STREAMING: Ghost Brigade “The Knife”

By: Chris D. Posted in: featured, listen On: Monday, October 13th, 2014

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Finland’s Ghost Brigade might be the best band you’ve never heard of. True, they’ve been around since 2005 (debut album, Guided by Fire, received rave reviews in 2007), but Jyväskylä-based sextet haven’t toured much and most of their respective catalog has resided on import status here in the US. And true import status means jack in today’s content-everywhere world, but certain conditions must be met—largely marketing and some blind luck—for a band like Ghost Brigade to hit you over the head.

Well, Decibel hopes to aid in Ghost Brigade’s hammer to the face (we were trying to slide in a Cannibal Corpse reference there) with the streaming premiere of new track, “The Knife,” off new album, One With the Storm. A combo of Isis, Sólstafir, and Deftones, the Finns reside in a no-man’s land of heavy, reflective, heavy, and reflective. Or, at least that’s how we at Decibel hear the Northerners.

Season of Mist is much more eloquent: “Finland’s Ghost Brigade haunts the spaces between worlds. Their heavy, mournful music is the sound of dusk; mining the distinctive Finnish sound of sorrow and the vast, heavy drone of the post-metal cosmos. Plaintive vocals sing songs of loss, and cloak both a sonic and emotional weight that resonates deeply.”

OK, it’s Monday morning and likely work is already crushing our collective constitution. Time to cut ourselves back to normality with “The Knife”.

** Ghost Brigade’s new album, One With the Storm, is out November 7th on Season of Mist Records. It’s available for pre-order HERE on vinyl, CD, and collector’s edition boxsets.

For Those About to Squawk: Waldo’s Pecks of the Week

By: admin Posted in: a fucking parrot previewing new releases, featured On: Friday, October 10th, 2014

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Here we go. Let’s just peck it right up. All positive reviews. Hmmm…

HORRENDOUS releases Ecdysis. The title refers to the process of molting, and you know I don’t know ANYTHING about that.  Having made some waves in the underground typically makes me more judgmental on a release, and I definitely was, but you know what? I beaking like this.  As the name would imply, this is a nod to old-school death metal, more in the Swedish sort of vein, but my god of empty nest, the RIFFS. This is thick and hooky, and the melodies and solos come across as natural, not something wedged in there just for the sake of variation. The vocals are raspy and present, and my peck, the riffs… I just can’t get over the riffs. I know they are touring right now, so do yourself a favor and go get this, go see them, or both.  Swedish-style old-school death with melodic solos. I love this. 8 Fucking Pecks.

Need some death? REVOCATION don’t have it on their new one, Deathless; well, yeah they do. It’s heir first with Metal Blade, and their second in two years. One may preening ask what, if anything, new does a band have to say in two years? The answer is plenty. This is not a retreading of last years’ s/t album, although it DEFINITELY sounds like Revo. This is technical death thrash, and the first thing that’s noticed is how it digs in and doesn’t really let up. But that’s not to say that it doesn’t sound like them. They have a bag of tricks, and they visit that bag plenty, but it’s no boring retread. This can be down right hooky at times.  A band that’s never been four to the floor, Revocation maintain their aesthetic, yet still make an interesting record that has life and pushes their already diverse envelope in different directions. 8 Fucking Pecks.

OLD LINES release No Child Left Behind on No Sleep , and this is a grinding banger, with just enough crust and D-beat thrown in to keep it interesting. This is certainly a record to show that hardcore can indeed have an edge. A little grind with some punk thrown in. This whole thing has a punk edge. Probably not everyone’s thing, and there’s a looseness here that only can be associated with something like this, but in that looseness lies an intense energy. Keep an eye out for these guys. 7 Fucking Pecks.

Shameless self-promotion: PIG DESTROYER release Mass and Volume on Relapse. Originally recorded during the Phantom Limb sessions, these two tracks are rife with doomy heaviness and amplifier worship. Obviously, I can’t say that it’s great, but it’s great (ESPECIALLY the bass playing). Who knew parrots could suck their own dicks?  I won’t rate it, but check it out.

Ride Wormwood’s Doom Trip: “I’d Rather Die”

By: Dan Lake Posted in: featured, interviews, listen On: Friday, October 10th, 2014

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Next week, Magic Bullet Records will force-feed us new bone-scraping sludge from Wormwood, a project dredged from the minds of Doomriders vets Chris Pupecki and Chris Bevilacqua.  Born out of a need for yet-unexplored heaviness, Wormwood have retched out 20 minutes of crusty crush that are sure to nod some heads.

Check out third track “I’d Rather Die” here and find out what Pupecki has to say about Wormwood and the new music.

What motivated you to start playing as Wormwood?

Bev and I needed a reason to hang out again after years apart and figured a band would be a solution to that. He’s also a great motivator/pain in the ass, so he definitely helped to get this ball rolling. Also, I wanted to do something darker, heavier and  different from Doomriders and stretch out a bit creatively. Pretty much every band I’ve ever been in I wanted it to be heavier than it was. I love what we do in Doomriders but I also wanted to scratch that “heavy as fuck” itch that I’ve always had.

How different does Wormwood feel from your other musical activities?

Right now my only other band is Doomriders. It’s tuned down a bit lower, it’s noisier and has a much more dark, negative vibe than Doomriders. Also, I use fuzz pedals on my guitar and effects on my vocals in Wormwood, where in Doomriders we only use small amounts of that stuff on recordings.

How specific were you about the sound you captured when you recorded these songs?  Was it fast and messy, or did you work with certain equipment to achieve an exact sound that you wanted?

It wasn’t a fast process. We recorded all analog at Alex Garcia-Rivera’s Mystic Valley Studio and that tends to be a bit more tedious generally than recording all digital, but also we didn’t spend a ton of time on tones and getting sounds or “the perfect take” so it went a bit quicker that way. We knew pretty much how we wanted it to sound and it was just a matter of a pedal or two and a different approach to musical style and song writing than we were used to.

How comfortable with vocals were you before working on this recording?

Not comfortable at all actually. I only started doing backing vocals for Doomriders in the last couple years. Also, we only recently got a PA in our rehearsal space so I never had a chance to even practice once before recording the Wormwood stuff. So the vocals you hear on the Wormwood recording is pretty much the first time I ever attempted any sort of “lead vocals” in studio or rehearsal space. I think it’s safe to say that we will only improve from here on out as a band.

