Harm’s Way – Posthuman (Metal Blade Records, 2018)

I wasn’t terribly familiar with Harm’s Way prior to getting the promo for Posthuman, but I was somewhat aware of the buzz their previous album Rust had garnered, so I decided to give them a try.  I was pleasantly surprised to find that Posthuman is a burly-as-fuck collection of non-stop mosh riffs mixed with electronic elements that wouldn’t be out of place on a late-nineties Godflesh record.  It’s an odd combination to be sure, but I’ll be damned if Harm’s Way doesn’t make it work.

Continue reading

Advertisements

Morbid Philosophy: A Nuclear War Now! Productions Roundup

It’s only February, which means most labels are just starting to trickle out what will eventually become an unstoppable avalanche of new releases.  Not so for Nuclear War Now! Productions; the California-based label is in the process of unleashing a fifty megaton payload of heavy hitters that are poised to set the bar for underground black and death metal for the remainder of 2018.  Read on for THKD’s breakdown of this quartet of poser-slaughtering platters…

Continue reading

Summoning – With Doom We Come (Napalm Records, 2018)

Back in my high school days, I ran a Dungeons & Dragons campaign for a small group of friends (because being obsessed with heavy metal, pro wrestling and Star Wars just wasn’t quite nerdy enough).  I wish I had known about legendary Austrian black metal duo Summoning back then, because they would’ve made one hell of a soundtrack for those late night RPG sessions.  Listening to their latest album, With Doom We Come, takes me back to those days of planning out adventures for those intrepid make believe heroes, filled as they were with orcs, kobolds and of course the occasional dragon.

Continue reading

Watain – Trident Wolf Eclipse (Century Media, 2018)

When Watain dropped the The Wild Hunt back in 2013, I initially praised the band for their willingness to take chances with their sound.  But truth be told, I haven’t felt much of an urge to revisit the album since that time, opting instead to reach for their more immediate, visceral works, such as Casus Luciferi and Sworn to the Dark.  In retrospect, The Wild Hunt was a good album and an interesting change of pace, but it lacked the sense of urgency and hunger that characterized the band’s finest work, ultimately making it the weakest entry in their storied catalog.

Continue reading

Daydream Nation and the Speculative Music of Sonic Youth

In October of 1988, Sonic Youth released Daydream Nation, an album littered with references to the speculative cyberpunk fiction of William Gibson. While I have never read Gibson’s work (though I have seen the god-awful film adaptation Johnny Mnemonic), it is my understanding that his writing predicted many of the technological and cultural developments we now take for granted, including the ubiquitous influence of computers and the Internet on our daily lives. Just as Gibson’s writings predicted these developments in technology, so too did Daydream Nation predict developments in rock music; if there is such a thing as “speculative music,” then surely Sonic Youth’s sprawling masterpiece (and really their early career as a whole) falls squarely into this category.

Continue reading

20 years of the Misfits’ American Psycho

For the most part, everyone already knows the scoop on American Psycho; after years of bitter legal disputes with Glenn Danzig, bassist Jerry Only was finally given the rights to record and perform under the Misfits name.  Recruiting new drummer Dr. Chud and vocalist Michale Graves along with longtime guitarist/Only’s brother Doyle, the resurrected Misfits signed with Geffen records and released their first album in nearly a decade-and-a-half.  End of history lesson.

Continue reading

Kane Roberts Attacks!

The early eighties was a rough time for Alice Cooper.  After releasing a string of commercially unsuccessful albums that he to this day can’t recall making due to heavy substance abuse (Special Forces, Zipper Catches Skin and DaDa), the shock rockin’ son of a preacher opted to take a three year break from writing and recording music.

Continue reading