Thursday, October 30, 2014

Puma's Horror Movie Review

Nightmare on Elm Street
Release Date - 1984
Directed by Wes Craven
Primary Actors: Heather Langenkamp, Robert Englund & Johnny Depp

    Welcome to the second edition of Puma's Horror Movie Review. It's the most wonderful time of the year, a time when the abnormal becomes normal, when the streets are blanketed with the colors of its autumnal shed and when night arrives, ghosts and goblins make this world their own. If you're like me, you can't wait for Halloween night and that means you've already decided what movies to watch. If not let me make a suggestion: Why not try out the original Nightmare On Elms St. If you've seen it, no explanation necessary. You know this movie delivers on all levels. However if you just crawled out of a bad whirlwind of Disney musicals, then sit back and allow your Uncle Poomz to enlighten you on a movie so scary it'll haunt you, even in your dreams.
    In 1984 New Line Cinema greenlighted an independent film based off of the night terrors director Wes Craven had after reading about a boy who was so afraid to fall asleep he took an overabundance of no doze and hid a coffee pot in his closet only to later be forced by his parents to go get some real sleep.When he adhered, they found him dead the next morning. Craven relished at the theory that something in this boys dreams possibly was terrorizing him and keeping him from wanting to sleep. "Nightmare" centers on a group of normal teenagers slowly coming to grips with the fact that everyone has nightmares, but in their dreams they share something in common.
  A dark figure that reaches deep into their psychological canvas and paints his own reality with their blood. Ultimately in doing this he then can manipulate them and take their souls. The teens come up with a plan to figure out, Who is this dark, burnfaced oppressor of sleep and what does he want with them before he picks off the rest?

  One by one the children of Elm St. fight the good fight but ultimately meet their demise with the exception of our heroine Nancy, played by Heather Langenkamp. She dives deep into the history of the evil that raids her sleep and murdered her friends. She comes to find the towns dirty secret unveils some twenty years before a witch hunt for a child killer named Fred Krueger turned into a vigilante homicide by chasing Krueger down and setting him on fire. Now he's come back to claim the lives of all the children of the original mob. Freddy's rebirth will only allow him to catch them in their sleep. Once Nancy figures out the pieces of the puzzle, she then devises a plan to capture and kill the monster. Will Nancy endure and survive the night or will she be last of the Elm st children? Either way she'll have to stay awake to survive the Nightmare on Elm st. This film went on to produce seven sequels but none with a dark gritty feel as the first. Nightmare has stood the test of time as far as original terror. Please watch and see for yourself just try and stay awake.

HMT Dual Track CD Review - Horrendous


We really enjoyed our last dual review so we're throwing you another one. Straight off the Dark Descent label and it's a doozy. We hope you'll listen, buy and share the word about all of these great bands we review. The publicity we give them is well deserved.
Nuff said. Get on with it.

Track 1 - The Stranger

Grownman says
Synthy beginning. Major distortion on opening riffs that I'd expect from a band jamming out in their basement. Fuzzed out compression with a bit of a groove. The vocals are so strained and otherworldly. I enjoy when the song picks up with a bit of thrash momentum. Nice to hear some soloing over the fast rhythm later on in the song. A nice blend of classic death with some anthemic soloing spliced in.

Professor Fork Tongue says
I'm in love with the main riff on this. Sounds like something late era Carcass would conjure up. Horrendous has a melodic death metal streak in them somewhere. If there's one thing I love it's death metal with prominent bass. Vicious bass at that. First time listening to this I didn't really dig the vocals. Listening on headphones and I've completely reversed my stance. Some great solo which is something you're going to hear multiple times from me in this review. I'm no audiophile but one thing I can tell right off the bat is there is no "loudness war" production on this album. I'm not sure it's compressed at all. Every instrument has a chance to rip you to shreds. Easily the most well produced metal album I've heard all year.

