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Music Video Wrapup by orlandooom407

This segment addresses the memorable music videos that have debuted in the last two weeks. I’ll start doing this weekly, but the first will play a bit of catch up.

Code Orange Kids are a new favorite of mine, and their tenacity is best captured by film maker Max Moore. The bewildering shot sequences of orange hands crawling through grime enhance the filthy fervor the quartet embodies.

Even though I’ve noticed a lot of people are burned out on The Sword I think this video marks an important statement from doom/sludge/stoner bands. I don’t think I’ve seen too many lyric videos that didn’t focus on boy band metalcore. Kudos to the Sabbath worshippers.

If you know of Red Fang you’ve probably watched their wide array of music videos some have largely attributed to their over night success. This video showcases the wild live experience RF embraces without excluding the expected silliness.

Holy flying fetuses Batman! Rwake pulls out the big guns in this extremely graphic montage depicting the destruction of several unidentifiable unborn mammalian quadruped. This one reminds me of a nightmare I had about high school biology once.

The most recently hosted video of the week belongs to Pig Destroyer in support of their newest LP Book Burner. The savagery of placing artillery in the hands of knuckle draggers is depicted here with a wonderful array of psychedelic color variety. You’ll be seein’ purple and green for the next few minutes.

Finally we’ve got Meshuggah’s newest courtesy of Scion AV. This one goes out to Leif Olson and his magic hands with the tattoo gun.

Have a great weekend ya’ll!

Follow Jared Oates Haggard on Twitter.

– Jared Oates Haggard



Ilsa – Intoxicantations by orlandooom407

Watch out for them golden tiger eyeballs. I hear looking deeply into them instills an unexplainable feelings of subservience leading you into it’s maw for din din. An Intoxicantation never seen before until spewed forth at the hands of DC’s ILSA. Amidst the squealing feed back wearing a cap that reads ‘fuck you’ germinates the masterful creeping pace attributed to any classic death-doom hybrid record. What sets Ilsa apart from bands like Hooded Menace or Atriarch is their uncanny ability to utilize the hardcore punk tangent. Just when you feel the mist rising to meander from the coffin, they’ll kick the damn thing open catching a smog ridden tailwind resulting in an all out down beat sprint to the finish line. The finish line would probably be best described as a carefully assembled row of frothing tiger skulls. I want to bring most of my praise to the 8th track entitled “Fluid Bound”. This just over five minute behemoth of a track encompasses the sheer vigor of riff refraining. It cruises, it bruises and  ignites gasoline soaked mosh fuses.

Intoxicantations will be released November 23rd on A389 Records

Follow Jared Oates Haggard on Twitter.

– Jared Oates Haggard



Nothing – Downward Years To Come by orlandooom407

Nothing?! NOTHING?! More like, nothing but lovely. Naming a shoe stare band nothing is like naming your little brother’s Underoath cover band: something. Downward Years to Come is the newest effort from the Philadelphia band featuring members of Horror Show. Right out of the gate they cultivate a delicate crash of temporal craters guided by a distant and equally compassionate voice. A journey from sounds that elicit foreboding mysticism unfolds for the listener leading them toward an explosion of fuzz fringe and contagious elation. Congealing song structures stroll you through a Lush, pun totally intended, serene scene of bottomless stairs. Similar to Dante’s descent, but with a soothing warmth rather than scathing superstitious blaze. Listening from start to finish segues the ears from fathoms of amplified swelling to a gentle acoustically charged climax entitled “The Rites of Love and Death”. Your ears could use the exercise, and it only takes one dreamy step down the black tiles bordered by white banisters.

Downward Years To Come will be released November 23rd on A389 Records

Follow Jared Oates Haggard on Twitter.

