too innocent to live.  Father lingered, as he had done all his unfulfilled life, until he was taken away, and could not have escaped.  This was simply a fact.  He couldn’t have, he wouldn’t have.  Not with the door of Auschwitz itself open and Heydrich himself beckoning to leave would this have happened.  Jacek’s death killed Father, years before his life ended in the camps.

But, that’s behind him.  All of history is behind him.  When they came it all just blurred together: Russian, German, Lithuanian, Ukrainian, Jew, Gentile, Papist, Old Believer.  When he looks back to his experiences, they too bleed together: Siberia was just Birkenau in a harsh winter.  You can’t look for difference where it doesn’t exist.  A spade is a spade, which as a spademan he’s come to use as a rejoinder more than is appropriate.  Fascism is still fascism, as far as the eye can see into the grey sea horizon of the future.  And looking forward is to look into the nuclear eye of the new age.  It hurts to stare at, like when his friends at the factory he worked in during the summer of ’38 said they’d pay him 10 zlotys to stare right at an acetylene torch for ten seconds.  More than that, it hurts to think at.  History has done its best to kill him over the course of his forty-four years, and has not relented.  Hunger continues in the South, from places where food used to grow but is now unable to find purchase on poisoned soil and metal-clotted Earth.  Men who once fought for Poland now threaten it every waking hour.  The Earth is tired.  The sky is tired.  Man is tired.  The spademan is tired.  And he doesn’t fucking care.  Every day is a struggle to get through, a long slog through a job he only got by the inability of the state to recognize him as a former inmate and by their inability to see through his shirt to the rubber indelibly etched into his ruddy leather skin.  They didn’t know what he’d done.  They didn’t know what he was.  They wouldn’t know what he’d done or was.  So they gave him a job.  Years of having his life extracted from his ass and mouth and they  got a damn job as a janitor for the Bureau of Agricultural Sciences, sweeping the concrete dust out of the door and mopping up mud tracked in from the squalls that pushed their way angrily through town twice a week.  It doesn’t pay, and he won’t be satisfied.  And the wonderful thing about the religion of Stalin and Gomulka is that jobs cannot be quit without one being disappeared.  Of course, he’s been disappeared twice before: if wouldn’t be the first time.  Perhaps, just to give himself something to do and try a new path to the glory everlasting that doesn’t require an impotent Austrian or choleric Georgian intermediary, he’ll see about killing himself tomorrow.  If there is a tomorrow, because that’s the problem isn’t it?  When you can’t see tomorrow outside of ten suns simultaneously bursting above a field of melting glass, how can you hope to hope?  Of course, he’s lived without tomorrow since 1939, so he figures he’s gotten used to it (he’s wrong).  To him it’s like he’s a clock: once wound, goes till time runs out or the ticker finally snaps.  One or the other will happen.

The first body he interred into the scarlet earth of Lesser Poland was a man.  He remembers this, of all the bodies that were churned into the grave-troughs.  Children, women, other men all meld together in a single ashen mass, but this first one he remembers.  The man was tall and gaunt, and skin hung off of his brittle bones like a curtain of tan flesh.  He had died in the night of some disease, and for some reason he got placed in the pile to be buried, not the pile for cremation.  The kapos never did say; they just barked angrily as usual, gave the customary boot to the (already fractured) ribs, and stood around nervously, like cornered rats squeaking violently in a vague hope that the cat assumes them to be larger than they are and thus avoids them.  It was not a hard burial; there had been rain the week before, and the autumn ground was still soft enough to gain purchase.  In Siberia, he’d had a harder time interring bodies; permafrost is hell to get a shovel through, and on particularly bad days tools could shatter and hands stick to handles.  However, the hardest burial of all was this one.  The man’s brown eyes stared back at him, a mouth half-gum cracked open past cancerous lips in an inverted rictus of bewilderment.  “No, no.  I wasn’t meant to die here.  I should have been a poet, or a businessman.  I should have even been a martyr for my people.  I have dignity, where’s the dignity in a sick man?  It can’t end like this.  I don’t believe it will end like this.”  His bedsores and corpselike complexion made it clear that this was, indeed, the end, and that he would not nor ever be a martyr nor a poet, instead just a millionth of a nameless statistic set to eat the entirety of Europe in its sorrow.  The spademan identified and identifies with him: both of them are a cell, a molecule, a small piece in a machine so large that no one person can control its machinations.  They were hopeless and adrift in years that wanted them dead, and neither one had the strength to fight or run.  Jacek Lewartow of Siedlce could have fought and run: he would have fought, swinging his beloved oak-handled scythe had all the Panzers in Germany or all the Cossacks in Russia been bearing down upon him like a new plague of Egypt.  He’d be the martyr.  His grandson could not.  With Jacek died the family, pride first, name second, and blood third.

Eventually he’ll get home.  The street he walks down has to end at some point, even if it takes him back to Russia.  Home isn’t real for him, and never was.  He’s just another displaced, misplaced husk, another shard of the detritus of war that bore him far away from home and almost back again.  He doesn’t deserve it but he doesn’t not deserve it either, a pathetic figure existing in acrimonious equilibrium between the hammer of time and the anvil of hubris.   It’s a lonely road from Hell to Purgatory.  One day, soon, he will (written with the certainty of a man who has come through it all) affix the hefty false-leather belt given him by the Employment Bureau to the lone pipe in his apartment and slip his neck through.  The fall won’t kill him instantly because the pipe will break under his weight, which has never quite gotten back to the 160 pounds of August 1939, remaining closer to the eighty-odd pounds of 1941 to 1953; it’s a weak pipe, built in haste with shoddy tools for a broken city in a backwards land.  Instead of instant death, he’ll just suffer one last indignity, lying on a too-hot floor with a broken spine, sentenced to look at the ceiling until the hunger that ran with him for ten years finally brings him to meet with Grandfather Jacek.  Death will be the agent of that, biding his time, smirking condescendingly at the terminal cripple on that too-hot floor.  In front of his face yet again.  The working man will not care and will just think about rolling eyes that he can’t roll anymore until he finally slips beyond the pale.  It’s a shitty way to go, probably shittier than that of the brown-eyed corpse man who wasn’t martyred in the grave.  As it stands, this is still a ways off.   For now, there is just the cold street, the grey horizon, the lead-iron tallit, and the man himself.  Ecce homo: si monumentum requires, circumspice.  Or, as the spademan, the man who was once sort of but never really Krzistof Lewartow has (soon to be past tense) a habit of saying: Nazwać rzeczy po imieniu: zycie jest gówno, a następnie śmierć pieprzy cię. Call a spade a spade: life sucks and then you fucking die.