Of all the legendary bands making comebacks in the last few years, Mortuary Drape is surely among the most welcome around here at THKD. It’s been ten long years since the Italians last released a full length, and given the fact that there’s not another black metal band on Earth (or beyond) that sounds quite like them, that’s far, far too long. Of course, some misgivings are understandable considering the band that now surrounds drummer/vocalist/mainman Wildness Perversion consists of more recent initiates into the Mortuary Drape uh, fold, but rest assured fiends, Herr Perversion’s still got it on Spiritual Independence; in fact he’s still got it to the point that the album stacks up damn impressively next to stone classics such as All the Witches Dance and Tolling 13 Knell.
No matter what you think of Machine Head vocalist/guitarist/mastermind Robb Flynn, it can’t be denied that he’s one ambitious motherfucker. Following his band’s unfortunate descent into the deepest, darkest gutters of the nu metal ghetto, Flynn has re-molded Machine Head back into a post-thrash/groove metal juggernaut, known for penning epic-length tunes that cram more riffs and moods into eight to ten minutes of music than most bands of similar ilk bring to the table over the course of entire albums. For those familiar with Flynn’s tendency to throw everything and the kitchen sink into his records, it should come as no surprise then that Bloodstone & Diamonds, Machine Head’s eighth full length release, is their most sprawling and wildly varied work to date.
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.
Confession time: I had no idea who Scott Walker was prior to the announcement of Soused. As those of you who read this here blog on the regular might have guessed, I’m not particularly hip to the avant-garde scene. Furthermore, I was a tad apprehensive about another Sunn O))) collab being released this year after experiencing Terrestrials, their underwhelming team-up with Norway’s terminally overrated Ulver. If you’re in the same boat as I, fear not; one doesn’t have to be familiar with Herr Walker’s work to enjoy Soused, and it blows Terrestrials out of the goddamn water.
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.