Monday, March 24, 2014
Friday, March 21, 2014
For some weird fucking reason, I'm not totally sure what, I actually didn't mind the whole "family" thing between Leatherface and ol' chicky baby. Before my seeing this film I had already known about this particular aspect to the plot. Maybe that's why. I don't know. Oddly enough I found myself sorting of "rooting" for her acceptance of this situation.
Now with the bad... I wasn't terribly fond of the "look into" the Sawyer's "extended" family. Yes, that includes the cameo of Gunnar Nelson (who, by the way will always be the greatest Leatherface EVER!) and Bill Moseley whose portrayal of Drayton Sawyer somehow makes him seem laid back and thoughtful. Not the most terrible offense but nevertheless it only serves to move the characters even further away from the original film as the series previous sequels had done.
Many if not all of the kills were pretty tame. I was somewhat surprised by this being that in this day in age everything that's shat out of Hollywood's ass seems to be drenched in excess. Of course, this wasn't completely shocking as the 'Nightmare on Elm Street' "remake" (referring to it as that makes me cringe) was appallingly dull as far as the kill factor was concerned. I also wasn't bowled over by the make-up work on Leatherface's masks. These effects crews are still hung up on the notion of making this "really cool, far out" prosthetic and totally bypassing the fact that the masks in the original were hardly colossus of craftsmanship yet they remain unsurpassed in the creep factor. I pretty much gave up hope that they'll somehow pick up on this seemingly elusive concept.
The "acting" is your typical run o' the mill 'generation-text' gag fest. The film could have more or less benefited from lengthier performances by everyone whose roles were reduced to cameo appearances as the denizens representing the current squadron of twenty-somethings are hopelessly inept and unable to squeeze out a believable performance thus ultimately condemning the film to a flushed toilet.
Perhaps the biggest and most cringe-inducing element in this film is the horrendous dialog. "Wlecome to Texas motherfucker!" and "Do your thing cuz" are among the most awfully retarded lines I've ever had to endure as some form of cosmic punishment. I just know that there's some dead relative floating up in space somewhere laughing at my pain. Even the film's title... 'Texas Chainsaw 3D' is yet another example of the cultural dumbing down process in this country. KFC anyone?
All in all I somehow did not mind this film that much. Does it suck? You better believe it, but I don't know, I just couldn't muster enough hate for it when all was said and done. I actually dislike the remake more than this, which I find weird as this film has an infinite amount of things that I despise scattered throughout. Quite odd, really. I once thought that maybe it's one of things that's so bad it's good, but it's not. The film is not even enjoyable to that degree, yet... Make no mistake about it though, this film sucks rotten cock and serves only to ensure that the legacy of the TCM films remains in the sewer along with all of the Friday the 13th's, Nightmare on Elm St's, etc. Maybe it's all part of Holywood's plan being that they never really accepted or liked horror films from the jump.
Crypt of Kerberos are one of the more obscure bands from Sweden's initial death metal outbreak. They are also among the oldest with most of the line-up having been in Macrodex before putting that band to rest and charging up CoB. CoB are also not immune to the mid-life crisis that befell most death metal bands in the mid-'90's as their one and only full length, 'World of Myths' (1993), is one of the more puzzling letdowns within that decade. I wouldn't say that the band had completely abandoned death metal altogether but like their countrymen, Crematory, had done a year earlier, CoB stripped away all of the heaviness of their guitars in some apparent attempt to showcase their newfound interest in noodling. One one hand you can say "well, at least they're not "radikulting" all over the place". On the other, however, you can kiss that ungodly low-ended crunch goodbye. Sadly, or perhaps mercifully, the band hung it up shortly thereafter.
As always, I held onto a semblance of hope that they would return to the sound of their demo's and ep's rather than the album when I discovered that they were once again writing music almost two decades later. Well, crossing my fingers seems to have payed off as CoB have not only unleashed one of the best releases of the past decade but also their entire catalog. The aptly titled 'Into the Ruins' sounds and feels like exactly that. Returning to a now ancient place once filled with power and wickedness, both of which still strongly emanate an enormously negative vibe.
Undoubtedly the thing I like most about this release is the sprawling landscape of an abandoned planet masterfully painted by the doomier sections whose presence is abundant. Aside from a few faster moments, this is the stuff that fanatics of funeral doom shit themselves over. The guitar's sound absolutely devastating and really bring the riffs out in the most monolithic way possible. I have to say, CoB really surprised me with this as most bands never really seem to fully recover once they abandon their trademark sound. Look at Metallica.
