Hellwitch - Syzygial Miscreancy

Look up "over the top" in any metal dictionary and this album is featured right there. This album is so chock full of all different types of metal that categorizing it can be treacherous. The playing on this is phenomenal, the song writing is unique and mind blowing. Luckily too is that Scott Burns did a wonderful job of producing this mighty slab. I would say that Syzygial Miscreancy is something like taking Death, Nu-Gorguts, Atheist and 5 handfuls of Discordance Axis and splatting them at a wall. Its a low down shame that this band didn't get a Nobel peace prize for their efforts but hey at least they have this sweet album to listen to, and so do we:

DOWNLOAD

"Revelry"

In the late 90's several European metal bands took a left hand turn and it was all of a sudden well suited for many bands to be avante-garde, "jazzy", or neo-whatever. Its hard to say what Beyond Dawn's ambitions were around this time but Revelry came at a perfect time for people interested in this movement. The uber-dreary pace and rejection of excited tempos and repetitious melody have been shed, and its clear here that Beyond Dawn are steady on a different direction, even if the direction they were on before was quite different.

Less claustrophobic production, less reliance on heavily distorted guitars, more rock oriented drumming and singing are what lend to Revelry being a more in this vein than Pity Love was. I have to cringe whenever I use this term "avante-garde". I understand the intent in its relevance, but I feel like its more of a genre unto itself rather than a genre referencing anything prior...as stated in its moniker. Just because a band uses horns, or unconventional instrumentation or song structure, certainly doesn't make them avante-garde. However, the term punk used to mean that which was different from regular music, and then once that became regular, alternative sprung up, then all these post-____'s came about. So I take issue with this proverbial "chasing of the tail" that we music nerds do. I find it as if people will use a rejection of a certain genre to sell music and I usually prefer to stay away from labels and genre's anyways because more often than not it robs the art of its identity. I do wholeheartedly feel like a lot of these bands were seeking their own new grounds at this period in time but I cant explain how so many of them ended up sounding so similar. Anyways I should talk about this album huh?

After a pretty accessible start the album takes off at track two. The song consists of a strong upbeat tempo and catchy horn riffs that give the song a unique blend of ideas. The reliance of electronic instrumentation becomes more prevalent here. Beyond Dawn consistently achieves their dirgey slowed down mirth of gleaming depression and I respect them immensely for that. They have a knack of going about it in so many different ways. In the middle section of the album it tends to drag on a bit I have to admit. Until "Breath the Jackal" which is probably the albums best tune, there isn't much to munch on after track two. Vocally here Espen is lazily carrying his patented tune, not unlike a more spoken and whimsical version of Michael Gira, only "real" singing more during the more urgent choruses.

As a whole this album suffers from being kind of same-y, as in after a few good tracks it tapers off into a handful of songs that all sort of clump into one ball with few memorable highlights. These songs only serve to fulfill the demeanor of the album and all in all I'd say this is the turning point for the band as we'll see with Electric Sulking Machines, which is an even greater leap into the unknown.

Update

Dear Blog. I'm so very sorry for the neglect. I never wanted to be this type of blogger, and yet, here we are. Either way I've gone through many changes, but I am once again a free man. I will blog again. In the mean time you can check out my new Podcast here: http://necrokast.blogspot.com and please be dangerous.

Ben

Good news

Computer works again, Ive been downloading an insane amount of music to get my fix and I have lots of cool releases to discuss. Also take a look at the Seasons of Mist website here: http://e-shop.season-of-mist.com See anything wrong here? WHAT THE FUCK IS WITH THOSE PRICES? I know they include shipping but wow, I suddenly thought I was on an Ikea website.

Bad News

My computer is totally broke. No internet. Working two jobs currently, moving in a few weeks. Hoping to write a review of my favorite album "Battles in the North" for Jason's "Black Metal Revolution" book whenever I get a chance.

