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.
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.
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.
There are few things that please me more right now than this resurgence we’re currently seeing in the gothic sounds of the 1980s within the realm of heavy music. It appears that metal musicians have taken a shining to the the stuff of late, or maybe they’re getting bored with metal, or perhaps they always had it and are only now allowing themselves to cut loose and release the bats. Whatever the case, Helsinki’s Beastmilk are absolutely killing it with their debut album, Climax.
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.
In the world of heavy metal circa 2013, making a comeback is harder than ever before. There are so many bands popping up out of the woodwork and so many albums being released on a weekly basis, that fans are faced with a constant avalanche of new product, which in turn means it’s difficult for any band to stand out from the pack, whether new kids on the block or crafty veterans. Furthermore, with the internet now being such an important part of spreading metal to the masses, things move so fast that even going a year without releasing new material feels like an eternity. But it is still possible for a band to rise up from the ashes of inactivity and recapture their rightful place amidst the metal pantheon, as the following trio of bands has proven.