Archive for metal

Nomads/Treacherouskin Split “Violent Fucking World”

Posted in Reviews with tags , , , , , on March 10, 2013 by Magadh

Nomads/Treacherouskin

Violent Fucking World

Melotov Records

The Nomads demo got a lot of play in the bunker and we’ve been more than a little curious to hear the 7″. We’re proud to report Violent Fucking World finds both bands at their best.

Nomads

Nomads offer up 4 tracks of blistering d-beat with a generous helping of power violence. By way of a reference I hear plenty of WolfbrigadeNails and Totalitär without the band veering into overt tribute territory. The opening track, “Swine Flu” tackles the topic of police oppression (something near and dear to Mike’s heart; check out Wartime Collective or the ACAB tattoo over his left eye) over a punishing d-beat onslaught and some righteous guitar work. “Viking Funeral” and “Thank God” are both heavily influenced by Dis-bands. “Bullshit Propaganda” is a ripper which conjurers up images of the best of Swedish crust. Nomads continue to impress and I hope to hear more from them in the future.

Treacherouskin are a more straight forward hardcore band. Think Sick of It AllNegative Approach,Mouthpiece and Champion with some Helmet, Prong and Pantera tossed in for good measure. “Father of Lies” is a punishing metal core anthem with some tasty breakdowns. “Oblitus” is the standout track from Treacherouskin, sludgey riffs give way to some Meantime era Helmet.

All and all this is a solid release. We’ll be listening to this one for some time.

-Captain of Games

Review: Morne Asylum

Posted in Reviews with tags , , , , , , , on November 26, 2012 by Magadh

Morne Asylum Profound Lore/Armageddon Records

I saw Neurosis at the tender age of 16 in a  Billings, Montana VFW. It was 1990 and they were on the road supporting The Word as Law. They represented something so primal and terrifying, the whole experience was burned into by adolescent brain. I can still see Scott Kelly’s Big Mountain Defense shirt depicting Native Americans staring out behind an American flag with the stripes made of barbed wire. The band appeared as an ominous wall of spectres in the dim light as they struck the first few chords. They blew the PA almost immediately, this occurred with unfortunate regularity on that tour, and were forced to play the majority of their set instrumentally. The tension bled into the performance. They were a maelstrom, pulling the audience deeper into their rage. I was hooked.

Souls at Zero and Through Silver in Blood would become two of my favorites from their catalog. They wed the best of bands like Amebix with crushing heaviness and apocalyptic soundscapes. The addition of potent, flowing, visual elements would further enhance the live experience. In fact, the power of the Through Silver in Blood era live set was such that my wife had a panic attack and has sworn off Neurosis ever since. What does any of this have to do with Morne? I’m coming to that.

Morne’s Asylum taps into the same primal power as those early Neurosis records. The album begins with the ominous majesty of the title track. Clocking in a 17 minutes, Milosz’s vocals bear more than a passing resemblance to those of Scott Kells and the track neatly fuses doomy crust with sparse piano. The listener is lulled ,via an excellent interlude, before they are finished off by more furious doom. “Edge of the Sky” and “My Return” invoke the the naked rage of Through Silver in Blood’s “Purify” as waves of metallic sludge build and then spill over the listener.

References to Neurosis aside, Morne is still very much their own band. Tracks like “Nothing to Remain” and “Killing Fields” evidence the band’s artful composition. They effectively fuse their brand of sludgy crust with the darker elements of a band like Isis to create brutal, soaring compositions. The final track, “Volition”, marries sparse piano and violin with whispered female vocals and muted guitar before building to a sonic expression of rage.

Asylum was released in 2011 but remains a criminally under recognized record. Do yourself a favor and pop over to their Bandcamp site here.  One hopes 2013 sees new material from this Boston juggernaut.

– Captain of Games

Lost Wisdom: On Varg Vikernes and Umskiptar

Posted in Articles with tags , , , , , , , , , on May 21, 2012 by Magadh

May has seen the release of Umskiptar, the third album from Kristian “Varg” Vikernes following his 2009 discharge from prison where he was incarcerated for the murder of former bandmate Oystein Aarseth and the arson of several churches. Discussions of Burzum are often nuanced affairs (true believers aside), with his genre-defining albums separated from Varg’s increasingly extreme political views. Through it all, Burzum.org, once a labor of love (or hate as the case may be) of a Russian fan, has served as the clearinghouse for the man and the band. Ralph Waldo Emerson famously opined, “A foolish consistency is the hobgoblin of little minds.” Burzum.org makes clear that consistency is not one of Varg’s myriad preoccupations.

Two days after Anders Breivik murdered 77 of his fellow Norwegians in July of 2011, Varg published a missive entitled, “War in Europe: Part I – Cui bono?”  on Burzum.org. His haphazard analysis hinges upon bizarre associations and improbable allegations including:

  • Breivik was working for Mossad in a “false flag” operation designed to punish Norway for supporting Palestine and to unite Norwegian ultra-nationalists under a false banner.
  • Breivik is a Freemason and all Freemasons are puppets for “international Jewry.” Therefore, Breivik was working for the Jews to dismantle all nations in order to build a global Hebrew temple enslaving all under the will of the Jews and their servants the Freemasons.
  • Breivik is a Christian and Christianity was created by Jews in order to dupe non-Jews into worshiping the Hebrew’s god which, in turn, would turn European pagans into servants and tools for the Jews.

