Decibrity Playlist: Hark

By: zach.smith Posted in: featured, interviews, listen, lists, uncategorized On: Thursday, September 18th, 2014

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Our Managing Editor and I share a fondness for many bands, but if I’m remembering correctly, he was responsible for introducing me to one in particular via his review of The Ruin of Nová Roma way back in the day: Taint. While the trio broke up in 2010, guitarist/vocalist Jimbob Isaac has resurfaced in Hark. The group released Crystalline earlier this year, an effort that will not leave Taint fans disappointed. When we asked Isaac to participate in this little series, we were excited to hear what he’d come up with: things to do in Swansea [Wales] when you’re dead. As he describes it, “With local poet/legend Dylan Thomas’ infamous summation of Hark’s hometown Swansea being ‘the graveyard of ambition,’ this playlist is my soundtrack to growing up during the early 90s and beyond, in this ‘ugly lovely town’ or ‘pretty shitty city.’” You can check out his picks below and pick up a copy of Hark’s debut here.

Acrimony’s “The Inn” (from 1994′s Hymns To The Stone)
Seeing local legends Acrimony evolve from their death-doom roots into the shamanic, wode-covered, stoner/doom tribe was pivotal to my immersion into Sabbath inspired groove. “The Inn” was their “hit” for me, and their shows were equal parts heavy metal congregation, transcendental free-party/rave ritual, and basement punk chaos. I owe so much to this band, and their legacy grows with the current Sigiriya, whose new album Darkness Died Today also seriously rules. See also Acrimony’s video for “Spaced Cat”, filmed in Swansea’s Oxwich church.

Hawkwind’s “You Shouldn’t Do That” (from 1971′s In Search Of Space)
Like any small town, when you’re in Swansea, you create your own fun and your own scene. Lord knows no one else is going to do it for you. “You Shouldn’t Do That” accompanied my first experiments with herbal exploration, and contributed to my taste for psychedelia while discovering Acrimony gigs and the free-party/rave scene that occurred on the fringes of Swansea in the beautiful Gower peninsula. The trance-out repetition and layers of other-worldly frequencies hypnotized me and ingrained itself in my psyche.

Helmet’s “Rude” (from 1990′s Strap It On)
Stripped down aggression, and bombastic groove suited me down to the ground, and still does. An American transfer student in my school sent me Strap It On and Meantime after he returned home to Knoxville, TN and we continued our friendship via written letters and tape trading. Helmet spoke to me with their under the radar status, and as a conduit through which I could vent all that teen angst. I’m wondering when that well is going to dry up, but hey, adult life is hardly a walk in the park.

Quicksand’s “Fazer” (from 1993′s Slip)
Thanks to early morning rock TV show Raw Power, and the post-Nirvana major label domineering of the ‘90s, I became obsessed with Walter and co’s dynamic post hardcore. For me Slip is timeless and has contributed hugely to how I write music. Walter’s phrasing and melody made complete, tacit sense to me, and I’ll always regard him as a huge musical influence. I met him on Rival Schools’ first UK tour, and he was the first person to enlighten me as to what Taint means in American slang. An unfortunate perversion of the English dictionary definition, and certainly not what I had in mind when scratching it on my school book covers in the early ‘90s.

Robert Palmer’s “Addicted To Love” (from 1985′s Riptide)
Rewinding to my pre-adolescence, this song was pure, perfect pop. You can put this next to “The Power of Love” by Huey Lewis & The News for my early life soundtrack. Dubbing these songs on to cassette from the radio charts every Sunday was a weekly must. Crossing into Dad-rock territory with Dire Straits’ entire Brothers In Arms is also a priceless record, and sits nicely next to this bad boy.

The Cure’s “Lullaby” (from 1989′s Disintegration)
This video freaked me the fuck out, as a teen rocker that didn’t know why he was drawn to it. A guy with weird hair and makeup, being slowly eaten by a huge spider…or something? The creepiness drew me in, scared me but all the while comforting with the perfect pop melancholy. Little did I know then how much I would relate to that night time discomfort further down the line.

