Slaine drops video Source of Power Teddy Roxpin beat

This is not just a new video from Slaine - backed by Teddy Roxpin - but a cut off of the LEEDZ Ent comp, Eastern Standard. 

Slaine has had many killer verses. And as quickly as you can point to bragadacious bars that will silence any MC; or Slaine's vividly descriptive tales of crime, drugs and guns - all while hammering multi-syllabic bars relentlessly; he is stunning when he turns his words towards the world of politics.
SLaine continuously expresses honest vulnerability and exposes regrets; turning his hard road into parables of experience. But going back to his verses on "Man Made Ways" from DC The MIDI-Alien's Avenger Airwaves compilation, East Coast Avengers "Lady Liberty", or on Virtuoso's "Fahrenheit 911", Slaine rips through the bullshit and pierces the veil of American social civility.

Diamond Media 360 offers Slaine's explanation of this joint. "We seem to have this human condition where we seek power and validation from outside sources when really we have the ultimate power in and around us at all times,” states Slaine. But do mistake Slaine for some generic motivation meme. As Roxpin's drums pound toward a finish line, Slaine spits,

“Is it fear that we suffer from or lack of it?/ Where do we go now? Who do we turn to?

 When does it slow down? Who do we learn through?/

Through a history of imperious acts/ I still move with my spirit intact.”

This messaging reflects back to Slaine's verse on "Lady Liberty" in fact. He deconstructs and demolishes both left and right, media, and America's egregious hypocrisies. But he ends with:

Who do we trust now when we can't even trust us?

There's no peace we can find, there' ain't no justice

Just a war going on against each of us

We need to reach down deep and start speaking up

Cause everybody's illing when the buildings blow up

But what's gonna happen when our children grow up?

But back to "Source of Power" - examining personal motivation of the beaten and disenfranchised and the greed of the wealthy and privileged  the hook boasts: "hunger, vision, fury, discipline - survival, resilience, shine to a brilliance"

Slaine paints pictures - "ice in my veins, Hell in my eyes" - with mesmerizing imagery; playing with words like Mozart did notes. Slaine's lyrics bounce and punch as Roxpin uses echoed/big drums, played nice and loose. A high register note dances within its spectrum to add contrast while staying rough and raw.

Director, Ben Proulx, for Project 2 Studios, illuminates the conflict inherent with confrontational visuals. Disturbing and challenging images extrapolate the words of Slaine in a necessary exposition.

In addition to Slaine, the compilation features a sick 1-2 punch with Blacastan and Marvalyss on "Mechanical Movement" on a hypnotic tonal gem. Check Chris Rivers and Rite Hook on a raging track, "The Motions".  Natti and Deacon The Villain (both of CunninLynguists), Rite Hook and B Dolan combining that MA/RI connection - with a Hammond heavy, harmonica and piano popping bluesy joint - Soulful!!! Chris Orrick on a nostalgic trip as he often does over a captivating beat, and Granite State showing up again. Spose kills it with a dope beat and a hilarious but down to earth track about the struggles of underground rapper. STL GLD, Mega Ran, and many others validate this 21 track, 75 minute compilation.

Jan 2018 Splits Reissues Compilations EPs

SHORT LIST

REPRESSES

Holy Terror Total Terror Box Set Dissonance Productions

Holy Terror Terror and Submission Back On Black BOBV512LP

Out Now

Holy Terror was a Los Angeles band that savagely represented thrash. Their two first albums are legendary. Submission (1987) and Mind Wars (1988) are heralded in the cannon of US thrash, although mostly to the passionate fans that dare to dig beyond the common names. But, that hunt just became easier. Dissonance Productions presents Total Terror which will be available to North American headbangers on February 9^th, 2018. Holy Terror’s entire catalog is on 5 CDs. Terror And Submission (1987), Mind Wars (1988), El Revengo (2006), live album Live Terror-Live In Dendermonde, plus a rare DVD featuring multiple live shows and videos. MetalReview.com called the band, "faster than Slayer, heavier than Exodus, and more melodic than Megadeth." Terror Submission comes on vinyl in white and red splatter.

