orlandooomdotcom


Code Orange Kids – Love is Love // Return to Dust by orlandooom407

If you’ve been paying attention to my Last.fm page, which I hope you haven’t, you’ll notice this record has become part of my permanent musical furniture arrangement. The social media savvy Code Orange Kids are a band that does every single thing a (metallic) hardcore band should in that they keep the listener grooving without compromising the caustic power of a jarring arrangement or spontaneous drum solo to reconstruct as song that had already been blown apart by writhing words and/or dispatched by a wayward calm. What struck me as most fascinating was the kids emphasis for bizarre dichotomies separated by punctuation (like this) // or this. Some songs boast two entirely different sides as they progress, so each song in a way represents a split within itself. Two songs in each song. Regardless of how you like to organize your breakfast on the plate the kids will still cram it all down the back of your throat clutching fork, fist and all. Comparisons to Loma Prieta or Birds in Row need not be taken into account for an apt and optimal listening experience. Even if you’re one of those metal folks that ‘doesn’t do hardcore’, probably because you happened to listen to Confide before discovering Cursed, I would highly suggest clicking play below. If ‘Flowermouth (The Leech)’ doesn’t hook your head into a perpetual bang by the second riff then it just wasn’t meant to be. That said, I feel that this LP wins Album of the Year in my heart so kudos to the band and Deathwish Inc for making it all come together.

Code Orange Kids Merch Store

Also, you can catch ‘dem kidz on tour with pro-thought terrors Gaza and A389 Records’ Full of Hell on tour this winter!

Follow Jared Oates Haggard on Twitter.

– Jared Oates Haggard

Advertisements


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.

Click here to follow Zack on Twitter!

– Zack Sigel



Thursday Night Grind Time Features Torch Runner by orlandooom407

This week has proven rather saturated with insane heavy shows for Central Florida. From Swans playing tonight at The Social, the show featured above these words and Tombs and 16 playing Saturday at Will’s Pub the ear plugs are being put to work. What’s wonderful about Thursday in particular though can be answered through viewing this music video created a couple years back by Torch Runner:

Brutal silliness, yes indeed. The space coast punks have a hand in this hot fiasco too because Nuclear Death Squad will perform come Thursday.

To sweeten that pot Devalued from Miami have been tossed into the chaos, and you can preview their music along with local hardcore hammer faces POWERDUMP below:

Don’t forget you can follow us on Twitter @Orlandooom!

– Jared Oates Haggard



Municipal Waste Tour Diary by endlessgonzo

via Decibel Magazine:

5/29 – Orlando FL:
Something weird is happening in Florida while we are down here. People are O.D.-ing on some weird ass drug called Bath Salts, are freaking out and ripping each others faces off. It’s the perfect state for the Waste to play!

It was a cool show at The Social and afterwards a ton of us went next door to the Bar B Que bar. A bunch of old friends and my other band mates in No Friends were all in attendance and a lot of shots were had. Brad from Gwar rolled up there, too. Unfortunately, all this excitement of being around so many friends caused me to drink a little too hard and black out a little too early. One of the last things I remember was eating Del Taco burritos on the bus alone by myself in the dark. Tour life is so sexy.

Ew, Del Taco? These guys are the most reckless band in the world if that’s true. I’d rather stagedive into a Mortal Kombat-style spike pit.



SICK FIX to Release ‘Vexed’ on A389 Recordings So We’re Sharing a Track by orlandooom407

Michelle Northam, vocalist for DC/Baltimore Hardcore brutes Sick Fix (A389 Recordings), incited quite the laugh with this roaring candid photo (props to Corky Berlin Photography for the shot). Today marks some exciting news for the band as they just announced an upcoming tour of Europe with the ever satirically pissed: Coke Bust. Armed with their hyper tense songs and a healthy appetite for aggression I’m envious for Floridian residency, and occupation, would prevent me from attending one of these shows.

