MDF2016 Video Playlist

Is this first world musician’s privilege? Fuck you, no. You know what privilege is? Being the entitled asshole who wants shit for free or only if it’s collectable and doesn’t care if the route this garbage gets to them is littered with the shattered dreams and new alcoholism cases of label owners, record stores and musicians. Because it’s all about feeding the consumer and the consumers apparently are eating whatever the majors are telling them is special. What started as a well intended idea to bring attention to struggling business is having an opposite effect of trampling on independent music and its culture, it’s strangling those who are fighting to keep this culture free from conventional and corporate interests. And regardless of how many clicks it gets your website it’s nothing to fucking joke about.

Krieg's Neill Jameson on Why Record Store Day has Spoiled and Should be Thrown Away

VICTIM IMPACT STATEMENT; Lost 1990s Regional Hardcore Act

VICTIM IMPACT STATEMENT came to being around 1996/7, a time when "tough guy hardcore" was experiencing a surge with acts like FURY OF FIVE, 25 TA LIFE, CROWN OF THORNZ, and many others. V.I.S. was very much in that vein; chunky riffs with Roger Miret style vocals and a jocular attitude that seemed at odds with the ethos of GEN-1 hardcore acts. while clad in the sneakers, basketball shorts, and sports jerseys of many acts and fans of the day,  V.I.S. added an additional air of mystery to their stage presence by wearing ski-masks and balaclavas, concealing their identities and putting forth a more dangerous image that intrigued the audience. the members of V.I.S. wore them at all times, so no one knew who they were or what they looked liked. the group also ran their voices through modulators, disguising their natural cadence and furthering their mysterious aesthetic.

 like most of the bands in this genre, V.I.S. cut their teeth playing matinees and VFW Halls, always making sure to emphasis that they and their songs were "For The Kids". quickly amassing a sizable following on their shows alone, regional fans waited a little over a year before V.I.S. released any physical document of their music. at their much anticipated record release show, they sold out of their debut release.

there was no title, no songs listed on the sleeve of the LP, just the letters "V.I.S." in a varsity font and picture of a heavyset male holding a bullhorn. when the audience opened up the record and saw the contents inside, V.I.S.'s proclamations of being "For The Kids" took an alarmingly sinister turn.

it was revealed that their lyrics and album art were littered with graphic references to and photos of children in sexual situations. this tied into the photo on the LP's sleeve; Victor Salva; the genre film director who was found guilty of child molestation/possession of child pornography. as for the songs themselves, while still retaining the group's primary influences (Judge, Strife, Killing Time),they took on a much more noisy and vicious tone on the record than in a live setting, with piercing layers of noise and feedback omnipresent throughout the run time, going to places where Integrity had only whispered. having never mentioned the titles of the songs at their shows, their fanbase was disturbed to find that the songs they had been moshing to bore names like "Orphan Kinks", "Fetal Seizures", "Sperm Crater", "Sexualized Adolescent Loophole", and others lost to time.

like thieves in the night, V.I.S. disappeared in short order after the record release show. most of the albums were thrown away by the disgusted listeners, though some of the more "adventurous" types in the scene held on to their copies, making it a much sought of item among collectors of obscure hardcore ephemera and/or transgressive material. copies of their sole release can only be found as multi-generation rips in the far flung corners of the deep web, and rumors of the parties involved still persist, but no one has step forward to claim membership in the band. a popular thesis connects RAINCOATER frontman Richey Walker to the group, as they emerged some time after Walker's exit from that band.

Top 10 Bandcamps of 2015

CHAIN GANG GRAVE - Bury Them and Keep Quiet 

might be my new favorite band from NY.

TETRAGRAMMACIDE - Typhonian Wormholes: Indecipherable Anti-Structural Formulae 

black noise recorded through a traffic cone onto a boom box covered in wet paper.

LUMINOUS VAULT - Communion

oh hai.

SIRE - s/t demo

members of noise rock giants White Mice and Tinsel Teeth killing it at raw black metal.

