Review: Alien Boys

Posted in Reviews with tags , , , , , , on June 7, 2019 by Magadh

Alien Boys, Night Danger (Desolate Records)

I’m going to just open up by saying that Vancouver B.C.’s Alien Boys have put out a punk rock record that is pretty close to flawless. If you don’t want to read any further, feel free to head over to their Bandcamp page and see if I’m right. But on the off chance that you need more convincing (from me) I will just say that on Night Danger they have found the sweet spot where rocking really fucking hard (which they do) meets smart, passionate politics (which they have). Honestly, I’m having a hard time thinking of something critical to say about them. Maybe it will come to me later.

First off, I love the name, not only because it is (I’m reasonably certain) a reference to the brilliant EP released by The Wipers in 1980, but also because Alien Boys is a great name for a band made up of five women. They put out a demo in 2016 called Self-Critical Theory. I can’t recall hearing it at the time, but it definitely had promise. It was pleasingly raw, chugging punk with melodies that lifted it above the run of releases in this vein. It was good, but it’s one of those things that looks better when you hear what came after.

Night Danger is in a whole other league. With two guitars the band absolutely thunders through nine cuts (plus the intro) of blazing, melody-tinged punk. There are a lot of reference points in the history of this genre that you could point to. Maybe Rabid Reaction-era Freeze (minus the stupid lyrics) crossed with early SNFU (no, not because they’re Canadian). Alternatively, they sound like The Gits with a second guitar and a lifetime supply of beer and steroids.

Alien Boys are unapologetically political and unflinchingly feminist. They have a kind of tonal similarity to War on Women in this respect, but with a slightly more goofball edge (I’m thinking here of the song “Bender” for which the video is fucking brilliant). Still, when they want to be serious they write songs that really strike home. One of the great failings of dudes (and here I do not exclude myself) is not hearing when women (especially those in the LGBTQ+ community) tell us that they don’t feel safe. “Whose Bodies?” is a great take on this:

When you go out to a nightclub, do you ever look around and wonder “is this safe?”
have you had to hit the ground?
does walking in the street with a loved one hand in hand make you do shoulder checks – because you feel demands from eyes that pry and ask you,
“why do you act this way?”
have you ever been cornered no chance to walk away
countless taken from us and more murdered every day
I’ll tell you something it takes strength to be out in this way
so we resist to this day

Night Danger is loaded with anthemic cuts that are passionately feminist and queer positive. It is, for this reason, not just a great record, but an important one as well. Writing great punk tunes is one thing. Using them as a vehicle for conveying messages that it is crucial that people hear is another. The ability to do both makes this one of the best punk records that I have ever heard.

After so many decades, one often finds oneself wondering if punk as a genre is played out. On the basis of this, you’d have to think it wasn’t. It retains its ability to deliver important messages. Punk always had an element (often a very strong element) of cis white guys mouthing political ideas that they didn’t really understand. But, at its best, it also created (and creates) spaces in which people marginalized people could talk about their lives and their experiences at the tops of their lungs. Sometimes you have to shout at the world because the world doesn’t want to listen. Night Danger is a great example of that.

Peroxide in the Scablands

Posted in Articles with tags , , , , , , , , , , on June 3, 2019 by Magadh

[History has always fascinated me, so I can’t stop writing about when I know anything at all about it. I wrote this when I was supposed to be writing a review of Move, the new disc by The Proletariat for Souciant.com. After getting into it, I realized that I was getting way too far off topic. But I think this is an interesting story. The music of The Proletariat ran like an electric wire through my youth, shaping the lexicon of my disaffection in ways that it’s still difficult to parse at a distance of years. It’s impossible for me to tell that story without telling the story of those days, of that weird set of kids in that weird little town in a valley in the high desert of eastern Washington. This is a part of it, albeit a small one, and there is much more to say about it when I have the time. Maybe I need to tell this story to let the people who grew up in bigger and more central places that we were dialed into what they were doing. But it’s also the story of the kids who grew up in Tri-Cities, and Moses Lake, and Twin Falls, and Moscow, and Ellensburg, and dozens of other little towns in the backcountry trying to find a way to exist and to rebel in the cultural wasteland of Reagan’s America.]

