random pics archive

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March 2011 album reviews

Sun Mar 20, 2011 11:08 am


Defeater - Empty Days & Sleepless Nights CD 2011

Just got into this band a few months ago, and I've been feasting on their debut and Lost Ground EP ever since. Well low and behold they have brand new album out and I'm still in the middle of loving up their previous work...I love when that happens! Defeater play a style of Melodic down to earth Hardcore that might be reminiscent of a more "Hardcore" leaning La Dispute. Musically they are very desperate and depressive sounding, with throaty screamed vocals that are rife with struggle and anguish and minor key riffs that make you want to fall on the floor in anger and frustration and cry your eyes out. Yeah, very emotive stuff. Lyrically and emotionally they really embody a lot of what lower class America deals with on a day to day basis with both introspective and extrovertive worries. The 64 page booklet mirrors the forlorn tenor the band implements as its brimming with b/w images of lonely gray landscapes and old downtrodden structures. Defeater have blown up rapidly over the past year but they are a hard working band and have the sound of a group of seasoned musicians that have been honing their craft years longer than they've actually been around. They definitely deserve the enthusiastic praise. But they also have a knack for writing these little stories of passion and sadness that are wrapped up in catchy, soulful tunes that people seem to relate to. I know I do, that's why I dig the band! Defeater excels at writing lyrics that are well thought out and actually mean something...relateable stuff that hits close to home. The last 4 songs on the album show a different more delicate side to the band offering modern folksy songs. They are actually really well written and produced and don't sound kitchy in the least. And as good as these folk songs are I hope they don't don't loose sight and go all acoustic on us cause it's their impassioned Hardcore side that we all love with and that's undoubtedly where their biggest strength lies!

8.5/10

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Sat Mar 26, 2011 11:04 am


This Town Needs Guns - Animals CD 2008

This Town Needs Guns play a soft and complex style of Math Rock that sounds like they graduated from the Emo/Indie school of Kinsella songcraft. Some are calling this style 'Math Pop' which I guess is appropriate. The music is just as complex as it is hooky and beautiful. Often times taking on a somber and longing tone, but never sounding downright depressive and forlorn...it's more charming and bitter sweet than anything. The music coasts along with skittery guitar arpeggios played with keen discipline and precision. All the while the rhythm section keeping up and providing a restless and challenging backdrop for the guitars to dance upon with spider like melodies. The syncopation and constant tricky time signatures sound natural and aren't jarring in the least, and for the trained ear in both Prog and Emo like me, music of this nature sounds absolutely prefect and complimentary. The vocals are of the soft and occasionally sharp, high end Emo variety with a touch of an English accent. The formula on this album might run a bit samey after a while, personally I don't mind it and find enough distinction and busy activity within each song that I never find myself bored. Minus the Bear might also be launching point for TTNG's influences but really something like King Crimson's 80s era might seem more prevalent. Although I'm not sure if these youngsters are familiar with Mr Fripp and his groundbreaking works in Progressive Pop music recorded nearly 30 years prior. But in this day and age of easy access to music I'd think a band like TTNG are most likely aware of KC and would assemble influences from "Discipline" to American Football. While Math Rock (and twinkly, complex Post-Rock) isn't anything new it seems like there are a fair amount of bands in the past few years that are forging an even poppier brand of this; TTNG are at the top of this list, as well as Six Gallery, Maps and Atlases and Colour, to name a few. And then you also have more Emo side of this with bands like Algernon Cadwallader and that new breed of complex and screechy twinkle daddies. Whatever the case is I love this stuff and just cant get enough, keep em coming!

