Posts Tagged ‘Metal’

30th April 2018

James Wells

Execrate – ˈɛksɪkreɪt/verb

verb: execrate; 3rd person present: execrates; past tense: execrated; past participle: execrated; gerund or present participle: execrating

1.feel or express great loathing for.

synonyms: revile, denounce, decry, condemn, vilify;

2. archaic curse; swear.

Nottingham-based Deathflux, formed a couple of years ago around guitarist Tom Clarke, articulate deep and unbridled loathing through their highly technical but relentlessly fierce brand of metal. They may curse too, but the snarled lyrics are only partially audible.

To set their agenda clearly from the outset, the album’s first song is called ‘Bludgeon’. And it does, the stop/start guitars shudder against drums like machine gun fire to forge a blast(beat) or grindy abrasion.

Lead single ‘Transcend’ (all of the tracks have one-word titles, adding to the stark and brutal effect) is representative of the albums 7 tracks: the drumming is so fast the effect is more akin to the rattle of a knitting machine than distinct and separate beats registering to mark time. The guitars – with several octaves of strings – are a blurred blizzard of fretwork, while the vocals epitomise guttural nihilism. It’s about conveying sentiment and raw emotion than actual lyrics. Where actual lyrics are audible, they’re venting violent threats like ‘break your face now!’

There are some wild guitar solos laid over the churning riffs, and there’s no let up in the seething fury that radiates from every note.

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Execrated Artwork - Lo Res 1

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The French industrial-goth metal group Porn released their third album, The Ogre Inside, in October. The third video from it, for the slow-burning and atmospheric 9-minute title track, now appears on the same day as an EP of remixes of the song by Aura Shred, Heartlay and An Erotic End Of Times, entitled Inside the Ogre Inside.      

Band leader Philippe Deschemin explains : “The video was shot in Los Angeles in October. It follows the duality pattern that was noticeable in our previous video for ‘You Will Be The Death Of Me’, with alternating shots of two people, a male and female. The male is trapped in a sort of prison or factory cell, a small and darkened room, and condemned to work on basic machinery in a laborious routine. In an adjoining cell is the female, doomed to the same fate. The factory cells represent their lack of communication and the machines represent the routine of a relationship. We wanted to create a metaphorical version of a doomed relationship, one without soul and feelings."     

Watch the video here:

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Porn Inside

Avalanche Recordings – 17th November 2017

Christopher Nosnibor

We’re used to press releases gushing with superlative verbiage, so the short statement which accompanies the second post-return Godflesh album stands out by virtue of its brevity and factuality. It simply reads: ‘Over two years in the making, Post Self explores a different side of Godflesh, taking in their formative influences to conjure something informed by late 70’s/early 80’s post-punk and industrial music. The album deals with themes of anxiety, depression, fear, mortality, and paternal/maternal relationships’.

It’s entirely fitting. Godflesh require little introduction as pioneers of stark, brutal music, paired with lyrical brevity.

We live in a post-everything world, and Justin K Broadrick has long crated music that’s post most things. His solo album, Post-Human, released under the JK Flesh moniker, saw Broadrick draw together various threads of his extant output into a ferocious sonic assault. Post Self­ manifests as a different kind of post-dissection from the solo release, and also brings a different shade of grind from A World Lit Only by Fire. Post Self is unmistakeably Godflesh, and incorporates all of the elements that make Godflesh Godflesh. Thudding, mechanical percussion, snarling bass, lead-guitar motifs built on feedback and minimal, repetitive riff structures and relentless brutality define the album. And in contrast to the certain sameness that overarched its predecessor in terms of texture and tempo, Post Self­ has all the dynamics and attack of much earlier works, as the thick sludge ‘n’ scrape pounding is replaced by space, a greater separation of top and bottom, and altogether more diverse sounds and structures – and with serious impact.

