Ever since releasing the underrated classic Supreme Entity back in 1999, Japanese brutal death metallers Vomit Remnants have been something of an on again / off again band; Metal Archives lists their years active as 1997-2001, 2001-2005, 2015-present. This might explain why it took them nearly two decades to record and release a follow-up in the form of this year’s Hyper Groove Brutality, but rest assured it was more than worth the wait.
A few years back, I wrote a piece about Relapse Records’ noise/ambient sub label Release Entertainment, which concurrently exposed me to a variety of experimental sounds as I was in the beginning stages of my deep dive into the worlds of death metal and grindcore. One of the key albums in the Release catalog was Inner Mind Mystique, the seventh full length from Japanese noise provocateur Masonna (aka Yamazaki Maso).
It’s been a few weeks since I saw Melt-Banana at Harlow’s, and for some reason I just can’t get their set out of my mind. Part of this is no doubt due to the fact that I actually got to see Melt-Banana; sure, they’ve toured the states many times, but keep in mind that I was living in the middle of Iowa up until a year ago, not exactly a hotbed for extreme and/or experimental music. Since we’ve moved to Sacramento, I’ve already had the pleasure of seeing a handful of bands I never imagined I’d get the opportunity to see without traveling great distances (Sargeist and Ufomammut immediately spring to mind), and the Japanese duo are probably number one on the “holy shit, I can’t believe they’re actually playing where I live” list so far.
Many moons ago Relapse Records introduced me to noise. That’s probably a bit hard to imagine for younger folks that only know the label as the beard metal stronghold it is today, but trust me, way back when Relapse was releasing some seriously bonkers shit. You see, Relapse used to have a sub-label called Release Entertainment and it was to noise, dark ambient and experimental music what Relapse once was to death metal, grindcore and the like.
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.
Japan is home to some of the best contemporary brutal death metal there is. From the sludgy slams of Gorevent to the visceral precision of Desacravity and beyond, the country has a proven knack for producing a variety of takes on the genre that are equal parts completely dedicated and completely fucking bonkers. We can now add Nagoya’s Bleedead to the list, as they’ve dropped twelve minutes of spastic, slamming what-the-fuckery in the form of debut EP Mustma Dorcheme.
Well friends, it’s time once again to wallow in the gore-soaked cesspool of brutal/tech/slam death metal. A few THKD readers seemed to really dig part one of this series, so I thought I’d crank out a follow-up ASAP, since I’ve been enjoying the hell out of getting my gutturals on with all these crazy-ass bands. Fortunately, it appears that there’s no shortage of this stuff to trawl through, so as Ric Flair says: “Whether ya like it or not, learn to love it…”