If you’re one of our lucky European readers, here are the dates:

EUROPEAN TOUR WITH COKE BUST
07/20 Rokycany, CZ @ Fluff Fest
07/21 Leipzeig, Germany @ Zoro
07/22 Dresden, Germany @ Chemiefabrik
07/23 Hamburg, Germany @ Hafenklang
07/24 Malmo, Sweden @ Venue TBA
07/25 Oslo, Norway @ Blitz
07/26 Gothenburg, Sweden @ Skjul 46
07/27 Copenhagnen, Denmark @ Venue TBA
07/28 Hannover, Germany @ Korn
07/29 Munster, Germany @ Baracke
07/30 Canterbury, UK @ The Chantery Club
07/31 Leeds, UK @ Wharf Chambers
08/01 Glasgow, UK @ Nice And Sleazys
08/02 Dublin, UK @ The Pint
08/03 Galway, UK @ Venue TBA
08/04 Manchester, UK @ Krak Gallery
08/05 Birmingham, UK @ The Wagon And Horses (afternoon show)
08/05 London, UK @ The Big Takeover (evening show)

Here’s the full press release pertaining to Vexed:

“Washington DC’s straightedge powerhouse SICK FIX have just wrapped up their debut LP ‘Vexed’ which is set to be released this upcoming July on A389 Recordings.  Recorded by Kevin Bernsten at Developing Nations (Baltimore, MD), ‘Vexed’ comes loaded with twelve tracks of fast and crushing, pissed off female fronted hardcore.”

Facebook
A389 Recordings



CYNARAE TO RELEASE NEW 12″ & RECORD RELEASE (WEST COAST) SHOWS W/ KISS IT GOODBYE by orlandooom407

Last week we previewed the newest self-titled 12″ due out from Washington state hardcore band Cynarae on A389 Records. Today we’ve learned that they’ve announced some new west coast shows:

6/8/2012 San Francisco, CA @ 924 Gilman St (w/ KISS IT GOODBYE)
6/10/2012 Seattle, WA @ Highline (w/ KISS IT GOODBYE)
6/28/2012 Portland, OR @ Laughing Horse Book & Film Collective (w/ HORDES)
6/29/2012 Seattle, WA @ Black Lodge (w/ HORDES)

Here’s a look at what one could expect from their live show:

Facebook

SoundCloud



New Video In Anticipation of Primate LP Vinyl Release July 3rd by orlandooom407

When Primate played their first show in Orlando last year I was tasked with escorting Bill Kelliher (Mastodon) from Orlando International down to Will’s Pub. Them, along with Atlanta noise rockers Whores (Brutal Panda Records), gave a stunning harder than mountains performance alongside Junior Bruce (A389 Records). In support of their pressing of their debut LP Draw Back A Stump the band has released a brand new video:

Here’s the press release that was coupled with this excellent piece of musical film:

“Two separate anthems from grindsmiths PRIMATE‘s debut LP Draw Back a Stump have been set loose on a public rampage this week. Today fans can hear the raging track “Pride” via a Relapse lyric video AT THIS LOCATION.

Recently, Metal Injection included the album’s opening/title track “Draw Back a Stump” on an exclusive twenty-song Relapse podcast downloadable RIGHT HERE.

After an initial 1000-run CD pressing released by the band directly in 2011 was quickly devoured by an immediately ravenous fanbase, PRIMATE will re-unleash their debut album Draw Back A Stump via Relapse on July 3rd through CD, LP and deluxe digital download formats. The seven hymns from the initial version now include additional rhythm guitars and have been remixed and remastered, and are joined with three previously-unreleased bonus tracks for this edition. Pre-orders for the album are available HERE.

Atlanta’s villainous PRIMATE is comprised of vocalist Kevin Sharp, bassist/vocalist Dave Whitworth, drummer Shayne Huff and guitarists Bill Kelliher and Mike Brennan, an all-star lineup hellbent on delivering Grade-A punk the likes of which has not been set loose on the ears of the world since the glory days hardcore. Following several destructive live appearances last year after the album was initially released, this new version will see PRIMATE taking to the streets once again, as live confrontations and more are being planned to take place over the coming months.”

Primate Website

Facebook

Relapse Records

Relapse Records Bandcamp

Relapse Records Facebook