Thursday, August 5, 2010

Blast(beat) from the Past: Lethargy

Lethargy
Discography ’93-’99

Watchmen/Spoth
2000

Not just horribly misnamed, but hyperactive death/grind monstrosity Lethargy also never seemed to have racked up the kudos it deserves on its own. Instead, the Rochester, N.Y., band is best known for everything that came after. Famously, it spawned future Mastadudes Bill Kelliher and Brann Dailor who went on to major label fame and fortune following a brief, apocalyptic pass through Today is the Day (In the Eyes of God era). Lethargy was also the springboard for guitar guerilla Eric Burke who has cycled through Kalibas (jumping to drums), Sulaco, Nuclear Assault and now filling Gurn’s Adidases in Brutal Truth.
All that post-millennial success was germinated in Lethargy, a rotating cast of characters that dumped death, grind and hardcore into a Cuisnart and punched liquefy, ending up with a sound like Human Remains getting roundly pimp slapped by Botch. Strained, gut-busting, turd-squatting hardcore vocals wrassle with death-inflected riffs that soundtrack Hunter Thompson’s drug binged rampage through a circus-themed casino in Fear and Loathing in Las Vegas all topped over by Dailor’s Ritalin-deprived drumming, which hammers and skitters across the spectrum, challenging everyone else to play catch up.

Lethargy – “Grope”

Lethargy – “Grieve into the Eyes That Bleed”

Just when you lock into a grove or latch on to a mindbending riff, it gets whipsnapped out from under you like a lame dinner theater magician’s routine gone horribly…. right? Quite honestly, if I’m not in the right headspace, this shit can be overwhelming, particularly given the two-disc, 2.5 hour reissue from several years back. However, this monster’s DNA has been filtrating through metal and hardcore for the past decade as an act of musical panspermia. You’ve heard a lot of this before, but if you were fortunate, you heard it here first and you probably haven’t heard it better.

Monday, August 2, 2010

G&P Review: Selfhate

Selfhate
Debasement

Self released (distributed through
Selfmadegod)
The totally unexpected news that seminal Polish grinders Selfhate had reconvened to drop their first passel of new music in a decade made me do my happy dance all through the house.
Yes, I have a happy dance. No, you can’t see it.
Given the improvement in low budget recording options in the last several years, Debasement sounds way more polished and clear than older works like …At the Beginning God Created Fear, which was mired in the scooped out sound of the late ’90s that tended to flatten out recordings.
The band is still in fine playing form even if the blasts aren’t always as fluid as they were when they were young and spry, giving songs a somewhat herky-jerky vibe on occasion. Selfhate still know their way around an engaging tune, though. In fact, that facet has only improved in their absence. The songs on the whole are more grounded and carry more emotional weight than declamations against faceless authority from past releases. That all comes to a head in closer “Dajesz Zycle/You Give Life,” which takes a subject that’s far too often trivialized in metal – child murder – and turns it into an emotional gut punch as they ponder the genuine horror of a recent account in Poland.

Selfhate – “Dajesz Zycle/You Give Life”

And while there are the expected songs about “greed” and politician’s “empty words,” I wish more grind bands would actually take the time to step out of the abstract and find an emotional center for their songs the way Selfhate has. In their original incarnation, Selfhate’s punk blast work ethic ran counter to the metal-inflected flavor of Eastern European grind at the time and I’d wager is directly responsible for younglings like Suffering Mind. Looks like they’ve still got something to teach the next generation.

Thursday, July 29, 2010

It’s a Scumdog Eat Scumdog World: Welcome to Attack of the Mad Axeman’s Wild Kingdom


Donnie: Why do you wear that stupid bunny suit?
Frank: Why are you wearing that stupid man suit?
Donnie Darko
2001