Wormwood will see worldwide release through Magic Bullet digitally on October 14th, 2014, and on LP – the first pressing on smoke, black and red variations – on October 28th. Additionally, a CD run including a limited woven patch will be released by Patac Records, and a super limited run of cassettes will be released on Negative Fun Records.

It’s Good to Have Goals and Dreams Can Come True – An Interview with David Rodgers of Southwest Terrorfest

By: kevin.stewart-panko Posted in: exclusive, featured, interviews On: Thursday, October 9th, 2014

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Around this time last year, we spoke to Godhunter guitarist/vocalist David Rodgers as he was in the process of putting together the second edition of Tucson, AZ’s Southwest Terrorfest (go here to read all about it). At the time, under the Deciblog’s interrogation hot lamps, Rodgers mentioned that one of the bands on his “booking bucket list” was Neurosis. Well, guess what he went and did? Rodgers managed to score the Bay Area legends at this year’s version of the fest alongside the likes of -(16)-, Pelican, Goatsnake, the Body, the Atlas Moth, Author & Punisher amongst many more all set to slowly drop the citizens of Tucson (and beyond) into a cauldron of bubbling hot tar come October 16, 17, 18 and 19. We got in touch with Rodgers as he balanced busyness and elation to talk about the bigger and better version of this year’s fest.

Tell us about how last year went. Was it a success in your eyes?
I think we did 75-80% [of our goal]. Thursday was really good, Saturday was awesome, Friday was OK, Sunday was not good. Not a lot of people showed up on Sunday and it led us to refining a few things like having fewer bands and making for a little less time for people to actually be there.

Would you say those were two of the bigger lessons you learned? How were they applied to this year?
Those were definitely the two most important items. I think we had too many bands last year and some of them just got lost in the shuffle. Some bands played too early in the day when people were still hungover when people don’t necessarily want to see a band play at 2:30 in the afternoon. I know some places like at MDF, people are out at like 11am or noon all bright-eyed and ready to go, but we’re not there. So, we trimmed that back a little and looked at what did work. It worked really well to bring in bands that don’t regularly come through town. Like Kylesa had never been to Tucson before, so a ton of people came out to see them. With Red Fang, [guitarist] Bryan [Giles] is from here, so they’ve played here a lot, but they’ve never played at a big place like The Rock before and it was the most people I’ve ever seen out for them. So, we figured we’d get really good bands that don’t come through Tucson a lot and narrowed it down to no music before 6:30pm. We’ll let people get through their day, get some dinner or whatever, then start up.

At what point did you start working on this year’s version and in light of what happened on Sunday, was there ever a point you were feeling discouraged about the whole thing?
That would have been all day Sunday and probably for a couple weeks afterwards I didn’t know if I wanted to have anything to do with it again. I’m pretty tough on myself; I’m one of those people where even if I win a race, it’ll be like “I didn’t win the race fast enough.” So, it was hard in the moment to see the successes we had because I was concentrated way too much on Sunday not turning out the way I wanted it to. There were bands that had really good crowds on Sunday, but the crowd kind of ebbed and flowed and nobody really stuck around through the whole day. It was like a bunch of kids showed up to see ACxDC and then half of them left and didn’t come back. Or people were there to see Theories, but it was only death-grind kids and that was the only band they wanted to see that day. I’d say by December, we started talking about it. I had come off of a boil a little bit and the other guys were like, “we did really well for most of it, we just kind of blew it here. So, let’s just fix that and do it again, but better.” So, by January and February we were right back into the thick of it and booking again.

Last year you told me that one of the bands on your “booking bucket list” was Neurosis and you got them for this year? What were the circumstances behind that? Was it a matter of you hammering away at them until they said yes?
No, but here’s kind of how the process went. We moved venues this year; we’re not at The Rock any more. We didn’t have a problem with them; they’re great people, it’s just that we knew that if we wanted to step up the headlining bands a little bigger we couldn’t do it there because it’s a limited venue and there’s no backstage area at all. One of the good things that happened last year was that the people who run The Rialto, which is sort of the main theater downtown where everyone loves to play, got really interested in the fest and I think they were at the Kylesa and Red Fang shows. They approached us and asked us what we thought about bringing the fest downtown. That had always been our intention from the start; to get it to where it was big enough to have it downtown so everyone could walk between venues, hotels, restaurants and bars and it doesn’t become a thing where people have to drive to and park their cars. So, once they got on board, we sat down with them and literally just made up a wish list. They had a couple bands they threw on to the list.  They also wanted to get Sleep, so we pursued Sleep and High on Fire, but I think High on Fire is recording an album this month and couldn’t do it, so we kind of have them on the shelf for next year, hopefully. And then I threw out a couple names for the list, which were Goatsnake, which I thought was a more realistic chance, and Neurosis, which was our number one choice. So, as it is, I know Ron Martinez who runs Crawlspace Booking and books for Neurosis now. I’ve done shows for his bands in the past and he knows I’ve been doing this stuff for years. I talked to him and asked him to talk to the guys and see if it was something they would be interested in if the money was right. With Neurosis, it has to be something they’re interested in. You could throw a boatload of money at them, but if they’re opening for Papa Roach or some shit, they’re going to say no. They want it to be something that’s unique and something that’s sort based around them because they’ve reached that status now. So, we talked money, it went really smoothly and quickly and Neurosis was actually the very first band confirmed this year. The good part about that is that once you reach out to the rest of the bands and you say, “by the way, Neurosis is the Saturday headliner” everything really falls into place after that.

With that in mind, and I don’t know if you’ve even thought this far ahead, but does this make it that much more of a challenge for you next year?
It will be a challenge, but we’re not going to try and one-up ourselves every year though. One thing we refined was the mix that we had last year. The Sacred Reich day was all fast, thrash and death metal bands and Sunday was a lot of punk, hardcore and crust stuff. We kind of did away with doing different days and said, “let’s just have a theme and once we get a couple of headliners, we’ll see where that theme is going.” Once we got Neurosis and Goatsnake on board it was looking like it was going to be a ‘slow’ year in that none of the bands playing are blazingly fast. Next year, we’re going to do a fast year. So we already have bands lined up and I’ve talked to a couple people who are interested in it. Neurosis is definitely a legendary band, but luckily there are a lot of bands out there who have that same gravitas as Neurosis and for what it looks like we’ll be doing next year, I think people will be just as into it.

