Monthly Archives: September 2013

SKULL263

Posted on by
2

DEVILDRIVER, Winter Kills (2013, Napalm)

The skull:
By the sacred waters of Lake Cachuma, at the darkest hour of the desolate California winter, the jerkalope goes to die. Felled, like all the warriors of his kind, by ink poisoning, the jerkalope in his throes sloughs off his overtinctured skin to reveal at last the one true soul tattoo emblazoned on his unburdened brow, the mystical mark of all which is aggro and pure. And though the crows may feast on his rotted flesh and carry away his lesser osseous leavings, they dare not disturb the jerkalope’s inviolable headbone, so that pilgrims to the mystic shores of Lake Cachuma may gaze on the gnarly remains of the brutal and pray to the souls of them who have voyaged to the great circle pit beyond.

The music:
This fucking band. God damned DevilDriver. It’s not that they’re offensively bad, it’s that they’re offensively bland, gratingly mediocre. Fake tough-guy bullshit groove death metal. DevilDriver wants so desperately to be “hard”, but there’s no musical conviction there, only sanitized double bass and just enough melody to go down easy: death metal for video games and minivan dvd players. This band is the walking embodiment of corporate metal, the tools dishing out exactly the pseudo-rebellious pap that angry teenagers with a little disposable income crave. It’s astounding and depressing that Dez Fafara has been able to successfully pull this prank twice, once with the bottom-scraping nu-metal troglodytes Coal Chamber and again with DevilDriver. He’s a talentless weight around the neck of Heavy Metal, a visionless shit merchant trying to pass tattoos and tour buy-ons for talent. I’d say that DevilDriver can’t go away too soon, except that the minute they’re no longer profitable, Fafara will rise again to play dub slam or whatever it is low-achieving mouthbreathers are listening to in 2020.
— Friar Johnsen

SKULL262

Posted on by
Reply

CARRION, Evil is There  (1985, demo)

The skull:
Peekaboo, I see you! How cute, this bashful little skull peering out what looks like a broken window, rendered in a quick sketch by someone who was probably asked by the band, “Hey, we got a demo to release, you want to draw something?” Seven minutes later, Carrion have a demo cover. But if evil was the intent, they hired the wrong artist. He looks envious of the other child-skulls playing in the park while he mopes inside his shabby little ramshackle house. This shy little child-skull is hardly even old enough to know evil — he’s still wearing braces, for Pete’s sake. No, evil is not here.

The music:
This is the band that morphed into the better-known Poltergeist, one of the earliest signings to Century Media. Back in 1985, Carrion epitomized early speed metal, that place where fast traditional metal and true thrash metal meet. This is clearly German (well, Swiss), but more in the vein of Iron Angel, early Blind Guardian, and even a speedier Oz. Even a bit of a Hallows Eve Tales of Terror vibe here. They don’t quite have the memorable songs or purposeful thrust of those four bands, but it’s okay nonetheless. Nostalgia-wise, it wins a few points — it totally drips “1985,” if you know what I mean. This demo was truly a testing ground for the band’s first album, released in 1986, also titled Evil Is There! (with an exclamation mark), as the track list for album and demo are almost identical. The album cranked up the velocity and intensity by a few degrees, which I guess explains the added punctuation mark. If you’re an aficionado of German speed/thrash (and you better be!) the album is probably a good addition to your collection. Even if they’re Swiss, their German connection and their sound itself makes them the EF Band of the first-wave German thrash movement. The demo is simply an interesting relic, nothing more or less.
— Friar Wagner

SKULL261

Posted on by
Reply

MASTIC SCUM, Dust (2009, Twilight Vertrieb)

The skull:
Wheels within wheels, man. Or gears within skulls, whatever. This is a sharp looking biomech who succeeds on the details. Note the plate in his forehead and the exhaust vents astern, and of course the obligatory barcode (here emblazoned on his jaw). Lots of skulls go for this grimy industrial look, but most of them come off looking like rejected drafts for a Photoshop class. This guy nails it, and though he is to be docked points for presenting his skullacity in profile, and perhaps for a cliched surfeit of brown, he compensates with tasteful highlighting and some truly spectacular teeth.

The music:
Mastic Scum grind after the fashion of Napalm Death, with the death metal quotient turned up a bit. Though not as endearingly jarring as the godfathers of grind, Mastic Scum apply the formula well. The buzzy, super-high-gain guitars and the precise drum work summon a recollection of Fear Factory in better days, but really, most of the “industrial” in Mastic Scum is delegated to the artwork. I won’t say that this sort of music thrills me especially, but I can appreciate craft when I hear it, and Mastic Scum do this style about as well as anyone.
— Friar Johnsen

SKULL260

Posted on by
Reply

DEUTERONOMIUM, To Die and Gain (1999, self-released)

The skull:
“Check me out! I just won the olde-tyme Olympics!” “Awesome! What’s your event?” “Triple jump.” “Huh. Well, good for you.” “Thanks. I couldn’t have done it without the Lord, my savior, Jesus Christ. Also, the Father and the Holy Spirit. One for each jump.” “Uh, great, but I gotta be going.” “But wait! Have you heard the Good News?” “….”