Vocally, Christian Erikkson is not as low and monstrous as he once was but there is absolutely nothing wrong with his performance and most importantly it fits the music perfectly. This is certainly (albeit thankfully) not a retread of 'World of Myths'. Apparently the band realized that it just wasn't them put it behind them for good... at least I hope so. We shall see if this 'ep' is merely an anomalous venture into the past but for now I am relishing every moment of it!
Wednesday, March 19, 2014
The first Entrails album was much worse in this regard. This time around it had "seemed" that they wised up as the first few songs sounded like standard early '90's Swedish fare and then 'BAM'! They try to sneak the melodic penis up your ass when you think all is safe. It's as if the first two songs were Entrails slipping GHB into your drink and lulling you into a relaxed state of mind. Once you appear to have been lured into a trance, hook, line and sinker, out comes the Swedish meatballs, tap-dancing on your snoring mug. Shame on you Entrails!
Even the album cover is something of a mystery to me. It's cool yet there's something... something about it that seems... gay. Oh well. I had hoped that Entrails would iron out a bit of their homosexual tendencies come time for album number three but instead they seemed to have pissed off the wrong person as that album comes across as a rather "ball-less" affair, lacking that extra bit of "oomph" so vital in getting the job done. Oh well. There's always Interment.
Monday, March 17, 2014
Posted by The Way at 10:06 PM
Make no mistake, musically everything here is a continuation of Angelcorpse. It's kinda hard for it to be any other way, really, considering that Palubicki wrote the lion's share of riffs for that band and has not budged and inch in regards to any sort of stylistic change. If there's one thing to say as far as any sort of difference in approach goes it would be that Perdition Temple actually sounds MORE fucking angry and vengeful than Angelcorpse ever had with Gene delving even further into war metal territory, though because of the whirlwind of riff intricacies this band without a doubt falls under the death metal moniker.
Not terribly sure why he chose to do Apocalypse Command and then bounce back to this with an impending new album as they all basically sound like the same band (yes, that includes Angelcorpse minus Helmkamp) but whatever. There can never be enough of a good thing, now can there?
Not only did Purtenance manage to come back kicking ass, they somehow managed to actually sound better than they did back in '92! What's weird is that on their debut 'Member of Immortal Damnation' there was a song or two that reeked and reminded me of Incantation. Here, that resemblance is in overdrive. Fine by me. Anytime a Scandinavian band chooses to let their inner Golgotha loose I'm a happy guy!
The band's Incantation-isms don't end there either as the new vocalist Ville sounds no less murky and vile as Craig Pillard himself. Add to all of this a cool 'Creature of the Black Lagoon'-ish looking bloke on the front cover no doubt intended to be some sort of minion of if not Cthulhu himself and you have yourself a winner destined to stride the ages.
Now before I paddle off, let it be known that Purtenance was not beyond the questionable inclusion of a less than stellar track for whatever fucking reason, Chtulhu only knows, and yes, this tradition has been obliged with a track or two that sounds like the band covering some lesser entity merely for the sake of throwing everyone off. Hey, what the fuck do I know, eh? Overall this one's a winner in my book and WAY the fuck better than Convulse's comeback. Bravo.
Disma, however, are a fucking behemoth. The musical equivalent of some eight headed monster straight out of Greek mythology. I can only hope that the track on this split is indicative of what's to come in the form of their upcoming sophomore LP. I must give mention to the fact that things are a bit more doomy this time around as opposed to their debut. Those with severe attention deficit disorder have nothing to fear though as Disma have tossed you a bone with a tastefully included blast or two. Crushes fucking mountains into baking soda they do.
There's definitely a huge Bolt Thrower influence in the riffs and to a degree, vocals. Obviously these guys listen to a lot of classic death metal as you can hear anything from early Gorguts and Morgoth to Unleashed in each song. There's even a healthy dollop of thrash thrown in for good measure. For a debut the production is surprisingly tight and discernible without sacrificing the heaviness of the guitars. The vocals somewhat remind me of Mark Ditch from Gutted (Toledo).
Oddly enough, the more I listened to this CD the less I liked it. That's not because I think it sucks, but I can't shake the feeling that something's amiss. It's like a lot of the riffs and pattern arrangements go places that I wish they hadn't. No, there's nothing gay about this album, but it's like they'll have this awesome beginning to a song such as the second track and then once it gets going they end up somewhere considerably less interesting than they had began. I don't know. whatever. I'm sure anybody obsessed with classic death metal will eat this up. I'll certainly take this over the likes of Antediluvian and Mitochondrian any fucking day of the week. Unlike those types of bands, this goes good with a keg of beer and a bonfire in the woods!
Paroxsihzem, again, is a bit more straightforward with their approach. Sure, it's not drone-doom but you don't need a PHD in ADHD to hop on board. Most importantly, to me at any rate, is that the band effortlessly conveys that gloomy murk that made the early Incantation albums wondrous monstrosities to behold. Nothing gets to slow around here but the music certainly drags you through the depths nonetheless.