The Ocean Precambrian Pelagic Records
Late Feb 2018

The Ocean's Precambrian was released in November 2007. An impressive post-metal trek, a la Neurosis, Converge, Gojira, and ISIS, The Ocean presented a challenging album packed with tense riffs, looming heaviness and angular guitars played concise and sharp. The schizophrenic dynamics of this milestone mock any attempt at classification beyond ‘metal’. Strapped with vocal conviction over chunky bass lines, Precambrian relies on intellect as much as grit. Seven albums deep, tours with peers like Mastodon, BTBAM, Opeth, and Kylesa show The Ocrean’s growth and impact. The Ocean refer to themselves as a “collective” leaning on a constant rotation of contributors and artists.

Precambrian cherishes the metal tech wizardry as much as raw emotion and delivery of hardcore.  Precambrian itself embodies variety with guest appearances by Caleb Scofield (Cave In, Old Man Gloom), Nate Newton (Converge), Tomas Hallbom (Breach), Eric Kalsbeek (ex-Textures), and musicians from the Berlin Philharmonic Orchestra. This tenth anniversary edition of Precambrian (released on March 16th, 2018) relishes in a re-recording of ten-minute "Rhyacian"; played by the current lineup of guitarist Robin Staps, vocalist Loic Rossetti, drummer Paul Seidel and bassist Mattias Hägerstrand.

To celebrate, The Ocean will play the entire Precambrian with a headlining set at Doom Over Leipzig Festival on April 21st, 2018.

Each of the three packages is limited to 250

LP1: ultraclear w/black and orange smoke; LP2: beer w/ dark red smoke; LP3: transparent orange w/ black and dark red smoke.

LP1: silver and clear, A-Side / B-Side w/ black splatter; LP2: brass & beer, A-Side / B-Side w/ black and red splatter; LP3: gold and clear orange, A-Side / B-Side w/ black & red splatter

LP1: beer in ultraclear; LP2: transparent orange in ultraclear; LP3: transparent red in ultraclear

Unearth The Oncoming Storm Metal Blade
Jan 26, 2018

Metal Blade Records will re-issue The Oncoming Storm. This was the album that propelled Unearth into the forefront of the resurgence of American metal. As the band’s (and the scene’s) writing was growing beyond the formulaic (but still loved!) metalcore. This went beyond beatdown riffs to start a pit in a local venue. Metal was shedding its dirty word status and embracing the dynamic song structures, melodies, solos, and musicianship of the records the hardcore kids had back home. Massachusetts sure spat a few out of note. Unearth have always kept it humble and honest. On The Oncoming Storm fans can revisit the classic sound that saw them transition into the revered beast of later days.

VINYL: 180g black; orange-brown marbled, 300; "flame" splattered, 200; pumpkin orange marbled, 300; root beer marbled vinyl; 300; gold / black split, 700.

ALESTORM Captain Morgan`s Revenge – 10th Anniversary Edition Napalm Records
January 26, 2018

In 2008, Alestorm secured a large fan base with their mixing of storytelling and catchy metal. Sharp guitars and clean production and rowdy lyrics ensured waves of attention. Here, Captain Morgan`s Revenge is resurrected with “a fresh remix and remastering by original producer Lasse Lammert at his LSD studios plus rejuvenated artwork.” The Live At Summer Breeze bonus disc is included as well. Alestorm combine meaty riffs and raging rhythms with folktale aesthetics and symphonic metal grandiosity. Their tales are alluring when paired with punctuated production and mesmerizing guitar leads revisit the beginning of Alestorm!

Nebula

Let it Burn
Jan 26, 2018
400 on yellow transparent w/ multicolor splatter; also, black vinyl/ Digipak CD/ Digital

To The Center
Feb 16, 2018
400 on red transparent w/ multicolor splatter; also, black vinyl/ Digipak CD/ Digital

Dos EPs
Mar 02, 2018
400 on transparent w/ multicolor splatter; also, black vinyl/ Digipak CD/ Digital