Playlist:
Korova - a Kiss in the Charnel Fields
Korova - Dead Like an Angel
Belmez - Behemoth
In the Woods - Heart of the Ages
In the Woods - Omnio
Pig Destroyer - Prowler in the Yard

Stuff I wish I was listening to:
New music from Melechesh, Inquisition, Akerbeltz, Perdition Temple, and Jaldaboath

In the mean time my guitarist from Satan's Almighty Penis and I have begun yet another new band wherein I am mainly writing the music. The style is in the vein of Isengard, Troll, Otyg, and Falkenbach. Also my other band When Bitter Spring Sleeps has a split Cd with Panopticon coming out on Pagan Flames any day now. You can pre-order it for $8ppd at www.paganflames.com

Nausea

I am infinitely sickened by how "metal media" as a whole is largely responsible for the worst fucking reviews I've ever read. I havent read a non-worthless review of anything in years! I hope you few readers can appreciate that I try to offer an alternative to what heaps of magazines, endless stupid fucking blogs, and sites have to offer.

Thanks for reading.

I want you to have this...

The other day I really wanted to listen to Vorak. The CDs were all the way upstairs in my bedroom and I was too lazy to go get them. So I decided to look for Vorak MP3s. I had a hell of a time finding any on soulseek or on blogs, so I'm here today to spread Vorak MP3s to the world.

Vorak is one of the most preposterously head scratching bands in black metal. All I know is I fucking love them. Imagine chaotic all directly recorded obnoxious drum machine black metal with digital eagle screams for vocals, combined with Wagner-esque piano interludes.

Download Rhetoric of the Supermen:

http://www.mediafire.com/?hwzky5zehzg
and Triumph of the Will:

http://www.mediafire.com/?drwzgwhnzzm

Heavenly - Sign of the Winner

When I first decided to review this album, the day I got it, I thought to myself "Hey, it might be a cool challenge to review the album without even mentioning Helloween!" Well I've already mentioned Helloween, and I'm not up for a challenge, so I hope you've heard Helloween, otherwise you'll be pretty much in the dark. Oh, and before I go any further, when I compare Heavenly to Helloween, I mean Helloween right around the Keeper of the 7 Keys parts 1&2.
When it comes to power metal, I like bands that do it with total authority and character, as if they are seriously convinced that they invented the genre. That's one thing that's undeniable about Heavenly, they play power metal as if they've never even heard Helloween, if you ask me Helloween invented power metal. Heavenly has the knack for great chunky bombastic yet melodic riffs that give any song its backbone. Theres an excellent use of keyboards throughout the album. There's even the fucking token Helloween parts where the keys and the guitars play the same 16th notes.
Could Heavenly's singer sound anymore like Michael Kiske used to? Actually, I'm going to give him more credit than that. Heavenly's singer, Ben Sotto takes the helm with an even stronger presence than Michael Kiske did with Helloween. Hes got an even more incredible range than Kiske, and he uses it superbly. In fact Ben does a lot less of the lower toned stuff that Kiske sometime did. Ben has obviously studied his Kiske, there's so many little tendencies that Kiske had, such as rounding off a stanza of lyrics with an extra accented word and a rhythmic delay on that word will follow.
Heavenly's drummer has a great unique style all his own, just Ingo did, hahah. He'll throw around some typical rock beat high-hat / snare stuff, but not for very long. He likes to do a lot of interesting snare fills, like Ingo always did. Hes got what I like to call a good meat & potatoes style. Meaning hes perfect at doing the regular stuff and he always nails those parts, but he goes just above that and shows that hes not there to show off but to drive the song where its supposed to go and to do so with a lot of conviction. You won't hear a lot of 16th note bridges or fills from him.
Sign of the Winner has everything a power metal fan is going to be undoubtedly looking for. Melodic majesty, scrumptious syncopation, shreddy guitar / double bass passages with great catchy vocals atop them. Its almost as if Heavenly got fed up with what Helloween have been doing since the departure of Michael Kiske and broke into their studio and recorded Sign of the Winner. One thing I cant help but laugh about is that there have been two Helloween Tributes and two Heavenly albums since the year 2000. Heavenly were not on either of the Helloween tributes. Both Sign of the Winner and "Carry Your Heart" (2000) are tributes to Helloween. To end this, I have to apologize for all the Helloween talk, but honestly, the resemblance between heavenly and Helloween is absolutely uncanny.