GUNSHIP - s/t

driving in light polluted desolation pining to be haunted by the neon spectres of Jaimie Gertz look-a-likes.

FARSAS - Kazkaiptai Nejuokinga

perfect grindcore.

OKAZAKI FRAGMENTS - Abandoned

severely brain damaged tech-grind that retains an organic thickness often lost among the post DEP lot.

OPENING BELL - Always Be Closing The Portal

takes me back to my late college days of scouring the interwebs for Black Mayonnaise d/ls. the Communion played with them this past July and they left quite an impression. looking forward to doing more with them in the future.

 MEGA DRIVE - Hardwired V1.4

in the optic crosshairs of a stop motion robot assasin.

CRYPTIC VOID - Psychomanteum

if Artifical Brain is the monolith, Cryptic Void is the madness they bring. i dunno. this is tiring. shit rules.

Exeunt Albumnes 2015

all of my favorite releases competed in qualifying matches to gain entry into a 44 person 6 round elimination tournament, the 10th Anniversary Edition First Annual Sperg-1 Climblast Wrestlegrind. here are the top 10:

1.

PSUDOKU - Planetarsik Sudoku

Naked City Lives.

2.

TOTAL ABUSE - Excluded

thinks your "dark hardcore" records are just adorbs.

3.

GRIME - Circle of Molesters

adjectives about tar.

4.

GRAVE BABIES - Holographic Violence 

standing awkwardly across a dance floor full of beautiful women who are awful for you.

5.

ABJECTION RITUAL - Futility Rites

synches up perfectly with Titicut Follies i'm told

6.

MGLA - Exercises in Futility 

the album Deafheaven thinks they're making whenever they put their Future Islands bullshit to tape.

7.

DENDRITIC ARBOR - Romantic Love

dissonance volleyed in a shrinking closest till the blur can cut matter with its density.

8.

MEATWOUND - Addio 

Noise Rock: not just for smart asses who part their hair on the side anymore.

9.

RECTAL HYGIENICS - Ultimate Purity 

choked on a swallowed o-ring.

10.

PRURIENT - Frozen Niagara Falls

"I Promise I Will Only Fuck Prostitutes"

THE COMMUNION / Helmsplitter - “Great Violence and Hidden Depths” is now streaming IN FULL on Horror Pain Gore Death Productions’s Bandcamp (art courtesy of BAG MAN-Visuals by Ethan McCarthy ofPRIMITIVE MAN, Clinging to the Trees of a Forest Fire, Vermin Womb,Death of Self) bass by Jay Newman (Unearthly Trance, Humanless,Serpentine Path, SPITE WALL)

it’s been the proverbial “long road” with this release, so the fact that it’s finally out still hasn’t hit me yet. but enough talk; here’s a few years worth of “ah fuck” in 40+ minutes;

HELMSPLITTER/THE COMMUNION Split Album out now! For fans of AUTOPSY, BASTARD NOISE, NOISEAR, PORTAL, PRIMITIVE MAN, RORSCHACH, SERPENTINE PATH, TRIAC!

Order the CD for only $10 with free shipping at
http://www.horrorpaingoredeath.com/store/hpgd119.html

Stream the entire album for FREE,
then purchase the Digital Download for only $6.66 at
https://hpgd.bandcamp.com/album/great-violence-and-hidden-depths-split

Order the CD for only $10 with free shipping at
http://www.horrorpaingoredeath.com/store/hpgd119.html

Stream the entire album for FREE,
then purchase the Digital Download for only $6.66 at
https://hpgd.bandcamp.com/album/great-violence-and-hidden-depths-split

