Monday, October 11, 2010

Re-Human 2.0: Rehumanize Raged Ad Majorem Grind Gloriam

Somewhere in between me interviewing them and typing these words Floridian grindcore twosome Rehumanize announced plans to give up the (holy?) ghost and call it a day for the band.
Is it my fault? Was it something I said?
What we've lost is a band that deftly straddling the conflicting and often outright antagonistic worlds of grindcore and religion, not so much serving two masters as bending one to the needs of the other.

God Rehumanize is Dead.

Sadly, the end had been prophesied. Guitarist Broc, who just released a new album with his main musical outfit Eternal Mystery, and drummer/vocalist Filipe, who’s juggling a doom project (Entorn), a black metal project (Sorrowstorm) and a death metal project (Encryptor), knew Rehumanize had run its course. In fact, the band was always meant to be short-lived experiment. As their epitaph, Rehumanize is giving away their final, 20-song EP Grindocalypse as a free download.
Felipe said he had always wanted to marry the confrontational style of grindcore with Christianity, emphasizing their faith where other Christian bands tend to downplay their religiosity for fear of alienating the less devout among their fanbase.
“Since a lot of the grind ethos rests on freedom of speech, often times to the point of absurdity, I want to experiment,” Felipe said. “It’s usual among the more popular bands on big labels to kinda downplay their faith, and in a sense I don’t blame them because otherwise they would alienate a ton of people. On the other hand, though, many times I actually have questioned the sincerity of their profession of faith, not so much because they are not bold for the Christian faith, but because they seem to not be living it out. The central message of Rehumanize is the Gospel of Jesus Christ preached boldly and systematically. I figured that it would go well with grind since that genre tends to be bold and ‘in your face’ and not as poetic and mystical.”
I sincerely hope Rehumanize find some way for them to roll away that grave stone and rise from the dead. This is the band that managed to override my closed-minded decision to hate Resident Apostasy before I even heard note one (berating myself for accidentally buying a Christian record) only to have my prejudices upended by a thoroughly pummeling assault on the senses, regardless of the possibly nonexistent cosmic entity receiving the band’s plaudits.
Whatever your affiliation come Armageddon, you have to respect Rehumanize’s chops. Though songs about ending pornography, the importance of prayer and theological debates will likely seem abstruse to outsiders (OK, maybe we understand better than we let on) and may not be an E-ticket to grindcore fame and glory, the band said the sinners came a-flockin’ to their rockin’ just the same. Perversely, it’s the faithful few who weren’t as supportive, Broc said.
“When it comes to what is central to Rehumanize, we wanted to just be really straight forward and clear about our views, and this has actually more so alienated the Christian audience than the secular one,” he said. “We have been on the receiving end of more crap from the Christian side than from the secular side, which hasn't really said anything negative from what I have been able to tell.”

Non Serviam

But that may not be so unusual. What truly won me over to Rehumanize’s cause—aside from the whiplash-induced spinal injuries—was the band’s willingness to call their own to account. From personal experience, I know far too many Christians never venture beyond their holy huddle and group think begins to set in. If the world is evil and bound to fade away, then by definition what Christians do must be holy. However, Rehumanize were willing to ask what it really meant to follow in the Jesus’ sandals, and they were just as willing to hold up a mirror to those among them who had fallen short of the glory of God, regardless what they professed on Sunday.
Particular targets of lyricist Felipe’s ire were the prosperity gospel charlatans intent on turning a rather hippy-ish rabbi from Galilee into a combination of Santa Claus and Gordon Gekko. They seem to have missed the tale of the prophet’s sole recorded interaction with the financial establishment ending poorly.
“I’ve suffered for many years with these purveyors of the prosperity gospel. They have caused so much damage to the image of Christianity and to people’s lives,” Felipe said. “I had too much pent up disgust and grind was the best outlet. In actuality, what they teach and preach is very foreign to what the Bible teaches. This is not even a denominational squabble. The beliefs of these people can be easily separated from Christianity. What they do is they use the Bible and any authority they claim to have to get money and fame. Many of them don’t even see themselves as hucksters. They actually believe that what they are practicing is Christianity. It’s the environment that they have soaked up from earlier generations of hucksters, and the pattern goes on. It’s hard for me to go inside a Christian bookstore and not become red in the face. What we are trying to do is sway other Christians from believing their lies. We do not actually consider those preachers to be Christians at all, but true criminals.”
In a feel good era of Christianity as wish fulfillment and cut-rate therapy, that message did not always reach the most receptive ears, Broc said.
“The Christian community has been in kind of a mixed bag about it,” he said. “Some of them love it. Others hate it and speak out against it. The main reason a lot of them have spoken out against it is because they tend to be the kind who are followers of a lot of these TV prosperity preachers. Those kind tend to really hate people who even so much as criticize them even a tiny bit. However, the ones who do support us, are usually the more solid ones who are open and honest.”
That kind of honesty and integrity, to challenge your own, when everyone else around you will go along to get along, is rare and to be cherished. That Rehumanize let us peek in as they did it is remarkable. That they’ve closed that chapter and verse of their lives is all of our loss.