Deathspell Omega - Si Monumentum Requires Circumspice

Its been a very long time since I heard a black metal album this epic and sinister at the same time. This album is a very different direction for DSO, and black metal in general I think. The biggest difference you will notice for DSO is the vocals. They are a very atypical low, sort of spoken gurgling, never screaming. The drumming is a lot better than on previous efforts and add a very rich and echoey texture to all of the droning downtuned guitarwork. The overall tone of the guitars is very original. They arent high pitched super distorted walls of blood that engulfs your face. The beautifully mastered guitars (by that I mean two guitar tracks and bass) are masterfully mixed to a very unabrasive but allthewhile potent tone that makes the whole album very inviting and listenable.
This album as a whole exhudes a unfamiliar and new stench of rotteness that no other band has ever attained. Theres just no comparing this release to any other.The best part about this album, as much as I love this installment, is that this is a concept album which is the first in a three part trilogy. So we can expect two more great albums of this magnificent stature in the near future if everything goes as planned. If you ignore this release or the next two by these geniuses, you will be hurting for a long time.

Deteriorate - Rotting In Hell

Holy crap this is an absolute lost classic. I hadn't heard of these champs until I got the JL America comp called "Brutal Aggression." What I love about a lot of JL America's releases is that they captured a very specific era in death and black metal that was and is very representative of the past and the future of what would become of the genres and bands that JL America represented. Back when JL America seemed to clamor to get these releases out, it was a level playing field between bands like Immortal and Goatlord, or Masters Hammer and Nokturnel. In addition, it wasn't only the label that was representing the US and European scene so honestly, but each of the bands represented their own niches within a plethora of genres in such a remarkably bold manner that each JL America and Turbo USA release still stands as a pertinent bookmark in the timeline of metal. Immortal's "Diabolical Fullmoon Mysticism" represented the budding Norwegian scene that would grow to dominate the black metal scene. Let me get back to Deteriorate. What my point boils down to is that "Rotting in Hell" stands as a good example of what a lot of great underground death metal bands were doing in 92 / 93.
To start things off the right way, "Rotting in Hell" opens with a morbid intro of distorted screams over an ambient death wind. After about a minute of this the pummeling death machine that is Deteriorate rolls into town. The excellent production on this is immediately evident. The drums are clear as a bell, the guitar tone is thick, crunchy, and powerful. The vocals are artfully given a great stereo trick here the left speaker is a millisecond delayed from the right. It does for the vocals what reverb or delay does but without compromising any clarity and the decay is immediate. For the rest of the album you're going to bang your head the entire time as "Rotting in Hell" offers up a bottomless bucket of chunk, sludge, and sick melody. Your dinner also comes with a complementary choice of blastbeats, skank sections, or hooky breakdowns.
All in all I think its sort of redundant for me to dissect this album and tell you all about every single second of it. Its just an absolute death metal classic and you'd be a total fool not to pick it up if you ever get the chance. The chance might be rare because JL America stuff is sort of rare, but right now Deathgasm Records has a ton of JL America stuff on sale after he unearthed a bunch of it in a recent buyout. Also I don't have a weblink for an official Deteriorate site but I recently heard they are still together with a different vocalist.