8/10

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Sat Apr 02, 2011 11:59 am


Mayhem - Ordo Ad Chao CD 2007

I honestly haven't paid much attention to Mayhem since "Wolf's Laid Abyss" and have pretty much been one of those "it isn't Mayhem if there is no Euronymous" dudes. I thought "Grand Declaration of War" was lame never thought there would be any reason to pay attention to Mayhem ever after. We'll low and behold in the new decade I hear "Ordo Ad Chao" shown to me by a friend, and I was completely mind boggled how much of a regressive/progressive left turn this album was from the avant-Metal mess that was GDoW. I wish I could have been present when Hellhammer and the boys were figuring out the direction for this new Mayhem album. It would appear that they decided to make an album that focuses in on bent unkeyed melodies, long held notes, strange silences and a muffled production that magnifies the drone and unique tones the band aims for. The guitarist Blasphemer opts out of the flashy guitar riffs that he is most known for and enacts a discipline upon himself concentrating less on stand-out melodies, but more on harmonic subtlety allowing the guitar to be become a part of the greater atmospheric whole. Hellhammer shows off his musical chops as ever before, but he also has great restraint when necessary and during the slower moments showcases some amazing beats, that can be both minimal and complex adding just the right amount of embellishment at just the right moment, something that a drummer with lesser skill and experience wouldn't have been able to pull off as well as he did. There is even a peculiar method in how they manipulate the volume on this album. Just check the song "A Wise Birthgiver" in which the undulating volume is used to great effect making the piece sound as if it's on the verge of fading in and out of existence. Masterful stuff indeed!...this entire album when listened to with great concentration is certainly a hallucinatory experience. To top it off they bring back Attila Csihar, who gives one of the best vocal performances of his career. His snarls, growls, whispered gurgles, moans, howlings and screeches are played like an unorthodox instrument bestowing the album with some sort of alien narrative. This tuned out to be a love-it-or-hate it album amongst fans. For me personally, this was an easy pill for me to swallow and it really should be for any Black Metal fan who are used to experimentation that goes beyond just noodly riffing, and Proggy tendencies. To me Black Metal has always been the most erratic forms of Metal, therefor there is still uncharted areas to explore and you never know what people of progressive mind and experimental spirit are going to come up with next, whether it'd be from young restless souls or even veterans from the genre who have a keen sense of where it's been where it should go next...which was unashamedly on display with the career risking album we have here, Ordo Ad Chao!