Uriah Heep’s “Gypsy” (from 1970′s …Very ‘eavy …Very ‘umble)
Speaking of spider webs and being freaked the fuck out, …Very ‘eavy …Very ‘umble sat on my Dad’s record shelf as I was growing up. Passing it always gave me the jeebies, and eventually plucking up the courage to see what this horrifying album was all about, rewarded me endlessly. Heavy, British prog rock at its best. From the Hammond intro to the groove verse and hammond freak out, it gave me a perfect window into my father’s experimental years. The live photo inside the gatefold also has to be one of the best out there. Thanks Dad.

Sepultura’s “To The Wall” (from 1987′s Schizophrenia)
TDK 90 cassettes. The lifesblood of my late 80s/early 90s musical journey. A friend copied the early Sepultura albums for me, and while Morbid Visions scared the pants off me with its blackened, Frost-isms and crusty production, it was Schizophrenia that took my tastes in more extreme directions. The bilious vocals and garage-sounding brutality was like a hidden, dark secret amongst the classic rock in my adolescent record collection. My parents thought it was awful, and the metal gods above looked down, and they saw that it was good. Amen.

Hard To Swallow’s “Only A Glimpse Of…” (from 1998′s Protected By The Ejaculation of Serpents)
Thanks to the Acrimony tribe, Taint got to play with Nottingham’s HTS in ’97 at the Old Angel. Alongside buying from distros like Land of Treason, HTS introduced me to the crust/power violence scene and they were a terrifying live proposition. The first three seven inches were produced by Andy Sneap, and let their musical talent and ferocity shine through perfectly, without Sneap’s thrash metal gloss. Just thinking of their live shows raises the hairs on my neck, and while the Pessimiser and Slap-a-ham stables gave me some favourites (Dystopia, Grief, 16), Hard To Swallow pretty much wiped the floor with the lot of them for me. Their brother band Iron Monkey are equally treasured to me, but HTS deserve just as much props.

Knut’s “Whacked Out” (from 2002′s Challenger)
The tired label of “underrated” is far too often attached to bands that to me, just needed to achieve more road work, but simply couldn’t. Or more accurately, didn’t want to. Knut came into my life along with Keelhaul, Isis and Botch (thanks Hydrahead). Their live shows were (and hopefully will again be) intense, with their unique mix of influences and precision chaos. There’s only one Knut, and they will forever make imitators pale in their shadow.

*Photo by Ester Segarra

**Pick up a copy of Crystalline here

***For past Decibrity entries, click here

STREAMING: White Empress — “A Prisoner Unleashed”

By: justin.m.norton Posted in: featured, listen On: Wednesday, September 17th, 2014

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Peaceville: the venerable label is home to some of Decibel‘s all time favorites: Darkthrone, Autopsy and My Dying Bride. Lest you think the label is resting on their laurels they continue to push bands out into the extreme universe. Today we’re streaming some Peaceville-approved symphonic metal: “A Prisoner Unleashed” from the forthcoming White Empress album Rise Of The Empress.

“For the track ‘A Prisoner Unleashed’ I had an idea to start a track with vocals only and to come into the track with a heavy groove and punch,” said guitarist and founder Paul Allender, best known for his time in HOF inductees Cradle Of Filth. “This track is awesome because of the various groove changes and the way everything sits together within the arrangement and the rest of the tracks on the album. A real headbanger for the real metalhead!”

Rise Of The Empress will be released September 30 and can be preordered here. Learn more about the band on Facebook.

EXCLUSIVE PREMIERE: Anaal Nathrakh’s “Monstrum in Animo”

By: Shawn Macomber Posted in: exclusive, featured On: Wednesday, September 17th, 2014

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Anaal Nathrakh doesn’t — or at least shouldn’t — require much of an introduction — the ridiculously consistent Birmingham black metallers are simply one of the most utterly fearsome and inventive outfits currently operating in the modern extreme metal scene. Elite level mind-fuckers. Aural devastators. Masters of what the band’s new Metal Blade bio calls the “true spirit of necro.”

And so it is our great pleasure to host the exclusive stream of “Monstrum in Animo,” a track of the imposing next chapter in the Anaal Nathrakh story: Desideratum.

Sucker For Punishment: Fire Up the Chain Saw!

