Archive for masakari

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

No Sympathy for the Fascists

Posted in Heads Up with tags , on July 29, 2012 by Magadh

[This post was put up on the FB pages of both Masakari and Alpinist. We thought it was worth reposting here. Both Magadh and the Captain have been attending hardcore shows for decades and have too often seen bands and organizers overlook fascist iconography at gigs. Much respect to the bands for taking a principled stand and sticking to it.]

Yesterday, 28.7.12, Masakari and Alpinist decided to defer playing the ONT Grind’u Festival in Lithuania and we feel that it is important to provide an explanation for those that may have came to see us. When we arrived we noticed that a person was admitted into the festival with visible nazi tattoos: a white power celtic cross, hitler, and a swaztika. We confronted this and through our discussion we found that in the past this person was a leader of a nazi skinhead gang but had since left this mindset. It was explained to us how this person was living with this past attempting be active by engaging with people to discuss why the changes occured. The explanation was that the tattoos were not covered up because it engages people in conversation and the person is able to explain the story. From this we spent a lot of time discussing if we still wanted to take part in this festival. We did not feel that the decision to keep the tattoos visible was acceptable because of its explicit violent symbolism but at the same time this person was intent in our understanding of these life changes. In the end of this discussion we decided that we still wanted to play the show with the hopes to try to engage others in this dialogue. Immediately upon returning to the festival we witnessed another person admitted into the festival with a Reichsadler patch sewn on a shirt; we feel that its important to highlight that this wasn`t hidden it was clearly visible and shouldn`t have been missed or overlooked by the people at the door. At this point we decided that we could not be apart of this event. When we talked with the people who were affiliated with this festival we were asked to stay if these people were expelled from the event. However this was not because of any type of antifascists action but just because we were refusing to play. We feel this way because during our conversations with the people involved there were things said to justify these people when we explained our problems with the tolerance of these kinds of symbols:

„it is a pagan symbol“ + „these symbols mean different things in our culture“: we understand that these symbols were reappropriated by the nazis but these were directly affiliated with the nazi history

„it is just a style“: in no way can this be a justification, a style is an expression of distinctive attributes that characterize a person, which to us characterizes a person as a nazi no matter how someone tries to separate the use of the symbol and the hatred that it represents.

This is nazi sympathizing and we want no part in that.

We are sorry for those we may have came to see us, we hope to book shows in Lithuania the next time we are touring in the area, hopefully we can make it up to you.

Masakari // Alpinist

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

Gig Review

Posted in Gigs with tags , , , on July 1, 2012 by Magadh

Napalm RaidMetalianMasakariNekrofilthRohmer
Now That’s Class, Cleveland, OH
30 June 2012

I feel as if I should offer the following as a public service to hardcore bands coming through this town. If you get booked with Masakari, you had really better bring you’re “A” game. If you do not, you will simply get embarrassed. They played a titanic show with All Pigs Must Die a couple of months ago and showed themselves to be on par with the very best acts in North America.

Rohmer opened the gig, which happened in the bar area at Now That’s Class (hence my somewhat subpar photographs). They got off to a bit of a rocky start, sounding muddy and with their vocalist totally buried by the wall of sound that the produced. By their second song they had matters sorted. Their bread and butter is the sort of low frequency thrash with melodic tinges that is all the rage these days. In truth, they sounded a bit like Masakari, but without quite reaching the latter’s surging intensity. They were really starting to grow on me after a few songs, but one of their guitarists broke a string, and since it was close to the end of their time they decided to pack it in. It was, nonetheless, an impressive showing.

Next came Nekrofilth, who were impressive as well, although for rather different reasons. As they kicked into their raw and aggressive black thrash attack, it quickly became clear that their singer/guitarist was completely rat ass drunk. The only reason he was three sheets to the wind is because he was too hammered to find his fourth sheet. In point of fact, this did not detract in any serious way from their performance. They managed to keep raging, even during those occasions when their main guy was falling over sideways. They have a split out now with Nunslaughter, and I give them props because they were selling copies of it on cassette.

