Hey! I love Yop! by orlandooom407

Alex Perez (thanks for the photo dude!) and I caught this beauty nearing the end of the Panther’s unfortunate 4-1 defeat to the Rangers last night. And yes, it is true. The almighty Yop, wait I mean, YOB, are joining prog metal masters Tool for two Floridian dates:

2/6 in Ft.Lauderdale at The Bank Atlantic Center. Tickets go on sale Saturday, January 7th at 10AM at LiveNation.com, Ticketmaster or charge by phone 800-745-3000.

2/7 in Orlando at the UCF Arena. Tickets also go on sale January 7th and you can save this link until then.

In the mean time I can only imagine how a giant crowd of stadium metal fans will react to this:

– Jared Oates Haggard


Liberteer – Better To Die On Your Feet Than Live On Your Knees by orlandooom407

2011, according to Time Magazine and just about every other news outlet, was the year of the protester. Now only history will tell if this year was the beginning of some kind of global political shift or if people will free fall back into the pits of complacency. Since I am a cynical shithead I believe it will be the latter, but Liberteer’s debut album Better to Die on Your Feet Than Live on Your Knees might cure my disenfranchisement in a way that drum circles and cliched sloganeering never could.

The one man grindcore project from Cretin and Exhumed veteran Matthew Widener is the most inspiring and, consequently, one of the most left of center grind albums ever recorded. The opening brass horns of “The Falcon Cannot Hear The Falcon” elate a feeling of nationalistic pride which is ironic considering the album’s primary thematic device espouses the principles of anarchy. While using off the wall samples is not uncommon in grindcore, Liberteer blends samples of brass horns, banjos and mandolins with Repulsion tier riffing. The unique mix sounds like Napalm Death taking a detour as an American Revolution reenactment marching band.

Although grindcore has dabbled in politics before, Liberteer decries the current system while at the same time offering a potential replacement. Song titles like “Rise Like Lions After Slumber” and “99 to 1” are rallying cries to the masses and the major key triumph of many of the songs can stir even the most skeptical. If you aren’t completely sold on the anarcho ethics of Liberteer you can still get pumped to songs like “Sweat for Blood” which wouldn’t sound out of place in a Rocky training montage. If you want your revolutionary siege  scored by breakneck riffs and extensively developed rhetoric, or just like bad ass unique grindcore, this album is highly recommended.

Click here to pre-oder Better To Die On Your Feet Than Live On Your Knees available from Relapse Records January 31st.

Click here to follow Liberteer on their Facebook page.

– Clark Johnson

they eat their own god – demonstration by orlandooom407

Recently I’ve been discovering several impeccable examples of newer bands implementing black metal in some unorthodox ways. Structurally, they eat their own god, hailing from Columbia South Carolina, orbits around the idea that no riff should bore or distract the audience. Even though at my first listen I’ll admit that the composition felt a tad disjointed. After giving a second listen to appreciate the riffs I did enjoy initially I found myself bobbing my head twice as consistently as before.This one definitely grows on you, and there is a lot of variation in the moods conjured throughout.

No atmospheric tangents here, but the calmer moments are guided by monologues saturated in loathing vocals and tasteful chord progressions that, oddly enough, resemble the same reactions I have to  Built to Spill or even Dinosaur Jr. These “nineties tones”, as I’ll call them for the sake of this article, permit a multitude of differentiating transitions all spun together through a common vocal thread.  The more vile portions assimilate the punishing misanthropy of ever recurring blasts and Immortal styled texture and pace. Each emission carries it’s own euphoric triumph that translates into furious spurts of blackened trems and blasts, jarring punk rock sprints and even some stunning guitar harmonies that would violently arouse any Baroness or classic rock enthusiast.

As I mentioned the biggest unifying themes exhibited by TETOG are versatility and putrid tortured screams that would satiate the cochlea of any blackened punk enthusiast. Lyrically the fuel is boiled through a series of anarcho sentiments that allude to humanity collapsing beneath the weight of it’s frivolous and degenerative accomplishments. I even caught a couple Orwellian allusions in the first collection of tracks.

This record doesn’t fit in anyone’s neat little genre specific box. For those that are seeking a fresh take on several different styles of music that would seemingly never coexist then you’ll want to follow the link below.

Click here to download demonstration by they eat their own god for FREE on the Bandcamp page.