By: Adrien Begrand Posted in: featured On: Wednesday, September 17th, 2014

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When a veteran band finds its second wind working with a certain producer, it’s totally understandable if they decide to stick to that same collaboration for an extended period. Cannibal Corpse went through it in the wake of the stunning success of 2006’s return-to-form Kill; realizing they had found a perfect partner in producer Erik Rutan they proceeded to record two more albums with him, 2009’s Evisceration Plague and 2012’s Torture. While there’s nothing wrong with settling into a comfortable routine with a producer a band knows well, as long as the music holds up, it’s even more admirable when a bunch of old fogeys, many of whom are very set in their ways, decide to change things up, force themselves outside their comfort zones, and try something new.

For the band’s 13th album Cannibal Corpse decided to work with Mark Lewis, best known for producing DevilDriver and The Black Dahlia Murder, and true enough, he puts the five members through their paces on A Skeletal Domain (Metal Blade). It’s not as if Cannibal Corpse ever lacked energy or ferocity, but there’s a snarl, a bite to this album that Torture might have lacked. The new songs attack, it’s as simple as that, with guitarists Pat O’Brien and Rob Barrett sounding taut and unrelenting, driven by Paul Mazurkiewicz’s strongest drumming to date. Most interestingly, it’s O’Brien who emerges as the star of this album, as his five tracks are among the highlights. “High Velocity Impact Spatter” is built around nimble, sneakily catchy staccato riffs, “Sadistic Embodiment” is pure Slayer worship to the point where it shames anything Kerry King has written over the past decade. The title track features a terrific, doomy riff that’s a neat little departure for the band, “Funeral Cremation” is classic, chugging old-school death metal, and the brilliant “Hollowed Bodies” alternates from massive headbanging grooves and dexterous tech death flamboyance.

Barrett steps up in a big way, too, as his “Ice Pick Lobotomy” and “Kill or Become” feature the wickedest hooks on the record. In fact “Kill or Become” has the potential to be a real fan favorite thanks to a crazily catchy chorus that will have everyone hollering, “Fire up the chain saw!” And an album like this needs hooks like those, anything to make it stick out among all the other strong death metal albums out there, of which there’s been no shortage this year. A band can’t rely on shock value alone, and over the past decade Cannibal Corpse has greatly improved its songwriting while moving from profane lyrics to darker, but no less graphic, storytelling. It’s always satisfying when the progenitors of a certain style of music come along and embarrass bands half their age, and A Skeletal Domain proves that Cannibal Corpse is still as relevant and vital to death metal as they ever were.

Also out this week:

Aevangelist, Writhes In the Murk (Debemur Morti): There’s nothing wrong with a band making every effort to create the scariest, most harrowing metal album imaginable, but this release by the Florida band is so scatterbrained, so unnecessarily busy that its ambition is its ultimate undoing. While there are moments where you’re struck by a quirky combination of death metal and dark ambient music, it’s always just that, a fleeting moment in a song that’s too long on an album that’s far too long. It’s an interesting curiosity, though. Listen and purchase via Bandcamp.

Albez Duz, The Coming of Mictlan (Iron Bonehead): Equal parts Fields of the Nephilim and Type O Negative, this second album by the German band suffers greatly from a lack of originality, the vocal affectations of Alfonso Brito Lopez doing the same old mopey Andrew Eldritch shtick that Peter Steele did and not bringing anything unique to the music. Stop imitating and be yourselves, guys. If you can’t, then stop wasting everyone’s time.

The Contortionist, Language (eOne / Good Fight): These guys continue to play their instruments very well, but mimicking Between the Buried and Me is getting really, really old.

Crucified Barbara, In the Red (Despotz): In the tradition of Girlschool and Rock Goddess, these Swedish woman have always excelled at scorching, classic heavy metal, and this fourth album is as bruising and energetic as you’d expect from them. Led by Mia Coldheart, who can belt out the vocals with the best of them, the foursome tears through eleven songs that range from the searing “I Sell My Kids For Rock ‘n’ Roll”, to the impassioned “Don’t Call on Me”, to the powerful “To Kill a Man”. It’s heavy rock ‘n’ roll at its most badass. Don’t miss out on this one.