Last year you also talked about possibly and eventually working with the city, like shutting down streets and outdoor stages and stuff. Obviously that’s not happening, but I did notice the Tucscon Weekly did a big profile on you and the fest recently. Are you finding “non-metal” parts of the city getting friendlier with you?
Absolutely. That was how we got in with The Rialto and once we were in with them, the folks at Hotel Congress, which is literally across the street and has been around for hundreds of years – it’s where John Dillinger got caught and it’s always written up as one of America’s best bars and venues – once they saw we were at The Rialto and doing the after shows at The District, they came over to me and said that The District won’t be open next year and that they wanted the after shows. It’s really cool that the downtown set that doesn’t normally pay attention to underground metal have looked at it and see exactly what’s going on. We have an awesome music scene in Tucscon, tons of really good bands and what’s crazy is the way they cross-pollinate. You may have heard of a band called Sex Prisoner that’s on a389; their drummer Gilbert is the guitarist in this completely different super-indie garage band band called Prom Body which have been in Pitchfork and the New York Times. The folks downtown are starting to realise that these guys that play in bands that regularly play there have these other bands that are just as popular, but are from this other heavier genre that they ignored before. For the folks at Club Congress who generally don’t get behind metal shows – I think Red Fang, the Sword and maybe Helmet is the heaviest it’s ever gotten there – to get behind this is a huge step forward. And this year we have people who are flying in from Australia, Germany and South America and making reservations at Hotel Congress and other hotels downtown.

With time are you finding the process of booking and doing this getting smoother and easier as you go along?
It’s definitely gotten easier. You make a few new contacts, talk to this booking agent, meet new people and start putting puzzle pieces together. Some of the things do get a little ridiculous at times. The SWTF email inbox at this point is probably 96% bands that want to play that aren’t from this genre at all. Like we got Neurosis, so I don’t mind if a sludge band or whatever writes asking if there are any spaces left. I get it. But there’s a real funny one right now where I’ve had a 40-50 email exchange with a Russian folk band that, in the beginning, I said “thank you, but no” to. I think they took the ‘thank you’ as a ‘yes, I want to book you.’ They then started writing me about when they should expect their plane tickets and hotel reservations and all that and the whole time I’m writing them back, “Guys, I’m not bringing you to America.” I know there’s a way to do it with visas and whatnot, but I’m not there yet. So, even if they were in the genre that I wanted, I couldn’t do it. It got to the point where they started getting really snippy with me, as if I was backing out on a deal with them. So, it was kind of mean of me, I know, but at that point I introduced them to this Nigerian prince I know that had $40 million that he needed to clear and told them if you send this guy your info, he’ll put money in your account, use that money to buy your plane tickets and we’ll be waiting for you [laughs].

Having said that, in the future are you looking at bringing bands from overseas that you’ll eventually have to do paperwork and visa applications for or don’t you want to deal with the hassle?
Yes. I’d love to book Bolt Thrower and Electric Wizard and if I ever do that, I know I’ll have to figure it out. I don’t know if we’re quite there yet, those are obviously super-expensive bands as well and I have to know I can consistently sell enough to provide for bringing those bands over as well. But we have talked about the future and about how at some point one of us is going to have to learn to do work visas and whatnot. It’s just more paperwork; I’ll work it out.

October 16th, 17th, 18th, 19th
Rialto Theatre | The District Tavern
Tucson, Arizona

Thursday night: Kickoff show at The District:
10:00 – 10:30 Conqueror Worm (Tucson)
10:45 – 11:15 Twingiant (Phoenix)
11:30 – 12:15 Oryx (NM)
12:30 – 1:30 -(16)- (CA)

Friday night: Main show at Rialto:
6:30 – 7:00 Godhunter (Tucson)
7:15 – 7:55 Eagle Twin (UT)
8:10 – 9:00 Pelican (IL)
9:15 – 10:15 Goatsnake (CA)

Friday night: After show at The District:
10:30 – 11:00 Spiritual Shepherd (NV)
11:15 – 11:45 TOAD (Phoenix)
12:00 – 12:30 BlackQueen (WA)
12:45 – 1:45 The Atlas Moth (IL)

Saturday night: Main show at Rialto:
6:30 – 7:00 Sorxe (Phoenix)
7:15 – 7:45 Author & Punisher (CA)
8:00 – 8:40 The Body (OR)
8:55 – 10:45 Neurosis (CA)

Saturday night: After show at The District:
10:30 – 11:00 Windmill Of Corpses (Prescott)
11:15 – 11:45 Secrets Of The Sky (CA)
12:00 – 12:30 North (Tucson)
12:45 – 1:45 Primitive Man (CO)

Sunday night: Main show at Rialto:
6:00 – 6:30 Sex Prisoner (Tucson)
6:45 – 7:15 Obliterations (CA)
7:30 – 8:00 Baptists (Canada)

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Encrotchment With Eddie Gobbo From Jar’d Loose: Week 5

By: Eddie Gobbo Posted in: encrotchment, featured, nfl 2014 On: Thursday, October 9th, 2014

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Mulaney Death Watch, 2014.

KC at the Bat, Chiefs on the Back Burner

I’ll admit, if there’s ever a lag in me watching the NFL, it’s during October. I usually drop from watching 30 hours of football a week to about 25. I’m an MLB fan, and I love spending hours watching great, hard-nosed baseball from the drunks of summer.

I spent the past week sending annoying Facebook PMs to my friend R.L. Brooks from Kansas City’s Maps for Travelers every time the Royals did something well in one of their games. I met R.L. when Jar’d Loose did a weekend with Maps and Kansas City titans the Casket Lottery a couple years back. I love everyone I meet from Kansas City because they’re usually Coalesce fans. A person can be a serial killer, but if they love Coalesce, I’m cool with them. Anyway, R.L. is a big Royals and Chiefs fan, but let’s not hold it against him. This week, I wanted to pick his brain about the Royals postseason run, and if it’s currently affecting the normally apeshit Chiefs support from K.C. folk.

“For 30 years now, every October brings the switch from baseball to the Chiefs here, and this year it’s a total mash-up. It indeed has taken a lot of attention the Chiefs normally have away. The whole city of K.C. has got baseball fever; it’s almost like football hasn’t even started.”

Maybe that’s a good thing. The Chiefs are an underwhelming 2-3 right now, third place in the AFC West with probably no chance of improving. Besides their opening week upset loss to the Titans, I actually think K.C. has been playing decent ball so far this season. They played a super strong, well–rounded game against New England on Monday night a couple weeks back. I also liked their play against San Francisco this past week. But, unfortunately for them, Frisco also played well, and when push comes to shove, they’re more talented. However, I am deathly worried for them this season. I currently would say that both San Diego and Denver are both top three teams in the NFL, and they’re in K.C.’s division. A sub-.500 record for the Chiefs could bring change this offseason. I asked R.L. his opinion about QB Alex Smith and head coach Andy Reid:

“It feels like things are in flux. I think the jury is still out if these two are gonna become a dynasty like everyone hopes here in K.C. I have mixed feelings on Reid. His overall record tells the story. I’m not sure enough big wins are in our future. I like Alex Smith, but is he in his prime? San Fran might have got the best out of him.”