– Jared Oates Haggard



It’s Almost the 50th Anniversary of Beatlemania: Metalheads, Be Wary of Posers! by orlandooom407

When I was purchasing my tickets for the upcoming Kvelertak concert on the respective online box office for the tour, I found myself slightly amused to discover that, along with Converge, the Norwegian howlers had been labeled simply “hard rock/metal”, defining them in the effective subgenre shared by both Nickelback and Nirvana. But the brief thought also conjured up another name, on the occasion of its first single’s golden jubilee this month, from which a band being in that category places it only just two degrees of separation away. There is rather a significant overlap between consumers of “hard rock/metal” and fans of the Fab Four, and even those who find the Beatles too mawkish, meager, or otherwise lightweight – for a palette, anyway, that has currently expanded to include the exalted flavors of deathgrind, blackened troll metal, and powerviolence, which is apparently a type of music, now – must concede at least a primordial debt owed to them. We have, in any event, been entreated to the idea whether asked for or not.

The more mediocre commentators have always invariably pointed to “Helter Skelter” as the grandfather of metal (“I’ve got blisters on my fingers!”) but an imaginative sort can usually cite less obvious tracks, like the handful I recently saw nominated for this distinction by the author of a Top-100 list in Rolling Stone. “Ticket to Ride” seemed to be the most unexpected choice, and after a repeated listen, one may start to imagine something not completely dissimilar to Black Sabbath. The songs “Everybody’s Got Something to Hide But Me and My Monkey”, “Birthday”, and “Dizzy Miss Lizzy” have also popped up in similar compendia, purporting to discover that missing link.

This is serious musical genealogy, but it’s being offered to you by fabulists. The familiar framework of the Beatles catalogue is precisely why “Helter Skelter” and “Dizzy Miss Lizzy” are as jarring as they are. The metal connection is piecemeal and elemental, owing to the fair-mindedness of John and Paul in inventing or popularizing the use of fuzz effects and rollicking solos. I would like to now suggest the possibility that the indiscernable bridge is a consequence of something approaching impotency. After all, Slayer’s encomium to Holocaust terror has been available for the entertainment of would-be mass killers for three decades, but the White Album inspired racist violence almost immediately. The kind of metal being said to have its roots in Beatlemania has had comparably little success in putting actions to its words at all.  The Beatles attracted more international scorn for claiming to be bigger than Jesus than did the early scene arsonists when they upped that ante at the stave churches in Skjold and Fantoft. But structurally, semantically, and aurally, the case simply cannot be made.

(Not unrelated but somehow more excruciating are those same critics who are still insisting that “Black Metal” should be credited with inspiring the music that bears its name just because Varg Vikernes got caught wearing a Venom tee shirt on his way to prison. Has anyone who makes this claim actually listened to the eponymous album? It is no more likely to have spawned Darkthrone and Gorgoroth than Iron Maiden. Remember, black metal was not even called that until death metal became too trendy a wagon to hitch on to, and now we are asked to believe that a band as bovine and effete as one that would write “possessed by the soul of the gods’ rock-and-roll” in its most famous song inspired our most benighted exemplar of nihilism in music?)

But I have made no secret of my partisan leanings and have had to catch myself in loosely insisting that a black metal element necessarily improves a track. And if we can believe that the Beatles at least inspired the music that inspired the punk that inspired the thrash that inspired the black metal, then let us be clear about what that means. The road from Lennon to, at least, Schuldiner is built on the latter’s unique attentiveness to riffage and picking, and paved with magnitudinal shifts in chord structure and percussion, but black metal managed to evolve divergently and in spite of the trends of either artist. The Beatles, for all their innovations and achievements, remain a manufactured product of capitalist industry, while black metal that is not an expression of working class angst can scarcely be graded pure at all. Your humble servant hastens to inform you that even a musician as prolific and illustrious as Jan Axel “Hellhammer” Blomberg was compelled to take a night watchmen’s job just to make rent. The latter-day Beatles came to be defined in opposition to the promiscuous conceit of the Johnson doctrine in Vietnam and within the overall movement toward civil rights and equality, but black metal has only recently developed a stomach for social consciousness that isn’t retrograde and nationalist.