Things got real when Masakari hit the stage. This is their next to last gig before they head off to Europe for a month, and the last time that people in Cleveland would get to see them before that kicks off. True to form, they did not disappoint. After a brief interlude where they played a different fragment from one of the sound clips on The Prophet Feeds, the lads treated the crowd to and onslaught of absolutely blistering thrash. Masakari do not beat around the bush. They beat the bush into submission and then set fire to the remains.

Undaunted by this, Halifax, Nova Scotia’s Napalm Raid came on and played like their hair was, collectively, on fire. Their deep throated, aggressive crust brought forth frantic slamming from a crowd that had spent most of the previous set in head-bobbing awe. Remarkably, I noticed that the guy from Nekrofilth was in the middle of the action. This was particularly impressive given that an hour previously he had been almost too drunk to stand. Unfortunately, the quarters were close, and his flailing fist caught me upside the head three or four times. Oh well. I guess that not (well not nearly) the worst thing that’s ever happened to me in the pit.

Sadly for Metalian, things were getting on toward 1:00 AM, and I had to get back to the Thousand Trivs bunker before the auto security systems kicked in.

Napalm Raid are almost done with a long tour. They’ll be in Toronto tonight and then Montreal on Monday on their way back home. Masakari’s European tour, with the also awesome Alpinist, starts in Hamburg next weekend. The full schedule is here.

Magadh

Review: Hammers

Posted in Reviews with tags , , , on June 20, 2012 by Magadh

Hammers Vardøgr

For a guy currently sitting here wearing a Thor’s hammer, I’m surprisingly edgy about bands that use a lot of Norse imagery. How sad it is that Norse culture, so complex and varied, has come to be the playing thing of a bunch of numpties who could barely spell Ginnungagap. Of course, there are plenty of bands that manage to use Norse iconography to create something dark and interesting, without foisting a bunch of anachronisms on 9th century Scandinavia.

Why am I on about this you might ask? Because I nearly overlooked the new release by the band Hammers from Manchester because of this simple prejudice. This is not to say that we’re never going to review right wing stuff on this blog. But, dedicated antifascists that we are, there has to be a really good reason to do it.

[Addendum: In light of the exchange in the comments below, we would like to stress that Hammers is not a right wing band and we by no means meant to suggest that they were.]

Anyway, that’s beside the point. Contrary to what you might think from seeing their imagery, and the fact that their album is called Vardøgr, are not a black metal band, or a Viking metal band, or anything of the kind. For those who are interested, vardøgr are spirits in Scandanavian folklore that are sort of like doppelgangers (but different). This in itself tells you something about Hammers. They chose do name their band after an interesting and complex cultural phenomenon, rather than some sort of berserk warrior or savage creature. Although their music has the occasional black metal tinge, it is much more comparable to dark crust bands like Masakari or Cursed, with perhaps a bit of Fall of the Bastards added in for good measure, although even this doesn’t quite do it justice.

Their songs roll along at furious tempos, now more melodic, now more atonal, always dark and depressing. They have a lot more variation in tempo than your average d-beat band, and this adds to a kind of chaotic demeanor to their music. They also seem determined to pack about twice as many licks into each individual song as most bands mining this particular vein. The juxtaposition of styles can be quite breathtaking, from power violence, to thundering double bass, to straightforward hardcore all in the space of a few seconds.

The lyrics to their songs are a mélange of dark imagery. Kind of like a lot of bands in this genre, it doesn’t do much good to try to find direct meanings in what they say. Rather, it’s a matter of allowing to texts to meld with the music, presenting a larger, darker totality. This is the sort of record that it helps to be in a good mood to listen to, because Hammers music is the kind of thing that causes clouds to cover the sun.

They’re apparently touring Europe now. Once they are done, I demand that they come to the U.S.! Obey me!

Magadh