On a hot Saturday afternoon in the summer of 1983, I let my buddy Brian convince me to go to Hot Poop. In those days, Hot Poop was a weird sort of combination record store and head shop jammed into one half of a tiny building that they shared on with a beauty parlor on a part of Alder St. well away from the commercial main drag of Walla Walla, Washington. My mom had warned me repeatedly about going there, which of course made the joint completely irresistible. On previous visits, I had come away with the Blue Oyster Cult classic Agents of Fortune, copies of Heavy Metal magazine, and the first copy of Maximum Rock n Roll that I had ever actually seen. The place was tiny, no more than 200 square feet and absolutely packed to the gunwales with vinyl of every description. There were Bowie bootlegs and Hendrix records in plenty. But on this particular occasion, I was a man on a mission.

Brian had turned me on to a few things in the preceding years since we had met in 7th grade at Garrison Junior High in 1981. These included The Clash, Black Flag, and smoking hash. There was a tiny but committed punk scene in Walla Walla, Washington in those days, comprising maybe ten or twelve kids. We only sort of knew what punk was. We had access to a lot of the standard early punk material (Never Mind the Bollocks, London Calling, Unknown Pleasures, etc.), and every now and then a new item would break into our little cultural zone and give us some more reference points. The arrival of VHS copy of the UK punk documentary UK/DK resulted in a lot of mohawks that otherwise might never have been. In any case, by the summer of 1983, I was looking to start buying punk records and Hot Poop provided me with the opportunity.

Walla Walla is a town of around 35,000 people in the southeastern corner of Washington state, maybe ten miles from the Oregon border and a hundred or so from Idaho. People hear Washington state and they think of evergreen trees and rain. That’s the soggy side, as we sometimes like to call it. But eastern two-thirds of the state, separated from that by the Cascade Mountains, is mostly high desert, with wheat, pea, and onion fields, apple orchards, and a geographical formation called channeled scablands. Part of eastern Washington is commonly referred to as the Inland Empire. There’s probably a precise designation for what it comprises, but no one I knew at the time knew what it was, nor did we care that there were parts of California (and Texas) that claimed the same moniker. We also knew that we lived in the Palouse Country, a region of rich farmland stretching south roughly from the Spokane Valley down into eastern Oregon and east into Idaho. Out beyond the fields, among the scrub brush and the butte lands, you sometimes feel like you are looking at the surface of the moon. Growing up as teenagers, my friends and I often felt like we were living in a place that was hardly less isolated.

These days, Walla Walla is known, at least regionally, for the wine trade. But back then there were really only three things of note in and around the town. There was (and is) the Washington Maximum Security Penitentiary, home to some of the worst offenders in the state and lit bright as day at all hours, so that the valley gives off a glow at night that can be seen from at least thirty miles away. There’s also Whitman College, quite a good little liberal arts college, where my dad was for years the Dean of the Faculty and where many of my friends’ parents worked. And there are the onions. Forget what people say about Vidalias, or whatever they’re growing down in Chile these days, the Walla Walla sweet onion is king of the hill. No, I am not fucking kidding. It is just a superior sweet onion. Really, ask anyone. It’s just objectively fantastic.

An hour’s drive from Walla Walla would get you to Tri-Cities. Richland is home to the Hanford nuclear reactor. Pasco, I’ve been told, was named for the Pacific Steam Ship Company, which seems kind of odd since it’s located several hundred miles from the ocean. But of course, this is on the route of the mighty Columbia River, a gigantic artery of commerce linking the hinterland with the coast and markets beyond. Then there’s Kennewick. I’ve never actually been there, so far as I’m aware, and I haven’t the faintest idea why it’s there. Three hours drive to the north is Spokane. I only ever went there a few times, mostly for like debate team trips and such. One of my high school friends moved up there, but most of us would never have considered it. It would have been a lateral move, like going to Boise or Moscow, just a bigger version of the same shit. We all wanted to get to the coast, either to Portland or Seattle (or San Francisco if one were particularly ambitious), where things were actually happening.