And yet … “Let It Be”, for all its cloying sentiment, really does appear to contain a downtempo precursor to the Discharge-beat. And there is that riff, just buzzing enough, in the chorus of “Come Together” that one can imagine extended, through eight or sixteen more bars, and ruminatively re-expressed over a blast beat and a ghoulish shriek, that, maybe, streamed through a tinny amp and recorded in a basement, hints at the possibilities of black metal. But don’t expect any peace and love in the forests of poverty and decay.

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– Zack Sigel



General Surgery – Like An Ever Flying Limb by orlandooom407

This is a good place to start where we left off.” Even the opening sound clip summarizes the fresh 5 tracks of brutalizing goregrind released by Swedish Death Metalists General Surgery. With exception of their choice cuts-esque best of A Collection of Depravation, it’s been three years since a new General Surgery track has melted membranes. Although there’s only 5 new tunes on this, these doctors of radical medicine have no problem severing limbs and cauterizing the wounds. I was lucky enough to see the macabre surgeons perform some of the best surgery I’ve ever seen at Brutal Assault 13. When they decided unleash a new technique to their operation. Like an Ever Flying Limb was played live and loud and consequently sent the crowd into a ravenous frenzy. With their signature sound, a bloody mix of Carcass meets Swedish Death, new General Surgery was what everyone should’ve expected: Brutally Fuckin’ Awesome.

CLICK HERE TO PRE-ORDER Like an Ever Flying Limb from Relapse Records

– Handsome Jake



Sadi Tells You How He Really Feels About Dubstep Moshcore by orlandooom407

**Notes from Oates – Last week Stuff You Will Hate introduced us all to ‘dubstep moshcore’. Where did it begin you ask? Where else does every horrible headline in the news originate these days? Florida. Sadi Thakur felt the need to share his thoughts about Exotype with the lot of you. Finally, I wish I could’ve shared pictures of the Facebook wall posts that inspired this, but I think in the best interest of the band’s dignity (lol) their member’s comments are best left in the trash. Enjoy!

Metal: always a horrible genre to be infatuated with. Especially when you’re trying to promote your heavy as fuck band. It’s bullshit. Labeling your band into any genre is kinda like looking at your buddy’s dick for warts after he fucked some bar slut he took home. You know, that night when he shouldn’t have driven home. You do it, but with a bit of a cringe. But to do it correctly blatantly takes either a lot of balls or no brains. Exotype has both.

I don’t know how to accurately review music, but with this band it isn’t a problem. They lure you in with their banner parading on sounding similar to Linkin Park and Skrillex. Time to let out the sigh of relief because we both know you were looking for a band that combined both. They somehow have an ungodly amount of production and sound like a metalcore band with dub step wobbles. If you are the kind of person still gelling your hair into spikes and rocking a button up shirt with flames covering it, you will be pumping your fist and headbanging your molly riddled brain into the closest Hot Topic. There, you can tell all your friends  buying hello kitty studs for their belly button that they need to check out the newfound messiah of wicked tunes: Exotype.

I watched the music video for their song Synthetics. I realized that popular rock music had bequeathed a bastard dumpster baby afflicted with a few too many chromosomes. I’m assuming this review will not deter you from listening and enjoying this music because you obviously don’t know how to read or use your brain for earnest analytical processes. I am not a proper resource for good music, I do not have a vast well of hip underground bands to reference nor do I know of quintessential bands that you have to listen to. I have been to a Skrillex show, and I get why he’s popular. There are hot girls hopped up on amphetamines and ecstasy. And they’re often dressed like fairies. He has lights to entertain the doped masses, and loud as fuck bass that massages any set of tender genitals to orgasm. His music, however is sub par. So unless your show has that, I’m more concerned about fucking girls and doing drugs at shows that kick ass. Fuck music.

– Sadi Thakur