Blut Aus Nord - MoRT

I like to think of Blut Aus Nord as a monstrous creature living beneath the surface of a blackened lagoon. Each time it rears its head at the surface we see an even more decayed, bloated, pallid and disfigured being, going back down to the depths to further erode what was never a holy being. The last time Blut Aus Nord reared its head we were blessed with "The Work Which Transforms God," a ghastly album of black metal with strange bending and contorted riffing coupled with percussive fury and eerie enigmatic vocals. "The Work Which Transforms God" is almost a pre-requisite to "Mort." If you picked up "Mort" without ever hearing black metal, it would be like sending a blind child into a dark cave to look for a dead bobcat made out of clouds.
"Mort" is a vague and complex menagerie of asymmetrical tones, discordant tangents and constantly diverting elements whirling about. There are no stable or solidified elements here. Lazy drum patterns pan from the every direction while unfamiliar vocals noises emerge from beneath your cerebral cortex. The loose fitting textures and almost serene anti-harmonies weave one of the most intricate and spacial listening experiences I have ever witnessed with an other-worldly authority. Each track on this album could be described as an instance of conversion. Non-chalant guitar noodling, unmusical ,all too unhuman percussion, and ghastly vocals float about in your mind until they converge in one axis causing the aural havoc that is "Mort."
"Mort" is an album that you need to prepare for in order to truly digest it. Actually I'm not so sure that it is you who does the digesting, this album has digested me every time I have listened to it.

Beyond Dawn - Pity Love 1995

To this day this album still sits well apart from any similar artists that I find it hard to keep familiar with the album. Its the perfect step taken after the prior ep being a bit more developed in the dreary and abysmal department with a vivid parlay into more unique playing, arrangement and atmosphere. The album is good at towing the line between never galloping too gallantly and trudging along heavily and sluggishly. I find a lot of maturity in the more consistent nature of Pity Love as the band finds a more bombastic and powerful inertia to their doom trodden 90's rock sound which incorporates several electronic elements to the fold. As a debut this album is a good indication of great things to come, yet dissimilar to anything else in their discography apart from the EP.
In a recent interview with Espen (the singer) an interviewer called his voice detached and distant. I thought this was as accurate a description I could muster, but along with it I would say there's a discouraged, and almost mocking tone about his sultry and underexerted style of singing. The way his vocals, the guitars and horns mesh and harmonize on all of these songs is what I reach in the cupboard for when I have the Beyond Dawn munchies. He really is a unique singer maybe more for what he doesn't do than what he does, but I have a hard time tearing the guy down when he can be so different without relying on cheesy melodies or being a memorable caricature of himself. Come to think of it a lot of what I like about Beyond Dawn is their confident reluctance to be appealing by normal means. Every instrument lends itself to the overall "sold as-is" demeanor of Beyond Dawn.

The guitar work never overbearing or inaccessible is intricate and tasteful. Sometimes clean, clever pedals and production give a vast effect to what could easily be somewhat monotonous playing given the repetitive nature of this mid paced and "doom-esque" music. Either way, I give a lot of merit to this band for giving so much life and power to the sour and plodding music they breath life into. Ive never heard music utilized to put such urgency and strain on an imminent depraved state of consciousness.

Pity Love is where most from the metal community step into Beyond Dawn's realm, but I find it merely the first of several significant full lengths from this band, and a great access point to the rest of their albums.

Longing for Scarlet Days 1994

Many things impress me about this ep but what struck me at first listen back when I first got this was how out of left field it was, and how thoroughly well arranged and played it all was. Its like nothing else I've ever heard, but it almost sounds like its an album better belonging to some genre I'm not familiar with.

Sonically the music offers a lot of what metal does and it creates a somewhat familiar atmosphere of downtrodden despair as you might find with Paradise Lost or Disembowelment. However the way they go about I would liken more to something like Swans on the Great Annihilator (which came out in 1995). There is a certain washy, breathy and compressed direct analog sound (like on Ride's "Nowhere" album) that lifts this and Pity Love to another level. The drumming is quite varied and mid paced and borrows heavily from whatever standard styles some hard rock or grunge drummers might reference frequently. This is one thing I think that keeps this band from being downright metal. Better than any other band in this plane Beyond Dawn use horns to great effect here, even more on Pity Love, and throughout their discography. Another reason this ep is so impressive to me.

Though there are only four songs and the last track is sort of more of an outro, the vibe established here is undeniably fluent and had this been a bigger release overall, I'd say this was hugely influential on a lot of bands who are doing "post-_____" these days.