But even in those pre-internet days, little bits of culture filtered into us and Hot Poop was the nexus point for us. In all times that I’ve ever been in Hot Poop (which still exists in new and more salubrious premises in downtown Walla Walla) I’ve never thought to ask the guy who runs the place why it was that he started stocking punk records. But he did. Not a lot, but over the years I did come out of there with some real gems, including Black Flag Damaged, Bad Brains Coptic Times/I and I Survive, the first Clash album, the Flex Your Head compilation, and (even weirder by my lights) Hell Awaits. On this particular day, I just wanted to buy any punk record. The first one that came to hand was a compilation of Boston bands called This is Boston, Not L.A. I hadn’t heard of any of the bands and, for that matter, I hadn’t the faintest idea of why anyone would care whether it was Boston or L.A. or anywhere else (all of those places being about as proximate and familiar as the surface of Mars to me). But the cover looked cool: one of those crowd shots of kids who looked a lot cooler than me moshing all over each other, so I bought it.

Listening to it was an eye-opening experience, to say the least. The punk that I had been exposed to by that point was mostly the rock n rolled flavored variety offered up by the British punk bands of the 77 era. Even Black Flag didn’t move all that fast. This is Boston opened with six cuts of truly blazing thrash from Jerry’s Kids, absolutely dripping with aggression and executed at a speed that I had simply never heard before. There were also some pretty savage blasts from The F.U.’s and Gang Green. At the time I wasn’t quite in the right place to grasp this, although I came to really dig all those bands. I was more sympathetic to the music of The Freeze. It was at a tempo that was more familiar to me and had choruses that me and my friends could sing along to, or shout at passing cars.

But what I found most arresting was the three songs by The Proletariat. They sounded different, not only from anything else on that record, but from anything I had ever heard in my life. It would be another year or two before I would be introduced to Gang of Four, and years after that until I came to understand the complex ways in which they functioned as a precursor to The Proletariat. I had heard The Clash singing about politics. But their music had an element of foreignness, not least because it has such a pronounced sense of time and place. The Clash were the sound of London in the mid-1970s. I had no idea what the Westway was and only the vaguest idea where Mayfair was or why one would have a meeting there. I found The Clash really fascinating. They were, and continue to be, one of my absolute favorite bands, but it wasn’t until I learned who Dillinger and Leroy Smart and Delroy Wilson were (and really until I moved to the U.K. in 1986) that I would really grok their music.

The Proletariat were political too, but in a way that was absolutely straightforward and unmistakable. When I heard Richard Brown singing in “Options” about choices like military service, or factory employment, or welfare assistance, these were things that I understood immediately, even though as a small college faculty brat I was unlikely to have to confront any of those prospects myself.

Then there was “Religion is the Opium of the Masses”. I’d read a bit of Marx and other socialist literature by that point, and although I didn’t really understand it all that well at that time (and as a child of the late Cold War I was inherently suspicious of it), I did know where the quote came from. Walla Walla was a really churchy little place. Hardly a weekend would go by without the devotees of some loopy sect or other coming to one’s door, although my father’s habit of inviting them in to torture them with his extensive knowledge of the Greek and Latin texts of the Bible (products of his intensive training at the hands of the Jesuits) meant that we didn’t get as much of that traffic as other people on our block. Needless to say, although my family were confirmed atheists, I had developed a sort of habitual deference to religion. I had never heard any human actually utter words like, “Religion is the opium of the masses, the blind will follow like sheep.” The effect on my head was electric.

