Yetti
Active Member
Ihreil Junkenstein
Bad Blood
Yetti
Active Member
sad thing is that darkthrone wanted it to sound like they recorded it in a garage w/ a ghettoblaster
Ihreil Junkenstein
Bad Blood
Chuut-Riit
Son of German Quarkness
@Ihreil: haha, those "Norsk-ultra-true-satanic" Vacuum-cleaner-rumbles-down-the-stairs-and-someone-screams-with-throat-cancer 
you might test Nargaroth - Black Metal ist Krieg
you might test Nargaroth - Black Metal ist Krieg
Yetti
Active Member
Chuut-Riit said:Vacuum-cleaner-rumbles-down-the-stairs-and-someone-screams-with-throat-cancer
that is too fuckin funny, and too fuckin right
Chuut-Riit
Son of German Quarkness
Ihreil Junkenstein
Bad Blood
Chuut-Riit
Son of German Quarkness
WORSE YET MY FRIEND IS IT SEEMS THE ROCK-RAGE HAS BEEN SUCKED OUTTA THEM I ALWAYS LOVED THE ENERGY IN R.A.T.M. BUT MAN DOES CHRIS WHINE HIS ASS OFF IT MAKES BLACKHOLE SEEM CHEERFUL AT TIMES ( YUP CAPS BUTTON IS STUCK!!!rebirth said:
Whine is the word...
No energy no nothing..
He is is tryin to get new sounds out and it falls flat on his fat rat dick...
No energy no nothing..
He is is tryin to get new sounds out and it falls flat on his fat rat dick...
None of you have heard horrible quality untill you have heard Mayhems Pure Fucking Armegedon Demo. Im talking about the one that was recorded in Erounymous's garage with one mic and a 4 trac, unmixed. IT IS COMPLETE SHIT. this coming from a die hard Darkthrone Fan who has and loves all of there Cd's even with the shitty sound (it would ruin the music if it were good quailty, no one seems to get thsi.) But i have argued this much before, and my point stays so yes. BTW Audioslave sucks, check out AudioPain instead. much better. Nagaroth (Kanwulf) is a very disturbed man, but makes great music.
Chuut-Riit
Son of German Quarkness
Yeah Kanwulf is somewhat nuts, but Nargaroth is something one can listen to (but I have to admit, I am not a real liker of this "ultra-true" style of black metal and black metal in general)
Ok, do you know where to get the Mayhem demo?
i want to pain my ears..but hey, the first Death Demo was recorded in Chuck's garage with rudimentary equipment, too..funny sound quality, I like death demos (i own a copy of the Fan Club Demo 1984 and a copy of the Mutilation Tape)
Ok, do you know where to get the Mayhem demo?
i want to pain my ears..but hey, the first Death Demo was recorded in Chuck's garage with rudimentary equipment, too..funny sound quality, I like death demos (i own a copy of the Fan Club Demo 1984 and a copy of the Mutilation Tape)
You can get the Mayhem demo from maniac himself?¿ last i heard they had stoped making it permanenlty. Blackmetal.com sometimes gets a rare shipment of a dozen or so. But seriously its not worth spending more than 7 bucks on, and only if your a hardcore collectoer. If you go to, black metal radio.com they actually have the song ghoul from that demo on one of the seesions. (try 50) maybe its before or after that. it is insane.
Mezcal Head
Swervedriver
A&M, 1993
Reviewed by Jonathan Cohen
--------------------------------------------------------------------------------
Applying thick layers of psychedelic bliss to a powerful rock foundation, British quartet Swervedriver transcended initial comparisons to shoe-gazer bands such as Lush and Ride on its 1993 masterpiece Mezcal Head, one of the best rock albums released this decade.
Informed as much by My Bloody Valentine as it is the Stooges, Mezcal Head is an eleven-track, 61-minute juggernaut, mind-altering and deeply satisfying from start to finish. Produced in typical wall-of-sound fashion by Alan Moulder, the album wrings maximum effectiveness out of a host of inventive alternate guitar tunings and effects and Adam Franklin's somewhat buried vocals.
Mezcal Head blasts off with "For Seeking Heat," a propulsive rocker reminiscent to the leadoff track on Swervedriver's 1991 debut Raise. The band obliterates the alt-rock competition with truly original cuts like "Blowin' Cool" and the nearly seven-minute melodic tour-de-force "Last Train To Satansville."
Here, impenetrable stratas of guitar tone lower a major boom rivaled only by Smashing Pumpkins' 1993 epic Siamese Dream (Swervedriver got its first major American exposure during a 1993 supporting gig with the Pumpkins).