9/10

Book review - Mean Deviation: Four Decades Of Progressive Metal

Mean Deviation: Four Decades Of Progressive Metal - Jeff Wagner

I'm glad there is so many great books coming out these days focusing in on the music I love. There's been more than enough books published on important music of the baby-boomers day (Beatles, Dylan, The Doors, etc) as well as wealth of books on the early days of Punk Rock. But music's at a point now where it's possible, I believe, to cover not only the basics of the numerous genres of Popular Music that are out there now, but to paint a tapestry of an illustrious history that now spans decades of growth. There's such a richness at this moment in music (and esp Metal,) a depth that wasn't visible earlier in the many subgenres of Metal(not to say there wasn't depth/richness before, it's just that now there's SO MUCH to cover and explore!)...there are intelligent people out there willing to explore, study and then present their findings. People wanting to publish not only for their own sake, but to publish and share information and propagate musical knowledge. Mean Deviation is just such work; it's is an attempt to sum up the last 4 decades of Progressive Metal from it's early beginnings, to where it is at now in one wordy tome of a book. FYI this is not an encyclopedia of Progressive Metal bands...(listing their discographies and so forth,) but more of a ride through the years of Progressive and Technical Metal, highlighting certain bands, albums and songs; starting from key Hardrock/Heavy Metal bands of the 70s who dared to expand, through the defiant and restless outburst during the 80s and early 90s when Tech was king, and finally traveling through the rest of the 90s and beyond exploring many of the offshoots and unforeseen turns Metal music has made and where its currently at now. With that said it's not just a book focusing in on Dream Theater, Fates Warning, etc...even though those bands are well represented here (as they should be) there is so much more grounds covered in the Prog worlds of Death Metal, Black Metal and even far reaching bands like Kayo Dot, Sigh and other oddball hybrids. I will say this book, first and foremost is very Metal centric, (well yeah obviously...), but I mention that only to point out that there are only brief mentions given to any other kinds of Progressive music outside of Metal. There is a bit of talk about the Prog bands of the 70s (mostly the big names) and their undoubted influence on all that's discussed in the book, but for the most part it really starts with Black Sabbath, the early Scorpions, Rainbow, Rush and so forth and moves on through all the main movements in Metal; NWOBHM, Thrash, Power, Death, Black etc and the more Progressive and Technical bands within said genre. So the book follows somewhat of a time line traveling through the years using each chapter to hone in on a group of bands+albums or a specific movement of major or seminal importance to the progression and perpetuation of Progressive/Technical Metal. I also use liberally term "Technical Metal" because there is a big emphasis on the complexity and musical sophistication that many of these bands aimed for. Rush, Voivod and Celtic Frost (circa Into the Pandemonium), for the most part are pretty much put into the position of being the hero's of the book...there is also repeated reference to what's referred to as THE BIG THREE aka, Dream Theater, Fates Warning and Queensryche. If you remember Jeff Wagner from the old Metal Maniacs days, than you'll already be familiar with his style of writing, using appropriate and concise language to stress his point without ever getting too wordy. Each band and album of importance gets a fair amount of text and most of the time he'll mention certain songs and some specifics to listen for about the songs mentioned. One might find themselves thinking while they read through the book "why no mention of this band or that band?"...I only found myself doing this a bit, but with an academic undertaking of this magnitude you just cant cover every sing band+album of seminal importance, therefor the little to no mention of certain bands I would have liked to have seen more of is excusable. I was only a bit surprised that Uriah Heep wasn't mentioned during the section on the 70s, as I always found them to be a glaring example of early Heavy Metal/Hard Rock with Prog tendencies, oh well. Like any book of this nature even a seasoned veteran like myself is going to learn something new and probably discover a few new bands. I was totally schooled on this band Sieges Even and their "Life Cycles" album. I'm a big Watchtower fan (esp "Control and Resistance") and I was completely unaware of the 'chicken or the egg' controversy surrounding the Sieges Even album that came out a year prior and the uncanny similarities. Another thread of similarities made about many of the bands talked about is how quickly they climb the tech ladder creating one maybe two albums that are bursting at the seams with creativity (sometimes in a naive and haphazard fashion) and then the musicians involved quickly burn out, fade into obscurity or venture off into new and many times more conservative musical paths. The author champions bands who try something different each album and make blatant attempts to stretch the boundaries, (Voivod being an excellent example of this who were pretty successful till about Angel Rat which will always be a debatable album [an album I personally love, but I know many who don't.]) There are a few instances where I part with the author in his enthusiasm for bands who made strident attempts at change and be different. Disharmonic Orchestra who is a fine example. A band who early on, carved their own unique path of Grindcore and made some interesting and quirky leaps with their sophomore album "Not to be Undimensional Conscious." But with their following album "Pleasuredome," a greater attempt to carve an even more obtuse path, turned out to be more obnoxious and awful sounding than anything else. Both an artistic and commercial failure, but I get the impression that Mr Wagner thinks it was a daring step and something that the normal Death Metal and Grindcore audiences weren't ready for yet. But let's be honest, the thing just sucked plain and simple. Pestilence "Spheres" is yet another one of those albums. It's definitely a forced attempt at melding jazz fusion with Death Metal that so many other bands were experimenting with that time. The results are awkward as fuck and the drumming is atrocious...something that a true jazz freak would probably find childish. For my money Cynic's "Focus", which