“Allegiance”, their third cut, constituted about as thoroughgoing a critique of Americanism as I had ever heard in those days:

True Americans refuse to question
The self-serving tactics and utopian efforts
Nationalist cheerleaders lead the parade
The infectious chatter, a conservative rage

I don’t want to be like them
Mindless conformists, token brigades
Issues are secondary in this age

God bless America they instinctively say
Divine providence an unexpected fate
Apolitical figures quote the scripture
Today’s sermon a repeat, repeat

I don’t want to be like them
Crusading for justice, holy reign
Public apathy deeply set in

Without regard for loss of life
We infiltrate their countries amid chaos and strife
The American ideal to preserve democracy
Has turned against us no one else to blame

I don’t want to be like them
Russian roulette thousands of men
Code of ethics that promote bedlam

This is Boston was the only punk record that I owned for a while, although my man Brian soon supplemented it with cassettes dubbed from his own ample collection of the likes of Dead Kennedys, The Effegies, Blitz, GBH, and other random stuff. But I listened to This is Boston a lot, and specifically to those three cuts. There was something that set them apart even from other political punk at the time. Sure, Jello Biafra sang about politics and was really critical of a lot of the bullshit that was going on. But his take on it was heavily enmeshed in his advanced cultural references and a way that took a bit of parsing. With The Proletariat, knew exactly what they stood for and why. They gave to me and my friends a language for dissent. I was pretty privileged, and so were a lot of (but not all of) my friends in the punk scene. Listening to The Proletariat went a long way toward equipping us with a language of dissent, and a mirror in which we could see our privilege, at least to an extent.

A couple of years later, and equipped with a much more extensive knowledge of what punk was all about, I drive with a bunch of my friends over to Tri-Cities to see my first actual live punk show. We were going to see a band from Walla Walla, The Ambitions, who weren’t really punk (they were big fans of The Jam) but that didn’t matter much. We hopped in my pal Kathy’s van and made the hour-long drive on a Friday night, swilling beer all the way. The gig was at a dumpy little joint called The Saddle Club. We didn’t really know anyone else there, except the guys from The Ambitions (who were a little older than we were). We hadn’t yet hooked up with the punks in Tri-Cities, as we would do in the years that followed. But everyone was cool and soon the music started.

There were only two bands on the bill that night as I recall. The Ambitions played first. Then came a band from Richland called Diddly Squat. They are hardly remembered these days but they were fucking awesome. If they are remembered it is because their bassist was a wiry kid named Nate Mendel who would later go on to playing in Brotherhood, Christ on a Crutch, Sunny Day Real Estate, and then, much later The Foo Fighters. They later put out a really awesome demo tape called Peroxide in the Scablands (from which the title of this piece is drawn). Even later (while I was living in Nottingham) they broke up after Jason, their guitarist (and a real salt of the earth kind of guy) drowned while swimming in the Columbia.

Anyway, Diddly Squat came on and rocked pretty hard. The had some cool originals and we started a small slam pit. Then they busted out with a cover of “Options”. What followed was a sort of weird moment of recognition between the Walla Walla and Tri-Cities kids that we had a common reference point, over and about the normal punk standards, and it was a crazy band from southeastern Massachusetts. Diddly Squat ended the night with a truly spectacular cover of “Moon Over Marin”. We all knew the lyrics and sang it together. Then someone tore a sink off the wall in one of the bathrooms. The joint flooded, and we all had to go home. But it was one of the earliest points of intercity contact among punks in eastern Washington, and it would open the way for a lot of interesting things that happened later. We could all shout “Tell me the options!” to each other, emulating Richard Brown’s slightly robotic delivery, and each knew what the other meant without having to articulate it more fully.

Over the years, I would time and again come into contact with The Proletariat’s music, and almost invariably it would function not only as a bridge to political understanding, but also as a marker indicating that one had accessed a secret culture of rebellion. “We lived what the others never understood” the Berlin punk band Die Ärzte would sing some years later. When I heard that I really knew what they meant. Later I would pick up Soma Holiday and Indifference, The Proletariat’s two absolutely essential LPs, after I moved to Portland to go to college in 1986. I would hear “Marketplace,” its haunting opening passage blaring out of the studio of the college radio station in the basement of my dorm, having wandered down at two in the morning in a stoned haze. Even after all these years, that still makes the hairs on my neck rise.

