Black metal as the light returns - IN SEARCH OF SPACE #195

I've had a heavy phase recently, possibly prompted by being asked to write a history of genre in black metal, and then a re-reading of Albert Mudrian’s excellent Choosing Death and a trawl through Bolt Thrower, Pig Destroyer and Napalm Death; before looking out a buncha obscure new-release American black metal for my Muso’s Guide column (last Monday of every month, read it now kids) and stumbling upon/remembering that one of my favourite people in music has a new band, and new records out. As I summited the volcanic mountain at the centre of this ancient city, contemplated the shortest day and the lengthening of daylight thereafter; then stumbled between jostling drunks and addicts and xmass shoppers (and tried to determine which of the three I should avoid more) I remembered this bizarre, challenging and important new black metal record. Enter Adam Black Savage and his new thoughtful and tasteful musical experience, Cemetery Piss.

Adam Black Savage has got the Midas touch, everything he’s a part of (including promoting cool stuff in the Baltimore area which you should attend if you too are in the Baltimore area) is infused with a wild infectious kinetic energy and brave do-it-yourself punk sensibility. The music of Vincent Black Shadow and Murder was always infused with a kind of back-bar debauchery that while not acceptable to the vast majority of the populace, with misaligned chakra and third eye firmly and wilfully shut, began to resemble aesthetic perfection. Cemetery Piss is somewhere between thrash and black metal, leaning towards the latter and emphasising dissonance, and sonic pummelling.

Their debut tape, Rest in Piss is intentionally low fi, with the double action on the bass drum turning into a machine for punching metal and the guitars sounding like a bee in a tin can. The thrash metal grooviness and listenability dispels any direct comparisons to the godfathers of modern black metal and their early tape successes. Ultimately it’s a notable fuzzy contribution to that special genre, but nothing world-shaking. November this year saw the release of Such the Vulture’s Love as an entirely different beast.

(via: metalchris)
Such the Vulture’s Love (in beautiful artefact ‘piss coloured’ 7”) is a joy. Two thick fast-paced inventive tracks, infected with the sores of dissonant industrial black metal and groovy listenable thrash, separated by one minute of severe continuum guitar noise reminiscent of one of my favourite EPs of all time, Thorns’ Grymyrk. Every time it ends I wish it were thrice as long, and explored the screaming musicless landscape for another eternity. Black Savage’s vocals are unmistakable, despite being a world away from his characterful contributions to Vincent Black Shadow and Murder. Dirck and Rebecca Chernoff thrashing away on guitar and bass respectively forms a solid waterfall of pitch through which the hammers of Akai’s drums pound. The production is improved so that each element is held aloft and distinctive, rather than sinking into lava pits like in the demo. All in all, you better get your piss-coloured vinyl before they sell out. With the Saturnalia Temple EP, the Bismuth/Undersmile split we just covered and a whole host of others, it’s been a good year for EPs if nothing else.

Written under duress by Steven.

1 comment:

Anonymous said...

Midas touch my ass, this sounds like some bullshit to me.

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