Click here to keep up with they eat their own god on Facebook.

Also, they eat their own god is touring into Floridian territory starting on New Year’s Eve. They arrive in Orlando on January 4th at SIP Orlando:

– Jared Oates Haggard

Wolvhammer – The Obsidian Plains by orlandooom407

Driving to work is my favorite time to listen to music. Usually, my morning commute gives me   about thirty minutes of alone time where I can drink my coffee, stuff my increasingly fat face with a muffin and just listen to music as loud as needed to prepare me for another day in the corporate grind. The other day I had a chose to listen to the new Wolvhammer album The Obsidian Plains and when I got to work I was prepared to drive my car straight into the office and bring it all down. Wolvhammer’s second full length, their first for the nearly flawless Profound Lore, will bring out that ugly part of yourself that you wish didn’t exist. It’s that part of yourself you never act on because if you do your life would be the subject of an MSNBC Saturday afternoon documentary.

The Chicago via Minneapolis band is beginning to live up to their original concept of “Bathory meets Motorhead” but also adding elements of NOLA sludge, funeral procession atmospherics and a healthy dose of spewing hate. Wolvhammer stretches out the dynamics and potential from their debut and makes a street level epic. With new vocalist Adam Clemans using his blackened shriek to deliver commentary on the complete shithole we are all sinking into, the band has refined the attack first hinted at on their first album and EPs. Wolvhammer is not the sludgiest or the fastest or the blackest metal band but what sets them apart from the rest of the pack is the feeling that this isn’t some manufactured hate, this is the real deal. Wolvhammer also understand that songwriting and dynamics is actually more important than technical know-how or rapid fire speed.

The track entitled Shadowhorn stands out as the best example of the bands Motorhead/Bathory blackened rock n roll aspirations. Beginning with a crushing riff that just lays into a pure rock n roll groove before erupting into a crusty d beat thrash and the song ends with a “why the fuck not” melodic solo that would fit right in on a Candlemass album. But the album stand out track is “Writhe” which seems like five songs in one but never seems forced or unnatural. The track goes through classic thrash, blackened blast beats, dopesick sludge, grey skied doom and Godflesh on coke industrial styled pummeling. All I know is when I finally just give into my undercurrent of murderous rage, this is the album that will be played in the trial by my defense. I can’t imagine better press for the band.

Click here to purchase The Obsidian Plains out now through Profound Lore Records.

– Clark Johnson

Whores – Ruiner by orlandooom407

My love of Whores is absolutely no secret [insert obligatory dumbass remark here]. I’ve been touting how fucking incredible this band is since the first time I saw them. Truth be told, I had absolutely no idea who they were, and was just there to see my homies in Junior Bruce rock out. The first thing I noticed was their out-of-control rigs, and that their drummer had set his kit up sideways. Other than that, they’re rather unassuming looking fellas, and I didn’t really expect a whole lot. Yes, I know that sounds jaded, but it’s the truth. We’ve all sat through entirely too many god awful bands before. Absolutely nothing could’ve prepared me for the unadulterated sonic incursion that was about to be beaten mercilessly into my soul through my ear canals. It took me til about half way through the first song to realize what the hell it was that was actually happening to me. I, for the first time in god only knows how long, was being completely blown away by a band I knew absolutely nothing about. To say it was a beautiful thing is the biggest understatement I’ve made in years. I was instantly hooked. All I could think was “Fucking finally! A band that truly embodies everything that rock ‘n roll is supposed to be about!”

Since that day, I’ve forged a friendship with the band, and not only do they kick total ass as a band, but they’re some of the nicest, and more importantly HUMBLE people I’ve ever met. Which brings me to my next point. This three piece is from Atlanta, GA. A city that is absolutely stacked with amazing bands. As far as being humble: Whores would never come out, and say this. But I’m not in Whores, and I absolutely will. They are hands down, and without a doubt the best band Atlanta has, had, or will have for the forseeable future. It amazes me how much ease I can say such a thing like that with, but there’s not even remotely a second thought for me. It just is what it is. Everything they do is done with what seems to be this effortless precision. It’s truly a pleasure to witness.