And then, out of the blue, I heard that they were getting back together. I knew that they’d gotten all of the original members back together under another name (Churn I think) at some point in the 1990s. But then I heard from a friend that they were doing some shows to celebrate the reissue Soma Holiday. I have to admit I felt a sort of bitterness. I lived in Boston for three years in the late oughties. If they were going to get back together, what couldn’t they have done it then? As a side note, they recently played a gig with a reformed version of Moving Targets (my other favorite Boston area band) at a venue literally ten minutes walk from where I used to live in Somerville. Needless to say, my level of bitterness went through the roof.

But, in all seriousness, the news that broke a few months ago that they were going to come out with an album of new material filled me with excitement and apprehension in equal amounts. Few bands have changed my head in the way that they have. But I’ve heard all too many bands try to recapture the magic of earlier decades only to damage their reputation, sometimes irreparably. The product of their reformation, Move (recently released on Bridge 9 Records) was the most pleasant of surprises. It’s like meeting a friend from your youth and finding out that they shared the ideals and feelings that drew you together originally. In these days, when so many good things and so many hard-won victories seem to be spiraling the bowl, that’s a bit of inspiration to hold on to.

Magadh

Review: Martyrdöd

Posted in Reviews with tags , , , , , , , , , on June 1, 2019 by Magadh

Martyrdöd, Hexhammeren (Southern fuckin’ Lord)

I wrote somewhere, maybe here, that I always get kind of nervous when I hear that Martyrdöd are about to release a record. I can still remember when I first heard their classic In Extremis (2005), a record which rocked me as hard as anything crust record ever had. Ever since then I’ve been sort of waiting for them to drop off in quality. Sekt, released four years later, was good, but kind of didn’t live up to the earlier release. Paranoia was better but suffered from a bit of indistinctness that often happens to band that is tuned way down. Still, “Tragisk Zeitgeist” was a cut whose rage and power would not have been out of place on In Extremis. Eldop was great. List was better, especially the video for “Harmageddon,” with its footage of heroic women YPG fighters. Long story short, the bar for this band, at least in my estimation, could hardly be higher.

Hexhammeren opens with the title cut, a chugging, heal-damped jackhammer that gallops headlong into the darkness. The slightly more metallic picking style gives the music a different texture, swirling darkly underneath Martyrdöd’s signature melodic overlays. The second track, “Rännilar” (which I think means “rivulets” or something like that) gets back to the more mainline version of the band’s sound. But it is a pummelling track nonetheless, featuring yet another spiraling melodic line.

Since In Extremis, Martyrdöd have made their stock in trade the expression of the anger and sorrow of the world. That record was a barely contained explosion of rage and pain that seemed at all points ready to break the bounds of the recorded medium and to become manifest in the world, anguished and self-aware. Over successive releases, they have polished and refined their sound, but have never lost the edge of furious urgency of their early discs.

Something they’ve added to their repertoire since the release of List three years ago has been video accompaniment. The video for “Harmageddon” mentioned above was an excellent opening shot, juxtaposing footage of the band playing with clips of female YPG fighters doing the business against ISIS. This was particularly effective, not only demonstrating an interest in, and commitment to, actual struggles for actual justice, but also emphasizing the role of women in the ongoing struggle. The band themselves looked on the edge of desperation. Jens Bäckelin attacks his drum kit like a guy administering a beatdown to someone he hates from the old neighborhood.

The new disc is accompanied by videos for “Helveteslarm” and “Pharmacepticon”. The former is good, and has a slightly lighter tone than some of their other material. The latter gets back on model, showing dark and unsettling images over a chunky, mid-tempo cut with a melancholic melody, the sum total of which is quite unsettling.

The material on Hexhammeren constitutes a powerful reaffirmation of the validity of Martyrdöd’s approach. Songs like “Bait and Switch,” “Cashless Society,” and “Den Sista Striden” emerge like explosions of black flame, dripping with overdrive and raw emotion. Martyrdöd’s music is, in a sense, an aphotic apotheosis of crust as a genre, standing as a challenge to every other band to find new ways of fusing darkness and melody. Hexhammeren simply restates this challenge with the accustomed power and clarity.

