-(16)- / Brainoil / Kowloon Walled City / Church @ Starlite Lounge, Sacramento, CA 04/25/16

039If there’s one thing I’ve learned about Sacramento in the ten months I’ve lived here, it’s that this city loves its doom and sludge.  I’m sure as hell not complaining, especially when we get shows of this caliber; long-running LA sludge godfathers -(16)- descending upon the Starlite Lounge along with Oakland sludge/punk legends Brainoil, SF noise rockers Kowloon Walled City and hometown doom-lords-in-the-making Church was indeed a dream show for fans of all things slow ‘n’ low.

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THKD’s Top 100 Metal Albums #12: Corrosion of Conformity – Wiseblood (Columbia, 1996)

wiseblood-51db93f64707eI often find that the seasons dictate my listening habits.  For instance, fall is all about the Misfits, Samhain and Type O Negative, while winter is a feast of frigid black metal (yes, even in California, ridiculous as that may seem).  Summer brings with it an obsession with Pepper Keenan-era Corrosion of Conformity and more specifically with Wiseblood.  Even though summer hasn’t officially hit yet, I already find myself blasting this album in the car with the windows rolled down as the days start to get warmer and the desire to spend them chained to a cubicle hits rock bottom.

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Weeping Rat – Tar (Handmade Birds, 2015)

1526659_825951394136465_8729640222783617169_nSacramento was positively drenched with rain last weekend.  The meteorologists called it an “atmospheric river;” I called it a great time to wallow in some seriously depressing music to match the shitty weather. As far as I’m concerned, there’s no better band in 2015 to accompany overcast skies and sheets of (probably toxic) precipitation than Australia’s Weeping Rat.  The band is set to drop their debut album Tar via the mighty Handmade Birds, and it’s a deliciously dismal listen, to say the very least.

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White Spot – Father Songs. (self-released, 2015)

a1772135258_10I’ve been listening to various forms of heavy music for a long time, and as the years go on, my attention span gets shorter and shorter, especially when it comes to choosing bands to write about.  Basically, if your band can’t pique my interest within the first thirty seconds of the first song (excluding intros), consider yourselves SOL.  This has made it increasingly difficult to discover new acts to cover, as it seems that much of the scene is currently plagued by a complete and total lack of ability to self-edit.

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The Smashing Pumpkins – Monuments to an Elegy (Martha’s Music/BMG, 2014)

smashing-pumpkins-monuments-to-an-elegy-1024x1024During my misspent youth, I obsessed over so-called “alternative rock” almost as much as I did heavy metal.  Among my favorites was The Smashing Pumpkins; the band’s swirling and spacey yet surprisingly metallic hard rock was like nothing I’d heard before at that point, and I found it much easier to identify with main man Billy Corgan’s nerd/asshole/hopeless romantic shtick than Kurt Cobain’s junkie poet.  I might have had more Nirvana posters on my wall, but I listened to Siamese Dream and Mellon Collie and the Infinite Sadness way more than I did Nevermind.

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THKD’s Top 100 Metal Albums #11: Danzig – Danzig II: Lucifuge (Def American, 1990)

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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?

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Ace Frehley – Space Invader (eOne Music, 2014)

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I’ve only talked about it a few times here on THKD, but those of you that know me personally and/or follow me on social media are no doubt aware of my unabashed love of all things KISS.  As such, I couldn’t help but be a little excited when I heard that my favorite original member, lead guitarist Ace Frehley, had signed a deal with eOne Music and a new solo album was on the horizon.  Frehley’s last effort, 2009’s Anomaly, was a solid slab of rock and the guitarist seemed poised to succeed where Gene Simmons and Paul Stanley had failed with the abysmal pair of recent faux-KISS records, Sonic Boom and Monster.  After all, Frehley’s 1978 solo record was the last great KISS album, and is quite frankly more enjoyable front-to-back than many of the full-band KISS albums from the quartet’s classic era.  Sure, 1978 was a long time ago, but considering the potential shown on Anomaly and the fact that Frehley was on-point when I saw him live a few years back, there was reason to be hopeful.

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