TAIPAN – s/t CDr
One of my fave domestic releases from ’07, what didn’t get but a taste of the attention/talk/hype etc it warranted was this four track demo/debut cdr from Newcastle’s TAIPAN. What was shrugged by most (outside a core dead-shit demographic) were a downright NASTY case of raw “Sydney Daggers” thrash, blackened by a sick kvlt-metvhl aesthetic. The muddy, ultra lo-fi recording lends it the quality of damp basement metal; not unlike what Tar Babies or United Mutation might sound like home recording Darkthrone covers. Sputters of primitive punk slop are painted onto these wolves’ faces in shades of petrol-black, under the influence of small-town boredom via some bogan hub bereft of proper skate parks. And what sort of lighter fluid huffin’ cretin couldn’t identify w/ their cause?? The back sleeve denotes my copy a “Kvlt as Fvck” edition of 30 copies, assumedly long gone and distributed mostly at shows deep in the seedy sect of the Newcastle bushland. I believe multiple editions DO exist though, and reckon you still might be able to sweet talk yrself into a copy… the band is “online” insofar as myspace is concerned.. You can find that link for yourself. For further reference a band i/v exists in Cows and Beer Fanzine #3, from “the country music capital of Australia” Tamworth, but methinks these tunes speak for ‘emselves. Don’t you?!
ANGKRO WAT “When Obscenity Becomes the Norm” LP
And while we’s briefly onto the subject of r’n’r Satanism, and you can bet yr bottom dollar that this won’t be the most thoroughly discussed/dissected (whatever) of approach + genre’s here so is best to make quick mention of “When Obscenity Becomes the Norm”, the terrific 1989 album from Angkor Wat, what sports a member of the most unthrashly (and oftentimes plain snooze-inducing) No Neck Blues Band. This is no meditative, pseudo-jam band type drivel though, what’s on show is atypical ‘89 metal-product that plows through the mystic remains of the Khnmer civilization, carving a black/thrash/hc mural what looks something like a mutation of Grim Reaper, Sarcofago and Negative Approach. A sick guitar sound huge as Mt. Meru, that’s accentuated by typical late 80’s bone-headed (over)production. Vocals alternate between a piss-poor interpretation of Scandi BM despair and guttural, street level John “Bloodclot” Josephisms. Makes for a wicked hey-friends-ain’t-she-a-ripper party album. Record comes adorned w/ bad font layout and even worse cover art, which looks like a hot ‘n bothered Cambodian pygmy, close up and shot with a low-pixel cell phone camera. Back sleeve is slathered in ludicrous band photos of dudes w/ notably pussified names like Bambi and King Bunnie. Killer! And what’s best is that you can still acquire a FACTORY SEALED copy of this 1989 Death Records release from Fusetron’s ever-expansive distro.
One of my fave domestic releases from ’07, what didn’t get but a taste of the attention/talk/hype etc it warranted was this four track demo/debut cdr from Newcastle’s TAIPAN. What was shrugged by most (outside a core dead-shit demographic) were a downright NASTY case of raw “Sydney Daggers” thrash, blackened by a sick kvlt-metvhl aesthetic. The muddy, ultra lo-fi recording lends it the quality of damp basement metal; not unlike what Tar Babies or United Mutation might sound like home recording Darkthrone covers. Sputters of primitive punk slop are painted onto these wolves’ faces in shades of petrol-black, under the influence of small-town boredom via some bogan hub bereft of proper skate parks. And what sort of lighter fluid huffin’ cretin couldn’t identify w/ their cause?? The back sleeve denotes my copy a “Kvlt as Fvck” edition of 30 copies, assumedly long gone and distributed mostly at shows deep in the seedy sect of the Newcastle bushland. I believe multiple editions DO exist though, and reckon you still might be able to sweet talk yrself into a copy… the band is “online” insofar as myspace is concerned.. You can find that link for yourself. For further reference a band i/v exists in Cows and Beer Fanzine #3, from “the country music capital of Australia” Tamworth, but methinks these tunes speak for ‘emselves. Don’t you?!
ANGKRO WAT “When Obscenity Becomes the Norm” LP
And while we’s briefly onto the subject of r’n’r Satanism, and you can bet yr bottom dollar that this won’t be the most thoroughly discussed/dissected (whatever) of approach + genre’s here so is best to make quick mention of “When Obscenity Becomes the Norm”, the terrific 1989 album from Angkor Wat, what sports a member of the most unthrashly (and oftentimes plain snooze-inducing) No Neck Blues Band. This is no meditative, pseudo-jam band type drivel though, what’s on show is atypical ‘89 metal-product that plows through the mystic remains of the Khnmer civilization, carving a black/thrash/hc mural what looks something like a mutation of Grim Reaper, Sarcofago and Negative Approach. A sick guitar sound huge as Mt. Meru, that’s accentuated by typical late 80’s bone-headed (over)production. Vocals alternate between a piss-poor interpretation of Scandi BM despair and guttural, street level John “Bloodclot” Josephisms. Makes for a wicked hey-friends-ain’t-she-a-ripper party album. Record comes adorned w/ bad font layout and even worse cover art, which looks like a hot ‘n bothered Cambodian pygmy, close up and shot with a low-pixel cell phone camera. Back sleeve is slathered in ludicrous band photos of dudes w/ notably pussified names like Bambi and King Bunnie. Killer! And what’s best is that you can still acquire a FACTORY SEALED copy of this 1989 Death Records release from Fusetron’s ever-expansive distro.