Since their last record, they’ve had a bit of a lineup change, with Pontus Redig leaving and Tim Rosenqvist moving from bass to guitar. Filling his spot on bass is Daniel Ekeroth, formerly of Dellamorte and a bunch of other bands (and author of the definitive book on the early years of the Swedish death metal scene). So no worries there. If there’s anyone who knows how this music is supposed to sound, or how the bass fits into a band tuned down to somewhere around the key of C, it’s Ekeroth. If I hadn’t known this in advance, I wouldn’t have noticed the difference.

Maybe it’s something in the water. Or maybe they’re just all really depressed. For whatever reason, Sweden seems capable of producing a seemingly endless stream of devastating crust acts, and has been since the early 1980s. One can easily name a dozen such bands without thinking too hard, from Anti-Cimex and Crudes S.S., to Wolfpack and Skit System, and on to Myteri and Misantropic and myriad other groups churning out music that reflects the dark structures of life. Among these, Martyrdöd leads the charge, consistently delivering dark and punishing evidence of the world’s decay.

The world is going down the shitter. That is not news. But it is at least some comfort to be found in the capacity of bands like this to translate the sorrows of the world into forceful mixtures of light and darkness that have the power to block out the anguish of the lived crisis, at least for a moment.  

John from the Eastside

Workspace

Posted in Dispatches on May 29, 2019 by Magadh

Every now and then I like to post a picture of my workspace, partly to record for myself what I’m working on, and partly to give anyone who is interested an idea of what goes into the pot.

Review: Agnosy

Posted in Reviews with tags , , , , , , , , , , on May 14, 2019 by Magadh

Agnosy When Daylight Reveals the Torture Scream Records

Every few years the London crust band Agnosy drops another record. They seem to take a little longer between releases than some other bands, but it always seems like it’s worth the wait. When Daylight Reveals the Torture is no exception. As with their first two LPs (Past the Point of No Return and Traits of the Past), this new release is redolent with dark atmosphere. With each recording, Agnosy have managed increasingly complex song structures. They’re not the most melodic of crust bands. They don’t have the spiraling riffs of bands like Martyrdöd or Burning Bright, but they find their way to a happy medium between melody and hard-charging crust that works every time.

I like crust as a musical format, but I don’t find myself reviewing a lot of crust records, and it’s mostly because I don’t have a huge amount to say about them. It’s not hard to sound like Anti-Cimex, but that was then and this is now. So why is it that I find Agnosy so compelling? There are several reasons, but the most important is song structure. If you listen to In Extremis, Martyrdöd’s second record (and the one on which they really found their voice) what you hear is riffs that are longer and more complicated than those of Crude SS and their legion of imitators. This, by the way, is no slam on Crude SS, who were pioneers of crust in the same way as bands like (the aforementioned) Anti-Cimex, or Asocial, or Mob 47, or…well, you get the picture. Crust needed to develop stylistically and In Extremis was a step forward that moved the whole genre ahead.

Since then there have been a lot of very good crust records released, records that have picked up the gauntlet that Martyrdöd threw down. Some of you out there might be reading this and this that I’m getting the periodization wrong, forgetting bands like His Hero is Gone or From Ashes Rise or Tragedy. That’s a fair point, but I think that Martyrdöd’s riff structure is more complicated than any of those bands, much as they are all world-crushingly awesome. To my ears, Wretched of the Earth or Dark Circles are bands that have taken the idea of more complex riffs and song structures forward.

In any case, Agnosy have produced another absolutely raging disc, their best one yet by a ways, and that is really saying something. The guitar sound is crisp and clear, which is always a big question when you’re dealing with down-tuning. It tells you a lot that this disc was mastered at Audiosiege by Brad Boatright. Boatright has made himself into the pre-eminent figure is this line of work by making bands sound awesome without necessarily making them sound like From Ashes Rise. Not that it would necessarily be a bad thing if they did, but his products manage to be both dark and clear in ways that manage to sound original rather than just being copies of what his band sounds like.