The “facts” Varg puts forth resemble the loose associations of a schizophrenic. This embarrassing essay begins and ends with his tired fixation on a Jewish plot for world domination. Vikerenes never connects the dots, then again, that was never his intention. He ends his essay informing Breivik that, “True nationalists don’t kill children of their own nation.” The reader may comfortably infer non-native children remain fair game.

Varg returns to the topic of Breivik nine months later. In the interim, he utilized Burzum.org to publish, among other items, a pair of exhortations to his fans and fellow nationalists.

The first piece, “The Lords of Lies: Part X – Thieves and Frauds” , is a fairly transparent overture to his fans to help secure his economic interests (sorry, artistic interests) by boycotting and reporting all sites not named Burzum.org. He describes his boycott of social media as a conscious attempt to starve the capitalists and bankers who are destroying Europe. One wonders who he might mean? In either regard, his assertion is particularly humorous as he spends a chunk of the preceding text discussing his limited computer skills and experience.

“The Lord of Lies: Part XI: Under Friendly Fire” , the second essay, laments his rough treatment at the hands of left-wing journalists. Varg references his previous attempts to use media, in the form of interviews, to spread dissident ideas. The thrust of the essay is a plea for fellow nationalists to avoid using the media to draw negative conclusions about Varg himself. He returns to an old chestnut when he concludes only the Jews profit when nationalists fight with one another. Of particular interest is his discussion of the “Protocols of the Elders of Zion.”

Varg asserts that Jews have a vested interest in destroying Russia because Russians are responsible for releasing “The Protocols” to the world and painting the Jews in a negative light. Readers unfamiliar with the “Protocols of the Elders of Zion” should congratulate themselves. The book is a fictitious account of a meeting between Jewish elders in a European cemetery during which they outline their plot to take over the world. Varg addresses the dubious authenticity of the book in the essay’s third footnote where he asserts, bizarrely, that whether or not the text is a fraud or authentic is immaterial. The material issue is the content , which he feels is genuine, and should be read by everyone. He offers no support for the validity of the text itself or the content, but then again, why would he? He is consistently inconsistent in supporting his anti-Semitic worldview.

As to Breivik, Varg revisits him in a July 21, 2012 essay entitled, “War in Europe: Part II – The Price of Anti-Racism” . The essay is an attack on Grethe Bøe-Waal and her article, “The Price of Racism.” His typical meandering analysis features an analogy of a dog being placed among wolves. Varg states that a dog placed among wolves will be destroyed by the wolves who recognize it as different. He concludes this is the law of nature and expounds upon the analogy by stating that, when the number of dogs increase, they will begin to kill the wolves (Leaving aside the obvious flaws in this argument, such as the numerous examples of symbiosis in nature). When Varg finally discusses Breivik, it is telling. Gone is the Christian, Freemason dupe discrediting Norwegian nationalists and serving the ends of international Jews. Instead, he is described thus:

Try to corner an animal and you will see what will happen! Be not surprised when the animal attacks you. Humans are also animals, and people like Anders Breivik act on instinct because you have cornered them. You can actually thank yourselves for the fact that he killed some of you “anti-racists.” You have cornered our entire European race! Like Breivik says more and more individuals in the European nations will react with aggression.

In nine months, Varg’s Jewish puppet has transformed into Norway’s avenging angel. Unmolested by hobgoblins, Varg is free to draw increasingly improbable conclusions to support his deranged world view. He is a dark Don Quixote tilting against windmills of his own making.

What then of Umskiptar, Varg’s interpretation of the poetic Edda Voluspo (excellent translation here)? The album begins well enough with “Blóðstokkinn” featuring sparse drums and sparing use of a horn while Varg solemnly intones portions of the opening stanzas. The introductory track is superior to those on both Belus and Fallen and serves to effectively set the album’s mood.

Tracks like “Jo’ln” and “Aera” are reminiscent of Fallen with their diminished, but still present, tremolo picking and lyrics both spoken and sung. “Alfadanz” makes effective use of a piano intro which gives way to some repetitive guitar work and interplay between both sung and spoken vocals. “Hit Helga Tre’“most resembles the classic Burzum sound augmented by some pretty sweet riffage..

Varg continues to use a warmer (compared to say Filosofem) vocal style throughout Umskiptar. When accompanied with chanted or spoken vocal parts, it comes off very well. However, the later portion of the album is comprised of songs which rely heavily on speaking or chanting coupled with strummed guitar lines. These tracks seems to be an attempt to create something of a somber, ethereal sound and it is here where cracks begin to surface.

“Valgaldr” works reasonably well, tremolo guitar work and harsh vocals eventually give way to a slowing of tempo, a repeated riff and droned vocals. However, tracks like “Galgviör” and “Surtr Sunnan” simply meander on and on. Both tracks build upon simple guitar parts coupled with spoken or droned vocals. Where bands like Agalloch or Drudkh can take that formula and make it effective due their more robust instrumentation, here the songs just sound flat and unfinished.

The album ends limply, with “Gullaldr” succumbing to the same malady outlined above but with even less of a riff to rely upon while “Níðhöggr” is simply a disaster of muted drumming, rasped vocals and the addition of what can only be described as whale sounds.

Umskiptar begins with promise but fails to sustain the momentum. There are signs of an interesting evolution in “Allfadanz” and “Valgaldr” but the failures of the final four tracks really diminish the album. It remains to be seen which direction Varg chooses for future Burzum albums, but the maddening inconsistencies which characterize his personal life have certainly tainted Umskiptar.

– Captain of Games