FOR THE LOVE OF METAL
Here is installment #2 of the Hellbound Handshake Clip of The Week! This week it is TOTAL FUCKING DESTRUCTION Live at Maryland Deathfest 2010, as captured by Handshake Inc.
A striking passage of the Bad Religion song “Latch Key Kids” reads: “In this world today there ain’t nobody to thank/Just blame it on the kids and toss ’em into the tank.” Those lyrics seem applicable to a young kid growing up in the 1980s named Justin Pearson, best known as the bug-suited vocalist and bassist for the grind/noise/hardcore band The Locust.
Hellbound’s Justin M. Norton speaks with Pearson about his upcoming book, “From The Graveyard Of The Arousal Industry.”
As for the content itself, I asked Hall, who prefers the Cinema Verite approach to filmmaking, if he and Cardoso had given the crew specific instructions as to what images they were to capture, he said that he preferred not to. “I just decided to let them film the images that invoked something in them, to focus on what they felt was important to convey to the viewing audience about the performance, he said. “I trust these guys and know that they will come up with something great. How you make a film is just as important as what the film is about…and the way we make movies is to keep it real.”
Laina Dawes recalls her Maryland Deathfest experience as a full-time observer of Handshake Inc’s experience shooting the fest for DVD.
Introducing the Hellbound Handshake Clip of The Week! This week it is GORGUTS Live at Maryland Deathfest 2010
“We got asked a lot if it was supposed to be a tribute show or something; you couldn’t blame the writers for asking that, because it does happen that some dudes package up an old deal like a shtick. That’s not the case here; the way they play these new songs, they don’t do ’em like the old days, they don’t dress up like the old days, nothing’s like the old days – except the songs were written in the old days when they were younger men. That’s the difference; it’s not a Disneyland time warp ride”
Bill Adams talks with Stooges bassist Mike Watt about the current state of the band and their upcoming performance at Toronto’s NXNE Music Conference on Saturday, June 19th.
The beastly grit of doom. Grindcore’s fiery onslaught. Black metal’s confrontational excess. The jarring obtuseness of tech. Metal is founded on explosive, aggressive and often combative attitudes. Still, just when one feels remotely comfortable—possibly slightly expectant—as to what the genre’s next twist will be, something so dominant, furious and volatile comes along that it redefines the parameters of what makes a band extreme.
Keith Carman talks with Toronto’s Vilipend about their multifaceted and dangerous approach to music.
By Ola Mazzuca After releasing seven full-length albums, two demos and six EPs, the musical project of Johan “Shamaatae” Lahger, otherwise known as Arckanum,…
I am sure by now you all have heard about how “the Big Four” are finally playing together this summer, albeit only in Europe…
While the practice of genre blending is nothing new to the world of metal, few bands have taken it to the extremes that Chicago band Nachtmystium have. Built on a strong foundation of second wave black metal, that band have evolved progressively into a psychedelic, industrial and post punk fueled black metal behemoth, culminating in their latest concoction, Addicts: Black Meddle Part II. Lead singer, guitarist and band mastermind Blake Judd weighs in on the band’s directional shifts and his growth as a musician in this exclusive interview with Hellbound’s Dave Sanders.
Here’s the scene: Hellbound’s old man posse – myself, photographer/CD pillager Albert and our fearless leader Sean – have found ourselves in a Motel 6 in suburban Baltimore, our digs for the duration of our time at the Maryland Deathfest. That this joint looks like a cross between 1970s IKEA and the set of the first Alien movie, is of no bearing or consequence, but I it was bizarre and needed to be mentioned. One morning, Albert emerged sporting a long sleeve shirt of the old Sounds of Death magazine. SOD was known for a few things, the most conspicuous was editor David Horn’s enthusiastic reviews in which album were rated on a “skull scale” out of ten, with the most raging of records scoring a brutal “10 fucking skulls out of 10.”
So, without further distraction, here’s what I thought of the bands I saw at MDF, reviewed in classic SOD style.