Track 2 - Weeping Relic

Grownman says
Opening with a WTF moment. These vocals are bestial. The riffs are crossover crunchy. The percussion is really clean and bright. While I can't seem to get a grasp on the song's direction until 2/3rds in I can see that this band enjoys pushing the boundaries and keeping things off kilter.

Professor Fork Tongue says
This one kicks up the tempo a notch. I'm really appreciating this album a whole lot more through headphones. Again, the bass is fucking fantastic. I haven't heard leads like this on a death metal album in a long time. This one throws a couple curve balls at you.

Track 3 - Heaven's Deceit

Grownman says
Nice palm muted and distorted riffage. For what the production lacks the deep tones and throat bursting vocals make up for. Once again these throat shredding vocals over a constantly transitioning rhythm works. It's unorthodox yet still holds true to the classic death metal sound.

Professor Fork Tongue says
This is great but short. You can hear their progressive streak in this one. I'm not gonna sit here and throw a mish mash of band names out because while I can hear hints, they don't sound like any of them. It's refreshing to hear a death metal album that's accessible but can still tear your throat out. I thinks it's official that these guys have gone from top of the heap of the "OSDM" wave, to top of the heap of death metal in general. Morbus Chron went too far to the progressive side this year but these guys worked out the formula perfectly.

Track 4 - Resonator

Grownman says
Hello, this is faster and heavier. Everything seems to just pop in my ear drum. Thrashy punk death maneuvers in the dark.

Professor Fork Tongue says
Another great one. More straight up old school death metal on this one. Vocals particularly stand out. I really can't say enough about the guitar work on this album. Voice almost sounds like amp feedback towards the end of the song. Just vicious.

Track 5 - The Vermillion

Grownman says
An echoey acoustic instrumental. Sounds beautiful. Always worked for Sabbath.

Professor Fork Tongue says
I'm a sucker for a great instrumental break. A real nice come down moment from the brutality of the rest of the album.

Track 6 - The Nepenthe

Grownman says
So many strong points to this song. Starting off with some dissonant soloing on the tracks intro. There is a nice balance between the brutality of the vocals and the strong musicianship accompanying it. Twists and turns keep my ears guessing.

Professor Fork Tongue says
Allow me to cream my pants about the production of this album some more. I can turn this up as loud as I want without distortion and destroying my speakers. This loudness war compressed crap has got to go. Try that with most albums these days and your ears will slap you. There's a really nice piece in here with what sounds like minimalist atmospheric keyboards deep in the mix that sounds great in the headphones.

Track 7 -  Monarch

Grownman says
Feels old school right from front street. The buzzing of the amps remind me of Metallica's "And justice for all" production. I love the soloing on this song and the upbeat rhythm throughout.

Professor Fork Tongue says
Oh man I love the soloing at the start but I love it even more when it really kicks in. This one is going to cause massive pits with the big riffs and anthem gang vocals.

Track 8 - When the Walls Fell

Grownman says
woah!!!! I wanna start singing "Over the Mountain". So Randy Rhoades-ish. I'm starting to think these guys own a time machine. This totally sounds like something straight out of the early to mid 80's. Well timed instrumental.

Professor Fork Tongue says
Whoa. This has a new NWOBHM vibe to it. A little out of place but I love it. These guys have some serious chops and I'm pretty sure they could do any kind of metal they want and do it well.

Track 9 - Pavor Nocturnus

Grownman says
Sounds sabbathy from the start. Iommi-esque slow riffing and that Ward'esque beat. You know this is gonna be an ominous tune from the start. Transitions into something akin to a Human era Death tune. Why have I never heard these guys before? There's a really nice bass line hidden around the mid point that I'll have to back track to on the album's next rotation in my playlist. Great old school outtro.

Professor Fork Tongue says
Slow and doomy at the start. Again, I love hearing the bass. Gives this track an extra creepiness vibe. I completely hear the Human era Death vibe that Grownman got.

