FOR THE LOVE OF METAL
Last weekend saw America’s biggest metal party, the annual Maryland Deathfest, happen at Baltimore’s Sonar club. The fun started on Thursday night with an evening’s worth of bands indoors at Sonar. Here is what Hellbound’s Kevin Stewart-Panko, Laura Wiebe and Sean Palmerston thought of the bands they saw that evening, with live photos by Albert Mansour.
If you’re familiar with Buzzov*en, you pretty much know what to expect here, and you’re going to love tracks like “Never Again”, “Symptom”, and “Junkie” . If you’re not familiar with the band, Revelation: Sick Again is as good a place to start as any of their other albums. Mean-spirited, drug-and-booze-fueled Southern hatesludge that blazed the trail first. Rock solid.
By Kevin Stewart-Panko First truth be told, I am a fan of the metallic sub-genre that has come to be known as sludge. Second…
Essentially, while Vilipend has a pristine track record thanks to creative dexterity and oppressive heaviness fuelled by overt originality, when experiencing the vitriol, embittered passion and tormented rage of an act such as this through a live album, one really feels the self-abuse, throat-tearing screams and constricting viciousness.
Hellbound reviews seven 7”s recently released by Baltimore-based A389 Records.
The beastly grit of doom. Grindcore’s fiery onslaught. Black metal’s confrontational excess. The jarring obtuseness of tech. Metal is founded on explosive, aggressive and often combative attitudes. Still, just when one feels remotely comfortable—possibly slightly expectant—as to what the genre’s next twist will be, something so dominant, furious and volatile comes along that it redefines the parameters of what makes a band extreme.
Keith Carman talks with Toronto’s Vilipend about their multifaceted and dangerous approach to music.
Violence is somewhat reminiscent of the early Eyehategod demos gathered by Century Media on 2000’s 10 Years of Abuse…And Still Broke compilation, particularly in its transferred-from-cassette-tape sound quality
Chugging along like a steam train bound for the pits of hell, Black Cobra’s Southern Lord debut is one hell of a beast.