Since releasing debut album Masterpiss of Pain back in 2001, Norway’s Khold have been constantly refining their patented brand of groove-laden, willfully primitive black metal. While some have criticized the band for their simplicity, I’ve long been a fan of their stripped down approach; their sound is not only instantly recognizable but also infectious as all get out, the riffs slowly boring their way into your brain and taking up residence therein for days or weeks on end. Til Endes is Khold’s sixth full-length release and it’s quite possibly the purest distillation of the band’s aesthetic to date.
How in the blue hell did I manage to get even this far into the THKD Top 100 without covering a Danzig album?! Granted, the list is in no particular order, but given my Danzig super-fan status, you’d think I would’ve touched on one of the man’s records within the first few posts. The bands/artists you love the most are always the most difficult to write about and let’s face it, I’ve already devoted a fairly exhaustive amount of digital ink to the goddamn mighty GD (here, here, here, here… need I go on?). What’s left to say about my love for the man and his music at this point?
Universal Consciousness, the label run by Andorkappen of Lord Time (aka Sandor GF of Harassor), is home to some seriously “out there” metal acts. Voci dal Passato, the debut full-length from Italy’s Tony Tears, might be the label’s weirdest release yet and a fine example of an outsider take on an established form within the metal paradigm. Originally released independently back in 2009 and finally getting the vinyl treatment here, it’s forty minutes of quasi-psychedelic traditional doom that’ll likely leave you scratching your head for the first few listens, yet will quickly endear itself to you due to its naive charm.
Before I ever heard even a single note from Scotland’s Party Cannon, I loved their shtick. With their Toys ‘R’ Us-esque logo and song titles like “There’s a Reason You’re Single” and “Tyrone, You Put that Sugar Down,” everything about them seemed to fly in the face of slam’s established gore-drenched norms, and it was refreshing to see a band poking fun at the genre from within. One might argue that this approach could cause them to be labelled a “joke band,” but it only takes a few listens to Party Cannon’s debut EP Partied in Half to know that these Scotsmen are dead serious about their slam.
Underground metal is a land of extremes. Bands playing so fast that a human drummer can’t keep up, bands playing so slow they make a glacier look speedy, bands trying to play the heaviest, the most technical, the most brutal, the most… ah, fuck it, you get the idea. What I’m attempting to get at is, there’s typically no such thing as subtlety in the circles we travel in. This is what makes Emptiness’ Nothing but the Whole such a refreshing album. Where other bands seek to crush your soul in the first thirty seconds, Emptiness would rather watch it slowly wither and die.
As much as I’ve championed brutal death metal here at THKD lately, I’d be remiss not to review the latest album from Cannibal Corpse, the proverbial granddaddies of ‘em all. I mean, I think we can all agree that this entire subset of death metal wouldn’t exist if it weren’t for the boys from Tampa, who’ve now been at it for an unbelievable twenty-six years. A Skeletal Domain is the thirteenth album in their lengthy, storied career and even after only being out for a few weeks it has already garnered opinions ranging from “it’s the best thing they’ve done since 2006’s Kill” to “it sounds like Cannibal Corpse.”
Longtime THKD readers will recall that late last year I finally got to see Danzig live after being a fan of the man and his music for twenty years. Considering the fact that the set included a slew of Danzig classics + a mini-set of Misfits songs featuring Doyle Wolfgang Von Frankenstein on guitar, I was convinced that I could pretty much die happy.