Track 10 - Titan

Grownman says
As I could only expect after hearing the rest of this album. This is going to have some "Titan"-ic distortion. It definitely has a bluesy and soulful vibe which is completely unheard of on most death metal albums. Great way to close out an album that's constantly switching things up. There is not one moment on the album including this tune where I'm scrambling to regain my attention or find myself scratching my head over why something was thrown in.

Professor Fork Tongue says
Very somber track. Kind of vaguely reminds me of Sacriphyx who are great in their own right. The chanted vocals underneath the throat ripping vocals sounds great. I have a feeling this will be in my top 5 somewhere at the end of the year, it's that good. Go grab it from Dark Descent who are on a gigantic roll the last few years, especially this one.

Horrendous is Jamie Knox(drums) Damian Herring (guitars,vocals) Matt Knox (guitars,vocals)

Thursday, October 23, 2014

Grownman's Fast Finds meets long overdue LOTD's!

I know, I know. I've been slacking on this month's LOTD! SO much so that I'm posting a monster mash of both Grownman's Fast Finds along with our Daily Listen of the Day (Day 18 to Day 23)...I found some really choice material to sink your teeth into this week. It all fits into the Shocktober theme as all of the bands are eerie and creepy in their own way.

Day 18:
by Chiral

Chiral is a one man Black Metal Band. Can't go wrong with seething vocals, haunting atmospherics and morose songs like this. Toss this on during your Halloween Bash for street cred bonus points.

Day 19:
Sleepwalking Toward Armageddon
by Adrenochrome

Rhode Island based death metal. Good live stuff. Keeping it as brutal as their studio recording was.

Day 20:
Animal Mother
by Today is the Day

crazy bastard music...I met Steve Austin before a show in springfield mass years ago. He was the quietest well mannered person I've ever met. Then he hit the stage & unleashed a can of whoop ass that the club hadn't seen before. With the mic literally planted in his mouth Austin and company annihilated. This cd follows suit and is definitely one for the Today is the Day fans of any era. Even the goddamn acoustic songs are demented as hell.

Day 21:
Ego Dominus Tuus
by Nightbringer

In Latin, the title of this album is "I AM YOUR LORD"....whatever denomination they lord over, the masses must be hellacious. This is one of the most immense sounding black metal albums I've heard in a while. I mean straight up black metal. It's so loud and all encompassing that it's almost difficult to listen to. Now who's up for a challenge?

Day 22:
Back From The Abyss
by Orange Goblin

Have to admit, I wasn't always a huge fan of these guys. I heard about them thanks to their split with Electric Wizard years ago. I've peeked in on their stuff throughout the years and nothing ever completely brought me into their desert stoner fold. Cut to the present. Really tasty album right here. Majority of the songs are fun and of high quality. I hear a few "meh" songs in the mix but overall great stuff. The closing instrumental, "Shadow over Innsmouth", is inspired by HP Lovecraft's story of the same name. Is it creepy, scary or epic? Maybe not but you can definitely put your weed in there.

Day 23:
Mass & Volume
by Pig Destroyer

dah! geezzzzus!
Back in the day, if a band as batshit crazy sounding as Pig Destroyer had crossed into another genre's playing field they'd be crucified. Well Pig Destroyer just don't give a flying fuckaroo. This is monstrous doom metal. Slow, heavy and so full of hate I feel the spit bursting from J.R. Haye's lips. Tastes like bacon. These tracks were recorded during the Phantom Limb era about 7 years ago and are now finally seeing the light of day...umm..or dark of night. Either way they have a place in the great expanse of the modern day doom universe. 

Wednesday, October 22, 2014

Puma's Horror Movie Review

Release Date - 1981
Directed & Written by Sam Raimi
Executive Producers - Sam Raimi & Bruce Campbell

   Welcome everyone to our first edition of Puma's horror movie review. Today and from here on out we want to talk about some of best horror flicks we've ever seen, and of course some of the worst. Remember this is just my opinion. Who am I? I'm a 34 year old horror movie maniac. I lived throughout the best years in the industry trying to collect and watch everything out there available to me, from Halloween to I spit on your grave. I survived the rebirth of horror in the nineties, with the Scream and I know what you did series. I've also had to endure the recent remake phenomenon. I've seen enough to give a quality opinion and hope you share it with me.