Smith was drafted number one over all in the 2005 draft. Gauging his pseudo-success in San Fran, I’m not really sure he has ever been in his prime. I’m glad the dude has a second chance in Kansas City, but wins are wins. If he can’t repeat last year’s success, he and Reid will be on the hot seat. He has a tough task ahead of him. Like it or not, quarterbacks are always compared to the other quarterbacks in their division. Good luck with Peyton Manning and Phillip Rivers, Mr. Smith.

While I had R.L.’s attention, I wanted to rip on him for no longer being the hardest stadium in the world. When I was learning how to sports bet in the ’90s I was told by several people not to fuck with K.C. at home, ’cause Arrowhead was the hardest stadium to play in. Now it’s that hellhole in Seattle. Has Seattle’s 12th man stadium usurped it?

“K.C. is without a doubt one of the most hardcore stadiums in the league still. [I have] several friends that work for them or go out and beat the shit out of drums to break world records for sound in a stadium. It’s an intense place and fans are merciless almost to a gut-wrenching fault sometimes. Any team that comes to Arrowhead is gonna struggle with crowd noise. I just had a good friend move here from Seattle, and she is the most insane Seahawks fan in the world, and she talks shit on the Chiefs non-stop, but she will admit that Arrowhead is a hellhole for any opposing team to come into.”

Stay hard, K.C. I respect your Royals support. There’s nothing like when your team’s in a pennant race in October. Kinda like your suitcase.

Cleve(land’s coming of)age

Any of you associated with the Cleveland Browns–players, coaches, training staff, fans of, employees of, merch-sellers of, and Bill Cosby–pay close attention to this section.

THIS SUNDAY’S GAME IS THE MOST IMPORTANT GAME OF THE DECADE FOR YOU.

Why, you ask?

Well, your team is 2-2. You’ve won two games. Against all odds, you’ve won your bye week. You have outstanding momentum after mounting the biggest road comeback in team history last week against the Tennessee Titans. Also, the two games you lost were both by three points or less, instead of your usual million. You may actually have a decent team this year.

Now, here’s the problem: You have to continue playing games. As much as I know you’d like to end the season at .500, you can’t do that without playing many more NFL games.

The Steelers have OWNED you forever. Like seriously owned you. Roethlisberger owns you. He’s 18-1 in his 19 games against you. They don’t even let you eat in Pittsburgh restaurants when you go there. Time to finally put the bane of your existence in their place this weekend.

Why is this game so important?

You’ve lost two division games already without playing the best team in your division, Cincinnati, yet. You cannot go 0-3 in the division before you hit the Cincinnati games.  Also, LOOK AT THE SCHEDULE. If you beat Pittsburgh this weekend, you go to 3-2. You then have Oakland, Jacksonville and Tampa Bay all in a row. Seriously, I’m not making this up. You have three teams with a total combined one win all in a row. If you can handle success, the momentum of beating Pittsburgh should propel you into three straight wins over these cupcakes. You’ll wake up on Monday, November 3 a 6-2 football team. Then guess what? America’s favorite weed-smoking wide receiver, Josh Gordon, rejoins your team. He’ll have a chip on his shoulder from not smoking weed for the last few months, and will be ready to blaze joints.

Brian Hoyer: This is your team now. You grew up cheering for the Browns. You saw them get cancelled like Family Guy, and then brought back after everyone cried, like Family Guy. It is your birthright to lead this team out of mediocrity. Johnny Football is not your competition, but please teach him well. He could be the Aaron Rodgers to your Bret Favre.

Lastly, the more you win, the more likely LeBron will come to a game. And at the end of the day, isn’t that what it’s all about?

American Horror Story: New York

I can see it now: Sarah Paulson as Geno Smith. Kathy Bates as Woody Johnson. Angela Bassett as Michael Vick. With Jessica Lange as Rex Ryan, and the weird pinhead girl as Fireman Ed.

I knew the Jets were in trouble this week when I got a text from my friend, Tom Corino of Boston’s Rozamov, at 2 p.m. CT on Sunday saying, “Welp, I guess I got to root for Michael Vick now.” Tom’s the only Jets fan in Boston, by the way.  As soon as word of this spreads to the Boston hardcore scene, I’m sure he’ll promptly be killed. Shit, I’ll probably have to fly out for the funeral now…

As bad as the Jets looked last week, you got to give Rex Ryan props for being as loyal to Geno Smith as he has been through his tenure thus far. He’s really Geno’s number-one fan. What a lot of people don’t know is that this week Geno Smith was late for a mandatory team meeting. Now, hardass coaches have been known to bench mofos for such a transgression. Rex Ryan wouldn’t have been faulted for doing such a thing. Former Jets coach Herm Edwards said he would have benched Smith. I know I would have benched him. I can’t stand when unproven players on struggling teams make bonehead mistakes like this. I once coached my cousin’s fifth grade basketball team, so yes I know what it’s like to be a coach.

If I read into this incident, which I do with anything football-related, I think it reveals a bigger issue plaguing the Jets. THEY’RE F’N UNDISCIPLINED. And one thing I’ve realized in years of watching football, undisciplined teams can only beat teams that are more undisciplined then they are. The undisciplined persona of this Jets team reared its head when Muhammad Wilkerson threw punches on Green Bay players right before a fourth quarter they desperately needed him in.  They lost that game, and haven’t won since.

Geno’s tardiness gave Ryan a free pass to both try out Michael Vick and simultaneously kick Smith in the ass this past week. Instead, Ryan started Geno, and the Jets proceeded to have the worst offensive game seemingly ever in the history of football. They had 62 total passing yards. For sure the worst first half of football offensive I’ve ever seen. They punted every possession in the first half except for two, one where they lost a fumble, one where Smith threw an interception. Also, they didn’t pass midfield until, get this, the fourth quarter. Now, the Jets did play one of the best teams in football in the San Diego Chargers. San Diego pounces on team’s weaknesses. This is what separates them from a team like the Seattle Seahawks, who get off on keeping inferior teams in games with them for whatever reason (like this week’s Monday Night game against the Skins, which should have been over in the first half).  Seattle pulls that crap in the playoffs, they may get blindsided.

