Village stalwart Izzy is stepping up the retrospective game, and will henceforth deliver a fresh one every Friday! Make sure to check in weekly for a dose of nostalgia. - Ed.
Written by: Izzy
Have you ever wondered what John Zorn sodomizing a saxophone at a Godflesh concert would sound like? Well, if so, firstly let me say you have excellent taste, and secondly, I think it would sound a hell of a lot like God’s 1992 cult classic Possession.
For the shamefully uninitiated, God are a strange and short lived band formed in 1987 with an expansive list of semi-notable underground musicians that have occupied its roster. They employed a rather bizarre and grotesque blend of industrial metal, avant-garde jazz, and noise rock, resulting in an aberrant creation I truly feel no reservations in calling one of a kind. A frenzied and insane concoction of influences, Possession is an album that, if released today into the musical landscape of streaming and accessibility, would no doubt in my mind be hailed as a masterpiece.
Written by: Izzy
Chances are, unless you’re a big nerd like me who regularly seeks out weird bands in weird genres like cybergrind and power electronics, you’ve probably never heard of this band in question. But for a blossoming noisehead like myself, albums like this are candy to me, meaning I absolutely love it and it’s probably not healthy.
The description-defying Kenyan noise duo Duma have only been with us a short while, officially forming in 2019. Their eponymous first offering to the world is 2020's best industrial-related release at time of writing, an opinion I expect to continue holding through the rest of the year as I am thoroughly impressed by and cannot get enough of the dizzying blend of noise these two employ.
Written by: Beaston Lane
Dear readers, I’ve a feeling we’re not in Avatar Country anymore. As the world grapples with the caustic effects of the COVID-19 pandemic and our favorite artists are screwed over by penny-pinching corporations, an island run by fun-loving metal maniacs sure sounds like a great place to be--but that’s not where Avatar takes us on their highly anticipated 8th LP. Hunter Gatherer finds these bombastic Swedish metallers in that bleak headspace so many of us have to confront every morning as we contemplate the increasingly volatile future. Gone are the fables and legends of Avatar’s past, replaced with the nightmares of a planet in crisis. Robust and aggressive, Hunter Gatherer is the sound of one band’s cleansing discharge of years of pent-up anger and anxiety.
Welcome to the first Review Off (of hopefully many!) The premise? The illustrious Metalhead World and yours truly get down and throw down in an epic review battle. My contribution lurks below, and you can read Metalhead World's review here. Enjoy! - Ed.
Written by: The Administrator
We slumbering peasantry are of a significantly, erm, flimsier stock than those marauders over at Metalhead World. Perhaps to our own detriment, we are also a prideful crowd. Such is the lot with wordsmiths. As such, when our neighbors issued the challenge to write a review of I Disagree, the latest statement from self-acclaimed post-genre messiah Poppy, we could hardly back down from a fight. And so here we are, quill and parchment held tight in white-knuckled grasp. In the distance, a murder of ravens takes flight. Sweat drips under ill-fitting plate armor. Blood will be shed this day, and I pray ‘tis not mine.
...but if today results in slaughter, the victim won’t be the artist in question. Quite the contrary. At the beginning of this process, I was familiar enough with Poppy via one Lichtmensch, but was certainly not what one might consider a fan. Now, however, after several weeks of intensive immersion, I Disagree has found solid footing in the ranks of my favorite albums of the year. Credibility be damned! Long story short: if you’re expecting a takedown, look elsewhere. This is a very good album by a variety of rubrics, and Poppy’s contributions are far too substantial to be merely dismissed.
In the rush to cover the constant waves of new music, we all too often neglect discussing the releases that leave the most substantial impressions in our lives. As such, we recently invited some bands and artists to wax poetic about an album that was deeply impactful or influential to them, either musically or personally. The next guest in line to graciously offer a retrospective in this series is politically inclined industrial artist Atrop0ss, whose work can be found in the wildlands of bandcamp.
In a strange twist of fate, this is the third(!) NIN album to have been featured in this series--clearly indicating a broad reach of influence. Once yer done here, check out these retrospectives of The Downward Spiral and The Fragile! But, without further ado:
Written by: Atrop0ss
2020 has been a culmination of centuries of corruption, racism, and propaganda, all burgeoning into a multi-faced demon threatening utter demise. Americans especially are faced with a year that seems to bring a new tragedy or intense "happens once a century" type of event every month, and have reacted in all manner of negative ways. Trauma seems to be a consistent response.