HORROR PAIN GORE DEATH PRODUCTIONS BRINGS TOGETHER TWO OF THE MOST VILE FORCES IN THE UNDERGROUND, HELMSPLITTER AND THE COMMUNION, FOR SPLIT ALBUM OF "GREAT VIOLENCE AND HIDDEN DEPTHS"! FORGED IN THE MIDWEST, HELMSPLITTER RETURN TO HPGD POWERING FORWARD INTO A REALM OF BLACKENED THRASH AND VIOLENT SELF-MEDICATION. EXTREME EVIL FOR A WORLD OF SHIT! MISANTHROPY, PAIN, FRUSTRATION AND DESPAIR LYRICALLY COMPLIMENT THIS MOLOTOV COCKTAIL OF BLACK METAL, SLUDGE, DEATH METAL, CRUST PUNK, THRASH AND DOOM METAL. HELMSPLITTER'S TRACKS WERE RECORDED, MIXED AND MASTERED BY SCOTT CREEKMORE (BROKEN HOPE, NUM SKULL, LIVIDITY). FOR FANS OF ABSU, BLOOD DUSTER, BONGZILLA, CRAFT, CROWBAR, DARKTHRONE, DESTROYER 666, EMPEROR, EYEHATEGOD, GOATWHORE, HORNA, IMMORTAL, LEVIATHAN, MARDUK, MAYHEM, SLAYER, SOILENT GREEN, 1349 AND WATAIN

BLACKENED SLUDGE GRIND, HARDCORE DEATH NOISE, PERVERSE SURREALISM! THE COMMUNION HAIL FROM BETHPAGE, NY AND HOLD NOTHING BACK ON THIS BLUDGEONING SPLIT RELEASE. NOT EASILY DEFINED OR CATEGORIZED, THIS METAL/HARDCORE QUARTET QUARTET CREATE ANGST-RIDDEN EXPLOSIONS, A TWISTED PERCEPTION OF BLACK METAL SHRIEKING, BLAST-BEAT TAKEOFFS AND SWINGING SLUDGE RIFFS. A DISGUSTING DISPLAY SURE TO PLEASE FANS OF PUKE GRIND, HATE SLUDGE, JUNK NOISE, SURREAL DEATH, SCABBY BLACK, SUICIDAL DOOM, GUTTER THRASH... AND OTHER SUBTERRANEAN MUTANT SOUNDS FROM AESTHETIC ISOLATIONISTS. THE COMMUNION'S TRACKS WERE RECORDED/MIXED BY JAY NEWMAN AND MASTERED BY ALAN DOUCHES AT WEST WEST SIDE MUSIC. THIS RELEASE FEATURES ARTWORK BY ETHAN LEE MCCARTHY (PRIMITIVE MAN, WITHERED, VERMIN WOMB, CLINGING TO THE TREES OF A FOREST FIRE). FOR FANS OF ABSCESS, ANTAEUS, ARABROT, AUTOPSY, BASTARD NOISE, BODDICKER, DRAGGED INTO SUNLIGHT, THE KILL, NOISEAR, PORTAL, PRIMITIVE MAN, RORSCHACH, SERPENTINE PATH, STARKWEATHER, TRANSIENT AND TRIAC

TRACK LISTING:

Helmsplitter
1. When Black Rains Fell
2. The Ancients Beneath
3. Denied The Light Forever
4. My Darkness Complete
5. Monuments Of Man's Depravity / A Grave Best Left Forgotten

The Communion
6. Graft
7. Volunteer Widower
8. Next Time I'm Coming Inside
9. Hymen Balaclava
10. Gallstone Seedbed 