Cue the styli, and thrash til yr heart’s content.
http://www.fusetronsound.com/
RED DAWN II – Live CS
KRYSTOFFKRVSTOFFISTON “A Door as Substitute for Two Doors” CS
Lastly a couple tapes which have fluttered like plastic moth into the mail box.. Brooklyn’s own Red Dawn II offer a live dig heavy under the influence of cheap Giallo horror (w/ props to Bava particularly) and cheaper Tequila, and it were sent to me under the pretense that it were their “best yet” (came accompanied w/ a cd-r of previous releases, which weren’t too shabby themselves). ‘Best’ is obviously a testing matter of individual preference, well n’duh goober, but it’s a good one in either case, and I’ll leave the semantics for REAL music crickets. Poorly recorded-at-the-back-of-the-bar-or-maybe-one-or-two-or-six-room’s-over and blown so far outward into the red that each track is rendered near indecipherable; it’s an obnoxious + snotty artifact from the hipster capital of the world. The tunes themselves more closely resemble fucked up and blown-out forgotten hardcore than any scabby strand of metropolitan thrash metal, and I’d wash muh jeans before I’d say I had a problem with that. Get real. Something like a dozen N.Y Rippers blurt past and’re handled with “aplomb”, w/ nary a hint of stage banter before endin’ abruptly with an emphatic “I NEED A DRINK!!” from Wolfy, and if ingested correctly it’s a shared sentiment (I settled for a Bundy rum + coke). A rad tape, just consistently raging shit-slop, and one which makes something of an interesting contrast to this’n I wanna talk about next.
RED DAWN II – Live CS
KRYSTOFFKRVSTOFFISTON “A Door as Substitute for Two Doors” CS
Lastly a couple tapes which have fluttered like plastic moth into the mail box.. Brooklyn’s own Red Dawn II offer a live dig heavy under the influence of cheap Giallo horror (w/ props to Bava particularly) and cheaper Tequila, and it were sent to me under the pretense that it were their “best yet” (came accompanied w/ a cd-r of previous releases, which weren’t too shabby themselves). ‘Best’ is obviously a testing matter of individual preference, well n’duh goober, but it’s a good one in either case, and I’ll leave the semantics for REAL music crickets. Poorly recorded-at-the-back-of-the-bar-or-maybe-one-or-two-or-six-room’s-over and blown so far outward into the red that each track is rendered near indecipherable; it’s an obnoxious + snotty artifact from the hipster capital of the world. The tunes themselves more closely resemble fucked up and blown-out forgotten hardcore than any scabby strand of metropolitan thrash metal, and I’d wash muh jeans before I’d say I had a problem with that. Get real. Something like a dozen N.Y Rippers blurt past and’re handled with “aplomb”, w/ nary a hint of stage banter before endin’ abruptly with an emphatic “I NEED A DRINK!!” from Wolfy, and if ingested correctly it’s a shared sentiment (I settled for a Bundy rum + coke). A rad tape, just consistently raging shit-slop, and one which makes something of an interesting contrast to this’n I wanna talk about next.
“A Door as Substitute For Two Doors”. On show is dirty, ambient trance disguised as black-black-BLACK metal, or traditional B.M. slowed down about 200 times. And you tell me these guys are from fuggin’ Melbourne (w/ members of Paeces, Moffarfarrah and Whitehorse)?! Organ drags through a molted rock base while corroadin’ twin-neck guitar explores the same dire realm what “Filosefm” did many moon ago. Tortured, snivelling moans creak through a mouthful of curdled cogh-syrup, defying practical vocal limitations. For a rough approximation of the sounds therein, one mustn’t look past the artwork, embellished with eerily plain b&w imagery, and a kvlt logo as difficult to dechipher as the band name itself. This is genuinely doomy music for an ill-lit room; the depressive, aural come down after Red Dawn’s high energy thrash-trash shindig. I really am right SMITTEN by this pair ‘o tapes. Both are benefitted tenfold by the rough cassette medium, and both bands and play with a level of spick n’ chaff what transcends their somewhat “kitschy” or one dimensional aesthetics. Pick up the KRYST...(ughh) from http://clothear.blogspot.com/ and log onto guyspace for a RED DAWN II contact.
2 comments:
TAIPAN are from SYDNEY, not NEWCASTLE. But their sellout riot grrrrl loving drummer, the infamous Benny Temper is a NCHC idol due to his mispent youth at the Blackbox.
TEMPER CONSTITUTES NEWCASTLE KVLT CORE!.. LONG LIVE NCKC!!
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