The title track is he first cut, and booming, dubby bass and mechanised percussion pound beneath squalling guitars, with murky rhythm juxtaposed with super-toppy lead. The vocals are practically impenetrable, throaty, splenetic snarls drawled out over a full bar. The relentless thud of ‘Parasite’ again explores tonal range and difference, a mangled interloping treble-edged lead threading a spindly web of pain over a bowel-churning bottom-end. ‘No Body’ has all of the vintage Godflesh tropes, with brutal digital percussion and trudging riffing dominating everything. ‘Be God’ is a sonic bulldozer, the bass grind an earthmoving shovel and scrape which yields to gentle musicality, the strum of a reverby, indie guitar into the fade before ‘The Cyclic End’ washes into dystopian shoegaze that’s more reminiscent of Jesu than Godflesh, but for the booming bass throb and creeping darkness. Combining glacial coldwave synths, mangled vocals, and a grating, trudging bass, ‘Mortality Sorrow’ is as unrelentingly stark and unforgiving as it gets.

I constantly find myself facing the question about the balance of objectivity and subjectivity. Objectively, Post Self is painful, breathtaking to the point of discomfort brutal, punishing. Of course it is: it’s a Godflesh album. But subjectively, it feels both more vital and equally more bleak than its predecessor. There’s a passion here, but the mechanical, dehumanised detachment that characterises Godflesh is equally present. Subjectively, I’ve always been drawn to Godflesh because of just how removed from human input they’re capable of sounding, forging a sound that emanates rage and despair while stripping every last sinew of humanity from the end result.

And buried and largely indecipherable as the vocals are, the themes are less conveyed by the lyrics than the delivery. The atmosphere is intense, claustrophobic, oppressive, and every inch of the album is imbued with implications of depression, anxiety, fear and self-loathing. It gnaws away cerebrally, while working away at the pit of the stomach and kneeding away at the intestines.

Post Self is Godflesh on form: nihilistic, pulverizing, and ploughing their own deep furrow of dark, furious despair. No other band can create work quite like this, and rejuvenated, reinvigorated, they continue to push the parameters.

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Godflesh - Post Self

Southern Lord – 3rd November 2017

Christopher Nosnibor

Fast and furious isn’t in it. But the enigmatic and secretive Friendship are from Japan, and when it comes to extreme music, Japan really leads the field. And if Hatred seems an odd title for an album by a band called Friendship, then the equation really should be turned on its head: for a band this brutal, abrasive and gnarly to be called Friendship is simply perverse. There’s nothing friendly about them, and song titles like ‘Rejected’, ‘Regicide’, Corrupt’, ‘Tortures’, ‘Grief’, and ‘Execution’ don’t exactly send hugs in abundance either.

Of the album’s twelve tracks, only two extend beyond the three-minute mark, and half are sub two minutes. Holy fuck, this is fast and hard and nasty. It begins with feedback and immediately plunges into the dingiest, gnarliest, darkest metal noise going. The drums are pounded so fast it sounds like a pneumatic drill. Everything else is just a blurred barrage of insane, intense noise. There are riffs, but they’re brief, and churningly cyclical. The rest is all squall. And it’s a furious, punishing grind.

If friendship it is, it’s an abusive one which shows no regard for the wellbeing or mental health of those concerned. But as far as hatred is concerned, this album is all aspects of pure loathing distilled to the most potent concentrate.

Listening to Hatred is like having your soul torn from the heart of your being and ground to a pulp before your eyes, while your eyes are being pricked with hot pins. Aurally, it’s torture in its own right.

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Friendship cover art

French industrial-goth metal band Porn have just released their third album, The Ogre Inside, from which the song ‘You Will Be The Death Of Me’ is taken.

Porn leader Philippe Deschemin describes the song as being about "life, death and love and the fact that love is like humans – mortal. I am obsessed by death, which I see everywhere. Everything ends, everything dies. And sometimes, maybe always, being in a relationship means to kill the previous version of yourself. You change, and in a way you die, to be reborn as another you. The new video is a metaphor for death, a ‘mise à mort’, and I wanted to place the female protagonist in the dominant position."

Do people still use ‘NSFW’ these days? If so, this meets the criteria. If you’re not at work, or work in Westminster, you can watch the video here:

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Porn - Ogre