SEE BELOW - Within The Woods - Sam Raimi's Original short film that served as a prototype for The Evil Dead


  Tonight's review will be based on a movie that changed the face of horror early on. The original Evil Dead came out in October of 1981, a time when the new wave of horror was being taken very seriously in an industry that no one takes seriously to begin with. Horror was always looked at as the bastard child, court jester of film. Sam Raimi's The Evil Dead not only explicitly grabbed you with a gore soaked toe to toe fight with itself(and I'm sure it's budget), but it also brings you the type of tongue in cheek humor that kicks you in the balls. Bruce Campbell is the perfect lead in this film and the two sequels(Evil Dead 2 and Army of Darkness) that followed. His ability to make you believe in his fear just enough that even he realizes how absurd and campy the situation he's been put in, is flawless. The physical comedy he omits helps you ask the question, how far would you go to survive in that environment, in that situation? Me? I would have never read from the book in the first place. However, if they never did, we would have never known of the Evil Dead.

   If your more familiar with the recent remake, I implore you, please watch the original. The remake I enjoyed, however, this is one of those rare films where the original people who had a hand in the 1981 version came in to adapt the remake, including Sam Raimi. I'll always be a fan of horror new, old, however the older I get the harder it gets to scare or make me see something original. Hence the reason I enjoy the throwbacks. I'll never be four year's old, sitting on my grandmother's couch again but I'll remember the fear that some of these films made me feel. I hope some of you feel the same. Until next time, bolt your windows, lock your doors, check your closets because you never know what lurks behind.

Tuesday, October 21, 2014

"ME"TAL 101 w/Eternal Khan

Today's Eternal Khan's A Poisoned Psalm is being released and we couldn't think of a better day to share with you all our exclusive interview with the band. I was excited to hear the first track "Bells on the Black Hour" a few weeks ago and immediately reached out to the band for an interview. Eternal Khan are on a completely different playing field with this album. A Poisoned Psalm shows off the band's chops for orchestrating precise mind bending journeys embodied in all aspects of the death, doom and black metal genres. Let's take a journey in the shadows of the "Tower" and hear what the band has to say about their roots, the metal music scene and what methods of madness drive A Poisoned Psalm.

HMT: I'm totally loving the "Bells on the Black Hour" track from your upcoming cd.
You're a favorite of our writers. You hail from the city of Providence, RI. The city has bred some really great hardcore and metal bands over the years. Are you guys all from the area and how did you get together on this project?

Tou: Yes, we all grew up in Providence and still live in the area. At the time, these two guys were in another band, which went on a temporary hiatus. I had riffs. I showed Nate and we recorded some stuff which Da liked and here we are.

Nate: We actually met in middle/high school and have been friends for over 20 years. We were drawn to each other through music. One glance at our attire back then and it was pretty obvious where we stood on such matters. The unspoken communication (back patches, band shirts, sketched logos on book covers) prompted us to start talking to complete strangers, both sides recognizing some type of connection. It seems trivial in retrospect, but the lasting bonds speak for themselves.

HMT: It seemed like in the 90's there was a metal or hardcore show every weekend in Providence. What is your feelings on the club scene in Providence these days and the small amount of venues that still put on Metal shows.

Tou: There's been a lot of really good metal shows in Providence. Armageddon Records, Forza Morte, Intrinsic Events and Signature Riff, just to name a few, have been doing a great job putting on shows. Dusk is my favorite spot in Providence for metal shows right now. The sound is good and Gansetts are cold.

Nate: Back in 93/94, we were each in our first bands and it was very difficult to get on a bill. We had to do garage shows that our friends would put on. It's true, there seemed to be a steady stream of national acts that would hit Club Babyhead, the Living Room, Lupo's, and those events were well attended. But I think it was tough for a local act to get going if you weren't friendly with a lot of people in the right bands. With social media, it seems like local shows come together more often and with less friction. I think there is an engaged metal scene, it's just spread out a bit through the different subgenres that bands have moved into these days.

