Archive for Martyrdöd

Crust/D-Beat Playlist

Posted in Playlists with tags , , , , , , , , , , , , , , , , , , , , , , , , on July 3, 2013 by Magadh

We’ve been brewing up some weird stuff down in the bunker, but through the fumes it occurred to us that people might have an interest in what we were spinning in our long nights over the soilent vats. We’re going to try to offer up playlists on a bi-monthly basis, each with a thematic base. The theme here (as the title indicates) is a combination of crust and d-beat.  Discerning listeners will note that there are a couple of things in this list that are a bit marginal in terms of these categories, but I think they fit in terms of atmosphere. In the end, it’s up to you to decide.


1. Skitsystem, “Apokalypsens Svarta Änglar
2. Martyrdöd, “Vägen Ur
3. From Ashes Rise, “The Final Goodbye
4. Hellcrawler, “Devastation
5. Infäme, “Adeu Amarg
6. After the Bombs, “Bloody Aftermath
7. Monastery, “Mutilating
8. Passiv Dödshjalp, “Virtuella Bojor
9. Viimeinen Kolonna, “Sinä Häviät
10. Livstid, “Permafrost
11. Misantropic, “Raise the Gallows
12. G-Anx, “Victims of Our Ignorance
13. Instinto, “Dominación
14. Crude S.S., “Destroy Capitalism
15. Anti-Cimex, “Braincell Battle
16. Final Warning, “The Bunker
17. Disfear, “Misanthropic Generation
18. Warcollapse, “Timebomb State
19. Mördare, “Rivers of Diesel
20. Masakari, “Rapid Dominance
21. Kvoteringen, “Sjuk Värld
22. Discharge, “Doomsday
23. Infernöh, “Länge Leve Mig
24. Wolfpack, “A Basic Urge to Kill
25. Sacrilege, “Out of Sight, Out of Mind

Magadh

Review: Passiv Dödshjälp

Posted in Reviews with tags , , , , , , on June 8, 2013 by Magadh

Passiv Dödshjälp Kollektiva Mönster Embrace My Funeral Records

pd coverI discovered Passiv Dödshjälp in one of those beautiful moments of internet serendipity in which I was looking for something else. As I recall, I was trying to dig up some information on their fellow Swedes Totalt Jävla Mörker when I stumbled on to an upload of Passiv Dödshjälp’s crushing 2010 release Häng Dom in the indiscriminate vastness of the web. There could hardly be a better advertisement for modern Swedish crust. Simple and aggressive licks dripping with overdrive, spun over a background of thundering drums and a vocalist who really sounds like he’s on the verge of a psychotic break. The songs on Häng Dom are mostly mid-paced. In those moments when they slowed down the music retains its punch, sounding at times like Tragedy’s more downtempo material. This was straight Swedish crust in a d-beat sort of mode, one which for the most part eschewed the melodicism associated with bands like Wolfpack and Martyrdöd in Europe, and with acts like From Ashes Rise on this side of the Atlantic.

Intrigued by this, I sought out their other releases. At the time these included a blistering split with Bergen’s Livstid, and a second full album from 2011 entitled Fasader. This latter release reflected a slightly more melodic approach than its predecessor. What followed, 2012’s Skit På Repeat 7”, was a trip to a much gloomier place. For fans of Häng Dom this was meat and drink. The stylistic theory was much the same as on the first LP, but the sound and atmosphere were if anything darker and angrier than on the earlier release. As on Häng Dom, the songs tended to be built around single string lines structured to accentuate impact rather than melody.

On Kollektiva Mönster, Passiv Dödshjälp’s latest recording, the theory has changed somewhat. The compositions are based around chords to a rather greater degree than on previous releases. A rather more rocking influence seems to have taken hold, with some of the songs reminding one more of bands like Kvoteringen or Fleshrevels than of the darker Swedish crust that marked their earlier style. Still the essentials remain: angry vocals, bludgeoning drums, and that razors-through-flesh guitar sound for which the Swedes seem to have a special talent. There are a lot of shorter songs on this release, but the pick of the litter is “Virtuella Bojor”, which clocks in at over four minutes and is rocking and aggressive all the way along.

In this day and age it is a little shocking to me that so few people outside of Scandinavia seem to know about these guys. Kollektiva Mönster is an excellent introduction to their work: an illustration of the aggression and dark atmosphere that have been the hallmarks of Swedish crust for so long. Andreas tells me that the disc itself won’t be out until sometime in July, so start saving your pennies because you will definitely want to get this when it hits the distros.