came out the same year, is a much better and more natural sounding album than fucking "Spheres." Cynic was honing their unique style of Progressive Death Metal to a T years before "Focus" came out with a slew of great demos, Pestilence on the other hand quickly jumped on a bandwagon, tried to out 'Cynic' Cynic, and it turned right around and bit them in the ass, loosing any old time fans they once had, and creating a commercial failure of an album that lead to their demise. There is also the examples of Celtic Frost's "Into the Pandemonium" and Destruction's "Cracked Brain." While both albums take large experimental steps beyond the bands previous work (esp Pandemonium) there's no way in hell one could argue that they are better albums than "Eternal Devastation" and "To Mega Therion," progressive or not. And while I have enjoyed listening to "Pandemonium" in the past it just doesn't have the power nor impact of early Frost and Hellhammer recordings. I always thought TG Warrior's vision was greater than his talent and in a case like "Into the Pandemonium" it's a rocky ride and a highly ambitious album, and it's an attempt at something new in Metal, it deserves props for really trying to push the envelope in an otherwise conservative style of music (esp during the 80s), but I always thought it was more of a rough and somewhat failed artistic statement than a lasting masterpiece of an album. IMO it's more of a stepping stone and a template for others to work forward with instead of a true work of Metal genius. There have been many other blatant left field attempts at experimentation in Metal throughout the years that have produced awkward and not so stellar results. Many of which come off sounding forced and not all that natural, thus you have a hard to digest album that doesn't flow very well and sounds more like a messy flop than something both groundbreaking and artistically sound: "Into the Pandemonium" is the very first of these kinds of albums which so many more followed in the history of Metal; but someone had to take that first step eh?...and I'll give Celtic Frost all the credit in the world for that. Another point of argument I would have for the author is he tends to paint a lot of Techy Metal bands with the Progressive brush that I never really would have considered all that "progressive". Obliveon really? I don't know, perhaps it's my own bias but when I was finally getting into stuff like Atheist, Watchtower and Cynic I found bands like Obliveon, Believer, Atrocity, and so forth to be second rate and artificial sounding, talented yes, but progressive?...not really. While there is plenty of discussion on Black Metal, it's mostly just the stuff from Norway (there is an entire chapter dedicated to Norway entitled "The Weirding of Norway") and it's the likely bands that you'd assume get mention in this book, Ulver, Arcturus, latter day Enslaved etc. Come to the segment on Mayhem I couldn't help but be annoyed that he held Mayhem's "Grand Declaration of War" album in such high regard almost making it seem like it was a huge step in experimental Black Metal. When most of us BM acolytes who have been in the trenches since the beginning know there have been hundreds of experimental and offbeat BM recordings long before "GDoW," ...Root, Anubis, Martyrium, anyone?...the list can go on! He does give the Mayhem album "Ordo Ad Chao" some good words though, a very progressive album to these ears, I only wish more albums of this sonically experimental nature were mentioned. The worldwide and groundbreaking early 90s BM scene (and to a lesser extent, Doom scene) wasn't very well represented here which for my money are just as experimental and and groundbreaking as any Technical Death+Thrash Metal bands of the same time. While perhaps not pushing the boundaries in terms of Progginess and Technical chops, bands like Necromantia, Master's Hammer, Abruptum, Beherit, Burzum, Thergothon, Esoteric, Disembowelment, etc were paving new paths of their own that would be picked up on by Avant-Garde adventurers inside and outside of Metal in the years to come. There is certain type experimentalism that's never really touched on in the book, the kind of stuff that goes beyond the just riffs and notes. The exploration of Sound, Timbre and the psychoacoustic nature behind certain tones and resonances. Music of a minimalist nature as well as deep expedition of noise, atonality and unorthodox non instrumental sounds that can be just as experimental and progressive as that of the maximalist, virtuosic kind. Metal music (esp Black Metal and Doom) has always been a very malleable type of music in this regard, bands like Gnaw Their Tongues, Xasthur, Deathspell Omega and Blut Aus Nord, as well as hosts of raw BM youngsters and experimental Doom merchants have been exploring these possibilities quite liberally over the past decade, yet none of that is every really mentioned herre. Towards the end of the book though Toby Driver(Maudlin of the Well/Kayo Dot) addresses some of this and makes some good points in saying that there are some musicians who spend their life honing technical skill but never really learn anything else about music outside of that, production technique, tonality and timbre. emotional conveyance, lyrics, etc. But of course on the other hand he mentions if you want to convey something in music that's beyond your ability then its best to excel at your craft in order to have the chops to match your grand vision: and this is pretty much the genesis of the book. At the end of the day I give the book two huge thumbs up, even though I might have had some strong complaints and disagreements with the author, but really that's part of what makes the book compelling because what it boils down to aside from the facts is an old veteran (Mr Wagner) sharing his super enthusiastic thoughts and opinions on the music he loves. This enthusiasm got me to pull out some old Prog/Tech Metal favorites as well as being turned on to a few new bands; which is the ultimate benefit of a book like this! A few of the bands I started listening to are, Sieges Even, Pain of Salvation(beautiful and unique!), Thought Industry(surprised I didn't get into this band sooner), Unexpect(utterly exhausting), Gonin-ish(holy cow!) and even started listening to more of the later Enslaved stuff which is a band that I haven't really paid attention to since Eld! And 3, who barely count as Metal but they are mentioned in this book a couple of times; they are somewhere in the realm of Circa Survive, The Mars Volta, styled Prog/Indie Rock, either way 3 are fantastic and because of this book I discovered them!