In 1997, Nebula was spawned in Los Angeles when guitarist, Eddie Glass, and drummer, Ruben Romano, left Fu Manchu. Arguably, their final sound would not be much of a departure. But, in fact, audiences can hear the rise of the musicianship above just riffs. Romano and Glass revel in a freedom and exuberance that, whether roiling or simmering, allow each to mark their artistic territory. Capturing the essence of psych/stoner rock, this power trio (after recruiting bassist, Mark Abshire) encapsulate the volume and songwriting of Alice Cooper, Black Sabbath, and Hendrix; but also cite The MC5, The Stooges (check the cool strut of “I Need Somebody” on To the Center) and bands like TAD, Skin Yard, and Mudhoney. The unfettered expressionism resort in variety, such as laying back for seven minutes (“Fly On” on Dos EPs) as well as the reserved Hammond on “Smokin Woman” (Dos EPs). Nebula lead you through expanding your third eye (“Fields of Psilocybin” on To the Center) or trudging heavy riffs on “Dragon Eye” and “Devil’s Liquid” (both scorchers on Let It Burn). Nebula’s three releases here utilize the silky leads and fuzzy bass and raucous drums of stoner rock; plus instruments like the sitar, piano, and organ. They expand the impact of their songs with the usual psychedelic filtered effects; soaking in flange, delay, panning, reverb and wah-wah to lead an audience’s mental and aural attention. Each reissue presents the full album Dos EPs being the split and on gatefold (or 6 panel digipak on CD) plus two unreleased tracks. This is a gorgeous way to celebrate twenty years of Nebula.

SPLITS

Windhand/Satans Satyrs split 12” Relapse Records
Feb 16, 2018

Richmond, VA present two of their macabre darlings. Windhand resurface after the glorious 2015 LP, Grief’s Infernal Flower. Clayton Burgess’ brainchild, Satan’s Satyrs, have not released anything since 2015 either. This 12” positions its balance on Satan’s Satyrs’ raw riffs and gusto with Windhand’s musicality and challenging of paradigms. The five tracks demand a 12” format. Windhand, always prolonging their heavy psych-doom, open with “Old Evil” at six minutes. Afterwards, the extensive, 14 minute (ain’t nothing new for them) “Three Sisters” is unleashed. Dorthia Cottrell’s vocals are pushed more forward than usual, above the swirling dense tones; drenched in emotionally draining hooks, hammered slowly. The heavy droning riffs are coupled with a haunting organ, riding slow waves of plodding drums.

If lulled by Windhand, Satan’s Satyrs side is a jolting slap. While still sinister and ominous, Satan’s Satyrs uses rambunctious rhythms and raucous ‘70s riffs. This is big volume contained under four minutes. The closer, “Ain’t That Lovin’ You, Baby”, is a stripped down rocker, echoing the opener “Alucard AD 2018”, with its glam-inspired strut, The mid jam, “Succubus”, is darker depending on atmosphere and a gritty tension.

VINYL: 2500 on black; 400, metallic gold; 300, baby pink with mustard; 300, bone white and purple splatter; 100, black and metallic gold merge with white and gold splatter.

Endorphins Lost / Osk split 7" Rotten To The Core Records/ Delusions Of Terror Records/ Agromosh Records/ You All Die Records/ New Age Pyrate Punks Records
Feb 1, 2018

Seattle’s Endorphins Lost captivated fans with their punishing grindcore just over a year ago, in November 2016. A caustic debut, Choose Your Way, on Six Weeks Records, portrayed Endorphins Lost’s version of old school crusty powerviolence. Done with bombastic, crisp production, this fevered punk is served again with four new tracks on this split 7” EP. Spanning from 12 to 90 seconds, Endorphins Lost kill tracks in the vein of Napalm Death, Spazz, Despise You, and Phobia. “Mercy for One” is a beast and its fits of rage into a slowed down thick groove breakdown is explosive. This is grind or powerviolence whatever to perfection. The sound and unrelenting power is one of the best of recent years.

Canadian grind/hardcore band, OSK, add three crushing tracks. The vocals are more abrasive. OSK fly through minute and a half long spurts with some contagious fervor. “Let’s Play A House Show” adds a slight groove to its crunch. All three songs are handled with a pummeling low end, emphasized by big punches from the bass drum. Tough as nails stuff here.

