Showing posts with label heavy metal. Show all posts
Showing posts with label heavy metal. Show all posts

Tuesday, December 30, 2014

TOP 50 METAL ALBUMS OF 2014

 
Google search result for "heavy metal 2014."

It’s that time of year, where I face a legitimate heavy metal Sophie’s Choice and somehow narrow all of the extreme releases I’ve enjoyed this year down to 50. 2014 treated me beautifully, with my very first screenplay sale, a continuing dream gig at Decibel Magazine, my own column dedicated to independent bands at About Heavy Metal, and several other projects I’ll discuss in more detail soon. I KNOW YOU CAN’T WAIT. But for now, it’s time to celebrate the end of the year the way journalists and critics know best: LISTS.

There are a slew of truly solid albums not listed here, and honestly, my rankings have fluctuated nearly every day for the past two months since I handed in my initial Top 40 list to the editors at Decibel Magazine. I have no doubt that if I look at this list in another year or decade, hell, even another week, the rankings could shift and shuffle depending on my mood, the cereal I eat, how crowded the subway is that morning, etc. Feel free to inform me how lousy my selections are, how overrated band A is, how album B is obviously the top selection of the year, and how I’ve terribly under-represented genre C.

2014 Top 50 Metal Albums of the Year

1.   YAITW – When Life Comes to Death
2.   Horrendous – Ecdysis
3.   Drunk Dad – Ripper Killer
4.   Pallbearer – Foundations of Burden
5.   Morbus Chron – Sweven
6.   Thou – Heathen
7.   YOB – Clearing the Path to Ascend
8.   Nux Vomica – S/T
9.    Cripple Bastards – Nero in Metastasi
10.  Bastard Feast – Osculum Inflame
11.  Black Anvil – Hail Death
12.  Septicflesh – Titan
13.  Midnight – No Mercy for Mayhem
14.  Vallenfyre – Splinters
15.  Giant Squid – Minoans
16.  Coffin Dust – The Cemetery, My Kingdom
17.  Down – IV: Part Two
18.  Atriarch – An Unending Pathway
19.  The Skull – For Those Which Are Asleep
20.  Wo Fat – The Conjuring
21.  Eyehategod – S/T
22.  Sea of Bones – The Earth Wants Us Dead
23.  Trap Them – Blissfucker
24.  Incantation – Dirges of Elysium
25.  Orange Goblin – Back From the Abyss
26.  Triptykon – Melana Chasmata
27.  Anguish – Mountain
28.  Baptists – Bloodmines
29.  Tombs – Savage Gold
30.  Opeth – Pale Communion
31.  Torch Runner – Endless Nothing
32.  Couch Slut – My Life as a Woman
33.  Funerary – Starless Aeons
34.  Wild Throne – Blood Maker
35.  Mutilation Rites – Harbinger
36.  Bongripper – Miserable
37.  Gatecreeper – S/T
38.  Dead Congregation – Promulgation of the Fall
39.  The Oath – S/T
40.  Secret Cutter – S/T
41.  Cult Leader – Nothing For Us Here
42.  Godflesh – A World Lit Only by Fire
43.  At the Gates – At War with Reality
44.  Gurt – Horrendosaurus
45.  Drawers – S/T
46.  Atta – S/T
47.  The Atlas Moth – The Old Believer
48.  Vampire – S/T
49.  Agalloch – The Serpent and the Sphere
50.  1349 – Massive Cauldron of Chaos

If you haven’t checked it out yet, go buy issue #123 of Decibel Magazine, where the whole staff selects the Top 40 Extreme Albums of the Year.

You can also check out a few of my other picks for the year listed on the 2014 Heavy Metal Awards at About Heavy Metal.

Check out all the other lists popping up around this time also and feel free to send Tweets about my questionable metal taste over to @MisterGrowl.

Monday, October 7, 2013

INTERVIEW: STALIN


The old “sex, drugs, and rock’n’roll” adage is weak-sauce for Bay Area transgressive rockers Stalin. Mix in body mods, heavy riffs, and devil-masked cocaine orgies and you’re on the right path to appreciating the hedonistic world of Stalin’s music, which would be Emperor Caligula’s main jam. I was able to recently catch up with the band and receive their thoughts on their new music video, the sex industry, and the joys of hate mail. Join the orgy below:

Mister Growl: For those unfamiliar with Stalin’s music, could you introduce the history of your band?

Stalin: The project started in 2011 with a group of very whimsical individuals that decided to give music a go. The original line up rented out a house to live in and rehearse, which unfortunately turned into a mix of a trash heap and party pad, although we managed to write 3 albums worth of material and are still in the process of releasing the first.

The idea behind the band is to simultaneously do whatever we want musically and otherwise without limitations or rules.