One last thing that just didn't sit well with me that I just have to mention and I couldn't quite fit it in the review above.... Jeff Wagner showed a bit of his ignorance on the two subgenres of Prog known as RIO(Rock In Opposition) and Zeuhl, by making the statement that they are practically interchangeable. Which is a complete fallacy. While there are a few bands that coast the line of both like Univers Zero and Art Zoyd, RIO and Zeuhl music are still very different genres with major distinctions that differentiate the two. It's almost like an outsider saying Death Metal and Black Metal are interchangeable descriptors. Mr Wagner should have had a quick look at the Prog-Archives for a bit of schooling before he wrote that snip-it on page 242. Sheesh!

Rattlesnake Museum

new pic of us standing in front of a giraffe statue.
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The rest our trip to the Rattlesnake Museum in Albuquerque, NM, such a cool place it was! It has more species of Rattlesnakes than any other Zoo in the world!

Nuclear Death

Nuclear Death's biography seen through the biased eyes of Mithrandir

To pass off Nuclear Death as just another Death Metal band from the past would be a great injustice. To say Nuclear Death was untalented and incomprehensible noise would be naïve. And to claim there has ever been a more twisted and disturbing band on the planet than Nuclear Death is just plain preposterous! For Nuclear Death represents to Cold Dark Matter in the universe that none can see, yet we know is there, for there would be no balance in the cosmos without it’s mysterious and unseen presence. The Music of Nuclear Death is like the merging of the irrational fears of a small child and the complete sobering fears of seasoned adult who’s experienced many of the true horrors that life has granted us. The lyrics of Nuclear Death go beyond good and evil, for they portray the universe in all its unbiased glory. Oh how I long for hope and salvation!… yet when I listen to Nuclear Death and read their lyrics, it drags me down to the lowest common denominator of humanity and leaves me completely devoid of any hope…only to leave me wallowing in feelings of pure filth and despondency.

Nuclear Death started as a Death/Thrash/Crossover band in Phoenix, Arizona on March 23, 1986. The original lineup was Lori Bravo (vocals, bass), Phil Hampson (guitar), and Joel Whitfield (drums.) During the 80s they released 5 demos of raw primal Thrash/Death Metal/Grindcore, influenced by the likes of Venom, Slayer, The Plasmatics, Death, Repulsion, Deceased, Discharge, Cryptic Slaughter, DRI, etc. They were very active in the Underground during the 80s, playing live in their local and surrounding areas, writing/recording music, distributing their demos, answering interviews, etc…until they were finally picked up by Mr Richard C for his burgeoning Underground record label Wild Rags Records. They were to become one of the more prominent bands on the label and of course continue to remain legends of the Underground Death Metal scene to this day. I should also mention that Phil Hampson was responsible for all the macabre, sordid artwork that would graced their album covers and would also be seen in most of their promo adverts in zines. This visual aesthetic created by Phil, fit perfectly with Nuclear Death’s foul, wretched hymns.

Their first album, “Bride of Insect” debuted in 1990. It featured 12 fantastic songs (mostly from their demos) of their unpolished brand of fierce noisy Death/Thrash/Grindcore that they’ve been bludgeoning forward with since the beginning. Obviously the album wasn’t for everyone and I believe those who preferred at that time noise and speed over cohesiveness, are the ones who truly loved this album the most. While Lori Bravo, being one of the very few female Death Metal singers at the time, might have turned the heads of some of the curious towards Nuclear Death for novelty‘s sake, it may not have been enough for the rank and file Death Metal fans to become as enamored with this band the way some of us true weirdos of the scene had. Too bad for them though, because they obvious didn’t understand Nuclear Death!

“Carrion for Worm” was their Second full-length, coming out a year later in 1991. For this album Steve Cowan came in to handle drum duties with the departure of Joel Whitfield. “Carrion for Worm” was a huge step forward (or backward) for the band proving that they were indeed a force to be reckoned with! But once again probably only the true debauchees with the right ear for this type of warped noise were able to sincerely appreciate what Nuclear Death was doing. With “Carrion” the band developed a heavier sound, with an increased volume of muddy noise. Often times, the bass/guitar/drums collided together into a mesh of warbling psychotropic wall of (un-)harmony. Lori’s vocals had gotten far more twisted and eccentric by this time with a range that went from monstrous growls to the screams of a dying insect! The structures were becoming more diverse with this album too. The songs still contained a liberal use of blasting but they also worked with different speeds and tempo shifts. We also saw songs like “Cathedral of Sleep” using trippy reverberating guitar effects circling around the left and right channels. A strong Psychedelic influence was introduced with “Carrion” which should be no surprise as I’m certain these cats experimented with plenty of hallucinogenic narcotics while listening to plenty of Psych/Prog music from the days of yore! One last thing to mention would be the big cheery on top with this album, which would be the guest vocal appearance of Mr Chris Reifert(Autopsy) on the final track of this masterpiece “Vampirism.”