When Daylight Reveals the Torture is pretty close to an ideal crust record. It isn’t too long, clocking in around half an hour or so. It leaves the listener wanting more, not less. In a related vein, the song arrangements are good, reasonably complex without losing focus. One of the real failings of a lot of crust music is the need to rehash the same ideas over and over. If you’re going to do really simple riffs, the songs need to be short enough that the people listening aren’t looking at their watches by the end. It’s one thing when you’re playing live and can bludgeon the audience with sound. On record there is a lot to be said for shorter is better. The relatively more worked out structure of Agnosy’s riffs keeps interest quite nicely. The guitars are thick and guttural, but the retain enough tone to make the music sound bright, in a downtuned sort of way. Politically engaged lyrics are a plus, and the singer sounds kind of demented while still making identifiable words. Stylistically they sound a bit like slightly catchier version of Myteri (at least to my ear), or Instinto, or maybe a bit like Warcollapse, although the drumming is a little less far out. Anyway, this release is absolute quality and really stands head and shoulders above what is a very crowded crusty field just at the moment.

Review: Sutekh Hexen

Posted in Reviews with tags , , , , , on May 11, 2019 by Magadh

Sutekh Hexen, S/T (Sentient Ruin Laboratories)

What seems like a lifetime ago, I was flipping through the Bandcamp offerings when a came across a new release by a death metal outfit from Barcelona called Cruz. I was mostly curious about them because I have some contacts in the Barcelona hardcore scene, and so wondered what was happening on the metal side of the tracks. Culto Abismal was not rich with novelty. But it was some chunky, riff-driven death metal that was well produced and catchy as hell. It’s still one of my favorite discs to this day. I got it via the Oakland-based label Sentient Ruin Laboratories. As time went on, I investigated some of the other offerings from SRL’s catalog. I think the next thing I got was VRTRA‘s My Bones Hold A Stillness, a weird mix of doom and crust that kind of sounds like Deathspell Omega on ketamine. Then I hooked up The Creeping Unknown by Noose Rot, which is some of the filthiest death metal you’re ever going to hear. I could go on. Pretty much everything that I’ve heard from this label has been weirdly brilliant (or brilliantly weird). The ultimate conclusion here is this: Sentient Ruin releases some seriously fucked up shit.

Fast forward to the present day. Magadh is sitting in his office in the public library, once again flipping through Bandcamp’s offerings in the hopes of chasing the boredom the comes with doing a bunch of repetitive tasks. I’ve rocked a few of SRL’s more recent offerings, especially De Val by the Dutch black metal outfit Verwoed, a real masterpiece of discordant atmosphere, and I start to see a lot of positive buzz around the recently released cassette by Sutekh Hexen. I’m game, I think. I’ve heard my share of black ambiance. This might be the kind of thing that will put me on edge…in a good way. About forty-five minutes later I’m sitting in my chair, eyes open wide, thinking about the place in Beyond Good and Evil where Nietzsche wrote, “Wer mit Ungeheuern kämpft, mag zusehn, dass er nicht dabei zum Ungeheuer wird. Und wenn du lange in einen Abgrund blickst, blickt der Abgrund auch in dich hinein.” [“He who fights with monsters should look to it that he himself does not become a monster. And when you gaze long into an abyss the abyss also gazes into you.”] The abyss seems to have looked back into me, and taken something, and I’m not entirely sure how to get it back.

The opening cut, “Descent,” sounds like the background noise as Charon ferries one across the river Styx: a weird buzzing cacophony in which the screams of the damned echo. This sets the stage for an odyssey that will last the better part of an hour which juxtaposes passages of echoey black metal with long stretches of modulated noise. Sutekh Hexen assaults the senses, most effectively I think because, as a listening, one is constantly trying to make some kind of sense of the aural composition with which one is confronted. But the attempt to turn this into something systematic and comprehensible must ultimately fail. The composers of this music simply will not allow the listener to find any kind of comfort or consistency. These sonic collages cannot really be parsed. They can only be experienced with greater or lesser degrees of psychic damage.