Mister Growl: I described your sound to a friend as “Peter Steele from Type O Negative fronting the Rollins Band and Antichrist Superstar-era Marilyn Manson,” but in a press release you referred to your band as “transgressive rock.” Does that mean you throw semen and feces into the audience, like GG Allin?

Stalin: That's an exceptionally complimentary description - why thank you sir. As for semen and feces being thrown at the audience -- that's not likely to occur anytime soon. We're romantics and that wouldn't exactly charm over our beautiful fan base. But, that's not to say that a Stalin show won't contain some unique entities that you might not see elsewhere. In fact, we'd assure that.

Mister Growl: You have a new video out for your song “California.” What was the production process like for that video?

Stalin: We shot the video in a day and a half with only a take or two per shot, so it was a bit rushed. It was also one of the more enjoyable creative things we've done - all of the sexual bits were shot early in the morning and the whole set devolved into the real deal by mid day due to having 30 Ciroc bottles on location, everyone on set was hammered and a few as well coked out of their minds and inhaling helium balloons. Yet, we managed to get some nice shots under a collectively hazy condition. People like "method acting," haha.

We can't wait to do more and have some amazingly enticing ideas to film. Making videos is arguably more fun than recording and mixing music in the studio. Two more on the way this year.

Mister Growl: I am a firm believer that movies/TV/music can corrupt God’s children and turn them into hedonistic demons. How many lives do you reckon you’ve destroyed by including profanity, drug use, promiscuity and sexual intercourse out of wedlock, Satanic/Pagan imagery, and provocative dancing in your video?

Stalin: Why capitalize the abrahamic "god?" He/it/she has the personality of an attention seeking teenager with a superiority complex and intensive jealousy, that's not very divine is it?

We can't comment on who and what we have influenced so far, but we have managed to aggravate quite a few hipsters and techies with the video and that's of course splendid. Those cunts are positively dead to identity.

Besides, you can't corrupt religious kids, they've been corrupted by 2,000+ year old racist, sexist, irrational, logically inept and ludicrous dogma from the jump. We feel bad for them and want to extend out a helping hand. It's all love...

Mister Growl: Was the “California” video just an excuse to kiss and fondle an impossibly hot tattooed gal, or is there another message as well?

Stalin: The video itself is a parody that few seem to spot outside of the Conspiracy Theorist realm, or those who watch a lot of Kesha and Lady Gaga material. Mainstream pop videos throw in more and more faux Illuminati material because it generates a lot of hits online from people that believe in power behind the throne and secret world orders and so on. So we took the basic elements and mixed in sarcastic product placement, the Baphomet, chifir induced rituals and then sexed it up more than they're willing to do in their prude teases.

So literally it's just taking the piss on mainstream music culture while throwing in some subtle anti-authoritarian overtones. We even put the plaque from the real Bohemian Club in it for our tin foil hat wearing friends.

Mister Growl: One of my favorite places I’ve visited in this country was The Lusty Lady in San Francisco, which tragically closed this past summer. What are your opinions of that legendary venue, and of the sex industry in general?

Stalin: Our bassist and one of our guitarists were thrown out of the Lusty Lady by a Tranny whose occupation was cleaning off cum stains from the walls and floor. They tried to get in a booth half priced for two and were in there laughing about the whole experience while other customers were "handling" themselves all business like. That's the only memory we have of that place.

The sex industry, as in porn and other outlets obviously has its place as a multi-billion dollar industry. The only people that denounce are social conservative types that detest it while enjoying it in the comfort of privacy and secrecy.

Not too many of those types in SF. Lots of freaks, creeps and people that can't afford rent amongst the new gen of liberal yuppies.

Mister Growl: There have been a series of disturbing violent incidents between fans involved with the San Francisco Giants/Los Angeles Dodgers rivalry. What do you think that sort of twisted fanaticism says about humanity?

Stalin: The irony is that the Raiders-Niners rivalry is calm and respectful. The more violent sport in the more violent areas having a calmer situation probably says that the slower sport that induces more boredom maybe is the culprit of twisted fanaticism and brings out the animal.

That idea could relate to the root of almost everything, or is just baseless pseudo-intellectualism.
The latter, definitely.

Mister Growl: On September 16th, 2013 you Tweeted the following: “Isn't it ever amusing that those who espouse "traditional moral values' have the worst closeted moral codes known to man? #prostitutechrist.” Why did you name our band Stalin, instead of Prostitute Christ?

Stalin: Just for you we'll rename a track on our next album 'Prostitute Christ'. We named it Stalin as jest, due to our anti-Authoritarian output it fits within the whole dark humor bit perfectly. We're totally down with Anonymous.

Mister Growl: As an East Coaster, I’m curious to hear how you’d describe the musical history and current scene in San Francisco.