Thursday, October 7, 2010

G&P Review: This Comp Kills Fascists Vol. 2

This Comp Kills Fascists Vol. 2
Relapse
Let me get my one complaint about Scott Hull’s latest retro comp grindfest out of the way first. Where the first volume reveled in the first new recorded music from Brutal Truth in a decade and the hey-look-at-that-they’re-still-alive-ness of Agents of Satan, by and large, the first comp was an awesome collection of up and comers that probably gave the wider world their first good look at the next wave of young grind. So, I’m rather disappointed to see the second volume is nearly half filled with reunited bands old enough to have appeared on the original Cry Now, Cry Later and Bllleeeeaaauuurrrrggaaah! comps this is aping. The effect threatens to turn This Comp Kills Fascists Vol. 2 into story hour at the local VFW as grizzled geezers rehash their salad days. The tracks from defunct pre-Mastodon grinders Social Infestation are from 2002, ferchrissakes.
But enough bitching, Vol. 2 packs 50 percent more grind and power violence than its predecessor and it’s still a vital link to a rash of new bands worth hearing.
The belles of the ball are easily Noisear who are at once speedy and engrossing, finally stepping out from under the shadow of Discordance Axis to become something that is at once technical, cathartic and wholly their own.
Triac are also raucous and rough and tumble while finally hearing Hummingbird of Death’s lofi ruckus, I get what everyone’s been raving about. Give Slovakians Idiots Parade a few more years and I could see them gunning for Suffering Mind’s championship belt. Drugs of Faith rehash “An Ode to Those Unwed” from their self titled EP and give us a new track, “Loss of Credibility,” that bodes well for their pending full length. Thrash masters Population Reduction should roam the streets of Tinseltown forcibly tattooing the title of “Real Zombies Don’t Run” on assorted Hollywood execs’ noggin. Marion Barry sound like Apartment 213 clones and Apartment 213 sound a lot like Apartment 213 as well. Septic Surge’s noise holocaust is exquisite, combining classic Agoraphobic Nosebleed with weed drenched Man is the Bastard.
Though I’m calling bullshit on the lack of swastika cock-spewing Obamas in the art, I am happy to say the addition of Voetsek and Despise You add a welcome dose of estrogen to what had previously been largely a boys only club (Spoonful of Vicodin excepted).
To try to single out a song or two to give you a taste of this one would be futile, so I’m just going to turn it over to Deathgrindfreak who’s already agreed to share his copy with the world.
[Full disclosure: Population Reduction kindly provided me with a review copy.]

Monday, October 4, 2010

G&P Review: Abscess/Population Reduction

Abscess/Population Reduction
Split
Tank Crimes
Heretical confession time.
Most of what’s considered classic American death metal – the shit I supposedly grew up with – bores the ever living fuck out of me. Morbid Angel can’t hold my attention (but I love Vader, so figure that one out). I listened to Cause of Death for the first time in about a decade the other day and once was pretty much enough to remind me why I sold my copy years ago. Death’s wankery bores me to tears (and I hate, Hate, HATE Chuck Schuldiner’s voice). Deicide, beyond pointing and laughing, does nothing for me. Ditto Cannibal Corpse.
The exception that always proved that rule was Autopsy, whose doomy deathy creepy crawly goodness on Mental Funeral ranks right up there with Winter for me as landmark “whoa, wait, WTF?” albums that turned me on to doom. So it’s kind of a surprise to me that I hadn’t bothered to check out Chris Reifert et al’s post-Autopsy scum punk project Abscess until now when they’ve called it quits.
Maybe I wouldn’t have waited so long if somebody had told me Abscess sorta sound like dearly departed Texan weirdoes Dead Horse (anybody remember them?). But here they are on this old-meets-new split from last year with the similarly demented Population Reduction. It’s a nice match because both bands seem to make a career out of being bizarrely provocative without devolving into cheap and tired gore tirades. Abscess queasily bookend their half of the split with “Nausea Without End” and an out of left field cover of the Pepto Bismol jingle. Everything between is just beer drenched insanity.

Abscess – “The World Insane”

As for Population Reduction, their resin-caked thrash/grind amalgam snaps, crackles and pops as they launch hilariously titled diatribes your way on “Babies are Assholes” and “Art Fucking Sucks.”

Population Reduction – “In With the Old, Out With the Cold”


Quirky, demented and listenable. That’s all I really ask.

[Full disclosure: Population Reduction kindly provided me with a review copy.]