Ides of Gemini, Old World New Wave (Neurot): The Los Angeles trio has improved with each release, and this follow-up to 2012’s Constantinople continues that graceful evolution. A stark blend of black metal-derived guitar riffs, rigid, martial beats, and the haunting, gothic vocal harmonies of bassist Sera Timms and drummer Kelly Johnston-Gibson, this album washes over the listener, feeling simultaneously comforting and unsettling. Better yet, there are moment that see the band exploring more hook-oriented material, such as the contagious “Black Door”, which makes you wonder just how much the band’s 2013 tour with Ghost B.C. had an effect on them.

Iron Reagan, Tyranny of Will (Relapse): Throwback thrash for the ADHD set, two-minute blasts of fun crossover tunes led by Tony and Phil from Municipal Waste. Personally I greatly prefer Municipal Waste, but this is some effective, lively DRI worship by some of the best thrashers in the business.

Myrkur, Myrkur (Relapse): What’s even funnier than watching underground extreme metal denizens get their collective knickers in a twist over the “validity” and “authenticity” of supposed one-woman black metal project Myrkur is just how pedestrian this oddly hyped Relapse release sounds. There are times when the pretty voice works well alongside the harsh arrangements (“Nattens Barn” is promising), but from the faux-lo-fi sound to the awkward songwriting, this record is nowhere near the level it should be, considering the amount of attention it’s getting. Skip this and wait to see if whomever’s behind this thing is capable of something a lot better.

Noctem, Exilium (Prosthetic): Once again the Spanish band feels it’s necessary to drown out some decent black/death metal with triggered drums that totally overwhelm the music. It’s a real shame, too, because the guitar work is at times exceptional, but the band would rather distract you with migraine-inducing blastbeats that hammer in your head ad nauseam. Again, a total waste.

Reverorum Ib Malacht, De Mysteriis Dom Christi (Ajna Offensive): This is by far the worst metal album I’ve heard all year. But if you want to spend 71 minutes listening to incoherent, lo-fi racket by these “Catholic black metal” fellas, by my guest.

Shooting Guns, WolfCop Soundtrack (RidingEasy): In the wake of 2013’s gargantuan Brotherhood of the Ram, the Canadian band was commissioned to channel their inner Goblin and create the soundtrack to the often brilliant B-movie WolfCop. Being a band with riffs up the wazoo, they pulled it off in typically boisterous fashion, serving up a good 18 tracks that are mostly song fragments, alternating from the riff-oriented to synthy ambient sounds, that hold up on their own very well. Although it’s not the band’s defining work, and their inspired doom cover of Gowan’s “Moonlight Desires” for the film hasn’t been included, there are some wicked jams here, enough to leave you hoping they’d do more soundtrack work in the future. Listen and purchase via Bandcamp.

Slash, World on Fire (Dik Hayd): You’ve got to hand it to Slash, he’s quietly built a good thing with his collaboration with singer Myles Kennedy and backing band The Conspirators, creating consistently strong barroom rock ‘n’ roll. There’s none of the comical ambition of Axl’s Guns ‘N’ Roses, just good, simple, energetic tunes that evoke the ‘70s and ‘80s, smartly avoiding the post-grunge trap that many retro rockers fall into. That’s no excuse for the man and his cohorts to carry on for a whopping 17 songs, but thankfully there are songs like “Wicked Stone” and “Shadow Life’ to leave immediate impressions.

Sons of Crom, Riddle of Steel (Debemur Morti): I wish the music on this Swedish band’s debut album reflected the rather snazzy cover art more accurately, but instead this attempt at epic/Viking heavy metal falls short of the mark. There are moments where you can sense this reaching the level of Atlantean Kodex, but the songwriting lacks focus, the production lacks the bombast this music needs, and the singing just isn’t consistently strong enough.

Stallion, Rise and Ride (High Roller): A year ago I raved about the self-released debut by this German band. It’s only fitting that Stallion’s new album comes out on old-school label High Roller, and Rise and Ride continues the momentum that last release started. They’ve since expanded to a proper four-piece band, and you hear it on these tracks, which continue in the same spirited, Exciter-derived direction as before, with singer Paul hitting the high notes like this style of music demands. The lovable “Canadian Metal” from last year’s Mounting the World makes a repeat appearance, but the rest of the tracks are new, highlighted by “Wild Stallions” and “Wooden Horse”. I sense a pattern.