Stalin: The history of it is fantastic, all the way up to when Silicon Valley drove up rent prices to make it the most expensive city to live in the United States. You had the 60s scene here that was very influential, you had the thrash movement in the 80s and as well a great alt-metal and alt-rock scene in the 90s. Janis Joplin, Metallica, Faith No More - significant acts.

Now it's nothing but beards, banjos and holding hands with a bit of electro pop. There's a gigantic market for that lifeless bilge and 20,000 different acts consisting of it.
Except for us.

Mister Growl: What have been your strangest and most rewarding experiences playing live?

Stalin: This project has yet to make its live debut, but in the near future expect us in a town near you. ;)

Mister Growl: You seem to be particularly proud of the hate mail the band’s received. What are your thoughts on that sort of antagonism, and what it says about the band’s music and image?

Stalin: We love it! But only when they put a lot of thought into their love letters or adoring compliments.

Mister Growl: What does the future hold for Stalin?

Stalin: Bringing the Stalin brand to wider and broader audience. Stay tuned if you like what we do, it's only going to get more fun.

Many thanks to Stalin for taking the time to answer these questions and share their new music. Go check out their website, watch the video for “California,” and listen to their music NOW:  http://www.stalin.org/

Friday, August 9, 2013

REVIEW: GOZU - THE FURY OF A PATIENT MAN


After recently catching Gozu at The Eye of the Stoned Goat festival at The Acheron, Small Stone Recordings were nice enough to send me their most recent album, The Fury of a Patient Man. Let me  be the first to tell you, an album title has seldom fit an album’s sound so well. Mixing explosive metallic riffs with the buzzed fuzz of stoner rock and one of the smoothest croons in loud rock, Gozu’s music absolutely sounds like a guy who’s most often composed finally unleashing his demons and frustrations. Luckily, the result isn’t a crime spree, but a collection of catchy hooks that walks that fine line between melody and aggression with grace and confidence.

“Bald Bull” features the croon I just mentioned, a weapon provided by Marc Gaffney, that approaches falsetto without ever seeming shrill. It’s the epitome of cool, and he helms the album with a rare quiet swagger. This song is the perfect introduction to Gozu’s brand of crunchy rock and captures their style in three and a half minutes that invoke both Fu Manchu and Eagles of Death Metal while remaining a totally separate, unique entity. The album is full of memorable cuts that use pop sensibility while never feeling formulaic. “Charles Bronson Pinchot” blasts with some of the heaviest moments on the album, and even dips into psychobilly (think: Reverend Horton Heat’s “Galaxy 5000”), “Traci Lords” delivers soaring guitars (provided by Gaffney and Doug Sherman) that crash into a haunting stretch of headbanging-inspiring distortion, and “Ghost Wipe” charges ahead with the unpredictable energy of Tomahawk, just amplified one hundred time louder.

There are a few promising songs that have moments of brilliance but don’t fully click: “Disco Related Injury,” besides being my favorite song title in a long god damn while, wastes some killer opening and bridge stoner riffs with a weak chorus, and despite the fun clap-along percussion of “Salty Thumb,” the song never kicks into the next gear. The wild-card on this album is the 23+ minute closer, “The Ceaseless Thunder of Surf,” which rides its riffs like a wave and uses Barry Spillberg’s excellent drumming to escalate the potentially patience-testing song to an experience like a pleasant psychedelic trip on a beach after eating some exotic cactus meat. The song’s extended length is a risk that definitely pays off.

The Fury of a Patient Man is a versatile, dynamic release that displays significant songwriting ability and remains accessible while never betraying its roots as a heavy rock album. Gozu can groove with the likes of Acrimony and Queens of the Stone Age, who also took the foundations of stoner rock and injected the sort of personality and vitality that resulted in landmark albums for the genre. Gozu are absolutely worth your time and attention, and despite crafting songs with super-charged distortion and muscular riffs they’re never less than approachable. It’s the sort of music that acts like a gateway drug to welcome reluctant listeners to heavy music. Also, Gozu might be the band I would most like to watch a movie marathon with, starting with Escape From New York, then Serial Mom, followed by their namesake, and ending with something on the grand scale of the Bronson-starring Once Upon a Time in the West, to match their grandiose closing song. Their movie taste almost matches their musical talent, and that’s high praise from an elitist film school prick like me.