Thursday, September 30, 2010

G&P Review: Sayyadina

Sayyadina
Mourning the Unknown [Reissue]
Nerve Altar
We shouldn’t even be having this conversation. You know that, right? You’re smart people, so you already know Sayyadina hold the post-Nasum Swedecore crown for second album Mourning the Unknown. It’s an album you already know and love, so my work here should be done.
But on the off chance some of you are not among the converted yet [*side eye*], the nice people at Nerve Altar have pressed Mourning the Unknown on a lovely slab o’wax – with three bonus tracks.
While Nerve Altar tells me it hasn’t been remastered, some quirk of the vinyl format seems to have given Mourning the Unknown an extra pop, especially the drums that just explode off the wax. Also, the 12-inch format really highlights the album’s evocative artwork.
But likely the hook here will be the bonus tracks.
The most rounded of the trio is “Like Rhinos,” a whip snapped rip that turns poaching endangered species into a metaphor for human suffering. Unlike the other two bonus tracks, it’s easy to imagine “Like Rhinos” having been included on Mourning the Unknown originally. The remaining two songs, while decent enough, don’t stack up against a modern grind classic. “Come Visit Sometime” rides a loping riff up and down the stairs that could pass on a Victims album with no comment. “Just Like a God” is just a straight up ripper.
It’s been three years since Sayyadina gifted us with Mourning the Unknown and its status as a modern classic is being cemented every day. But if Sayyadina intend to stay at the top of the heap, they may need to hit the studio soon. Afgrund and The Arson Project are nipping at their heels.

[Full disclosure: Nerve Altar sent me a review copy.]

Ever Increasing Circles

I have a limited musical vocabulary. So much for all those piano lessons when I was 10, mom. But Mourning the Unknown features one the best of what I call “circular” riffs during the swirling maelstrom that is “I Dare.” It’s a vaguely black metal-ish round of tail-biting that circles like a shark-toothed Ouroboros before closing in for the kill. Like piercing, ringing guitar tones, it’s one of those songwriting tricks for which I’m absolutely a sucker. Like the aforementioned Sayyadina, Luddite Clone also uncork a circuitous ripper on “Oratory of the Jigsaw” while Swedish Discordance Axis disciples Asterisk* fast forward their way through the same slight of hand. Even Napalm Death and ASRA, neither exactly known for their commitment to flowery songwriting, have been known to toss out chunkier versions of the same trick.
Here’s a few of my favorites. Enjoy.

Asterisk* – “Dromology”
Cyness – “Lonely Planet”
ASRA – “Payload”
Napalm Death – “Next on the List”
Wojczech – “Superparadigma”
Rotten Sound – “Blind”
Sayyadina – “I Dare”
Luddite Clone – “Oratory of the Jigsaw”
Who’s My Saviour – “You March”

Monday, September 27, 2010

G&P Review: D.E.R.

D.E.R.
Quando A Esperanca Desaba
Nerve Altar
If grindcore ever codified its equivalent of lofi black metal, Brazil’s D.E.R. would be running with wolves, standing backlit in foggy forests and generally trying to pretend the last 20 years of musical evolution just didn’t happen. Quando A Esperanca Desaba (roughly, When Hope Collapses) sounds like it was vomited forth from the bowels of Venom’s rehearsal space in Mantis’ mom’s basement somewhere back in 1977. Instead it’s being reissued on vinyl from 2008.
And for all I can tell D.E.R. (not to be confused with the derp) slapped the same song on this LP 16 times in a row, and I couldn’t give a shit if they did. D.E.R. are not a band overly concerned with niceties like dynamics, slow parts, vocals that are intelligibly human or making songs sound unique. They’re too busy grinding the shit outta your lower intestine to care. Every song starts in medias res and doesn’t end so much as just stop. A deep breath and it’s on to the next neck-cracker. The guitars are gristly knots of overdriven unintelligibility, the vocals indecipherable and the drums pound away, fighting not to be swept away by the noise.
Described like that, Quando A Esperanca Desaba sounds like a discordant mess (and to a certain extent it is), but there’s a spontaneity and intensity at work that shoves the music higher than it has any right to go. There are plenty of established grind bands that lack half the urgency these Brazilians are packing. Though it’s far from original or even acquainted with conventional definitions of well produced, D.E.R., in the immortal words of Gunnery Sergeant Hartman, have guts, and sometimes that’s enough.
[Full disclosure: Nerve Altar sent me a review copy.]

Thursday, September 23, 2010

G&P Review: Wake

Wake
Surrounded by Human Filth
Hearing Aids
Canadian crushers Wake have staked out a comfortable niche in between Phobia and ASRA on five song EP Surrounded by Human Filth. Between the eerie spoken word-sampled, instrumental opener and the obligatory five minute slow motion kiss off, the band fillets grindcore with ragged edges of droning dirges. But when they do go for grind gold, Wake hit it and quit it with a fervid intensity. “Virulent” is an on-the-verge-of-intelligibility hardcore rager so vicious you can almost see the finger pointing through your headphones while Cavity would be more than happy to five finger the droning bridge of “Cannibal Design” as it winds its way up to a mid-BPM power drill drive. The best balance of the band’s alternating extremities would be the cymbal-clutching blaster “Defiler,” which shows off Wake’s aggression to scintillating perfection.

Wake – “Defiler”

Grindcore, death metal and power violence get all gruff and growly in Wake’s hands. They keep things short and sharp and don’t wear out their welcome. Just a quality beating.
[Full disclosure: the band sent me a download.]