Magadh

Review: Martyrdöd

Posted in Reviews with tags , , , , , , , on July 12, 2012 by Magadh

Perhaps no event has been so eagerly awaited here in the bunker as the arrival of the Paranoia, the new disc from those masters of Swedish d-beat, Martyrdöd. Those in that microset of humanity who actually read this blog with regularity will know that there is an obsession with Martyrdöd among the editorial staff here that really borders on the pathological. Imagine, then, the paroxysms of joy that arose when this disc found its way through the mail slot.

Having said all that, there was also a sort of trepidation at its arrival. This stemmed from the fact that Sekt, the band’s previous outing, had not quite lived up to the standard set by its predecessor. This is, in a certain sense, hardly a very trenchant criticism. In Extremis (2005) was a watershed moment in the history of Swedish d-beat. A new standard had been set. It was almost inevitable that whatever followed it was going to be something of a letdown.

Perhaps the difference between the two discs can be described as follows. The brilliance of In Extremis was that the way that it combined melody with extremes of downtuning. By my calculations, the guitars on In Extremis were tuned down to B (either that or they were using some sort of drop tuning but you get my point). As numerous bands have heretofore discovered, tuning down that far runs the risk of turning the music into indecipherable mush. Although the guitars on In Extremis could be a bit indistinct, they created a dark maelstrom over which the second guitar then spiraled compelling minor key melodies. These seemed to emerge out of a churning fog of d-beat thrash. Added to this was the fact that the melodies themselves often comprised six measures, rather than four, and the extra time that they took to resolve added a compelling tension to the music.

On Sekt, released four years later, many of the same features were in evidence. It seemed, however, that they were trying to move forward stylistically. Part of my problem with Sekt, from a personal perspective, was that I just didn’t like the riffs as much. That is a purely subjective assessment. From a more objective perspective, there was it was clear that the song structures were somewhat different than they had been on In Extremis. “En Demon” is a good example of this. The first thing that one notices is that the beat is a straight thrash tempo rather than the sort of the bracketed beat typical of d-beat drumming. The dark guitars churn away in their accustomed fashion, and after a while one hears one of Martyrdöd’s typical dark melodies. However, it is a more typical four bar melody and it disintegrates relatively quickly into a more straight ahead rock lead.

This is just one example, and there are many others that could be adduced. The point is not that Sekt is a bad record. Rather, it had the misfortune of having been released after a great record. If it had followed Martyrdöd’s self-titled first album, it might have looked a bit better. But it wasn’t, and it is what it is (or it was what it was). In any case, how then does Paranoia stack up?

Quite well as a matter of fact. Martyrdöd has managed to advance stylistically, while still retaining the features that made them great in the first place. There is a much more pronounced metallic influence in terms of style and production on Paranoia than on previous releases, but not the extent that it effaces the underlying hardcore impulse. The guitars are still tuned way down, but there is a crispness to the production not in evidence on earlier releases. The melodic overlays on Paranoia are far superior to those found on its predecessor, and rather than swelling out of a dark cloud, they now sit majestically atop precise and crushing riffage. The other elements that lifted Martyrdöd above the run of d-beat acts are strongly represented; from the jackhammer drumming to the singer who sounds like he’s shouting last words before his execution.

Verily, this is a record whose strains will be echoing around the hallways of the bunker for many weeks to come. It’s always really nice to hear a great band explore something new within a style that they have mastered. Martyrdöd have (once again) thrown down the gage to the d-beat bands thrashing in the ruins of the world? Who, then, will take it up?

Magadh

Things You Should Know

Posted in Heads Up with tags , , , , on July 6, 2012 by Magadh

First, a brief apology for the inconsistent posting this week. It has been a difficult week in terms of power here at the Thousand Trivs bunker. Frequent outages over the last couple of days have required repeated expeditions to the roof of the southern pod in an attempt to effect repairs. As this particular region is prone to storms, extreme heat, and the depredations of hordes of wandering zombies, one can easily imagine that this has taken a lot of time and energy (and bullets).

The power flow has been restored, no thanks, frankly, to the efforts of the Captain of Games. Somehow he always seems to be on extended reconnaissance sweeps when the dirty work needs to get done.

In any case, it is our goal to have new content every day and, assuming my jury rigging of the condensers on the south ridge was successful, we should be in business with the appropriate regularity.

While I am here, I thought I might provide a couple of bits and bobs until we fully have our shit together. I was talking briefly with Greg from Masakari after their blistering set at Now That’s Class the other night. He told me two interesting things. The first was that he actually plays in a drop C tuning. Yeah, I know that’s not really that interesting to those of you who aren’t musically inclined. For those who are, I will say that I spent a lot of time at the Masakari shows that I have seen watching him and trying to figure out what kind of tuning he was playing. Drop C explains a lot of things.