Beyond Dawn: Reviewed

Today I was listening to the local country music station on purpose as I do from time to time, just to reflect on the music and get my thoughts flowing. From what I can gather there exists a traditionalism or rebellion towards any progress or deviation from the known patterns and footsteps that have been taken before. I thought that this was what sucked about modern country but within seconds I realized that not only does this standard flourish in all music, but a lot of metal as well. I have often thought that black metal is something that the genre's musicians feel the need to live up to. It has become a costume that you are entitled to bear only if you play the known role well. Actually anyone is entitled to bear it but only few do it well. Anyways one of my main goals with this blog was to highlight bands who I appreciate for acting somewhat independantly of these get-ups.

My relationship with Beyond Dawn has been strange over the years, and rightfully so given their incredibly varied discography. I reach for different albums at different times but they all give me a great satisfaction I've come to savor in this great and overlooked band. I want to do something unique here so I've decided to review all of the Beyond Dawn albums over the coming days, weeks or months. So look for something on Longing for Scarlet Days soon and more soon after.

Svenske Metall

I have been on a Swedish black metal kick lately and I wanted to share some of my favorite gems with you. I know a lot of this stuff could be considered classic and some of you aren't familiar with any of it. So I wanted to shoot somewhere in the middle. This handful of songs highlight their tendency for tasty melodies and intricate percussion, as opposed to other Swedish acts such as Watain or Ofermod. I stayed away from the obvious Dissection, In Flames, etc here. Also please try to ignore any Peter Tagtgren production here.

Download here

Burzum - Belus

Norway's most prestigious arsonist is out of jail and he's hit the ground running releasing his first metal album since 1996's Filosofem. While the motivations behind Belus' existence can (and will endlessly) be volleyed we have a pretty decent return to form. The overall sound leaves a bit to be desired. I liken it to something like Gorgoroth's "Destroyer" or something. Guitars recorded direct, drums buried beneath the guitars, etc, you know the drill. The riffing is really all over the place, its pretty clear that he spent some time playing guitar in jail but never actually got around to being good at it. Musically it's still somewhere between Mayhem's only good album "De Mysteriis Dom Sathanas" and Burzum's "Filosofem." You'd have to be a fool to hear this and not see that Euronymous' riffing style rubbed off on Varg as he planted a knife deep within his back 23 times. To me, Varg's strong point is his use of guitar harmony which really is a cornerstone of black metal and here he uses it as much as we are used to and to great effect. He has started using more complex riffing with a picking style more akin to death metal or tech-thrash type stuff, and I find it rather distracting. On the song "Sverddans" he uses it to beat a dead horse to death and its pretty drab and boring. There are other parts on the album where its pretty bothersome and redundant how incessantly he carries on with it but its not like he's trying to be Spiral Architect here.

Like the guitar work his drumming has improved a hair as well. His nothing flashy meat & potato chips approach on the former albums worked just fine, hes stepped it up a notch here to keep up with the times. It seems like it may just be a byproduct of whatever stupid ethos hes got rattling around in his head these days but it is significant and it does pair well with the 8% more intricate song writing and guitar work.

Atmospherically speaking I've always applauded Burzum for being able to muster that black metal sound that made him famous because he really is good at it, and with its prevalence here on Belus' it will make this a memorable album that stand out among what else is going on nowadays. Its relevance though I find dated and I feel sorta the same way I did about Beherit's come back album. I guess I could say i'm impressed by it and I'll be curious to hear what he comes up with until the next time he tries to take over the band of a mustached norwegian by stabbing him in the back.

Obsequiae Interview

I recently completed my interview with Neidhart von Reuental and Blondel de Nesle of Minnesota's Obsequiae. They have just released an amazing demo on Bindrune Recordings which you can pay whatever you want for. I havent written an interview in while so this isnt my best work. Either way I really respect these guys and their music is incredible, so I hope to cast some light on them by bringing you all this:

http://hearholeaholics.blogspot.com/2003/02/obsequiae-interrogated.html

Zero Tolerance

Just a heads up: there are two very interesting interviews in the new Zero Tolerance magazine: Portal, and Blood Axis' Michael Moynihan. News of a new Blood Axis album sent tears of joy running down my face.