Okay! Okay! Enough of my obvious fanboy rhetoric. Let’s get down to the business of why we’re actually here. That would be that yesterday was the release of their EP Ruiner out on Brutal Panda Records (http://brutalpandarecords.com/). There’s a couple of things that Whores do to me that drive me absolutely insane (but in a good way). Their live show is so fucking intense that I almost feel bad putting other bands on a bill with them. If you’re lucky enough to share the stage with these guys, bring your big boy/girl game, or you’re gonna get blown right the fuck off of said stage. Their live show also makes this the most difficult record I’ve reviewed to date. This is in no way saying anything negative about the record, or the band. It’s just that I’ve spoiled myself with their live show, and I’ve even said to singer/guitarist Christian Lembach a couple of times that I feel it’s impossible for an engineer to capture what it is they really are as a band in a studio setting. (Wait! I was supposed to knock that fanboy rhetoric shit off. Damn it!)

If I only had one word to describe Ruiner, it would be “thick”. Luckily for me, I have as many words as I want. Ruiner kicks off on the A-side with the track Daddy’s Money. I’m not sure if this track is directed at anyone specific, but it can most certainly be applied toward the sniveling little asshole Hollywood elite. You know, those talentless hacks that plague our airwaves just because they’re the heirs to some corporate throne, but have absolutely jack shit to actually offer humanity. The ones that get busted with illicit drugs, and buy their way out with a slap on the wrist by getting sent off to some country club in Beverly Hills. Whereas if it were you, or I that got busted with the same thing, we’d be in one phase or another of the penal system for the next 5-10 years. I like to think of Daddy’s Money as an anthematic “FUCK YOU!” to them. Pay to win, indeed. That shit won’t last forever, though.

The second track on the A-side is Fake Life. Fake life is beautiful in it’s simplicity. What I mean by that the only lyrics to the song are “How do you like your fake life? I want it and I got to have it”. Straight to the jugular lyrically, and musically a kick-ass rock ‘n roll song that could get Stephen Hawking’s hips a swingin’.

Rounding out the A-side is my personal favorite track on Ruiner: Shower Time. Falling just short of three minutes, this track is so blistering it leaves you with what can only be described as “speaker-burn”. The only thing I ask is the aphids and the ants don’t have their way with this band anytime soon.

The B-side of Ruiner has two tracks. Starting off with the longest, and slowest song on this phenominal piece of art: Straight Down. Yes, Straight Down has a bit of a slower tempo to it. Make no mistake: it rocks, and it rocks fucking hard. Concluding the record is Tell Me Something Scientific. This track will always be near, and dear to my heart as it is the first song I ever heard by Whores. Both live, and recorded. It is the initial song that had me hooked from the very beginning.

Now, perhaps you’re asking yourself by this point what this band even sounds like. Well, it’s rather hard for me to describe. There’s not really a genre, or sub-genre I can just carelessly cram Whores into. Though their influences should be evident to everyone, there’s not a really a band I can, or would compare them to. They’re just Whores. Are they heavy? Without a doubt. Are they loud? It doesn’t come any louder. Are they fun as all hell to rock out to? Well, I wouldn’t haven’t written all this slurping fanboy stuff if they weren’t. What I will say about Whores is they have the uncanny ability to take me back to the early/mid 90’s, and make me feel like a young kid discovering new and interesting music for the first time. Not a lot of bands do that for me these days. So, do yourself a favor and head on over to brutalpandarecords.com, and purchase this absolute gem. It is worthy of anyone’s collection.

Check out the digital copy of Ruiner on Whores’ Bandcamp page by clicking here.

– Ryan NinetyProof Pemberton

Photos of Cannabass, Fire in the Cave and Cloud Rat! by orlandooom407


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New photos by Famous After Death photography have surfaced from a recent show we hosted with Thou, Cloud Rat, False, Cannabass and Fire in the Cave!

Thanks to Warren for all these great photos!

– Jared Oates Haggard

Time Lapse Video of Scale the Summit Flier by orlandooom407

This is the next flier by Keith Carlson for an upcoming show on February 18th at Will’s Pub in Orlando. The bill consists of the touring duo Scale the Summit (Prosthetic Records) and Elitist (Blkheart Group) supported by locals Abuse and Fire in the Cave.

You can find the Facebook event here with links to each band.

If you haven’t heard Scale the Summit yet, please direct yourself to my obligatory, yet relevant, digression below:


– Jared Oates Haggard