Fistula Splits with –(16)- + Come To Grief Patac Records
Out now

Fistula / Come To Grief split: Ooof. Come To Grief’s “Take Me in My Sleep” is six minutes of bludgeoning, low-tuned, sluggish despair. Jon Hebert’s raspy growls relay the song title’s desperation. This is not a frantic, sweaty desperation, but one profusely embedded in hopelessness and defeat. “Take Me in My Sleep” is a brutally miserable onslaught of loathsome attrition; chiseling at faith in restitution. Fistula follows CTG’s pace with their track, dragging in at six minutes as well. “There is no hope, there is no reason why – we should go on – we should not die” are the lyrics sung by frontman, Dan Harrington. Fistula distinguish their imprint by sectioning their duration. At two minutes, the riff changes slightly in tone and tempo but not pace. The growls still spew vitriol at “fakes and liars, hypocrites”. Then at 3:25, a distinct crisp groove enters the picture; with a –(16)- or even Helmet or Fudge Tunnel (Creep Diets) type stomp. Heavy as hell and twisted and misanthropic. Bad ass song of fetid fury.

150 copies of silver metallic cassette; 100, Clear Vinyl; 150, Transparent Red/Black Smoke Vinyl (PATAC exclusive); 250, Black Vinyl

-(16)- / Fistula split: Here –(16)- grabs a classic Killing Joke track from their debut LP and extracts the spirits but churns the track with its own imprint. –(16)- utilizes their sludge stamp but highlights the melodic guitar line for contrast against the driving, fuzzy bass “Complication” becomes darker and more sinister than its parent song. Fistula hone in on Devo’s punk pith for their cover of “Mongoloid” and nail it. “Mongoloid” fits Fistula’s oeuvre all too well. And they conjure the inner spite while eschewing any pop or electronic elements. Heavy reverb bass and down tuned riffs, strengthened by Harrington’s screams shape the ugliest beauty. “Mongoloid” becomes a tarnished, twisted track of rocking punk. 

100x Clear Vinyl; 150x Aqua Vinyl (PATAC exclusive); 250x Black Vinyl

“Fistula will unveil four more splits with Hemdale, Bloodsick, Fister, and one final band to be announced at a later date. Additionally, the band will issue a vinyl version of 2016’s Longing For Infection with a bonus etched seven-inch from the recording session.”

https://www.patacrecords.com/

Iron Reagan / Gatecreeper split LP Relapse Records
March 2 2018

Stomping into 2018, Relapse Records give the world two raging bands on one slab of wax. Iron Reagan’s scalding crossover and Gatecreeper’s punishing death metal have impressed fans globally. Relapse Records cemented classic status by having the two bands attend the same studio, the lauded GodCity with Kurt Ballou producing. Both bands are hitting the road with one off shows and fests immediately in January 2018. Relapse posted a track from each on YouTube: Iron Reagan’s two minute “Paper Shredder” is one of their five tracks on side A; Gatecreeper’s “War Has Begun” is one of their three which pummels eardrums for four minutes. Unique shirts with both bands logo and the artwork are available in black or white. Available on CD and vinyl: 100 on bone white and blood red merge with black splatter; 300 on bone white with blood red + black splatter; also, black vinyl. 

EPs

Flytraps Outro Records
Out Now

The Flytraps have been a quartet of all female, with a surfier, reverb sound. Now, with three ladies and a dude, the band is darker and faster and more straight-up garage punk. Whatever the formula and combination, this new 7” captures their snarling swagger with three punchy tracks. The L.A. quartet gives us “All Talk”; “He's Been Around” - a fast-paced, jangly lo-fi classic- and “Doin' It Right”. The Flytraps play dense garage punk rock with slithering female vocals and attitude that flaunts meandering bass, tight guitar licks, and rugged drums. 100 on red vinyl; rest on black.

Hell Bent Demo EP (Cassette) Self-release
Jan 12, 2018

Rhode Island’s Hell Bent spews three-ish minute tracks that combine searing elements of thrash, d-beat, crossover, and hardcore – if you need a label beyond “whoah”. Hell Bent boasts the menacing vocals of long time screamer, Aaron Badger, of Straight To Hell, Ulcer, and Paindriver. Other members have spent time in Dropdead and Neon Bitches. This demo was released last year on a very limited cassette version aside from digitally. Kicking off the New Year proper, they are repressing with a more expanded run on cassette.