Update...

Hello all. Just wanted to give a quick update. I've been working on my interview with Obsequiae for a bit now, and it will soon be posted here. In the mean time, you can pay whatever you want for the demo from Bindrune Recordings, I highly recommend that you do so.

2009 Top Ten

Well ive decided upon my top ten metal albums for the year. What an incredible year for metal. So many bands are doing all sorts of unique things while others are not. I hear so many people complain about stagnation in metal and yet they refuse to explore enough to find the good stuff.

1) Skagos - "Ast"
2) Njiqahdda - "Yrg Alms"
3) Ruins of Beverast - "Foul Semen of the Sheltered Elite"
4) Panopticon - "Collapse"
5) Kill - "No Catharsis"
6) Incursus - "Eternal Funeral Trance"
7) Absu - "Absu"
8) Wolves in the Throne Room - "Black Cascade"
9) The Chasm - "Farseeing the Paranormal Abysm"
10) Funebrarum - "The Sleep of Morbid Dreams"

Honorable mentions:
Pensees Nocturnes - "Vacuum"
Sad Legend - "The Revenge of Soul"
Salute - "The Underground"
Altar of Plagues - "White Tomb"
Tenebrae in Perpetuum - the new one.

my beard grows as steadily as my contempt for christ.

Manes - Ned I Stillheten

When I listen to stuff like this its hard to remember that it wasn't recorded in the year 1216 by a cave dwelling hermit. However archaic this actually isn't, its significance along the timeline of modern black metal is vast. In 1994 when this was released by the band on cassette it was so forward thinking and embellished in its character that it was probably really hard to nail this down. This band never really caught on but the ideas created here and at this time by a few others like Striid, and Ungod lived on and flourished recently through bands like Xasthur...and Xasthur. Definitely Xasthur. A lot of bands labeled "bedroom black metal" fall into this category. All these associations aside it truly stands on its own two feet being lent no credibility from the genre it created.

Its hard to say how intentional the lo-fi quality of this demo was and how much can be credited to a novice lack of skill by the band, but I often find that elementary decisions behind the 4-track are the meat and potatoes of the atmosphere on some of my favorite records. If you think about it, every record is a certain combination of thousands of decisions sometimes made by several people, sometimes by one. When one of those persons is Peter Tagtgren, and makes the same decisions incessantly, regardless of the artistic character of the band, it can sound like far less correct decisions were made about an album. A lot of people would tell you that the sound quality on this tape is perfect...and I would agree, though its almost hard to figure out how to listen to it. Everything is drenched in delay and sounds like its echoing throughout miles of pine needles in a dim forest. The vocals are varied, sometimes whispered, at other times a baneful wail. The guitars are distant and blurry but somehow it all gathers up nicely.

Musically, I look at this demo a lot differently now than I did when I first discovered this in 2001 or so. Sure, its a really necro sounding black metal demo but these songs have a much grander and vampyric nature to them. I could easily see these songs being played by an orchestra as the soundtrack to a movie like Bram Stoker's Dracula. They have a very theatrical presence to them. The wonderful arrangement and orchestration unfurls down the carpathian mountains and descends as a fog into your MP3 collection...hopefully. Unless you want to buy the shitty Unveiling the Wiched re-issue that Hammerheart put out. Kyrck put out a altered version of it last year as well, titled "Solve et Coagula" but I still feel this demo is perfect the way it was 1994, so just download it or pay $150 for it on eBay.

Misery's Omen - Misery's Omen

Though it hasn't been very well documented here yet, I have a REALLY soft spot for anything Damon Good is involved in. My favorites being Portal, Mournful Congregation, Stargazer and the subject of today's swollen appendage, Misery's Omen. The material on this fucker is almost a decade old and still is aeons ahead of our time. To think that stuff this great was coming out back then and I wasn't aware of it still boggles my mind. It took 5 years for it to make my lap melt in ecstasy and still today 5 years after that, its seldom mentioned.