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This is usually the spot where I throw in a new album that’s not metal but might be of interest to open-minded metal fans out there, but instead this week I’m singling out the spectacular new Criterion BluRay release of David Lynch’s surrealist cult classic Eraserhead. Part dark comedy, part dystopian nightmare, what has helped Eraserhead endure for nearly 40 years is the fact that Lynch has fully explained the film’s meaning beyond, “a haunting dream of dark and disturbing things.” Instead, he leaves it up to the individual to decide for him or herself what this weird tale of Henry Spencer, his grotesquely deformed offspring, the Lady in the Radiator, and the Man in the Planet is all about. It’s a beautiful piece of art, immaculately shot over several painstaking years, made even more disturbing thanks to the innovative soundtrack by Lynch and Alan Splet, which critics have smartly connected to the subsequent dark ambient movement. This new restoration looks absolutely gorgeous, and comes with equally beautiful packaging, tons of extras, and even a calibration guide created by Lynch to make sure the film looks as great as possible on your screen. This is a must-own.

Follow me on Twitter at @basementgalaxy 

TRACK PREMIERE: Noctem’s “The Adamantine Doors (Orchestral Version)”

By: Jeff Treppel Posted in: exclusive, featured, listen On: Tuesday, September 16th, 2014

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The Spanish answer to Behemoth, Noctem have been slamming out blackened death metal since 2001. Their third full-length, Exilium, drops today, and it sounds pretty damn evil. Of course, like many bands in the style, Noctem are big fans of symphonic bombast. In fact, one of the bonus tracks for the album is an orchestral version of the song “The Adamantine Doors.” It’s not very indicative of what you can expect from the rest of the record, what with the lack of blast beats and guitars and growling, but it’s a fun alternate take. You can hear it for yourself below.

***Exilium is out now on Prosthetic. You can order the CD/T-shirt package here, or get it digitally on iTunes or Amazon.

Help Katherine Ludwig Annihilate Her Cancer

By: jeanne.fury Posted in: featured On: Tuesday, September 16th, 2014

Katherine Ludwig, pioneering metal maniac

If there’s a select group of people responsible for Decibel becoming the magazine it is today, one of those people is undoubtedly Katherine Ludwig. Why? Because as the founding editor of Metal Maniacs magazine, she helped spearhead extreme-music journalism. Unlike the more popular Metal Edge, a sort of US Weekly of hair metal bands, Metal Maniacs saw extreme music and bands as topics just as worthy of insightful discourse as whatever acts were in the pages of Rolling Stone.

“A lot of people tell me that by Metal Maniacs not being one-dimensional, it made them feel less alone,” she told me in 2012, for Decibel’s Women in Metal issue. “Like they weren’t the only metalhead in the world who wasn’t sexist, and read books, and actually questioned authority instead of just complaining about it. People have told me they became vegetarian, or vegan, or a feminist, or started voting because of the magazine. All of this floors me, stuns me, slays me. I still can’t believe it.”

Katherine’s stance made a profound impact on many Decibel writers, and now she needs a little help. She was recently diagnosed with non-Hodgkin lymphoma (NHL), and friends set up a Facebook page to help boost her spirits and raise money. Click here to join the LymphoManiac: Help Katherine Ludwig Annihilate Her Cancer Facebook page. There’s also a YouCaring page where you can donate toward her care.

Look for an interview with Katherine in an upcoming issue of Decibel. Meanwhile, throw your support behind this trailblazing badass as she pummels her NHL into remission.

Won’t Get Fooled Again: Exclusive Society Sucker Stream!

By: Shawn Macomber Posted in: exclusive, featured On: Tuesday, September 16th, 2014

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Hope you’re ready to get dirty this morning, people — the super-pissed self-titled EP from Wilmington, North Carolina hardcore upstarts Society Sucker streaming below is rife with gloriously grimy grooves, rancid earworm riffage, and nasty, nasty straight-from-the-gutter breakdowns.

Officially out on September 16th, preorders for Society Sucker are on seafoam green, gold/yellow clear or black wax are available HERE, and digital preorders HERE. Keep up with the band via Facebook, Bandcamp, and Twitter.