The second thing that he mentioned was the From Ashes Rise were playing again and had a new record coming out. I have a lasting fascination with those guys, not just because they’ve put out some absolutely devastating music, but also because they moved to Portland several months after I left and I really felt kind of cheated by that. Their new 7” is called Rejoice in the End and is available from the good people at Southern Lord . The A side, which is all I’ve heard so far is a bit more metal tinged that their Nightmare’s era stuff. “Rejoice in the End” is slower, but lacking none of the melody and punch of FAR’s classic releases.

I read the other day that Napalm Death had a new record out. It’s on Century Media and it’s called Utilitarian. I’m tempted to get it even though their records since From Enslavement to Obliteration have generally left me kind of cold. I think it’s that ticky tacky drum sound that was pioneered at Morrissound in Tampa during the early 1990s and kind of took over death metal. Then of course there’s the fact that there are currently zero original members left in the band. Oh well, I guess I shouldn’t let minutiae get in the way. The guy from metalsucks.net seems to like it (he gave it 4 out of 5 horns) and generally they are a pretty critical bunch over there.

And finally, a copy of the latest Martyrdöd offering Paranoia has recently shown up around the bunker, so we’ll have a review of that in the next couple of days.

Magadh

Review: Sarabante

Posted in Reviews with tags , , , on June 5, 2012 by Magadh

Sarabante Remnants Southern Lord

I’ve been trading notes lately with an old friend of mine from college. This fellow, much brighter than myself, is part of the brains trust behind Souciant Magazine. We were discussing the Greek hardcore band Sarabante. Souciant had just run a piece about them , and I was mentioning to him that we had been meaning to review their CD, but that we kind of felt that we had done so much about Southern Lord releases already that it would kind of look like we were their media wing.

And then of course, there was the fact just mentioned that Souciant had just run a piece about them. That pretty much had me set on the idea that we should leave it alone. Then a couple of things occurred to me. As is their wont, Souciant’s article on Sarabante was, in fact, about the broader political situation in Greece right now. A review from us, which is bound to be more focused on purely stylistic aspects, probably isn’t going to cover all that much of the same territory. Perhaps more importantly, it struck us that it probably wouldn’t be a bad idea to give those guys a little added publicity, to the extent getting a link in one of our articles would do that.

Ok, so long story short, here are a few words about Sarabante.

A few months ago, I perusing Southern Lord’s website when I saw a listing for the latest CD by the Greek hardcore band Sarabante. One line caught my eye: “The band was brought to the attention of Southern Lord by Brad Boatright of From Ashes Rise.” Well, that is a pretty sold recommendation from my perspective. From Ashes Rise were, for many years, the leading figures in the melding of the European d-beat style with a more melodic approach. While one could hear this in European bands like Wolfpack/Wolfbrigade, Disfear, and, somewhat later Martyrdöd (to name only a very prominent few). Perhaps memory fails, but I can’t remember hearing anything very similar to this from North America before running across their Concrete and Steel 12” in the late 1990s. Ok, maybe you could say that His Hero is Gone might be comparable, but you get my point.

Nowadays, this particular style, which is very close to our hearts here in the bunker, is much more readily available in these parts (c.f. our forthcoming review of Cleveland’s oh-so-crushing Masakari). In Europe, and once again I’m speaking very general terms here, there seem a lot more bands doing this, especially in the wake of Martyrdöd’s pathbreaking In Extremis CD in 2005. Martyrdöd really raised the bar. Not only was their approach to d-beat alloyed with a sharp and moving sense of melody, but the structures of their songs were somewhat more complex, adding extra bars onto the normally square d-beat riffs. One can hear echoes of this approach in the work of bands like Münster’s Alpinist, as well as in Sarabante’s melodic d-beat stylings.

Remnants is a crushingly powerful record. It’s no surprise that Brad Boatright dug these guys, as the melodies that shape their songs would not have been out of place on any From Ashes Rise release from Nightmares onward. Similar to Martyrdöd, these young Athenians use riffs that tend to be a little bit longer than the d-beat norm. They are heavily downtuned for sure and this gives their music a metallic heaviness that acts as an effective counterpoint to the melodic overlays that give Sarabante’s music its distinctive feel.

Apparently they have been on a bit of a hiatus and have only recently started gigging again. The vinyl edition of Remnants was really limited and must certainly be sold out now, but the CD version can be had from the Southern Lord website, and it can be directly downloaded from Emusic and similar sites.

Magadh