Cut Out Bin Conscious Halloween Haunted Needle in the Hayride

HEMDALE - Rad Jackson

 i only really know this band from their split w/ EXHUMED. my gore metal game has always been a bit off. loving the dirge on "Pus Filled Carcass". it's been a while since i did one of these. i dunno, they were fun, but also a bit draining. i figured though; it's Saturday, it's Halloween, and i have no life, no friends, no one wants to fuck me, everyone's too busy to jam, i just sadsacked out at the local record store and found some horror-ish albums, so here we are. caught the premiere of "Ash vs. Evil Dead" last night. i dunno... it was cute i guess. kinda hope it goes beyond servicing the easy-to-please horror convention attendees who still think "This is my Boomstick" is the funniest thing ever. the first film still holds up, but looking past nostalgia, the rest of the movies/media, while amusing, just do little for me. i'm gonna stick with the show, cause it was enjoyable and fuck it, it's television, but if it's ten hours of slapfights, dorky one-liners, and zoom-cuts it's gonna get real old real fast. i guess i just never cared too much if they did another Evil Dead film. i mean, there's already 3, why do people get so hard up for more of the same, especially when it's been like 25 years and so much other amazing shit has been created, discovered, reappraised, etc?. anyway, back to the tunes. that mid-riff on "Are You Pornophoric?" is some putridity right there. "Demented Surgical Incest" has it all. it's like a perfect example of an underground metal song. putting this one in the "dream cover" list. 'Licking Mental Patients' Cum Off The Sheets". there's no joke or anecdote with that one, just mentioning the title. i should wear a cum stained sheet for Halloween and greet children at the door as "The Ghost Who Haunts the Motel Room Your Dad Visits". so this release is part of the Relapse Underground Series, which has become my favorite thing about Relapse. they've been bit on the rebound (so pun intended) in the last few years i guess. know it's not cool to say, but fuck it, i'm not gonna pass up good music because some posturing ninnies on some far flung corner of the internet think Relapse is too "corporate"... the kind of pube gardeners who use MRR back issues for punk house insulation (actually that's about all they're good for. sthnap). anyway, the Underground Series rules. "Demented Surgical Incest" is such a good song that they got it on here twice. i just took a shit that makes me feel like i came. is shitting the old man's orgasm? i can deal. the Disgust split tracks are heavy as septuagenarian cum turds. "Impaled and Dead" also just made the dream cover list. last track is called "Tribute to Anal Cunt Cause We Think They're Cool". my noise handle Tunnel Nun recorded a track for an AxCx tribute. i did "Benchpressing the Effects on Kevin Sharp's Vocals".

KHLYST - Chaos Is My Name 

this is Runhild from Thorr's Hammer and James Plotkin from pretty much anything cool and shrieky playing improvisational brain damaged rape ghost noise. this is also the album that may have gotten us blacklisted from Decibel. here's the gag: in 2006 Decibel did their year end list and they called this release "the Comedy Album of the Year" and it just rubbed me the wrong way; the snarky dismissiveness i saw creeping into the underground scene (which hasn't really left, but whatever), so i wrote a big tirade about it on the old blog. i don't remember what i said exactly, maybe something about how all these pop punk ska types who used to give me endless shit about my interests were now all in on 'extreme metal", but they were still the same cutesy cutesy over-extroverted smart ass mother fuckers that made mocking belch-sounds at me in an attempt to impress a bunch of 14 year old New Found Glory fans. you know something like that. one of the Decibel writers we knew, Chip (a really cool guy who actually did put one of our demos on his in print Playlist) confronted Lee about it at a show. it was nothing nasty or anything, but it was a bit of a wake up call.. i wasn't in the best place back then (unlike now hyuckhyuck) and i used to use our Myspace/Blog to vent my opinions on the music scene. no one in the band ever called me on it directly, but i began to sense that maybe i should chill out on the "opinionated front man" thing until at least we were more established, or maybe that it'd be better to chat up what we liked rather than what made us sick. there's really no excuse for it; i was 23 years old, excited about being in what i saw as a cool band, and arrogant about it. i thought maybe starting beefs would get attention, but me being a dumbass i didn't realize that it's not like you start a beef, people go "yeah bro we're with you fuck those guys" and your imagined adversary just sheepishly backs off while you go on to bigger stages. most of the time it's them who's got the support and backing and you just end up being this cocky prick ruining everyone else's good time. sometimes i think we still owe reparations for that, that people really do have long memories and aren't going to let message board bullshit from 10 years ago die, but i'm also probably a mild schizophrenic so i dunno. anyway, the album. i almost forgot has twisted and awesome Runhild's voice is. i used to listen to that Thorr's Hammer album all the time. "IV" reminds of Diamanda Galas. i was listening to her almost every day back then. 05-06 was when i really started getting more into experimental noise/power electronics. i was a fan of the 80s New York noise rock stuff; Teenage Jesus, Swans, Suicide (70s actually), Foetus, Cop Shoot Cop (90s i guess), Missing Foundation, but wanted to go farther, not live in the past too much. it's a bit easier to get your hands on that stuff now, but even in the mid-2000s you couldn't find that shit just anywhere. i think that's when Hospital Records opened up in Manhattan, when it was just this small (though impeccably curated) basement in a Reggae Record store, and that was the place for obscure power electronic and sub-subterranean black metal releases. i finally had hard copies of albums by Prurient, Deathpile, Sickness, etc. to replace all my message board hodge podge CDRs. that really mapped out the aesthetic direction we wanted for us; stark and disturbing but not in a metal or grind way... something more minimal, hermetic, and genuinely surrealist. not just in the artwork, but in the vocals, lyrics, arrangements, vibe, etc. not just be a mostly orthodox grind band who writes about and plays same as any other Napalm Death wannabe, but throws in a little blast of static and says "we listened to most of a Merzbow track once and here's what we took from that. now more watered down anarchist posturing and soup can blasts".