The music:
It goes to show that you should never judge a book by its cover; I assumed from this hokey skull that I was in for some kind of crappy punk crossover shit, but instead I got… Christian deathrock! Not all surprises are pleasant, I’m afraid. Deuteronomium sound a bit like Dismember trying to sound like Wolverine Blues, except with on-the-nose lyrics about Jesus. Seriously, the lyrics are only one step beyond “Jesus loves me, this I know, because the bible told me so.” Really dreadful stuff. Thankfully, this is only a two song single (three if you could the epically unnecessary demo version of the title track) so my suffering came quickly to an end. I mean, not counting the suffering I’ll endure in the fires of hell for thinking Deuteronomium sucks.
— Friar Johnsen

SKULL259

Posted on by
Reply

NECROPSY, Another World (1991, demo)

The skull:
By now, you’d think we’d have encountered pretty much every situation a skull can get himself into, more or less, but this is definitely the first time we’ve seen a skull splashing out of a lake. He’s like some grim aquatic jack-in-the-box, and he looks every-so-pleased with himself. Of course, after he’s popped out of the water and scared the shit out of you, he doesn’t have a lot left to offer. He bobs there, grinning and dripping, and you admit, “Ha ha, you got me dude!” and then there’s an awkward silence, neither of you really knowing what to say, before he slowly sinks back into the water to wait for the next hiking sucker to stroll by his pristine Finnish lake, and you continue on your walk, thinking, “What a dick.”

The music:
Necropsy were one of those bands that released a ton of demos, but never managed a proper album. Usually these bands are terrible, so I didn’t approach Necropsy with much excitement, but now I realize they must just have been unlucky, because they were rather good. The band that immediately came to mind when I started listening to Another World was Demigod, and in fact the two issued a split EP together. Another World offers measured, precise, mid-to-fast paced death metal that isn’t tripping over its own feet trying to out-brutal every other death metal band out there. I’d also say that the basic template for Necropsy came from Florida, not Scandinavia, although the occasional keyboards and snippets of weird melody will quickly dispel any confusion between Necropsy and, say, Malevolent Creation. Another World also bears more than a passing trace of the thrash that spawned all death metal in the early days, although subsequent demos by the band evidenced fewer and fewer of these tendencies. All in all, this is a fine demo, and not even too bad sounding for the times, but the advent of Entombed and the explosion of creativity in the death metal scene at the dawn of the 90s probably made it very difficult for even solid bands like Necropsy to find a deal when they lacked any obvious hook or novelty. In retrospect, a lot of the junk that was signed and released in that period was a lot worse than Necropsy, but that’s just how it goes. Century Media just released a sprawling collection of every Necropsy demo, though, which I’d highly recommend to enthusiasts of this critical period in the evolution of death metal.
— Friar Johnsen

SKULL258

Posted on by
Reply

ASPID, Manqueta (1991, demo)

The skull:
“What? Yeah, I’m a little cracked up in the back, but I think that looks kind of cool anyway, and hey, check out these pearly whites! You don’t see a lot of skulls with a full set of gleaming choppers like these, do you, baby? Hey, where are you going? Why you gotta be leaving? That’s okay, though, cause I like the view. Oh yeah, you know I got eyes, or something. And they like what they see baby, so why don’t you back that thing up? Come on, baby, bring it on back to Skully!”

The music:
There have been a lot of Aspids, but this isn’t the best one. The best Aspid were a Russian tech thrash band who released the excellent Extravasation album in 1993. But this Aspid, the Spanish one, at least started out okay. (For the record, “aspid” is another name for the European viper.) Manqueta is reasonably good speed metal, something of a cross between Agent Steel and early Arakain. Good riffing and solid, high pitched vocals (with lyrics in Spanish.) The sound and the style scream 1986, but as this demo came out in 1991, Aspid were clearly a little behind the times. Sadly, they would later get with the times by dumbing down and moving in a groove metal direction. But for a little while in the early 90s, Aspid were a pretty cool band, and speed metal afficianados would do well to track this one down for their collections.
— Friar Johnsen

SKULL257

Posted on by
Reply

UNDERLORD, Rise of the Ancient Kings (2003, Rage of Achilles)

The skull:
I do love these covers that feature literally every evil metal signifier possible, crammed into one disjointed composition. A pentagram, upside down crosses (on fire, naturally), crazy swords, occult symbols, and of course a seriously regal skull in the midst of it all. As with the nouveau riche, this nouveau mal skull is just a bit too ostentatious in his displays of malevolence. You just know he drives some fancy luxury hearse with the vanity plate, “EVLSKLL”, and he just never takes that fucking crown off. How else would you know how royally sinister he is?