Back to the Jets: Michael Vick would provide a spark to this team. Geno, however, will be starting this week against the Denver Broncos (yikes). Sadly, Rex Ryan may be the only coach in football that believes in the poor kid. Once Ryan and the Jets part ways this offseason, Geno becomes a back up, and the Jets will draft their third quarterback in the last five years in the first two rounds, this time with Rex Ryan not calling the shots. Third time’s a charm? Perhaps Jim Harbaugh and Marcus Mariota will join the cast next year, played by Evan Peters and Taissa Farmiga, obviously?

Are You There, Jim? It’s Me, God.

The next time you get carried off by a group of your peers, make sure it’s in a casket and not after a lame regular season win against the Detroit Lions team you spent years ruining, you asshole.

Kyle “Don’t Call Me Randy” Orton

Still on the subject of the Bills upsetting the Lions: is it me, or is Kyle Orton seriously the best backup quarterback of all time? I know Favre and Warner and a bunch of Hall of Famers came in once upon a time as backups. But I don’t think anyone projected Purdue’s Kyle Orton to do anything in this league but ride a bench until a first-string quarterback–and possibly a second-string quarterback–get injured. Dude has 36 career wins in the 70 games he’s started in his career, with the last being this past weekend against the Lions. He’s a career backup QB with an over .500 record. Talk about a guy making the most of a weak skill set. Also, he’s from Iowa. Slipknot, anyone?

Need Mushin Muhammad Jersey

Fellow football fans, I wanted to reach out to you about something important that you should never take for granted: If you are lucky enough to have a person on your team that you can  gutturally groan their name after a big play they make (i.e., Luke Kuechly, Heath Miller), cherish them with every fiber of your fandom.  I miss Mushin Muhammad on the Bears every day. MOOOOOOOOOOSSSSSSEEEEEE!

Pick of the Week

Miami+3  over Green Bay

Decibrity Playlist: Revocation

By: zach.smith Posted in: featured, interviews, listen, lists On: Thursday, October 9th, 2014

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When Revocation‘s David Davidson told me about his band’s upcoming album Chaos of Forms back in 2011, the guitarist/vocalist was pretty excited about using his past experience with horn and big band arrangements to compose a horn section for “The Watchers”. Between that and his focus on jazz while at the Berklee College of Music, it’s no surprise that the genre provides the theme for his playlist. Once you’re done checking out his picks, pick up a copy of Bostonians’ fifth full-length (and first for Metal Blade), Deathless, here.

Pat Martino’s “Just Friends” (from 1967′s El Hombre)
My first real introduction to jazz was as a freshman in high school. My guitar teacher at the school was very ambitious and would bring in transcriptions of full solos to learn that we would have to play in unison. I remember when he brought in “Just Friends” to the classroom, I was very intimidated but determined to not let him down. My fellow classmates and I struggled through the piece, learning it bit by bit, and when the recital finally came we actually played it pretty well for a bunch of teenagers just learning how to swing. This tune will always be special for me because it takes me back to a very inspiring time that pushed my boundaries and opened my ears up to a completely new approach to the guitar.

Pat Metheny’s “Solar” (from 1989′s Question and Answer)
“Question and Answer” is easily my favorite Metheny record and has a total dream team rhythm section featuring Dave Holland playing upright bass and Roy Haynes on drums. Pat’s lines are incredibly fluid on “Solar” and he really goes off as his solo progresses, playing out with a keen sense of melodic sensibility and motivic development. The interaction between Holland and Haynes is also quite remarkable and their mastery of form keeps this uptempo tune flowing and on track.

Liberty Ellman’s “Ophiuchus Butterfly” (from 2006′s Ophiuchus Butterfly)
I got turned on to this record a couple of years ago by a buddy of mine and it’s been in heavy rotation ever since. The title track begins with an off-kilter melody that still maintains a killer groove. The tune then builds as contrapuntal lines between the guitar, saxophones and tuba interact and bounce off each other. As good as the album opener is, every tune on this record has its own personality, with each track maintaining harmonic complexity and interesting melodies. Ellman’s unique compositional style shines throughout the record and is only elevated by the saxophone duo of Mark Shim and Steve Lehman, who each lay down absolutely crushing performances which elevate this album to an even higher plateau.

Kurt Rosenwinkel Standards Trio’s “Ask Me Now” (from 2009′s Reflections)
I’m a total sucker for chord melodies–there’s something about taking a jazz standard and reimagining it in different ways that is so beautiful and intriguing to me. Kurt Rosenwinkel’s rendition of the quintessential Thelonious Monk ballad “Ask Me Now” is played with a level of sophistication that few but Kurt are capable of. His chords are rich and harmonically complex, but he never loses sight of the melody. Kurt has proven himself to be one of the best guitarists in modern jazz and his thoughtful interpretation of this tune is a must listen for fans of classic standards played with pure class.

Anthony Braxton’s “Countdown” (from 2003′s 23 Standards (Quartet))
Anthony Braxton is one of the true geniuses of our time. He’s a forward thinking composer, educator and improviser who’s released over 100 albums since the ’60s. On 23 Standards, Braxton is on fire, playing with a burning intensity that is truly awe inspiring. His performance of the uptempo Coltrane classic “Countdown” builds in ferocity as he blazes through the lightning fast changes. Guitarist Kevin O’Neil also delivers a jaw dropping performance on this track, utilizing eyebrow raising post bop lines and abrasive chords.

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*Order a copy of Revocation’s Deathless here.

**For past Decibrity entries, click here

Interview and Exclusive Book Excerpt: Mark Rudolph

By: justin.m.norton Posted in: exclusive, featured, free, interviews On: Wednesday, October 8th, 2014

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For more than half of Decibel’s decade-long history Mark Rudolph has been a key component of what makes the magazine special. He illustrates the lead review in each issue and has designed covers for all of Decibel’s annual specials dating back to our 100 best death metal albums special.

When he isn’t busy with the magazine or his Detroit-based art business Rudolph edits and curates graphic books on our heavy metal heroes. The first was a King Diamond tribute Satan Is Alive. Due next is a tribute for Tom Warrior. Morbid Tales! A Tribute To Celtic Frost will be released by Corpseflower Records in an initial run of 1,000 copies.

You can preorder a copy of this fantastic book here. Mark also graciously shared a preview of the book with his Deci-comrades; visit his page to get an idea of what to expect in full-resolution glory not available via WordPress. Then read more with Mark below. Are You Morbid?

