Hell Awaits is a column by Kim Kelly and Andy O'Connor that shines a light on extreme and underground metal. This time, Andy recommends new releases from Midnight, Pavillion Rouge, Grst, and more. Welcome to Hell.
Midnight: “The Final Rape of Night”
Cleveland's masters of debauchery, Midnight, hinted at their recent apperance at Scion Rock Fest in L.A. that they would release a new album called No Mercy for Mayhem on August 19. “The Final Rape of Night” is our first taste of that new release, and the track is available on Hells Headbangers' new complilation, which you can get through the label's Bandcamp. This is the Midnight you either love or hate: sleazy speed metal that's too catchy for its own good. Not much has changed since Satanic Royalty, and Midnight is one band we shouldn't expect progession from. But if Midnight comes to your town, your job and kids can wait, because the opportunity to turn up with Aethnar can't.
Pavillion Rouge: "Droge Macht Frei"
In an essay describing his relationship with Mayhem guitarist Euronymous, Varg Vikernes said that when he was growing up he preferred going to house music parties rather than metal clubs: “I went to the techno club to get away from all the new metal people, because I didn't like the attention from them. I preferred the attention of nice girls, so to speak.” Burzum's emphasis on repetiton (and black metal's as a whole) does share some lineage with electronic music. French quartet Pavillon Rouge is what happens when you give a group of black metal kids a bunch of ectasty and have them record music after a night at a megarave. Their 2011 debut full-length Solmeth Pervitine went under the radar for most of the metal world, but it's a trippy record, like Aborym giving into happy hardcore. “Droge Macht Frei” is a new song from their forthcoming album, Legio Axis Ka, out on Dooweet Records in the fall. And y'know what? Black metal could use more throbbing bass drum. As long as the band doesn't resort to shilling molly water, we're good.
Grst: Fire Therin
Dead as Dreams, the sole full-length from San Francisco's Weakling, remains one of the most monumental black metal albums ever made. It was also the first significant recording in the career of John Gossard, one of metal's most underrecognized innovators. Eugene, Oregon black metal trio Grst pay tribute to Weakling with Fire Therin, an EP that covers “Dead As Dreams” and “Cut Their Grain and Place Fire Therin.” This is an audacious task, since plenty consider Dead as Dreams sacred. Considering this is only Grst's second release, following a split with The Will of a Million, only adds to the skepticism. Fire Therin, luckily, is a wondeful tribute to Dreams. It's not a straight play-through—there are some interesting floating electronic strings on “Grain.” Always fantastic for young bucks to not only pay tribute to their masters, but not feel hamstrung by reverence either.
Ranger: Shock Skull
Helsinki speed-metal freaks Ranger put out one of the best EPs of last year with Knights of Darkness— a group of youngsters doing the old man's game with riff-laden vitality. They're following that up with Shock Skull, a two song 7” just released on Ektro. These are two of the most ripping songs they've put out yet, every snare hit and solo adrenalized. Bassist and vocalist Dimi Pontiac, also formerly of the band Foreseen, still hits those glorious highs that induce open mouths and invisible oranges. So fast and vicious, you may forget you're going 90 in a school zone.
Body Hammer: II: The Mechanism of Night
If Agoraphobic Nosebleed is too human-paced for you these days, Body Hammer has all the unnatural BPMs you could ever want. Through The Path Less Traveled Records, they'll soon release II: The Mechanism of Night. Largely composed and performed by Ryan Page, Body Hammer tear through cybergrind tracks that make you wonder if Al Jourugensen was as hopped up on speed as he claims. “Body Blockade” might be named because of its resemblance to The Endless Blockade, albiet at a more maniac pace. Night isn't just a digital headache, thought; there are songs throughout the album that go into more subterranean territories. “Banishing Ritual” is a notable example, with uneasy piano and distant percussion throughout. That and “Foregone Conclusion” have Joshua Marshall's abrasive sax playing fans of Painkiller will appreciate. Hell, if John Zorn won't give Painkiller another go, this'll more than take its place.
Whitehorse: Raised into Darkness
Tomorrow is the beginning of Maryland Death Fest (Kim and I will both be in attendance, holla!), four days of metal hedonism in Baltimore. Amongst the stacked bill is Melbourne doom crew Whitehorse, who just released Raised into Darkness through Vendetta Records. It's only their third full-length, but it also follows a series of EPs and splits with bands like Batillus, Hot Graves, and The Body. And like all of their releases, this is gruelingly slow doom punctuated by bursts of noise and Pete Hyde's shrieks. The underlying electronics, provided by David Coen, give this the momemntum most bands that play this slow often lack. “Lone Descent” in particular has these noises that make you wonder if something got caught in the fan and the band decided to record it. If you've had the pleasure of eating at Hip Hop Fish and Chicken—a lair of fried foodstuffs fans of all music genres can enjoy—Whitehorse sounds like the ensuing food coma.