Aside from the obvious Incantation influence, I'd say that a good chunk of this album actually reminded me of Norway's Molested and their 'Unborn Woods in Doom' (whatever the fuck THAT means) demo, especially in regards to the guitar sound.
The vocals are nice and low and give Mr. Craig Pillard a run for his fish & chips.
For me, these guys stand out from the emerging 'blasphemous war/death' crowd while being very much part of it. It will be interesting to see where they end up given that they stick around for a follow-up.
The other thing is that I swear the band outright lifts whole riffs from out of the forests that surround the Left Hand Path. Sure, I've toyed with the notion that it is indeed possible that they are merely paying homage to the masters but jeez...
Overall, the sound is great, I mean, 9/10 you cannot go fucking wrong with the ol' tried and true B-HM 2 and Smothered have certainly done their homework in regards to its utilization and manipulation. Unfortunately though there are just not enough true "horrific" and bizarre moments on here to justify a revisit. I can say that I'll most certainly keep an eye out for them in the future as this is their debut and I've heard far worse when it comes to first albums but for now I'll stick with the new Corpsessed.
The majority of the songs run around the twenty minute mark so if you're the impatient type then you may want to skip this experience altogether, however, if you're in the need of a good drone (and I don't mean the ultra-monotonous type where one note is plucked throughout the course of 15 minutes) and a bowl of nature's finest, then you may find yourself in good company with Old One. Definitely a favorite of mine and a band that I am eagerly awaiting more material from.
Saturday, March 15, 2014
England, the UK in general, has been a monstrous fucking tear as of late with the emergence of bands such as Sheol, Vallenfyre, Malthusian, Zom and Binah to name a few. The interesting thing to me is that many of these bands seem to be gathering inspiration from Sweden and the U.S., and improving upon those styles as best they can.
'Hallucinating in Ressurectre' sounds like the album that should've came out after 'Left Hand Path'. Yeah, yeah... 'Clandestine' is a classic, yada, yada, but for me a lot of the doom -n- gloom weirdo-isms of Entombed's debut seemed to have been brushed aside in favor of creating an accessible death metal "hit". Binah seems to have captured and capitalized on all of the elements that made Entombed eerie to begin with.
Suffice to say, Binah possesses a guitar sound straight outta Sunlight Studios. Super thick magma barreling through the speakers with an ultra-creepy atmosphere to boot. I may be a little late to the show but Binah have swiftly become one of my favorite bands of the modern age. I'm very excited to see what comes next!
Ever since my teenage years way back in the late '80's/early '90's, I have been searching for and hoping to come across death metal of this quality and ferocity. After the mind-blowing triumphs that were 'Realm of Chaos', 'Consuming Impulse', 'Left Hand Path', 'Symphonies of Sickness' and both 'Slowly we Rot' and 'Cause of Death', I had pretty much known at that point that I preferred low tuned guitars and murky riffs. Of course finding music of this caliber was not always an easy thing as most people churning out death metal and releasing tangible material were those obsessed with incessant blast-beating, something that I have always been on the fence about. Sure, they serve their purpose well enough but when overdone they can thoroughly kill the mood and identity of a song.
Corpsessed are certainly a death metal band though they have a better grasp at doom than most bands who fall under that moniker. There are riff sequences that truly conjure conjure the horrors of the cosmos that Lovecraft only hinted at. The music here is truly cataclysmic. The note selections and their respective sequences are satisfying to the utmost. To hear this album is to know the true meaning of death metal.
Beside the stellar destruction and horror wrought by the guitars, the vocals are the quintessential icing on the cake. Death metal vocals can be very "make it or break it" for me. Some bands have insanely great music but in the end everything is reduced to naught as they had made the fatal error of embellishing their work with the likes of some lowly denizen who gargles cocks for a living. This is my opinion of Finland's Demigod. They took an otherwise decent album (The Slumber of Sullen Eyes) and proceeded to urinate upon it by using one of the weakest and most childish sounding "death metal" vocalists I've ever had the displeasure of hearing. Demigod, Corpsessed are not and their vocalist sounds like the human embodiment of a Kraken, roaring and flailing about in a colossal and unearthly rage.
The last thing I'd like to bring to light is the brilliant drumming throughout the album's duration. At one point I had noticed that there hadn't been any blasts and lo and behold "BOOM"! One of the most perfectly placed and executed blast beats came barging out of the speakers. I was stunned. This band can seemingly do no wrong. Nothing is overdone. Everything that is on display is done with master craftsmanship and perfection.
I can only hope that this band remains for some time to come and that they do not take years to follow up this triumphant display of cosmic upheaval.