When did you get into art?

I grew up in the middle of Michigan in a small college town. I was a fairly withdrawn kid and drawing was the first thing before music that got me. It made me feel that nothing else mattered. It started with a love of comic books and cartoons. And then my Dad gave me a copy of MAD magazine which was one of the few cultural touchstones we agreed upon. I started seeing caricatures when I was about eight and it excited me a lot more than Spider Man. MAD made me realize that people were making a living doing illustrations. It got me into pop culture and put an extra twist on it with social commentary.

Jack Kirby was a big influence, correct?

In the late 70s and early 80s I wasn’t super aware of who specific artists were. But Marvel Comics always made an effort to make sure people knew Stan Lee and the artists and put personalities to them. I became more aware of Kirby in my late teens and early 20s and started to appreciate what he did for the world of comics. When I got into college I recognized what a genius he was; he could abstract the human figure and his work also transcended reality.

When did you decide to combine your metal fandom with illustration?

Chris Dick and a few other longtime Decibel contributors did the Requiem fanzine from 1992 to about 1998. It was photocopied. At that time album covers were paintings or Photoshopped. I tried to cater my illustration style to that at first. I also had a stint at Relapse in the graphics department. This was when everyone and their grandma was getting into design.

After Requiem died I did some design work and photography. I’d always been doing comics for myself. It wasn’t until about 2008 when I was in Decibel – I think it was issue 52. I’d been doing a lot of sci-fi comics with Twilight Zone endings. I was visiting Chris in Philadelphia and I gave Albert (Mudrian, editor) a copy of a comic I was doing called Mulligan’s Run. It was sort of like an EC Comic. Albert got a hold of me to do a lead illustration each month and it scared the shit out of me. Decibel was the first time I’d had metal in my illustrations outside of some fanzines.

Your illustrations have become part of Decibel’s aesthetic.

For the longest time I think any illustration having to do with metal was so serious. It was all traditional covers. The way Decibel is – I want to think of a good way to put it — it’s not just about super underground and true kult. It had a reach and that’s what I wanted with my work. You can have a sense of humor about things you love. When Albert approached me about the death metal cover I thought of the idea of doing a huge montage with different elements from album covers. The response has been fantastic and we have yet another special in the works.

What’s your favorite Decibel piece?

The ones that push me as an artist. The Danzig cover was tough but it would have to be the death metal cover, which got a great response. It made me reevaluate all of these album covers from when I was a kid.

After you did the book on King Diamond when did you decide to do a book on Tom Warrior?

The King Diamond book was a shot in the dark and it worked. I’ve always been a huge Frost fan and ended up reading copious amounts of interviews and I already had an idea for another book.

Tom’s story seems to lend itself to a graphic retelling.

Yes, especially his childhood. He definitely had an interesting upbringing and I respect how he took the inner turmoil and turned it into something rather than turning to drugs or less savory activity. His childhood is like a fairy tale. He was this kid that overcame these things to become a force. I was drawn to him because I also created my own worlds. And I was drawn to how he did that through music. I have a story in the book about my broad interpretation of him as a child overcoming those odds and becoming the Tom Warrior character.

Tom has been able to create an entire life out of the fantasy life he had as a kid.

Tom always tried to do something different with his career; just look at the back catalog from Hellhammer to Morbid Tales to Into The Pandemonium

I understand you heard from Tom?

I woke up one morning and he befriended me on Facebook and sent me a message asking about the book. I sent him a synopsis and pointed him to the Mercyful Fate book. He said he was honored and humbled by the gesture. When I approached King Diamond about the book he politely declined. I thought Tom might ask me to stop and I was honored he seemed stoked.

It’s interesting that the two books you’ve done have been on artists who pay painstaking attention to their image.

It might gave been completely unintentional (laughs). But it’s a testament to how identifiable they are. They are almost like horror movie icons. They are the musical equivalent of superheroes.

Hang With Hang the Bastard (If You Can…)

By: Shawn Macomber Posted in: exclusive, featured On: Wednesday, October 8th, 2014

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Look out, people — Hang the Bastard dragged this lumbering, oppressive beast of a song up from the sludgy pits of its upcoming self-titled album to wreak exclusive havoc on the Deciblog…and it is way nastier than we were warned.

Record is oct October 14 via Century Media. Another track/trippy video after the jump.

Sucker For Punishment: Burning Like a Flame

By: Adrien Begrand Posted in: featured On: Wednesday, October 8th, 2014

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It’s got to be a surreal adjustment for certain popular metal bands who headline huge festivals in Europe and come over to North America to play venues the tiniest fraction of the size. For some bands, you can tell they’d rather be egotistically drinking in the adulation of 75,000 people in a field in Germany instead of 500 people crammed into a pub in the middle of nowhere, while others are perfectly happy making eye contact with their audience, interacting in a cozy setting. Then you get the bands that don’t give a damn where they play, and those bands are always the best, no matter what the setting.

I’ve seen Swedish bands Amon Amarth and Sabaton play so many different venues, from tiny bars, to theaters, to cruise ships, and of course we’ve all seen festival footage of both bands. Sabaton played to more than half a million people in Poland last year, for crying out loud. With both bands, it never, ever matters where they play: they love to perform, they give their all, they entertain, and their adoring fans love them for it. That was certainly the case a couple nights ago as both bands, along with perennial crowd-pleasers Skeletonwitch played a sold-out show to a rollick group of headbangers on the local university campus.

It’s kind of absurd for a band like Sabaton to be an opening act these days; after all they are the biggest power metal band on the planet right now, and can very easily attract sizeable audiences as a headliner in North America. That said, it makes for one hell of a one-two-punch alongside Amon Amarth, and did Sabaton ever make their fleeting 45-minute slot count with a rousing set loaded with fan favorites and the odd new tunes. “Resist and Bite” and the crazily jaunty “To Hell and Back” held up very well alongside “The Art of War” and “Carolus Rex”, while staples “Primo Victoria” and “Ghost Division” brought the house down. A perpetual ham, mohawked singer Joakim Broden was in his usual good spirits, maybe a bit more than usual seeing it was his birthday that night. “End of passion play, it’s my birthday today,” he cracked during an impromptu “Master of Puppets” cover. That’s Sabaton in a nutshell. They’ll do anything to coax a smile out of a metal crowd, and they always pull it off.