Amazingly, the band never gets carried away with sonic trickery. Underneath, the raw songs are just as interesting as the effects swirling overhead. "Duel" builds on a slippery bass line that dropkicks the song into a head-nodding, major-key chorus. The Pumpkins-esque "You Find It Everywhere" sits on two chords and afterthought vocals, letting the bass and drums do most of the legwork.
But elsewhere, Franklin's smooth vocals prove much more integral to the music, especially on the story song "Harry & Maggie." Backed by a dark, astounding groove, Franklin relates the tale of a stone mason who carves his girlfriend's name into the gargoyles at the Houses Of Parliament. On the slow, steady "Girl On A Motorbike," Franklin pursues said girl through the streets of Berlin, swerving to avoid oncoming traffic.
A lyrical genius? No. But give Franklin credit for trying to separate his band from the pack of mumbling shoegazers that reigned supreme circa '93.
Swervedriver's sense of grandeur flares up on two lengthy songs, the eight-minute, effect-drenched "Duress" and the eleven-minute closer "Never Lose That Feeling/Never Learn." "Duress" is often stretched to more than 10 minutes in live performance, as the band knows just when to fill the open spaces with fucked-up sounds of their choosing.
"Never Lose That Feeling" is the album's finest moment, drilling a brilliant, detuned riff into the listener's head, backing off and then bringing it right back again.
Mezcal Head has yet to be equaled by any psych-rock band, much less Swervedriver themselves (the band has been dropped by no less than three major labels). Until My Bloody Valentine decides to rejoin the living, Swervedriver's psych-rock adventures aren't likely to be bettered.
Swervedriver
A&M, 1993
Reviewed by Jonathan Cohen
--------------------------------------------------------------------------------
Applying thick layers of psychedelic bliss to a powerful rock foundation, British quartet Swervedriver transcended initial comparisons to shoe-gazer bands such as Lush and Ride on its 1993 masterpiece Mezcal Head, one of the best rock albums released this decade.
Informed as much by My Bloody Valentine as it is the Stooges, Mezcal Head is an eleven-track, 61-minute juggernaut, mind-altering and deeply satisfying from start to finish. Produced in typical wall-of-sound fashion by Alan Moulder, the album wrings maximum effectiveness out of a host of inventive alternate guitar tunings and effects and Adam Franklin's somewhat buried vocals.
Mezcal Head blasts off with "For Seeking Heat," a propulsive rocker reminiscent to the leadoff track on Swervedriver's 1991 debut Raise. The band obliterates the alt-rock competition with truly original cuts like "Blowin' Cool" and the nearly seven-minute melodic tour-de-force "Last Train To Satansville."
Here, impenetrable stratas of guitar tone lower a major boom rivaled only by Smashing Pumpkins' 1993 epic Siamese Dream (Swervedriver got its first major American exposure during a 1993 supporting gig with the Pumpkins).
Amazingly, the band never gets carried away with sonic trickery. Underneath, the raw songs are just as interesting as the effects swirling overhead. "Duel" builds on a slippery bass line that dropkicks the song into a head-nodding, major-key chorus. The Pumpkins-esque "You Find It Everywhere" sits on two chords and afterthought vocals, letting the bass and drums do most of the legwork.
But elsewhere, Franklin's smooth vocals prove much more integral to the music, especially on the story song "Harry & Maggie." Backed by a dark, astounding groove, Franklin relates the tale of a stone mason who carves his girlfriend's name into the gargoyles at the Houses Of Parliament. On the slow, steady "Girl On A Motorbike," Franklin pursues said girl through the streets of Berlin, swerving to avoid oncoming traffic.
A lyrical genius? No. But give Franklin credit for trying to separate his band from the pack of mumbling shoegazers that reigned supreme circa '93.
Swervedriver's sense of grandeur flares up on two lengthy songs, the eight-minute, effect-drenched "Duress" and the eleven-minute closer "Never Lose That Feeling/Never Learn." "Duress" is often stretched to more than 10 minutes in live performance, as the band knows just when to fill the open spaces with fucked-up sounds of their choosing.
"Never Lose That Feeling" is the album's finest moment, drilling a brilliant, detuned riff into the listener's head, backing off and then bringing it right back again.
Mezcal Head has yet to be equaled by any psych-rock band, much less Swervedriver themselves (the band has been dropped by no less than three major labels). Until My Bloody Valentine decides to rejoin the living, Swervedriver's psych-rock adventures aren't likely to be bettered.
Chuut-Riit
Son of German Quarkness
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