It’s hard to believe I’ve been running this blog for almost seven years. That’s the longest I’ve ever stuck with any of my creative projects. But if there’s one thing I’ve learned, it’s that nothing lasts forever. And so it is that effective today, I’m shutting down IG for good.
It’s been a few weeks since I saw Melt-Banana at Harlow’s, and for some reason I just can’t get their set out of my mind. Part of this is no doubt due to the fact that I actually got to see Melt-Banana; sure, they’ve toured the states many times, but keep in mind that I was living in the middle of Iowa up until a year ago, not exactly a hotbed for extreme and/or experimental music. Since we’ve moved to Sacramento, I’ve already had the pleasure of seeing a handful of bands I never imagined I’d get the opportunity to see without traveling great distances (Sargeist and Ufomammut immediately spring to mind), and the Japanese duo are probably number one on the “holy shit, I can’t believe they’re actually playing where I live” list so far.
How good is the new Napalm Death death album? Against all odds, this band continues to age like a fine wine, and Apex Predator – Easy Meat continues the unfuckwithable fifteen-years-and-counting roll they’ve been on since 2000’s Enemy of the Music Business. I pretty much said everything I have to say about the band’s late-career renaissance in my review of 2012’s Utilitarian, but it’d be downright shameful if I neglected to spill at least a little bit of digital ink on the stunning piece of work they’ve unleashed in 2015.
There’s no shortage of great shows happening in Sacramento every month, but the dregs of being a responsible adult often keep me from going to them. When you’re a corporate lackey that gets up for work bright and early at 6:45 AM, going to a show on a weeknight that doesn’t even start until 8:00 PM isn’t really in the cards. But there was no way I was going miss out on Incantation; the death metal legends are celebrating their 25th anniversary with a string of West Coast dates, and with Funerus, Mortuous and Plague Widow in tow, this one was guaranteed to be a rager.
Few bands have captured my attention in 2014 quite like Full of Hell. I had the pleasure of witnessing the quartet’s devastating, show-stealing live set back in August and was blown away by their combination of relentless intensity and determination to push the envelope of grind/hardcore deep into the realms of harsh noise. It was like someone had thrown Jane Doe-era Converge in a blender with Release Records-era Merzbow and set that motherfucker to liquefy; easily one of the most simultaneously challenging and exhilarating live experiences ever. Needless to say, when I caught wind of the announcement that they had signed a deal with Profound Lore and their debut for the venerable label would be a collaboration with the aforementioned Japanese God of Noise himself, anticipation was through the roof and then some.
My second show in Sacramento was in some ways a throwback to my younger years in Des Moines; I used to walk down to Hairy Mary’s by myself to see shows because my sorry ass didn’t have a car and to make matters worse I didn’t know anyone else who gave a shit about the underground. Not being much of a grindcore fan, my wife decided to sit out Sunday’s matinee at the Midtown Barfly, and as a result I found myself flying solo once again, which is always a delightfully awkward experience given that I’m not exactly the most outgoing person out there. Also, many of those shows I hoofed it to back in the day were heavy on grindcore bands such as Black Market Fetus, Strong Intention, Catheter, Entrails Massacre and Phobia, to name but a few, so I was excited to experience a show in a similar vein in my new city. A complete and utter lack of social skills doesn’t matter much when you’re being pummeled at a million miles an hour by some of the most vicious and unrelenting music out there.
I still have a ton of good shirts left for sale. Most are like new and some have hardly ever been worn. All shirts are $8.00 each unless otherwise marked. Don’t like the prices? Make me an offer and we’ll work something out. I ship all packages with tracking numbers via well-packed flat rate USPS mailers. USA customers only, please. If you’d like to see pictures of any of the shirts, please e-mail me and I will be happy to send them.
If interested, e-mail me at firstname.lastname@example.org. Full list of shirts after the jump.
PRICES DO NOT INCLUDE SHIPPING – Unfortunately I was getting killed on shipping last time around, but I promise won’t charge you an arm and a leg.
As I sat at my laptop thinking about what to write about while unthawing THKD from its brief cryogenic slumber, it seemed only appropriate that my first post from California be used to shine the spotlight on a California-based label. I’ve already covered a few releases from Los Angeles’ Gore House Productions, but the label has been cranking out such an impressive slew of quality slam, brutal death metal and goregrind albums that I wanted to do something that would serve as a good overview of what this great label has to offer. What follows is a trio of GHP’s recent releases not already covered in previous posts, not for the the faint of heart, not for the easily offended and most definitely NSFW.
As those of you that have the misfortune of following me on social media may know, Mrs. THKD and I have packed up the fortified bunker and are moving halfway across the country from the bowels of the Midwest to Sacramento, California. The truck is loaded, the house is sold and we’ll be leaving in less than a week. I’m still waiting for it to feel real. Right now it feels like a dream. I tried so hard to get the hell out of this state after college, and all I got in return were some nice rejection letters to show for it.
Among the heavy metal subgenres most likely to turn the average underground ‘head into a piping hot cup of haterade, groove metal (sometimes referred to as post-thrash, closely related to alternative metal and industrial metal) surely sits at or near the top of the list. Blamed for contributing to the death of thrash, the spawning of nu metal and for bringing scores of jock-strap-polishing meatheads into the scene (among other things), groove metal is quite possibly the most battered and beaten of the genre’s red-headed stepchildren. However, its most heinous crime in the eyes of most NWN! message board-dweller types is that it is a product of the nineties, that decade where everything went to shit for a legion of ’80s-worshipping metal miscreants, many of whom continue to dab at bitter tears with the unwashed corners of their patch vests while clutching at their Nihilist demo cassettes to this very day.