THE RAVENOUS - Assembled in Blasphemy 

it's funny that i found this cause i just finished Dan Lilker's book "Perpetual Conversion" and when i got to the section about the Ravenous i got mad at myself for sleeping on them. if you don't know, the Ravenous was Lilker, Killjoy from Necrophagia, and Chris Reifert from Autopsy/Abscess. it sounds exactly like you think it's gonna sound. i'm an Autopsy fanboy and always dug Killjoy's vocals and near-fetishistic admiration of gory Italian horror films, so it's cool. Lilker's book is, too; lot of good photos, some insights on how both the mainstream and the underground work. i recommend it. "Orgy in Dog's Blood' is an early favorite, especially for all the Van Bebber's Manson Family samples. "Keep My Grave Open" is pretty sinister too. Necrophagia's Legacy of Horror, Gore, and Sickness is sort of overlooked. just great vile metal. way cooler than the Anselmo years (though those releases have their moments). i'm also probably the only person in the history of the universe who kind of like Viking Crown (at least the album Innocence from Hell, which Killjoy is on). it's totally haphazard and makes no sense, but neither do a lot of Italian horror films, and it seems like they wanted to make the Black Metal version of a Lucio Film film; non-linear, image dependent, and fucking disgusting. i think what also attracts me about it is that it's a very exclusionary record; Black Metal fans won't like it cause of the Pantera connection, and Pantera fans won't like it cause they still think Vulgar Display of Power is the best shit ever. there's no appeal, so there's no worry, and i've always loved shit like that. Mike Pattons's Adult Themes for Voice is in a similar boat; FMN fans are like "ah this is just noise i can't bounce to this" and noise people are like "fuck that buttrocker tryin be cool like us noise people". that's always bugged me out; how fucking in love with ourselves we can be when it comes to being fans of marginal music, as if these big time globe trotting film scoring platinum selling superstars feel inadequate cause they don't have the approval of some chatroom dingleberries masturbating to Beherit albums (or Masonna albums, depending). i hate everyone.

 ELLIOT SMITH - s/t

 it's Halloween, and nothing's scarier then your girlfriend exploiting your depression-fueled creativity to falsify evidence of self-inflicted trauma and cover up her more-than-likely part in your demise. you'll have to excuse me for having a Tiny Rick moment here. i don't care if you don't get that. if you don't know Elliot Smith, basically he's that guy that every punk rock creeper imitates when they try their hand at self pitying balladeering, only you know, Smith is actually honest and actually a good player and actually a strong lyricist whose music is brimming with raw emotion, existential complexity, and modest charisma. let's hear that obese pedophile in Front Porch Step write something as captivating as "Christian Brothers" or "Coming Up Roses", assuming he can pull himself out of his routine of crying at texts to a 12 year old girl that have yet to garner a response because it's Pep Rally time and she's got shit to do, you gap toothed sucked cunt. this might only be the third or fourth Elliot Smith write-up that contained the phrase "gap-toothed sucked cunt". just saying. alright i'm tired of writing. enjoy the veal.