And in times of trauma and hardships, we as a species often turn to music: for answers, for peace, to feeling justified, to feel heard. Musicians in these situations will often write music in order to explain a point, or make known their views. In my (relatively short) time on this earth, I've only found one album that really, honestly, predicted exactly where all this corruption and evil would bring us. That album is Year Zero by Nine Inch Nails.
In the rush to cover the constant waves of new music, we all too often neglect discussing the releases that leave the most substantial impressions in our lives. As such, we recently invited some bands and artists to wax poetic about an album that was deeply impactful or influential to them, either musically or personally. The third guest to graciously offer a retrospective in this series is Steven of (intoxicatingly cathartic and emotive) dark electronica act aortaproject. Notably, this is the second of four(!) NIN retrospectives. Read on!
Written by: Steven of aortaproject
Nine Inch Nails The Fragile: Trent Reznor's opus. Not his most critically acclaimed work, but for diehards, this is "all that could have been" for Nine Inch Nails.
It's been almost 20 years since the iconic double album’s release in Sept of 1999 and I still couldn't be happier with it. The Fragile remains a staple in my reported influences, and a constant in my playlist. Even after thousands of hours of listening, I still find bits and pieces I haven't noticed before. Exploring the threads of Reznor's genius. The Fragile is laced with sonic texture, intricate layering, and an articulate blending of synthetic and natural elements, encroaching the frail temperament of stringed instruments with the powerful programming of electronic drums and pulsating synths.
In the rush to cover the constant waves of new music, we all too often neglect discussing the releases that leave the most substantial impressions in our lives. As such, we recently invited some bands and artists to wax poetic about an album that was deeply impactful or influential to them, either musically or personally. The second guest to graciously offer a retrospective in this series is Chris H of antifacist blackened outfit Phryne. Read on!
Written by: Chris H
The first time I listened to The Downward Spiral by Nine Inch Nails was in 2015. At that time, I was starting to find myself listening to heavier music, and I was venturing to discover all the classic hallmarks of metal. Industrial had always been interesting to me, but as a kid I was always too afraid of the dark imagery to really listen. When I sat down to listen to The Downward Spiral--the first industrial album I decided to listen to--and pressed play, I heard the sounds of a man being beaten in a strangely rhythmic fashion. At that moment, I was uneasy and wondering if I should keep going and listen on, but as the sample from the film THX 1138 crescendoed into a chaotic noisescape, I gave in and was transported to the grimy world Trent Reznor had created. “Mr. Self Destruct” is still one of my favorite album openers because of its raw attack and energy. It is the perfect beginning to the experience that is The Downward Spiral.
Written by: Izzy
Much like the band in question, Methwitch, I will not waste any time beating around the bush. Rather, I'll just throw you immediately into this torrential review, spanning not only the album in question, but also providing a look into the bands previous efforts too, as I felt unable to discuss this album properly in depth without sharing my own short story that goes alongside my initial listen of this album.
Methwitch is a one-man deathcore band led by Mr. Cameron McBride, a guy who’s been around for quite a while and played in a number of different bands I haven’t heard of. However, this latest offering from Methwitch has a especially flavourful addition that caught my attention far more than your run-of-the-mill deathcore group. INDWELL is a noisy, chaotic, and industrial album, but in contrast also has some melodic moments strewn throughout as well. Calling it mathcore would absolutely not be a stretch, many moments bringing to mind bands like Frontierer, Car Bomb, or even The Dillinger Escape Plan (which to even be compared to them is high praise in my book).
Written by: Ancient Hand
Aggression and forthrightness are the key components of Code Orange’s attitude. After the release of their incredibly well-received album Forever, the band maintained a certain level of aloofness and, well, fuck-you-ness. While some perceive this attitude as cocky and narcisistic, this attitude truly stems from the group’s hardcore/punk roots. The band’s DIY nature still exists to this day-- despite their Grammy nomination and signing to Roadrunner, the band still packages and ships their own merch.
This fierce devotion to their craft also translates into a ferocious protection over their artistic direction. After the worldwide success of Forever, it may have been anticipated that the band would lighten their sound and move forward in a “Bleeding in the Blur” style where Reba Meyers would sing the band into top-rock-chart stardom. However, the band’s first record in three years, Underneath, does anything but.
We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry!