2014 will be remembered as the year that actually got me excited about extreme music again. I haven’t exactly been bored, but it seems like this year I’m finding so many exciting young bands that are doing something truly interesting within the genre paradigm. One such band is Austin’s Street Sects, who are releasing the second part of their “serial album” in the form of Broken Windows, Sunken Ceilings. The duo creates what can best be described as electronic hardcore; violent, jarring and noisy as hell, like a factory full of automated machinery going haywire and collapsing on itself, the machines still trying desperately to function however imperfectly amidst the burning wreckage.
Hey friends, now that we’re all moved it’s time to clean out the closet. I have a ton of band shirts that I never wear, sizes M, L and XL, most are in excellent condition (unless otherwise noted) and have barely been worn, some probably never worn at all. Below is the master list, all shirts are $8.00 each PPD unless otherwise noted and if you don’t like the price make me an offer! Feel free to spread the word and help a brother out. I will be happy to supply photos of any shirts you might be interested in. Message me here or e-mail me at firstname.lastname@example.org (serious inquiries only). US customers only please.
It’s weird to think there’s a whole generation of kids who only know Ice-T as “that dude from Law & Order” and have never even heard the man rap, let alone heard his metal band Body Count. In spite of being young at the time, I remember when the band released their self-titled debut and the controversy surrounding the song “Cop Killer,” which was eventually deleted from all subsequent pressings of the album. I was only twelve when the album came out and didn’t hear it until a few years later, but it was evident that lost amidst the controversy was the fact that Body Count was an incendiary album of hardcore punk-fueled heavy metal that should’ve garnered acclaim for making mainstream heavy metal dangerous again thanks to Ice’s willingness to express himself in whatever way he saw fit without giving a fuck about who he might offend, rather than being a target for uptight and out-of-touch folks who believe the average American isn’t intelligent enough to distinguish fantasy from reality.
Hard to believe it’s been fourteen years since Eyehategod’s last full length, Confederacy of Ruined Lives. That album was my first Eyehategod experience; I admittedly came late to the band (keep in mind I was twelve when In the Name of Suffering came out), but it was a true case of love at first listen. Sure, I was well-versed in metal by the time I picked up the album at my local Best Buy, but I had never heard anything quite like their ultra-corrosive Black Flag meets Black Sabbath in a dark alley blues, and I couldn’t wait for my next fix.
When most of us think of the Misfits, we’re thinking of the legendary Glenn Danzig-fronted lineup that walked among us from 1977 to 1983. The band that single-handedly invented horror punk, and went on to influence a slew of heavy metal bands from Metallica to Marduk. But what about the other Misfits? In 1995, Misfits bassist Jerry Only and his brother Doyle re-activated the group sans Danzig after a protracted legal battle with the singer ended with Only retaining the ability to record and tour using the name, while he and Danzig split the merchandising rights. The brothers recruited drummer Dr. Chud and vocalist Michale Graves and set out to re-establish themselves as an active band over a decade after the Misfits’ heyday.
Normally, this is the part where I get all reflective regarding the year in metal. I had a scathing year-end rant all ready to go, an ice cold glass of haterade to throw in the faces of the all the people and things that annoyed, dismayed and pissed me off in 2013… and then I read what I’d written and realized that I sounded like a complete dick. What’s the point in dwelling on the negative when there was so much good this year? I had one hell of a hard time whittling down my list to just fifteen albums, and there’s still a lot out there that I’ve either yet to hear or yet to fully digest. It’s pretty darn easy to ignore the mountain of crap when there’s an equally tall mountain of greatness staring you in the face, and yet sometimes I forget that… I guess that’s what my anti-depressants are for.
At this point, my status as a Glenn Danzig maniac is far beyond well-documented. Between the Misfits, Samhain and Danzig, I’ve devoted more digital ink to the man’s music than to any other artist I’ve covered here at THKD. The last time I took stock of my music collection, the Evil Elvis dominated it with over twenty releases, not to mention all the t-shirts and other random paraphernalia I own. My one and only tattoo is based loosely on “Thirteen,” the song Danzig wrote for Johnny Cash (my favorite metal singer meets my favorite non metal singer). Cosmo Lee, the founder of Invisible Oranges, even based a post around my admission that I celebrate Danzig’s entire catalogue in my review of 2010′s excellent Deth Red Sabaoth.
Fledgling cassette label Caligari Records has already impressed me once this year with their maiden release, the nasty-ass blackened thrash assault of DeathCult’s The Test of Time, and just a few short months later they’re back to deliver the black metal tape TKO to the skull of 2013 with the debut demo from Germany’s Unru.
Since 1995, Shai Hulud has been one of the leading lights of metalcore. I’m not talking about metalcore as in: “Hey! Let’s rip off Slaughter of the Soul and throw in some breakdowns!” I’m talking metalcore as in the metallic hardcore that evolved out of crossover; a true fusion of the heartfelt aggression of hardcore and the compositional complexity of heavy metal (ok, I know that description sounds like it came straight from a PR e-mail blast, but it’s the fucking truth).