STREAMING: Num Skull “Ritually Abused”

By: Chris D. Posted in: featured, listen On: Monday, September 15th, 2014

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Medusa Records is a label most metalheads won’t recognize. Based in Culver City, California, the label had a decent stint from 1986 to 1990, releasing a cadre of thrashers from Wrath and Wasted Youth to Christian metal acts Barren Cross and Vengeance Rising (remember their inexplicable inclusion in Hard ‘N Heavy’s Grindcore Special Issue VHS?). The Cali label’s biggest act was Illinois-based Num Skull. The group’s short-lived time on planet Earth started with debut, Ritually Abused. If we’re revising history with the last sentence, let us know.

Anyway, the dudes at Relapse have unearthed Ritually Abused, first reissued in 2002 by Skullsucker Music, for the modern era. Now that thrash metal (and reissues) are at an all-time (post-Megadeth Risk) high, Relapse have tapped Num Skull’s limitless energy, boundless violence for kids in reissue sneakers to enjoy like it’s 1988. Cold War not included.

Ritually Abused in full effect! Your Monday just got thrashtastic!

** Num Skull’s Ritually Abused is out September 16 on Relapse Records. Pre-order is available HERE.

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

By: admin Posted in: a fucking parrot previewing new releases, featured On: Friday, September 12th, 2014

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Isn’t this supposed to be a good time of year for releases?  Hmmm… well, there are SOME things.

Welcome, oh ye Wizards of Gore. CANNIBAL CORPSE are back at it with A Skeletal Domain.  And what’s to be said about the 12th release by a forerunner in the genre of death metal? Well, if you’re not familiar with Cannibal’s work, then SHAME SHAME; so, like, go check it out. When a band has a catalog like this, and there are few stinkers, it’s hard to get excited about a new release. This is no exception. This is a Cannibal Corpse to a T: almost (not quite) paint-by-numbers Corpse. There are gut punches, nasty riffs, blasts, guttural vocals, gore, breakdowns: all of that is there for sure. Even though this isn’t their shining moment, this is an above par release.  ”Asphyxiate to Resuscitate” has a general “Butchered at Birth” feel, and “Kill or Become” has an almost sing-along part to it. All of that said, they’ve definitely perfected their craft, and A Skeletal Domain showcases that precisely. It’s just this birdbrain’s opinion that this comes across as a little formulaic. They have taken risks before, and it would certainly be preferred if there were more risks taken on this one. This is not a bad release, but not a stellar one either. Maybe this will grow on me; hey, stranger things have happened. 6 Fucking Pecks.

“You got some metal in my punk! No, you got some punk in my metal!” Crossover heroes IRON REAGAN release The Tyranny of Will on Relapse.  First of all, the cover rules, and this type of stuff gets me circle-pitting in my cage. You know, counterclockwise, the way REAL parrots do it. Anyway, this is a punk/thrash/metal amalgam that’s super fun and super catchy, and has you headbanging and swilling on a shitty beer in no time. To list the members of this band (you have Google, right?) would almost be a travesty, as Iron Reagan can stand on their own legs.  This is just great crossover punk metal fun. Lets say it all together: FOUR MORE YEARS. 7 Fucking Pecks.

UNAUSSPRECHLICHEN KULTEN  hit us with Baphomet Pan Shub-Niggurath. (Can you tell I get paid by the word?) This is CLEARLY Lovecraft worship, which is why I decided to give this a feather shake. I’m actually more thrilled with this than I thought I would be. I figured this would be black metal played by some “artistes,” but it’s not. It’s actually brutal death metal.  Knock me over with a feather (he he he). This is the kind of old-school death that your boy Waldo really enjoys. Harkening back to the days of early Incantation mixed with old Pestilence, and throw in a little Suffo for good measure. The production here doesn’t thrill me, but it’s not bad, and fans of this sound will like this. So, like Chilean old-school death, I’m in. 6 Fucking Pecks.

 

All Your Heroes Dead? Grind to the UK’s Oblivionized and Razoreater

By: Dan Lake Posted in: featured, interviews, listen, videos On: Friday, September 12th, 2014

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We at Decibel Magazine wish to apologize for not doing enough to support the development and dissemination of grind.  By including occasional articles about other forms of heavy music, some of which include discernible tempos and recognizably human vocals, we have polluted the “scene” (which died 15 years ago, though our anger about it keeps us grinding on anyway) and betrayed our rotten souls with even our half-assed dope-nod attempt at selling out.