Amon Amarth, meanwhile, is the AC/DC of death metal. Everyone knows what to expect from the guys, they have a tendency to gleefully self-plagiarize yet somehow manage to come through with catchy songs time and again, and that’s all anyone ever wants from them. The same riffing styles, the same melodies, the same subject matter (Vikings, Vikings, Vikings), and the same jokes (“If you don’t know the words, just yell along. It’s death metal, no one understands anyway”), and they are beloved for it. The band has been on a real career upswing since 2008 though, and it’s gotten to the point in Canada where the albums are doing so well that they’re starting to outgrow the venues they play, consistently selling out.

While the poor guy in line in front of me was devastated the show had sold out – prairie folks are laid back enough to assume walk-up are always available – the filled-to-capacity club had a great, festive atmosphere during Sabaton, and especially as Amon Amarth took the stage. The bulk of the 90-minute set focused on the last five albums, with only the staple “Death in Fire” representing the band’s early work. Which is perfectly fine by yours truly, as Amon Amarth has been on fire since Twilight of the Thunder God six years ago. Rightfully, Twilight and last year’s excellent Deceiver of the Gods were given the most focus, and those tracks went over hugely, the crowd responding with a furious mosh pit and, thanks to the absence of a barrier, plenty of stage diving. All the while towering vocalist Johan Hegg loomed over the kids like the Viking gods he sings of, his long beard and drinking horn attached to his belt cutting an imposing figure. From the early run of “Death in Fire” and “As Loke Falls” to the climactic “Cry of the Black Birds” and “War of the Gods”, the energy between band and audience was electric, and sent into overdrive during the encore of “Twilight of the Thunder God” and the requisite “Pursuit of Vikings”. All expectations were met, tons and tons of Viking-themed merchandise was sold, and everyone went home happy and exhausted.

As it happens, Amon Amarth, Sabaton, and Skeleltonwitch will all be part of Decibel’s big 10th anniversary celebration in Manhattan and Brooklyn later this month. It’s not every day you get two metal bands of this caliber touring together, and you owe it to yourself to see this bill if it comes your way. Here are the remaining dates:

10/10 Toronto, ON The Sound Academy
10/11 Montreal, QC Metropolis
10/12 Quebec City, QC Imperial
10/14 Burlington, VT Higher Ground
10/15 Hartford, CT Webster Theatre
10/17 Albany, NY Upstate Concert Hall
10/18 New York, NY Best Buy Theatre
10/19 Columbus, OH Newport Music Hall
10/21 Chattanooga, TN Track 29
10/22 Knoxville, TN Bijou Theater
10/24 Charlotte, NC The Fillmore
10/25 Jacksonville, FL Freebird
10/26 Birmingham, AL Iron City
10/27 New Orleans, LA The Civic
10/29 St. Louis, MO The Pageant
10/30 Joliet, IL Mojoes
10/31 Detroit, MI Royal Oak
11/01 Milwaukee, WI The Rave
11/02 Des Moines, IA Wooly’s
11/04 Lincoln, NE Bourbon Street
11/05 Oklahoma City, OK Diamond Ballroom
11/07 Austin, TX Fun Fun Fun Fest
11/08 El Paso, TX Tricky Falls
11/09 Tucson, AZ Club XS

On to this week’s new releases!

Abazagorath, The Satanic Verses (Eternal Death): The New Jersey veterans stick to rote, formulaic black metal on this third full-length, but despite its severe lack of originality – some Emperor here, Immortal there – this is nevertheless some strongly performed melodic black metal, heavy on speed and intricacy with a good mix of florid melodies and prog-leaning arrangements. If only the band followed through with more material as interesting as the instrumental “A City Visible But Unseen”.

Alunah, Awakening the Forest (Napalm): Is there a doom band that sounds dreamier than Alunah? That’s a big reason I love this English band: they play heavy music rooted in the tradition of Saint Vitus, but the focus isn’t so much on brute force but grace. The songs don’t plod and thud. They glide and swing, the guitars enveloping rather than crushing. By the time the tender singing of guitarist Sophie Day enters the fray, that’s it: you’re entranced. The songwriting as always been good, but this third album is a step up from 2012’s White Hoarhound, the melodies much more confident, the use of dynamics stronger, especially on such tracks as “Bricket Wood Coven” and “Heavy Bough”.

Audrey Horne, Pure Heavy (Napalm): After the astounding career turning point Youngblood in early 2013, which saw the Norwegian band abandon its boring “modern hard rock” in favor of a more classic sound reminiscent of early-‘80s Rainbow, I still feared that the guys might revert back to their old ways. Fortunately, it’s steady as she goes on the follow-up, as Audrey Horne continues to mine that sound from 30-plus years ago. It fits these guys perfectly, singer Toschie performing with verve on standouts “Out of the City” and speedster “Into the Wild”, guitarist Ice Dale (also of Enslaved) relishing his role as the showboating lead shredder. It’s nothing but good, catchy heavy metal like us oldsters remember, and it’s a total delight because of it. The band has embraced this change of direction fully, and it fits them perfectly.

Godflesh, A World Lit Only By Fire (Avalanche): As much as I loved Justin Broadrick’s shoegaze/metal project Jesu – and I loved it – there came a point where I realized that he’d taken that idea as far as it could possibly go. It was around when I saw Jesu perform in 2012, where I very nearly fell asleep standing up. The man should have stopped after Conqueror, and this was apparent when I saw the reunited Godflesh pulverize an audience a year later. I was more of an admirer of Godflesh than a fan – over the years I’ve tended to enjoy that minimalist industrial concept in bits and pieces rather than via full albums, but the energy, the ferocity that night was something to behold. After a teaser EP this past summer that felt decent enough but not exactly earth-shattering, A World Lit Only By Fire delivers the latter in surprising, spectacular fashion. A conscious return to the throttling sounds of seminal 1990s albums Streetcleaner and Pure, this new album is so straightforward in the way it sticks to that classic combination of massive riffs, martial electronic drum beats, and the post-punk edginess of Killing Joke. As much as it might seem like a regression, this record benefits immensely from modern production, as Broadrick has these ten tracks sounding even more colossal than anyone could ever have hoped. It’s simple, but sometimes the simpler approach is the best one.

Lo-Pan, Colossus (Small Stone): The Columbus, Ohio band is in fine form on this fourth album, once again finding a comfy middle ground between the heavy rock of Grand Funk Railroad and the searing garage rock of the MC5. Throw in a vocalist who actually makes an effort to sing, not growling nor yarling, and you’ve got a good little reminder of how satisfying music this simple can be when it honors its roots and tries to create something new at the same time.