HMT:  I might be wrong but I hear a touch of Venom in your music. Who were your biggest influences? First albums that got you into metal?

Nate: The Venom influence is there, but indirectly filtered through second wave black metal. The first black metal album I listened to was Transilvanian Hunger and initially I thought it was a joke. The production turned me off but there was enough there that I kept listening. Eventually it all resonated and the haunting melodies burrowed in me. The Darkthrone and early Satyricon albums are some of the few recordings that have remained important to me throughout the years. They are my biggest influence.

HMT: I've always enjoyed learning about band's writing processes. Is there a primary song writer or is this more of a collaborative effort when it comes down to constructing your songs and overall feel of the latest album?

Tou: Nate and I write the riffs and then we show Da, who puts down drums and writes lyrics after we all construct the songs together during practice.

Nate: It's totally collaborative. Along the way we feed off of each other's ideas, coming up with alternate riffs, overlays, and vocal ideas. This band could not exist without all three of us.

HMT: How important was it to get those first demos/singles out before heading into the studio for your first LP? The production on this new album is great.

Tou: Hell Yeah! Nate did a great fucking job! He put a lot of work into it.

Nate: The demo was basically an experiment, it had been a few years since any of us had played metal. We took elements of what we liked there, mixed in some other ideas, and distilled it into the EP. This time we knew what we wanted and were able to focus our songwriting and sound. All the early stuff was written under the assumption that it would include accompanying bass. After the EP, we embraced the fact that we don't have a bassist. We shaped our sound to include lower octave guitars - something that I think would sound too muddy if we had a bassist. What you hear on this release is our live sound, just guitars, drums, and vocals. There's no way we'd sound like this without first doing the demo and EP. Thanks for the comment on the production. It means a lot since we were responsible for all aspects of this release, minus the artwork.

HMT: Looking at your new album, the artwork says witchcraft to me, it might be just cause we're in the thick of Halloween season. What was the inspiration for the new album and is there a historical time period you guys are covering in this?

Damian: A considerable amount of thought went into the type of imagery we wanted to use for this album with the sole intent of creating a particular mood or atmosphere; something dark and brooding that hopefully relates back to and compliments the mood of the music. The new album has seven tracks and we tried to find a common thread between all of them and then develop an album title and a concept for the cover art. We didn't want it to be "dark" for the sake of being dark; nor did we want to make an attempt at being "evil" for the sake of being evil. We really just wanted it to be genuine and to make sense. We explore many themes in our songs, witchcraft being one of them. "Bells on the Black Hour" is about the Salem Witch Trials in 1692, so you're not off base in your observation. "A Poisoned Psalm", is a lyric from that song, which Nate suggested as a possible album title and we all agreed it was appropriate. Although it has a Biblical connotation in the song, we're using it in a different context in the album title. If you think of the genre of metal as an anthology of subversive, counter-culture polemics, that is, "poisoned psalms," we consider this release to be a contribution to that collection.

HMT: What are your plans for the rest of the year once this album is officially released?

Nate: We're eager to continue writing new material, it's my favorite part of all this. But when live opportunities present themselves we always listen.

That concludes our interview. Make sure to purchase Eternal Khan's new album A Poisoned Psalm. You can get a preview of the album streaming on their bandcamp page where you can also hear their previous demos. Also check out their merch page where you can pick up their sick tshirt as well.

D.MURPHY: drums, lyrics | T.PHRATHEP: guitar | N.WOOD: guitar, vocals

Follow link below to order and listen to Eternal Khan

Thursday, October 16, 2014

LOTD! Shocktober listens.........


Time to catch up on some listens. Tonight King Diamond swoops down into New England. Let's get wicked creepy.