Ive brainstormed for far too long just to think of a reference point to pin these guys down with and I come up empty. The closest thing I can really come to is Symbolic era Death with a much proggier and disharmonious leaning, and dwelling in a puddle of gelling and moldy blood, guts and precambrian juices for centuries. I like putting on this album when I want to feel like I'm steering a vehicle down a densely forested mountainside at 165mph with no brakes. Its chaotic, vicious, unnerving and has a constantly unconstant gallop. No instrument, element, style or behavior here is prevalent other than what I've already mentioned.

This collection of two demos takes confident strides among earth melting doom moments and without hesitation bursts into infernal moments of bombastic treachery. The strength of this band is the blatant confidence with which they unholster vivid yet dreary weaponry. Some moments bear strong similarities to a more melodic Swedish sort of band but usually they play more discordant and atonal riffs. The bass playing is remarkably unique and used so effectively to elevate these songs to a much more musical level, also furthering the putrid stench this ep will always leave lingering in your skull. The only problem I've ever had with this EP is that its a little too short. This is worth tracking down if you want to hear something completely original and accomplished as it is terribly underappreciated.

Death in June - Oh How We Laughed

Falling loosely within the same genre somewhat as the previous album I reviewed, only capitalizing on everything that it was lacking, I have held this album close to my heart for almost as long. I respect this band greatly and can appreciate their music, but this live album puts a black spotlight on them that I feel none of their albums can touch.

This live album was recorded in 1982 when a young DIJ was opening for Nick Cave's Birthday Party and is mostly songs from their debut "The Guilty Have no Pride" and "Burial." Though these songs portrayed correctly on their respective releases lend themselves to a trend at the time of removing the human elements of music to live up to and mimick the technological revolution at the time, I have always felt that these songs breath so much better with an air of haunting reality on the blackened stage they were performed upon. The perfect reverb on Douglas P's vocals, the black shimmer of the dead cymbals, the dry and rotten bass echoing throughout the crowd, the jarring and messy guitar work with a delay pedal cranked to eleven. I get such a vivid image of a young Death in June stumbling through these songs with a fresh conviction known at no other time during their career.

This recording didnt even get a proper release until 1987 and after being in limited print on CD and LP its been since bootlegged. Its a shame that this DIJ release is a little speck in their discography, which is why I've chosen to highlight it here today.

Laibach - Macbeth

Back when I was just getting into decent music a friend of mine gave me this tape in order to save it from a trash can. I am a sucker for free stuff so I took it. I wasn't really into this sort of thing back then but from the moment I put it in Macbeth took me by the collar and didn't let go. We have had a strange relationship over the years. This album doesn't want anyone to like it but it wants to be known and be heard as having its own identity. Its got a certain staunch and egotistical approach to the common martial and militaristic type of new wave whatever music they were going for here. It's clumsy and brash but all in all I am constantly charmed by its delivery and brash nature. Its fairly well composed and arranged, enough so that it has an accomplished and somewhat believable gait to it, but there is a distinct lack of something human, maybe even personal here. The limited aural spectrum and sequencing found here is what takes every bit of heart and soul out of this music. It doesn't seem like music by humans, but for humans made by some all knowing and strikingly convincing bearded auteur.

The 11 songs are comprised of various low budget synth representations of classical instruments such as "horns," "strings," and "brass." There is an aray of percussion used to establish rhythm and build ebb and flow of song throughout. Sampled and processed pigments are also scattered to paint in what I can only assume is the sounds of the age of MacBeth, which is I believe a Shakespeare play? Either way I am led correctly to think about empires, castles, steeds, fallen heroes and plague ridden villages weeping at an uncaring moon.

I can harp all day about the somewhat cheap nature of this release, and knowing nothing else of this bands discography turn my nose up at it for fear that I might end up with a lap full of their stuff if Im not careful. After all though this album rules, it always satisfies me. Its like a dirty woman I go back to every few years when I'm in the mood for mild drug use, alcohol abuse and the risk of an STD just to have sex with a woman that I dont have to call the next day.