Their next release would be the infamous “For Our Dead” EP. Both released on cassette and 7” vinyl. The vinyl was obviously the better choice as it came with a magnificent mini-poster depicting the three members of the band in various positions of roadside death. I remember this release being pushed hard by Wild Rags and sadly this would be the last ND piece to be released by the label. The music on “For Our Dead” takes an even slower turn for the better. Pretty much bordering on bottom heavy Doom/Death Metal. It was a tiny release, clocking in at approximately 9 minutes long. But it was a feast of an album, that was to be a hold over until their third full length.

“All Creatures Great and Eaten” was to be their Third full-length album for Wild Rags Records. Sadly due to ‘irreconcilable differences’ between the band and Richard C, they decided to part ways (sorry I don’t know the full extend of what happened.) Strangely this album was promoted for months in The Wild Rag Zine, but over the course of time word of this release began to fade. By the mid 90s not having heard anything new from Nuclear Death in a while, I think all us devotees pretty much assumed they broke up. Apparently “All Creatures…” was indeed recorded and self released on cassette but it would seem it was nowhere to be found through the usual outlets and only available through direct purchase with the band (or Lori) themselves. It wasn’t until the 2002 rerelease of the “For Our Dead/All Creatures” on Extremist Records did I finally get to hear the elusive “All Creatures” album. So my first impression upon finally hearing this album? Pure F’ing Genius! First I’ll say it’s only 20 minutes long, which technically makes it an EP or a Mini-album. Unsure if there were more songs in the works and it was supposed to be longer or what the deal was (I’m unsure on this part of the story of Nuclear Death.) But though it only be 20 minutes, what an astounding piece of work this turned out to be! Easily their most acid drenched psychedelic work they made. The over all recording is much more spacious sounding than their previous work. Yet till incredibly raw sounding, while the instruments are more crisp and distinct. Gives almost an “Abby Road” impression: a band recording in a small room with only a few well placed mics. The songs on the album are their most advanced pieces they recorded IMO. Take “A Dark Winter Psalm” for instance. The tune starts with an almost Sludgy riff soaked in swirling guitar echo. Lori’s vocals are at the very zenith of her capabilities. A lot more “voice” is used in addition to an assortment of wailing, moaning, screaming, croaking, speaking, whispering, growling, etc. She is just completely out of control on this recording! The song goes from a lethargic desert pace to well placed abrupt bursts of grinding speed. There’s something about this album that lives and breathes the images and climate of the Arizona desert. Its like taking peyote and going on a spiritual journey through the arid wastelands and coming across ‘All Creatures’ of different shapes and sizes who feed you information on your morbid destiny as well as the dark fate of the universe! The entire work of “All Creatures” carries on a similar path with absurd vocals, layers of trippy effects, fantastic Doomy riffage, and just an outrageously twisted atmosphere like none I’ve ever heard before.

Sometime after the recording of “All Creatures” Lori and Phil parted ways, which is a damned shame IMO (more about this in a moment.) Apparently Lori carried on the name of Nuclear Death to some degree till the end of the 90s. Employing the help of Steve Cowan, she made one album “Planet Chachexial” and another on her own “Harmony Drinks of Me.” To be honest I never heard the last one but I do own a copy of “Planet Chachexial.” It’s definitely not a Death Metal album, more like quick little experimental Noise/Rock/Metal pieces. There’s no lyrics but Lori uses her absurd vocals as a tool for screeches, chirps, screams and various other piercing noises. The whole thing might be similar to the earliest recordings from the Boredoms. It also kind of seems like it’s a culmination of all the bizarre and trippy aspects of “All Creatures” put into one album (but of course not as brilliant.) It’s really not bad and I rather like it, but this came out in 1999 and the magic that once made Nuclear Death a unique and cult entity in Underground of Death Metal just wasn’t there anymore.