I’ve been listening to this record for a second time in the half hour or so that it’s taken me to compose this review. It’s really starting to freak me out. There are some parts that are just overwhelming. Other sections, like “Segue I: Ouroborus” sounds like what you’d hear while you were waiting for Pinhead to show up with some sort of giant, spinning blade to grind out the contents of your skull. I love this stuff, and simultaneously hate it because there is simply no way to get comfortable while listening to it. This is the lost soundtrack to the first Alien, redolent with horror, and using creeping menace in ways just as effective as the overwhelming walls of sound (which also appear from time to time).

I’ll probably get around to reviewing a number of Sentient Ruin’s other excellent recent releases, including Chasm by Suspiral, which is one of the most strange and depressing black metal releases I’ve heard in years. But for now, I think I need to sit alone in silence and try to recompose the fragments of consciousness that Sutekh Hexen have utterly fucking smashed.

Review: Nervosa

Posted in Reviews with tags , , , , on May 3, 2019 by Magadh

Nervosa Downfall of Mankind (Napalm)

As a band, São Paulo’s Nervosa have a lot going for them. To begin with, and clearly most importantly in this context, they play absolutely ripping death metal. Also, they’ve got something to say which, sadly, is not the case with most bands in this genre. Sure, it’s funny to hear songs about zombies gobbling up people’s entrails. But it’s refreshing when you hear a band that deeper ideas than what they saw on last night’s splatter offering…and can back it up with flawless chops.

 

Nervosa are the whole package. Downfall of Mankind, released in June of last year, serves up 13 helpings of blistering Brazilian death metal that speaks truth and takes zero shit. As with a lot of Brazilian bands, Sepultura are an important reference point. On their previous records, Victim of Yourself (2014) and Agony (2016), that similarity was alloyed with a kind of filthiness. Listening to Agony puts one in mind of Beneath the Remains, but as if the cuts were being played by Black Breath around the time the recorded Sentenced to Life.

Downfall of Mankind still recalls Sepultura but asserts its own sound. The recording is crisp and clear, allowing guitarist Prika Amaral to drive the music forward with a mix of rapid back picking and triplets. Luana Demeto’s drumming is absolutely rock solid, using a mix of single and double bass techniques to keep the music at maximum warp without letting things degenerate into chaos. Fernanda Lira provides thundering basslines and vocals that absolutely hit the sweet spot between intensity and being able to hear what she’s saying.

 

The latter is important. As this story from Blabbermouth.net (and the accompanying interview clip) clearly illustrate, Nervosa are smart enough to recognize the fucked up politics of their homeland (and elsewhere) and articulate enough to put build that into their air without compromising either in any way. This is a hard mix to get right for even the most experienced bands and artists. Watching these young women at the top of their game, politically aware, unapologetically feminist, and fearless, is pretty amazing.

 

They’ve done a number of videos, which mostly involve them playing the songs, and are mostly pretty good. For my money, the best is this one for “Raise Your Fist.” Lira, grinning wickedly, opens with “This one goes for the activists! This one goes for the militants!” in a hyperaggressive growl the lets you know that she means fucking business. The video itself features live footage interspersed with clips of from well-known scene figures (you know who they are when you see them) and average people engaged in struggles for freedom, equality, and human dignity. The picture of the little kid in a t-shirt that says, “Strong, resilient, indigenous” is too awesome to be fully expressed in words.

 

Nervosa are currently on tour in Europe. I want to see them here, now. So come to North America, because we need you here too. Nervosa are propaganda of the deed of the highest order. They absolutely stick the boot into the deathmetal boys club, and that’s a good thing. This is the kind of thing that you want every girl to see, to feel her power, and to know that her strength and her truth can blast their way into the world.

 

P.S. For those interested in a deeper dive, here are a couple of videos that Napalm posted of the band talking about the songs on Downfall of Mankind.