DAY 14

DAY 15

Day 16

Wednesday, October 15, 2014

HMT Dual Track by Track Review of Eternal Khan's A Poisoned Psalm

A Poisoned Psalm
Eternal Khan

When I reached out to Eternal Khan last week about interviewing the band about their upcoming album "A Poisoned Psalm" they were gracious enough to send us a download of the cd to review. As I often do when I have a new interview coming up and need some expert advice I hit up Professor Fork Tongue, the in-house underground metal expert. He immediately pitched me an idea to do a dual track by track review for the cd. So here it is. I'm extremely happy at how it came out and it feeds off what Prof. Fork Tongue and I had collaborated on when we first started this site. If there is any band that deserves the special treatment and care that we gave each song on this cd, it is Eternal Khan. This  is just the tip of the iceberg as I will be posting later on this week our interview with the band. Great guys, great music and they are just a stones throw away from Heavy Metal Textbooks headquarters. Check these guys out and definitely pre order this cd. Now on to our review.

Bells on the Black Hour

Grownman - This song based on the Salem Witch Trials. Gotta love that very ominous intro. Sounds like a funeral march. I'll probably say this throughout this review but it definitely would make for a great score to an old school horror movie. Love the galloping guitars and the first generation Death metal feel to this. This is the song that originally got me hooked on the band.

Prof. Fork Tongue - The thing like I enjoy most about this band is I instantly know it's them as soon as it comes on. That's rare these days. I love the synopsis of each song that comes with the download. I hope it's also in the CD notes. It's fairly common in metal but I also love the intelligent lyrics. I made mention in previous reviews of this band to Faustcoven and Negative Plane and I don't hear that anymore. I'm not sure they were ever an influence but that's what they conjured up in my mind. Now they just conjure up Eternal Khan. That's the sign of a good band. Love the dropped out outro.

Raging Host

Grownman - The production on this album is incredible. Eternal Khan definitely have their own signature sound. A great song about a Spectral Horde riding across the sky. I absolutely love how the vocalist phrases the lyrics "No refuge in the dark wood". Something about it every time I hear it triggers this response in my brain and I just wanna head bang.The combination of the speedy picking and those crashing symbols really give this song that cold wintry atmosphere. You can almost feel a cold breath riding down your spine.

Prof. Fork Tongue - Love the middle eastern style drums that run through this song. There's a couple great sounding transitions in here which seems to be a strength of the band. I prefer when these guys slow it down which they do a bit in spots on the song. Again. the lyrics are fantastic throughout the album and so are the drums which were both done by D.Murphy. I love the guitar and vocals too don't get me wrong but drums are something I never really notice but I'm noticing them so that's somewhat new for me.

Undermined and Abandoned

Grownman - A tune based on the existential quandary of why we're here and what the hell to do with that realization. This band has amazing timing and rhythm. Love that each song takes you on a journey and the songs have these crazy twists and turns.

Prof. Fork Tongue - A great thing about the guitar work with these guys is that they never sacrifice atmosphere for riffs or vice versa. I love both but combining the two well is tough and they do it exceptionally well. The line "At odds with the nature of our nature. Tragically self-aware." is a great line and I love the cadence at which it's delivered.

The Tower

Grownman - This is absolutely my favorite track on the album. The intro reminds me of something off Danzig's 4 album. Any comparison's to the Evil Elvis rhythm section is coincidental. This isn't about the Gods Killing...this is about their complete disdain for humanity.The low and slow bluesy strum transitions into really beautiful atmospheric riffs. Hammering drums and the lightning fast picking that quickly come into play bring to mind a scene from Godzilla. Throngs of people just running away from a godlike monster that's just glaring down at them with rage and disgust. I'm probably reading too much into this, no? 

Prof. Fork Tongue - The gods may have been disappointed when humans couldn't actualize their potential but I'm not disappointed in this song. Best track on the album hands down. What a great intro. Again, I love when these guys slow it it down, always the highlight in my eyes. When it picks up I can't help but head bang while I'm typing. Your gods have left The Tower.