Like the gigantic grinding pink elephant in the room (who I’m sure will be joining the band next year), you’ve got to ask Attack of the Mad Axeman about the costumes if you get the chance.
Grindcore does so many things well, but the theatric is just not something that’s going to be widely accepted as cannon among your protein and potatoes type of grinder who may use the bug and bird getups as excuse to dismiss one of the best grindcore bands working today as a bunch of furries, a Gwar knockoff, The Locust wannabes or some lame joke band. None of which is true when you’re talking about the German four piece, of course.
But bowing to the inevitable:
"When you are on stage, then it's always a kind of theatre," drummer Helix Pomatia (he’s the snail) said. "You always do a kind of performance and you can do it interesting or boring. As animals we benefit from looking better than humans, of course. And there are so many human bands in comparison to animal bands, so people think that we are very special. (And about Gwar: they are from outer space; that's even more special.) But we would love to see more animals finding the way into the grindcore scene. We may live in the woods but we have something to say. And we want to make a good show, of course. When we earn respect for the grind then maybe humans will eventually take us seriously in general."
"In real life we have to dress like humans. It`s not nice, but unfortunately it's necessary," guitarist Bubo (the owl) said. "We all know that peace and coexistence are the key: but it's really dangerous if you start to trust human beings in general. Always keep your eyes, ears and antennas open!"
What we shouldn’t do, Bubo and Helix said, is confuse the band’s obvious sense of humor and threaticality with them being some sort of throw away parody band. While the humor is pervasive, the band’s topics can be deadly serious when called for.
"In my opinion, there are a lot of bands who are parody, but they don't realize it," Helix said. "Maybe the problem is that most humans are too serious about themselves. Most bands who are lecturing their audience don't have anything new to say. We mostly play in the punk- and hardcore-scene and bands there are always telling the same things: nazis are bad, religion is bad, squatting is cool, eating meat is bad, cops are bad... I totally agree with these things, but why do bands [preach] this to people who already know it and who heard this a hundred times before? In this case I can only cite Homer Simpson: boooring! When we decided to form a grindcore band, we didn't want to reproduce all the cliches that are bound to this kind of music, like evil guys growling about war or splatter-shit. We are animals, we behave like animals and we sing about animals' subjects. Sometimes that's serious, sometimes that's funny – who cares. We like to make jokes about ourselves and also serious subjects can be dealt with humor. I think that a lot of people appreciate it and some say that we destroy grindcore."
However, given their sense of humor, Attack of the Mad Axeman have put some serious thought into tormenting Glen Benton should they ever fulfill the vow made in the song "Squirrel v. Glen Benton" to avenge the poor rodents murdered at the Deicider’s hands.
"Whenever we meet Glen Benton, then he should dress warm," Helix said. "We‘re gonna put him into a church for one week and he will be tortured by religious songs and praying priests for 24 hours a day. After that we're gonna put him into a rocket and shoot him up in the sky, where he will be as near to god as a human being can be physically."
While their sense of humor is well established, what’s definitely not a joke is the band’s approach to songwriting and performing. There’s a damn good reason Scumdogs of the Forest ranked near the top of my 2009 list.
"In general, our style of creating new songs is pretty simple: we meet, mix up different ideas and shape them up with a good measure of straight and to-the-point old school grindcore-brutality," Bubo said. "And we're careful not to reproduce our own style. We want to keep it interesting for ourselves and, of course, for the fans. By the way, we decided to take care of two golden rules of old school grindcore: creating shorter songs (as a true grindcore band you have to have more track-titles than running time on your record) and to start even more songs with a 'four to the floor' snaredrum countdown."
And anyone who gets the chance to see the band live and focuses on the sartory and not the music is missing the point, Bubo said.
"I think we're not that glamorous and theatrical as a band," he said. "First of all, we're doing a good job playing our instruments so we can easily show you where the hammer hangs, musically. So, if you come to see us play you`ll get crashed by the true – non-theatric – grindcore spirit."

Monday, July 26, 2010

G&P Review: Unholy Grave

Unholy Grave
Grind Killers

Selfmadegod
While I’ve droned on and on about the lost art of the grindcore guitar solo, quite honestly until I heard Kazumi rocking out for the first half of Grind Killers opener “Confession” I had never given much thought to the grindcore drum solo. And I’ve decided I like it. I’m not saying we need to be dropping them Van Halen-style into every venue whether it’s appropriate or not, I’m just saying it was actually an engaging surprise and a hell of a way to kick off Unholy Grave’s latest in an Agathoclesian string of releases.