Today, we hope to rectify the situation (by the way, Rectify Dissemination would be a great band name if those words meant what they sounded like).  Witch Hunter Records have just released a cassette (and free digital download) of a face-shredding live performance from the U.K.’s Oblivionized and Razoreater.  The recording was captured on July 19th of this year at the Stuck On A Name recording studio in Nottingham.

Here are a pair of videos from those performances, accompanied by commentary from each of the bands.  Get in the fucking pit!

Zac Broughton, Oblivionized:
Oblivionized started gigging in 2010. we’ve always just done our own thing. At the centre it’s about expressing ourselves and pushing what we do musically and conceptually. We’ve put our several splits and EP’s independently, and with DIY labels, while touring over the past few years. This year we recorded our full length Life Is A Struggle, Give Up and we’re working on getting that released currently.

I was just chatting with Will and we were like “mate it’d be fun to do a live recording, as recording a record isn’t quite the same as a gig.” Then I was like “yeah that would be sick.” So we put the idea together and I thought it’d be nice to put out on cassette, so I asked Witch Hunter if they wanted to be involved, obviously Stuck On A Name is a great place to do this, it’s a recording studio my friend Ian Boult runs that puts on ace shows. It all just fell into place, so I sent the idea to Stephan to see if Razoreater wanted to jump on make it a split.  We filmed it also with help from Justine (Justine Jones Photography, Employed To Serve.)

We recorded a lot of material from our album, we’re really into this material and just wanted to share what we do live with the people who care, so it’s all online you can watch the full sets on YouTube, download the songs off the WHR Bandcamp and pick up a cassette.

It was a really fun show, our mates Let It Die played and they were sick, Razoreater were nuts, everyone at SOAN is rad so it was just like any other gig but with mics and cameras. We’ve got some great music here I think Stuck On A Name is as really positive place, you get loads of different bands crossing over there. It’s a really good time, I think it’s important to capture this stuff.  If you download the audio of the split on the Witch Hunter Bandcamp, you get an extra track with Let It Die’s live set recorded, it’s ace. there is also a bunch of other great bands on there, all name your price. http://witchhunterrecords.bandcamp.com/album/this-is-s-o-a-n

Stephan Pickels, Razoreater:
We are Razoreater, a Grind enthused hardcore band from Peterborough. We started life early 2012 after being musically idle from previous bands for a while. When we first jammed we just wanted to have fun and continue the British tradition of being fast, loud and obnoxious. We’re all best mates that grew up listening to the same stuff so it was pretty easy to get things going and get a general feel for our sound straight away. Razoreater has evolved over the time we’ve been a band but we’ve always kept to the same recipe for writing and playing shows so its a pretty natural evolution we feel. We released our first demo tape through Church Of Fuck which was limited to 50 and had 4 tracks on it, it was pretty raw but that’s exactly what we wanted at the time. After that came the split 7′ with Iced Out which also came out on COF limited to 300. Both bands had 2 tracks a side on that one. We recently recorded our next studio record which should be out later this year!

Basically, the split with Oblivionized came about when I was up late one night a few months back and got a message from Zac. He’d basically planned everything out in this email and all he needed from us was a yes or no answer. Straight away we agreed to it because we have nothing but the utmost respect for those guys and their band. Also, the idea Zac had was sick so it was an absolute no-brainer for us to do it and release something with them.

The track list we chose for the Oblivionized split is a healthy mix of old and brand new. We wanted to give people a good spectrum of what we are and what we’re about. Most of Ben’s lyrics are about masking social anxieties, misanthropic feelings and the expectations of reality whilst living a day to day life. they also round up everyone in the bands collective mindset and life experience.

Overall we’re really happy with how the live split tape/video came out, everyone at the show had a wild time and so did we, so what can be better?  Hopefully the people that buy it will enjoy it as much as we did. Its out now through Witch Hunter records on purple cassette, limited 100.

Check out the free download here, and find other Witch Hunter releases here.