The music:
An even mix of first and second wave black metal, Underlord offer no surprises and nothing new. The playing is remarkably crisp, considering how shitty the recording is, but the riffs are dime-a-dozen Venom, Bathory and Mayhem knockoffs, with the obligatory croaking vocals and lyrics about war, Satan, and ancient wisdom and what have you. If you think of Hellhammer as more than just the shitty band that eventually became Celtic Frost, or you think Sodom peaked with In the Sign of Evil, then maybe Underlord will tweak your nipples just right.
— Friar Johnsen

SKULL256

Posted on by
Reply

BEATEN BACK TO PURE, The Burning South  (2004, This Dark Reign Recordings)

The skull:
Pretty boring cover motif, but exactly what you would expect from a band playing “Southern Sludge/Doom Metal,” which is what Metal Archives says is this band’s modus operandi. Here we have a sketched skull with crossbones laid over a backdrop of ivy and a rebel flag. Zakk Wylde and Jimmy Bower would be proud.

The music:
I expected this to sound like Black Label Society meets Eyehategod, but it’s not like that (thankfully). The rock/metal is of an older school, like maybe early heavy Kiss or Scorpions, and the doom is more traditional, maybe Count Raven or Saint Vitus, and its  melodic sensibility is something more akin to various European metal bands than anything “Southern.” The sludge element comes, apparently, from the propensity of slower tempos and maybe the vocals, but it’s got a more buoyant feel than the “sludge” tag suggests — and it’s not all that de-tuned, either. The music, especially on something like “Where the Sewer Meets the Sea,” is craftily written, with good performances, a cogent and compelling musical story told through thoughtful arrangements, and a diversity of melodic choices and some fairly okay riffs. But it all sinks to a heap of crud when the vocalist opens his mouth. He’s throaty and gruff, yet mixed so far back and so inconsequential it sounds like they took their sweet-ass time recording all the music first, only to be left with one single hour of remaining studio time to track the vocals. They sound that rushed and are that unimaginative. Too bad, because musically this was quite a surprise, and they have something decent to offer.
— Friar Wagner

SKULL255

Posted on by
4

KHROPHUS, Presages (2009, Fonomídia)

The skull:
Grimy and no doubt freshly disinterred, this is a proper grave skull. Dark background, deep shadows, not a tooth in sight: you know you’re in for some death metal. I mean, it presages you listening to some death metal. The skull’s all, “I foresee you listening to some death metal in the near future,” and you’re like, “Yeah, yeah, Nostradamus,” so he says, “Consider it presaged,” and you think, “This fucking guy…”

The music:
Like Cannibal Corpse minus (most of) the stupidity, Khrophus play meat and potatoes modern death metal without any fuss. Featuring lots of squealies, lots of minor third trills, and all the arbitrary riff changes you can stomach, Khrophus are nevertheless a fairly restrained example of the form, and that (relative) tastefulness is probably holding them back in the scene. Or not, I don’t know. Maybe all the kids these days love Khrophus. Maybe “Khrophus, Khrophus, Khrophus” is all you hear coming out of the Brazilian equivalent of Hot Topic. I can say at least that I’d rather listen to this than Krisiun, but I absolutely don’t ever want to listen to Krisiun. So: Khrophus. Better than two bands I can’t stand. Enjoy?
— Friar Johnsen

SKULL254

Posted on by
Reply

ARDKORE, Napalm Stix to Kidz!!  (1989, Metalworks)

The skull:
Looking like it was ripped straight from the back cover of a fourth-grader’s notebook, this
image piles on the cliches: a skull, a fallout shelter/radiation symbol, and the anarchy “A” scratched into his forehead. The skull tries hard to look ferocious, but no dice. The band logo and especially album title font almost make it look like a Screeching Weasel album. They do have punk leanings, so there you go. What’s with the detached bottom jaw and the thin two-pronged tongue? Man…how long till we get to Skull 666?

The music:
Mindless and pointless, if perfectly competent, this band, like so many British thrashers
offered too little too late. So it is with this album, a bland pile of crossover thrash. 16 songs, 36 minutes, titles like “Kill the Lollipop Lady,” “No Fear” and “Judge of Death.” Yawwwwn. File it away with Cerebral Fix, D.A.M. and Virus and move right along. Nothing to see (or hear) here…
–Friar Wagner