The Black Stork

Grownman - Thanks to Professor Fork Tongue for filling me on what this song is about. This song is fast and brooding. The acidic vocal delivery of each line along with the grand scale of the song structure makes you feel like your walking down the long corridor of an abandoned hospital. The chords during the last 30 seconds of the song are really beautiful and somber like a sad lullaby.

Prof. Fork Tongue - I've done deep, deep research into eugenics so when I saw the title of the song I pretty much knew where this was going. To make it short and sweet I'll quote a little something I wrote about the movie "The Black Stork" of which the song is based on. "In 1917, Hollywood produced The Black Stork, a story about a mismatched couple who are counseled by a doctor against having children. However, the couple become pregnant anyway and the woman gives birth to a defective child that she allows to die. The deceased baby’s spirit then ascends into the arms of Jesus Christ. Hailing it as a "eugenic love story" in publicity ads, the eugenic movement had its own propaganda film at last, and it promoted The Black Stork throughout the nation.It’s catch-phrase: “Kill Defectives, Save the Nation and See ‘The Black Stork.” Not quite “Save the Cheerleader, Save the World,” but close. Dr. Haiselden, then famous in eugenics circles for his baby-killing ways in Chicago, played himself as the doctor in the film." Anyway onto the song. Once again really great lyrics seemingly through pro eugenics glasses. I don't mean that as a knock either, that's what you do when you write songs. People take stuff too literal sometimes. Really great somber ending as Grownman said, almost like a "sad lullaby".

Void of Light and Reconciliation

Grownman - Hearing this makes me want to unsheathe a sword and storm a castle. Something really medieval about the tone and rhythm. This is another amazing tune. I wanna hear this as a score over a movie about an evil king. This song perfectly captures the transformation of the mind and it's descent into evil. The rage in the delivery of the vocals and the overall composition of the song really illustrate the story. I absolutely love how much range the band has and the tools they have at their disposal. To think this is only three musicians and how immense of a sound they can get out of all the transitions they come up with. There is not one song on this album that just stays the course. Eternal Khan strive on each track to outdo themselves.

Prof. Fork Tongue - I read the lyrics before reading the synopsis and what I came up with was "a darkness is creeping up ever so slowly and when it takes hold it obliterates all". After reading the synopsis that's pretty much what it was. I thought about it in a literal sense but it's more of "a negative and repressed aspect of one's personality reemerging on its own terms to the detriment and shock of the unsuspecting subject" which is essentially the same as what I was thinking just from a different angle. That's a sign of great writing right there.

Into the Twilight Abysses

Grownman - Based on a HP Lovecraft "The Dreams in the Witch House". Take my money. One of my favorite Gothic horror writers, H.P. Lovecraft hailed from Providence, RI, home base of Eternal Khan. This makes me very happy. The song captures all the drama of the story and I really wish someone would adapt it to a movie so this could be it's lead score. Love how the chords are like the angles in the character Gilman's room. They draw you in while the bass, percussion and vocals hint at the void that waits behind it all. There is drama and adventure at every turn.

Prof. Fork Tongue - Take away my metal card, I don't know shit about Lovecraft. Could never get into fiction, shoot me. This may be my second favorite track of the album and the one that most reminds me of their EP "A Primitive History", which I also loved.

Conclusion: An amazing album back to front that finds the band fully realizing their own sound. The exceptional cover art and extras make this a must own. 

D.Murphy - drums, lyrics T.Phrathep - guitar
N.Wood - guitar, vocals

Rock and Shock 2014 This Weekend!

Monday, October 13, 2014

LOTD! Shocktober 13th - 13 Tracks of Danzig

Today is the 13th day of Shocktober and we celebrate the dark prince of heavy metal, Glenn Danzig. 13 Tracks handpicked from all of Danzig's solo albums including the Black Aria albums. 

LOTD! Day 11th & 12th

Post weekend's Monday damnit. Once again, I'm playing the catch up game. So let's hear Day 11th and 12th's selections. I'll be back for 13 later on.