Orange Goblin, Back From The Abyss (Candlelight): It seems as if Orange Goblin has been gaining serious traction in North America, at least in the B and C markets. The British veterans have stepped up the touring on this side of the Atlantic, and from my perspective, every time they hit the smaller centers, more and more people are drawn to the shows. And good for them for quickly following up 2012’s A Eulogy For the Damned with a record that’s even better. Typical of the band, it’s very much in keeping with the Orange Goblin aesthetic, which is essentially beer-fueled, sludgy rock ‘n’ roll, alternating between Motörheady speed and bluesy swing, led as always by the burly-voiced Ben Ward. Had this album been 34 minutes insead of 54 minutes, it might’ve had an even more immediate impact – for a band like this, less is definitely more – but this is still a hugely enjoyable record, led by “Sabbath Hex”, “Heavy Lies the Crown”, and the wicked “Devil’s Whip”.

Rigor Mortis, Slaves To The Grave (Rigor Mortis): The story behind Rigor Mortis’s first album in 23 years is impossibly tragic. Just as the Dallas band was wrapping up the recording, they threw a bash to celebrate guitarist Mike Scaccia’s 50th birthday, but while he was onstage performing with his longtime friends, Scaccia suffered a heart attack and died shortly thereafter. In honor of their buddy the rest of the band launched an online funding campaign to help them finish the album in a way that honored him in fitting fashion as possible. Indeed, they’ve done a very nice job of it on this exuberant record. Devoid of frills but performed with the kind of energy that feels like the work of thrash acts half the band’s age, best exemplified by the ferocious “Curse of the Draugr”. An appropriate, robust swan song for a popular guitarist who died far too young.

Stench, Venture (Agonia): In its perversely restrained approach, you can sense this second album by the Swedish band is trying to accomplish what Morbus Chron did so well on this year’s extraordinary Sweven, but while the ambition is there, the execution isn’t. The songs still feel rote, dalliances with post-punk sounds feel half-formed, and as is the case with so many extreme metal bands, the vocals lack personality, feeling more like an afterthought, adding nothing to the music. You can sense good things in this band, but it hasn’t happened yet.

Viathyn, Cynosure (self-released): This week’s biggest surprise comes from the burgeoning Canadian metal hotbed of Calgary, Alberta, where Viathyn has emerged with a shockingly strong album of progressive power metal that is guaranteed to interest fans of Symphony X and Angra. We’re so used to hearing work by unsigned young bands that sound nowhere near fully-formed that when a self-released album comes out that actualy feels like it’s already realizing its potential, you can’t quite believe it. But this is an exceptional piece of work, robust yet lively, fun but not cartoonish, proggy but always built around a strong hook. Cynosure already sounds like a band in full stride, and it deserves to be heard. Stream and purchase it via Bandcamp.

Winterfylleth, The Divination of Antiquity (Candlelight): Winterfylleth can always be depended on for some quality black metal rooted in Scandinavian tradition but always exploring their own English heritage. Nothing changes on this fourth album, and while that can be a detriment, these tracks hold up exceptionally, especially the more melodic fare like the nine and a half-minute epic “A Careworn Heart”.

Not metal, but worth hearing:

This is as exciting a week for new non-metal music as I’ve seen all year, and of the four titles I can’t decide to single out, there’s at least one that will appeal to anyone. Steven Ellison, AKA Flying Lotus, is a mad genius of a composer, and You’re Dead! (Warp) is a spellbinding 38-minute journey through jazz fusion, progressive rock, hip hop, and IDM. The equally talented electronic artist Dan Snaith is also in prime form on Caribou’s rich, vibrant, pop-friendly Our Love (Merge), his best work since 2003’s psychedelic classic Up in Flames. The great singer-songwriter Mary Timony, best known for her work with Helium and most recently Wild Flag, is back with a new band called Ex Hex, which unlike her past projects focuses on hard-driving, punk-infused powerpop on Rips (Merge). Think The Cars meets the Ramones. Meanwhile, Zola Jesus’s latest albumTaiga (Mute) sees Nika Rosa Danilova continuing to gradually shift her sound towards something more accessible with largely entrancing results, although I still consider last year’s Versions to be her best work.

Follow me on Twitter at @basementgalaxy

A Very Heavy Metal Halloween: Adam Ahlbrandt

By: Shawn Macomber Posted in: featured, gnarly one-offs On: Tuesday, October 7th, 2014

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Ask writer/director/provocateur extraordinaire Adam Ahlbrandt for his job description and here is what he’ll tell you:

“I make audio/visual filth, gore, death and sleaze.”

This is no idle boast as anyone who has seen either Ahlbrandt’s uncompromising, viscera-festooned feature-length films – Cross Bearer (2012); The Cemetery (2013) — or his nightmarish music videos for band such as Today Is The Day, Burnt By The Sun, Circle Of Dead Children, and Agoraphobic Nosebleed can no doubt attest. (Last year we praised the death metal heavy soundtrack of The Cemetery here.)

Though Ahlbrandt is hard at work on his next splatter platter — The Sadist, starring legit scream queen Linnea Quigley and featuring a score by Steve Austin of Today Is The Day — the hardcore auteur was kind enough to help kick off our Halloween month coverage with this list of songs he’d most like to adapt for a horror film. Enjoy!

When I’m writing I usually put on music to help me escape reality and envision the story I’m working on. So when Decibel asked me to do this list, I had a million ideas already in mind. It was hard to leave things off. Bands like Gorguts, Exhumed, Deafhaven, Isis, Discordance Axis, Sun 0)))… All are constantly in my CD player. Below are a selection of songs that I’d love to put in a movie or do a music video for, out of an impossibly large reservoir. These thirteen songs are a few that I’ve found myself listening to and dreaming about getting to put during the most vile and violent scenes…

13. “43% Burnt,” The Dillinger Escape Plan

This song is a sonic killing spree. It plays like a circus tent machine gun massacre. The unrelenting time changes and sheer speed would be perfect score to watch a wave of human bodies turn into distorted mounds of mangled flesh. I imagine that in the ensuing melee stampeding elephants trample through the packed tent, setting the bangle tigers free from their steel cage. The once sturdy bars crumple under the crushing weight of the hysteria stricken beast. With the lion tamer pinned under three thousand pounds of writhing elephant the tigers stalk among the panicked mass, picking off the young and weak. Rounds pump through the fleeing attendees as Bobo gets his rocks off on wholesale slaughter, shrieking with glee each time a .308 slug slams home into it’s target…

12. “Sophistic Demise,” Fleshgod Apocalypse