Hell Bent execute furious, dark metal. Six tracks here exhibit speed-driven riffs with catchy time changes and powerful bass. The brash guitars and pounding drums push and push behind the experienced lungs of Badger. “Yeast” is a blistering opener. These are hardcore thrash songs with taut riffs and more dynamic parts in the songwriting; blazing tracks anchored by breakdowns for the pit. “Bastard Curse of Abraham” starts with a slower, trudging pace which gains momentum, then ebbs into the mid-tempo, building the anticipation. After 90 seconds the final minute, spazzes forward again with tight thrash riffs. Rest of the demo has infectious, energizing tracks that move into dark, down-tuned thrash. See these dudes live if you get the chance. Killer honest metal/hardcore with a voracious hunger. And the bite to match

Silver print on black cassette, deluxe edition comes with an embroidered patch and sticker.

Pissed Regardless Feed the Birds Creator Destructor Records *(Earsplit PR)
February 16th, 2018

San Diego-based thrash purveyors, Pissed Regardless, are releasing their dark, negative take on hardcore based crossover. Feed The Birds is thick and powerful. The condemning ferocity of the vocals match the brutal music. Incensed vocals and frenzied drum patterns switch on dimes to bring pulsating respits and breakdowns (bordering on grind at times). Heavy riffs accompany slick chops and relentless double bass drums bellowing disdain for a rotten world. Pissed Regardless call to influences like 90’s Earache and 80’s NYHC to currents like SSS, Ramming Speed, and This Is Hell. Again, heavy.

Gnaw Bone Scorched Earth Auris Apothecary
January 15^th, 2018

Indiana’s malevolent trio create treachery and devastation with a new four track EP. Their names and duties are recorded simply as B, Rhythm & Voice; R, Thunder & Voice; S, Noise & Voice; the mysterious aspect adding to the chaotic atmosphere of their blackened doom sludge. Enmity and sadism are instruments as much as any guitar. Four to six minutes each, tracks like “The End” (which begins the EP) revel in noise and sonic abstraction. Thick and pounding, the EP conjures spiteful snarling and disdainful cynicism. Limited edition vinyl is on ultra-heavy 180 gram vinyl, on crystal clear transparent vinyl, a double-sided insert, and a heavyweight 24pt jacket. Deluxe edition includes crushed bones pressed into the wax. *Includes digital download

COMPILATIONS

Americas Hardcore Vol 4 Triple B Records

Ships Jan 26, 2018

Continuing its beloved series, Triple B – who had a spectacular 2017 – deliver Volume 4. This installment visits us with upstarts, Brother (New Bedford, MA) – Negative Approach-style female fronted hardcore with new bassist, George Radford (She Rides, F.I., Dropdead); Krimewatch, old school, abrasive, punky hardcore with a mix of NYC and Japanese members and lyrics (3/4 female as well); Line Of Sight, DC SXE revival with mosh friendly two step rhythms and ferocious guitars; Glory, infectious Boston Youth Crew Hardcore; Pure Disgust, punishing DC thrash; the metallic frenzy of Primal Rite (LP coming on Revelation 2018); Free, new track after their stellar 2017 7” of eclectic influences; and big wigs like hardcore super group NYHC style, World Be Free and Baltimore’s titans, Trapped Under Ice. 

“Each band also designed and submitted their own pages for a 20-page, 12" x 12" insert booklet included with each record. LP includes digital download. These will ship in January. All copies come with a free immediate download.”

Aqua Blue, 700; Purple with White Swirl, 500; Red White Blue Tri-Stripe, 300.

Oxleys Midnight Runners The Battle Vol I Review

Oxley’s Midnight Runners

The Battle, Vol I

Oi! The Boat / Randale

Review by hutch

Oxley’s Midnight Runners are an Oi! Band that have been rocking hard punk jams for a few years now. They have dropped four 7”s; We are Legion, Invasion, Combat, Conquest. All release have been splits from Oi! The Boat and Randale Records. Their sound is tough and thick guitars with a punky bounce. The Battle collects OMR’s 4 EPs into one spot. So, if you only like getting up for beer and are too comfy to lug out OMR’s four 7”s to dictate a night of flipping vinyl every 1-2 songs, this collection is for you. The members are comprised of Jesus Rodriguez from Warlords, drums on half the songs, Dave/Jeff of 90 Proof (I loved that band!), Mike Fatskin from, well, the Fatskins and Lars (of Rancid, OLF).