Unholy Grave – “Confession”


Recorded live in the studio with the help of Luc Favie of Dutch powerviolence mongers F.U.B.A.R., Grind Killers sounds better than some past efforts (Revoltage, I’m looking at you). There’s an infectious spontaneity to the whole shebang that does a lot to conceal the fact that (let’s be honest here) the full length album has never been Unholy Grave’s forte (again, Revoltage, I’m looking at you). Killer in an EP or split 7-inch context, Unholy Grave do have a tendency to wear out their welcome on occasion and Grind Killers does mill about, suffering from a lack of diversity at points. But the sheer blasting does enough to stave off the worst of the monotony. Unholy Grave are a band who are experienced enough to know what they’re about. And, hey, did you know they’re against terrorism?

Thursday, July 22, 2010

Demo-lition Derby: Amputee

Amputee
Demo
When regular commenter Rosemary sent me a recent email with the header “Assuck worship,” my attention was immediately piqued. I was doubly intrigued when I realized there was a missing modifier and it should have read powerviolent Assuck worship. Either way, the classic Floridians are these Jerseyians top MySpace friend and it shows.
Not that there’s anything wrong with that.
The quartet features members of Chainsaw to the Face (known to most of you from their appearance on This Comp Kills Fascists Vol. 1) and Doomsday Machine Schematic and rip through four songs of the aforementioned Assuck worship in a breathless two minutes of audio orgasm. Though it's only two minutes, Amputee manage to cram in a full EP’s worth of headsnapping moments, putting the band’s dynamism to the fore with jaw jacks like the steampress bass of “Repetitions” or the way “Problem Of” manages to cram a VW’s worth of college students into 27 seconds of varied tempos and moods.
The band is making their demo available for download here, and it’s well worth the 30 seconds or so it will cost you.

Blogwhore of Babylon

I love zombies. [See Fig. 1]
Fig. 1: My wife actually lets me leave the house dressed like this.
In fact, next to grindcore, Dostoevsky or a good gangster/heist film, zombie films are a genuine passion for me. Because the only thing better than a good zombie movie is a really, really bad one, I harassed my associate and fellow zombie connoisseur Rob into starting up a zomblog with me: Nightlife of the Living Dead.
Given the demographic crossover between grind aficionados and zombie fiends is as old and entrenched as Horrified, I thought I’d invite all of you, should you be so inclined, to join us over there as we delve into the best – and oh yes, the worst – zombiedom has to offer.
If that’s not your thing, that’s cool too. G&P will remain my primary outlet so don’t worry that my affections will wander.
I now return you to your regularly scheduled grindcore.

Monday, July 19, 2010

Demo-lition Derby: Satellite Sleep

Satellite Sleep
Demo
I have been obsessively listening to this for weeks. Need I say more?
Satellite Sleep’s three song demo pornographically tingles the same cerebral nodules that make me excited for Christopher Nolan’s Inception. It’s a twisty bit of emotionally draining crusty punk transcendence that serves damning notice to all the lesser punk bands out there content to lazily Xerox hardcore clichés that they’re about to get lapped.
Through three songs of deliberately paced crust in the vein of Trap Them, completely with desperately howled vocals and the claustrophobic atmosphere of Amebix or Damad, Satellite Sleep reminded this cynical fuck of why he loved punk so much as wee laddie.
The watery, somnambulistic production on the demo gives Satellite Sleep a hypnagogic vibe that’s wonderfully surreal and stunningly evocative. “Empty” rings out from the precipice of some emotionally devastating abyss as the guitars and cymbals crash through a barren musical wasteland. The naked anguish and emotional violence of “Cold Womb” builds to a blastbeaten catharsis and a wasted, spent and, moreover, inevitable entropic breakdown in an emotionally taxing 4:43. Bringing up the rear, the band’s eponymous final track clangs with a resigned air, raging against a cage the band seems intent on refusing to even acknowledge, drillbit bass hacking at the lock in a display of willful, impotent defiance.
Download. Now. And bother every label person you know until somebody signs these kids.