The coming together of Lori Bravo and Phil Hampson is an event that happens only once in a life time to impact the vast musical landscape. And although the impact of Nuclear Death will forever remain miniscule and perhaps in a century’s time they will completely fade from existence…never to be remembered by one solitary soul. But that doesn’t mean that their art was any less powerful on the select individuals who adored this band during the late 80s/early 90s…and (those old and new fans alike) who continue to adore this band long after they’ve been gone. There’s a song by the punk band the Minutemen called “History Lesson Part Ii.” There’s a lyric in there that goes something like this:

mr narrator
this is bob dylan to me
my story could be his songs
i’m his soldiers child

Now ‘my story’ couldn’t necessarily ‘be’ Nuclear Death’s songs - if that were the case I’d probably be locked up or left for dead out in the mesa, haha! But their songs hold so much meaning for me personally yet its hard to explain something like this to the non-believer. There’s more too ND’s music than just sloppy little ditties about children who play with dead things, or weird fantasies about a worm who tries to molest your little sister. To me these songs are true pieces of stark reality mixed with perverse fantasy which in turn once again reflects the harsh indifference of the universe. It‘s stuff like this that I have the hardest time accepting and yet I fear it the most! More so than any irrational fear of the dark or of spiders, ND‘s music represents the cold dead fear of pure reality! Nuclear Death is band that has been with me through the majority of my life now, and has gotten me through - both equally - good and bad times. Each generation has those certain bands that help define an era and a certain lifestyle. The classic bands of the 60s are most notorious for that. But as time went on and new genres (and counter cultures within) formed and mutated, those artists in generations past that “everyone” loved, like the Beatles, The Doors, Pink Floyd, etc became fewer in number. It is my belief based on experience that a band like Nuclear Death has no less of an impact on me (and maybe a few other weirdos) than the mega-bands of the past had on previous generations. Though the number of Nuclear Death acolytes is infinitely fewer than say The Beatles…that doesn’t necessarily mean that their importance in the lives of us few, is any less than the importance that The Beatles had on our folks or grand folks. I firmly believe that the writing duo of Lori Bravo and Phil Hampson is just as brilliant as Lennon and McCartney ….okay maybe that might be a bold statement there, but all I can say is live in my shoes and experience the ND as I have and perhaps you will become as enlightened as I someday!

It’s a shame the Nuclear Death had to come to an end, and that Lori and Phil parted ways. I would love to have heard what disturbing art they might have come up with after “All Creatures.” But alas a band as unhinged as Nuclear Death, it was bound to all fall apart sooner or later. Lori continues on with her project Lori Bravo’s Raped now, and Phil (last I recall) is in a band called Eroticide. Neither of these bands are nearly half as interesting as Nuclear Death. That doesn’t matter though, cause Nuclear Death during their short time on earth left us with about 100 minutes of substantial artistic genius that I will personally worship regularly till the end of my days!

Demo cassettes

* 1986 - Wake Me When I'm Dead


* 1987 - Welcome to the Minds of the Morbid


* 1988 - A Simphony of Agony (Reh Tape)


* 1988 - Vultures Feeding

* 1988 - Caveat cassette tape


Full-length albums

* 1990 - Bride of Insect LP (Wild Rags)


* 1991 - Carrion for Worm LP (Wild Rags)


* 1992 - For Our Dead EP/cassette tape (Wild Rags)


* 1992 - All Creatures Great and Eaten cassette tape


* 1996 - The Planet Cachexial CD (Cat's Meow Records)


* 2000 - Harmony Drinks of Me CD (Cat's Meow Records)


Rereleases

* 2000 - Bride of Insect / Carrion for Worm CD (Extremist Records)
* 2002 - For Our Dead / All Creatures Great and Eaten CD (Extremist Records)

VHS/DVDs

* ???? - Unalive in Texas VHS
* ???? - The Profligacy Video VHS

various archived pics:














my collection:



Archived from the lastfm group page: http://www.last.fm/group/Nuclear+Death

FEB 2011 music reviews

Wed Feb 23, 2011 9:48 pm


SORCERER - S/T 1995/reissue 2010


SORCERER - S/T 1995/reissue 2010
An (almost) definitive reissue of this cult classic Doom Metal band from Sweden. A band that's as old as Candlemass but had a scarcity of recorded material throughout the years. This is a near complete discography, excluding the song "Highlander" which was a vinyl only track on the Heathens from the North LP. Lame I know, but at least you can DL it so you can get that one track. Sorcerer are in the Candlemass and Solitude Aeturnus tradition of the more Epic and melodic style of Doom Metal that doesn't end up sounding maudlin nor wimpy in the least! Nothing bluesy is to be found here either, most of the tracks focus on medieval/historical and fantasy themes. The songs are graced with a somewhat typical HM whaling style of vocals but they are very melodic and come off sounding very soulful. While I don't think there is a weak song to be had on this entire CD, the high point is the demo from 1989, which totally brings me back to the Dark Passages days of the early 90s. Sorcerer would have been a perfect inclusion on that classic compilation album. As most of these tracks come from demos the production value from song to song is pretty steady, nothing sounding imbalanced or out of place. So it pretty much plays out like one long album as opposed to a mixed bag discography CD. Sorcerer are Traditional Doom Metal at its finest. They are an original and its a bit of a shame they weren't more prolific but the quality and power of these tracks can and will last through the ages with old and new fans of Doom everywhere.

9/10

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Sat Feb 19, 2011 12:15 pm


BLIZARO - City Of The Living Nightmare (2010)

Blizaro is the baby of John Gallo of Orodruin and while we all still eagerly await the much rumored new album of Orodruin, I guess Blizaro is a nice little hold over until then. When I first spun this I was slightly disappointed with the album. I was expecting something more 'lyrical' and less purely instrumental. While there are a few lyrical moments and even some straight Doom Metal moments (which is what I expected more of), they are few and far between. I guess I shouldn't have been surprised though since their "Horror Rock" demo was in the same fashion. This album is similar to that but much more full and professional sounding. This album is quite a mixed bag and a bit unpredictable, it's not easy to pin to one style either, I'll definitely give it that. Creepy and gloomy 70s/early80s sounding synth lines dominate the album, sometimes coupled with Doomy and/or Metallic guitar riffs sometimes not. Some songs are more beat driven and rock structured while others sound more like pieces that could easily have been used for a Fulci or Argento movie...and of course I'm sure that was the over all direction of this experiment: the merge of Doomy Rock/Metal music with a Goblin/Frizzi soundtrack style. One of my favorite songs on the album "Mental Disease Overture" starts off like a Doomy 70s influenced number and slowly morphs into a synth and string heavy soundtrack with ghostly moans and kettle drums. While I like certain individual songs more than others, ("Midnight Lurkers" is another great track that comes to mind) I don't know if I'll ever be completely satisfied with this album.

6/10

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Sat Feb 12, 2011 12:51 am


Ride for Revenge - Wisdom of the Few LP 2009

So I bought this LP and have been listening to their entire recorded output pretty hard the past couple of days. Super addictive stuff these guys. The name first caught my eye as it reminded me of Manowar! But this is far from the bare chested kings of Epic Heavy Metal. This is primordial Black Metal from the swamps. Basically a 2 piece: drum & bass duo (yes! I always love DnB combos!) playing a simplified groove infused style of BM like none I've heard before. They prove that you don't need to go 'all out' in order to stand out as an original in BM. There is still room for experimentation, even in the most simple forms of music. Most songs evolve around a single repetitive beat and a heavy ass bass line that lies somewhere between Black/Death and Doom. Its strikingly groovy though and some of the beats bring to mind a primitive form of a HipHop beat...yeah no shit! Some of their songs also add a touch of warped synths to enhance the atmosphere of an already demented song. Each song is like a pretty little snowflake too...following a pattern of its own design. To an untrained ear it might all come off sounding kind of samey but each track really does have its own brainsick personality. I'd also say that each release they put out, be it a split, an EP or full length is also quite varied in sound. Still distinctly RfR but you never quite know what you are going to get from one recording to the next. This album here has a purposefully blown out sound with mass treble on the ear splitting cymbal strokes and Dub-y snare sound that almost sounds mechanical. They also indulge in some pieces that are even further out there in the realms of experimentation; tracks like "Key of Knowledge" for example. But these cuts never sound out of place nor do they detract from the entirety of the album. These deviations seem to make perfect sense side by side with the rest of the beat driven numbers. Ride for Revenge bring to mind Black Metal the way is used to be during the early 90s, when a lot of young and underdeveloped bands came off sounding naive, awkward, and hard to digest (Bestial Summoning, Abruptum, Beherit, to name a few.) But thats what made it so good back then, BECAUSE the music wasn't for everyone! And Ride for Revenge is indeed a band that is definitely NOT for everyone (and thank goodness!), but they are for me!

7.5/10