Oxley’s Midnight Runners’ sound is stark, a dark tension is salient through this album. The lyrics approach subjects of surveillance, war, faith, government or the fake sketch fuckers in “Combat”. These are days of violence and war. While threads of rock and roll permeate the foundation, this is crunchy guitars playing heavier riffs. A dark overtone is fluid through the tracks. “Combat” has a cool guitar ‘solo’, feeling like Blitz ‘80s sound. “Don’t Give Up the Fight” embellishes with a cool slide guitar at the end. “War Cries” and “Spear of Destiny” relish rocking solos with a bluesy feel.

But this is all icing, showing that there is strong musicianship here. The attraction is the beefy sound delivering hard Oi!. Mike’s voice is always commanding, serious as a heart attack. His unique pitch is undeniable. He grabs attention. There is lots of opportunities for an audience to sing along with catchy choruses and gang vocals. The simple but direct graphic design continues via the handsome Wynn Pettit (DDC, Fatskins)

If for some reason you have not checked out Oxley’s Midnight Runners, here is your ultimate choice. Luckily the album is named, “Volume I”, whetting our ears for more to come. Remember this is true music of the streets. This is not fun punk. This is angry movement music for angry people to vent to. I didn’t say ignorant, I say  indignant. Check “Land of Gold” as they vilify politicians and news anchors for wrongs such as Fukishima and Monsanto.

“They're the Enemy to everyone to you and me! Lies! Lies! Lies!”

“Nation of Hate”, “We Are Legion”, “Vengeance”, “Combat” stand out but each track is killer. Everyone is comprised of grit and punch. In this resurgence of Oi! And punk, Oxley’s Midnight Runners stand out. Tough, brash, and catchy.

RIYL: FatSkins, APA, Brick Assassin, DDC, Concrete Elite, Lions Law, NOi!SE

BUY

4 Doors to Death Comp review

Various Artists: CEMETERY FILTH (Tennessee/Georgia), ECTOVOID (Alabama), SABBATORY (Winnipeg, Canada) and TRENCHROT (Philadelphia)

4 Doors to Death

Unspeakable Axe Records

February 16, 2016

Reviewed by hutch

CEMETERY FILTH:

When this drops, Cemetery Filth will have been a band for two years. That is a short time for this l of destruction. And considering they split member from Atlanta and Tennessee, they have a synergy to be lauded. They have released one EP, Screams from the Catacombs, in their short journey. Now they birth three more tracks of savage, penury virility. They have moments of driving, fast tempos. But they also enjoy tempering their jagged-timed sound. Sections of mid-tempo or even off-time, dragging drums show a nod to Death and emphasize the depressing, morbid atmosphere. 

These elaborate, and frequent, time changes exercise all that I love about death metal. They evade the trap of monotony. The production is thick and ominous in tone. Stellar performances mean that this young band has talent dripping from the members’ digits. Clean solos over foreboding riffs that linger like the guillotine convey adherence to a genre and individuality all in one. The five guys here encapsulate a varied, evil sound that will crush fans. 

ECTOVOID:

Hailing from Birmingham, Alabama, Ecotvoid deliver death metal in the coarsened vein of Obituary and Autopsy. They give us two tracks at over five minutes each. “Ash Primordial” has a few churning moments, writhing in a mid tempo gallop. The main body though pushes forward, fast as a whiplash. “Thoughts of Ancient Dread” opens with a slow pace, fluttering guitar lines lingering over a slow fog of down-tuned chords. Heavy, thick and dominating, Ectovoid’s tracks definitely burst into fast moments. Their strength is in the reticent, gigantic presence. This trio has provided fans with two full lengths. These two tracks lash out through the speakers. They harness a big sound. Ectovoid have mastered conjuring a true feel and tone in their songs, beyond just playing kick ass music.