Check out The Fury of a Patient Man on Bandcamp here and purchase it for $10:  http://smallstone.bandcamp.com/album/the-fury-of-a-patient-man

Also, check out Small Stone for more awesome releases. They’re conveniently having a sale with selected $5 CDs right now, so load up on some good stuff:  http://www.smallstone.com/

Friday, July 26, 2013

REVIEW: JUNIOR BRUCE - THE BURDEN EP


I just received a beautiful neon green vinyl copy of Junior Bruce’s LP The Headless King this past week and sought out their newest material, the recently released EP The Burden. In an old interview, vocalist Scott Angelacos explained the idea of their LP’s title, saying, “Other than a general feeling of unrest, we wanted the album to feel like an uprising. A headless king has nowhere to place his crown.” That same sense of defiance surfaces in The Burden, though there’s also a streak of melancholia in both songs. But Junior Bruce’s sound doesn’t wallow in solemnity, it uses the somber platform as a launching pad to meaner, heavier riffs that pound at the gates of each song, threatening to burst through.

The EP’s title track commences with haunting guitar work teamed with Tom Crowther’s growling bass that stomps into morose hardcore before building a groove layer by layer that feels like the song is regenerating rhino skin. Angelacos’ voice has extra grit on this effort, like he’s been gargling with bathtub whiskey and alligator teeth since The Headless King’s recording sessions. It’s a great song executed with confidence and powerfully projected emotion.

“The Ocean’s Daughter” opens with a creeping riff that feels like vintage Candlemass before abandoning the dirge in favor of melodic ruminations over a backbone of mid-tempo distortion. Jeff McAlear sounds like Bill Ward on this song, with frantic fills injecting energy into the slower moments while kicking the song forward with a persistent bass drum pulse. Three quarters of the way through the song a guitar lead soars over the droning main riff and leads the song to its downtrodden conclusion.

Junior Bruce (named after a character from the original Death Race 2000) is a great band on the fantastic A389 Recordings label and these new songs verify that they’re headed in an exciting direction that develops melody without sacrificing aggression. These two songs are a great teaser of what’s to come from this Floridian outfit and definitely promises that there is more quality heaviness waiting to obliterate us in the future. It may not be the brutal soundtrack a Death Race driver would listen to in his car while tallying a high body count on the blood-slick roads, but it certainly fits the soundtrack of a post-Death Race wrestle with colossal guilt and shattered morality. And hey, that’s brutal in its own way.

The Burden is currently available as a FREE download over at Bandcamp, with links to Junior Bruce’s Facebook page as well: http://juniorbrucefl.bandcamp.com/

This is also the band’s first release since the unfortunate passing of drummer Brett Tanner. If you’d like to donate to cancer research in his name it would be a great gesture.

Friday, June 28, 2013

REVIEW: OXXEN - S/T EP


Oxxen, a Tennessean doom/sludge trio, sounds like the Chattanooga Choo Choo has derailed at the stroke of midnight and plowed through forests filled with man-eating black bears and haunted oak trees, leaving behind a wreckage of splintered wooden limbs, bones, and fur. While the band’s name reminds me of ill-fated computer expeditions along the Oregon Trail (I always had at least two oxen drown when I chose to ford a river), the music evokes everything from the hardest-partying stoner rock to the murkiest grunge in Seattle’s days of pre-exploitation.

Their self-titled EP kicks off with “This Shit Ain’t Exactly Thunderdome.” This shit is, however, heavy enough to give Tony Iommi a boner from a continent away. When the distortion hits it can collapse weak hearts, and there’s a punk energy in this music that spits blood and teeth into the crowd. When the songs reach mid-to-uptempo they feel like they’d be right at home playing with Black Tusk, Red Fang, or Orange Goblin. (Editor’s note: Just checked the band’s gig history and it looks like they have played, or will play, with Black Tusk. Solid.)

“Stoic Men Under Ancient Lord” swaggers with reckless grunge intensity, taking the heaviest moments of Nirvana’s Bleach and the Melvins’ Houdini and dressing them up with armor and a battle axe. It features Bill Robinson's best lead guitar work on the album, whose voice sounds how I’d imagine Kurt Cobain would sound if he was still alive. The same hoarse shout, tone deepened from years of drinking cocaine and snorting whiskey, only occasionally concerned with weak shit like pitch and melody.

Oxxen close with the album’s highlight, the 10+ minute “Riddle of Steel.” This song revs its engines as loudly as the best biker metal out there before slowing to a Cathedral crawl until the seventh minute, where they return to the punk riffing and gruff aggression that propelled the EP’s opener. Oxxen’s roots may reach into traditional doom and the spirit of Sabbath and Pentagram, but there is a fist-pumping, binge-drinking sense of immediacy and toughness to this release that gives me the hunch these dudes are a totally killer live band. Just because you can flatten a forest with your slowest riffs doesn’t mean you can’t chop the keg open with an axe and party sometimes.

This EP is currently FREE on Bandcamp, so check it out and throw them some bones if you enjoy it as much as I do:  http://oxxen.bandcamp.com/album/oxxen

And follow them on Facebook for future news on gigs and merch:  https://www.facebook.com/pages/Oxxen