SABBATORY:

Their first track, “Ascension to My Holy Tomb”, whips out of the gate, riding a grinding gallop. The riff twists as the drums push forward. The descending tight riffs herald a good old school feel. Other diabolical metal seeps into the sound here. Sabbatory, from the bracing cold of Winnipeg, share members with besieged. They have one full length released since their grotesque inception in 2011. The shred with chaotic speed, pulsating riffs guiding the way. Their two tracks are five and three minutes. Not one second of either track lets up in attitude or speed. The raw production, lending a live feel, taps into the early predecessors. Sabbatory’s influences probably encompass aspects of Hellhammer/Celtic Frost, Morbid Angel, Carcass, Dismember, Repulsion mixed with peers like Midnight, Nunslaughter and Asphyx; but none of which are an exact match. Sabbatory piss away expectations. This is stripped down, death-soaked speed metal. Killer shit here.

TRENCHROT:

Coming out of Philly in 2012, Trenchrot lend their donations here with two original tracks and a Death cover. Their sound is not cut and dry. The vomitus vocals spew over tumultuous, heavy spasms laying the foundation. They finally form a groove in a slow chugging, about one fourth into the track. As with the other bands here, atmosphere is big. Trenchrot create the miasma of confusion in a cave. Listening feels like a soundtrack to abandoned trekkers, unwilling to continue. Then they push into a fast part, riding on double bass kicks. The swirling dual guitars cloud my headphones, sirens and screams complete the riotous feel of chaos.

“Powerful Kendarian Steel” is an anthem. This track is a beast. Again, this atmospheric goliath could provide the music for twisted regrets converging as you descend in madness. Guitars layered on top of rollicking, seizure drums and thick, crusty riffs merge to slowly roll out the last half of the track. The Death cover, Evil Dead, is what a cover should be. Great nod to the original with deciphering, personal twist executed well. 

Sarcofagos Die Hard Review

Sarcofagos

Die…Hard

Greyhaze Records

Sarcofago are legends, and also unsung. Standing in the shadows of another late 1980’s Brazilian metal band, Sarcofago released a genre defining album, INRI, in 1987. Through the next ten years, and a few member swaps, they released four more albums. INRI remains the Satanic monolith that you might not have heard. Admittedly, though, for Die…Hard, when I see “1985” and “demos” in the description, I get a little worried about sound quality and repetition.

Repetition is unavoidable when compiling these types of projects. Greyhaze, via Brazil’s Cogumelo Records, treats us to two early demos, and some random tracks off of single release demos. The treasure here is the two demos, Satanic Lust and Christ’s Death. Yes, some tracks here appear two or three times. So, maybe only a true die hard will appreciate the incremental progression. But, in the days of digital libraries, one can always only keep what they want.

As the album starts, the production is a little tough here. This is the first demo. The drums sound like a hammering construction project executed in the next room. The poor man’s King Diamond wail in the beginning of “Satanas” is jostling. But, then, every other vocal is gruff and evil. The guitar sounds great. The guitar tone on “Nightmare” is treacherous. The drums fit better, plodding and menacing. Even the roughest demos here are still killer; never too muddy or quiet. The production increases in quality as the CD goes forward. “Satanas” third appearance is tight as hell, with even production.

The demo exposes the mastery and influence of Sarcofago. This is the sound black metal purists would kill Christian babies for. I personally like more thickness in the production, a little more chunk in the guitar. But the sound and brutality of this A side cannot be debated.  The listener can make rapid connections to bands like Hellhammer and Mayhem hearing this. The miscellaneous demo tracks are hit or miss. Some tracks can be skipped (“Alcoholic Coma” for one); but when “Black Vomit” kick in, it does so with a feral delivery and blistering tempo.

Christ’s Death demo sounds a little worn from the original tape. But, the playing and recording come with more balls and relentless fury. The tracks are fast. By this time, Sarcofago had a vision and were not meandering in sound. “Desecration of Virgin” is brutal as hell, with a few leads, and a present bass line. The demonic growls and bullet driven drums remind the listener to Sarcofago’s learned status in extreme metal. Again, by the time we get to this, we have heard some tracks multiple times. But this version of “Satanic Lust”, whoo! Finally, a bass!

This is a damn fine record. I do not think you have to be a diehard fan to appreciate this. You can pick and choose which versions you like best. All are sinister. This is savage metal. These dudes do not always come up when talking the history of metal. That’s a shame. Greyhaze gives us a chance to explore the beginnings and foundations of legendary tracks.