My Experience With Brutal Truth: A Preemptive Memorial

[photo credit: Peter Herneheim; found on Brutal Truth's Facebook page]

This morning, Dan Lilker of legendary grindcore group Brutal Truth announced he will be retiring from being a full-time touring and recording musician on October 18th of this year, his fiftieth birthday. This means no more Brutal Truth. Bands break up all the time for all sorts of reasons, but this is a big one for me. While the majority of my website's content is rooted in black metal, grind has been dear to me for years, with Brutal Truth holding a position as one of my favorites from the moment I first heard them. Even if I hadn't already been fond of their tunes, frontman Kevin Sharp is a vocal beer lover who shares thoughts on what he's drinking with his friends on Facebook, which makes him fun to follow as a metal and beer geek.

While I'm not going to sit and wax poetic about crowded concerts and pure insanity, as I've never had the luck of seeing these guys live, I'm sharing ten of my favorite Brutal Truth songs with you guys as a way of documenting my own experience with this band whose legendary status is well earned. The list is heavy on nineties material because as much as I've enjoyed their two most recent albums, I've had far less time with each, preventing them from sitting in quite as deeply as the material I've had years to absorb.

1. "Denial of Existence" from Extreme Conditions Demand Extreme Responses
This album was probably the first grindcore album I heard that had anything resembling nuance. Until this point, I'd mostly been familiar with bands specializing in spastic blasts of sound, typically with songs that seldom exceeded the thirty second mark. Extreme Conditions brought the intricacy of death metal to the fury of grind in a way that was new to me. This song in particular was among the first to leave its mark, and at a lengthy four and a half minutes it showed me that grind wasn't exclusively an endurance test.

2. "Collapse" from  Need to Control
This song specifically surprised and impressed me when I first heard it and still sends chills down my spine. Brutal Truth proved that speed wasn't the only way to make something sound extreme or heavy. While I was already into a bit of doom metal when I first heard this, the mastery and ferocity displayed here was missing from most of the slower bands I listened to. This had all the rabid aggression I expected from Brutal Truth yet it sounded entirely different. I cannot recommend this song enough.

3. "Dead Smart" from Sounds of the Animal Kingdom
This song was deemed special enough to receive its own music video, although I'll argue that any song from this challenging release is worthy. I really didn't get this album for the first couple of years I had it, but I kept forcing myself to listen until it set in. Eventually, something clicked, and this was among the first songs that I really got into. Straightforward enough to appeal to my desire for aggression, but about two minutes in they introduce a riff so traditionally "metal" and unexpected that it totally changes the simpler trajectory of the song. A true classic.

4. "Time" from Extreme Conditions Demand Extreme Responses
Are those power tools in there? I think so. While the fusion of noise elements and metal has become a bit of a thing these days, this is one of the earliest examples I can find. From what I gather, it's actually frontman Kevin Sharp using these tools to make noises rather than the samples that are so popular in gimmicky gore-based metal songs. Machinery aside, this song displays Brutal Truth's ability to shift speed and mood with perfect grace and skill, something many bands can't do a decade into their careers, let alone on a debut album.

5. "Humanity's Folly" from Kill Trend Suicide
I'm not even sure about half of what goes on in this song, but it's awesome. Textured, almost psychedelic guitars dissolve into a more familiar grinding assault. This "mini-album" is full of weird gems, but this one's an instant attention-grabber.

6. "Sugardaddy" from Evolution Through Revolution
This is one hell of a way to initiate a return to form. This track opens up their first album after a decade of absence in a fashion that most bands who make "comebacks" could only dream of. Aggression perfected, with slightly off-kilter dissonance, yet a far slicker approach than most of Sounds of the Animal Kingdom. It's rare that a band returns with this kind of ferocity; it's a shame they're going away again.

7. "Brain Trust" from Need to Control
Spooky ghost noises, or maybe it's just really low growls, and violently lurching grindcore. This is about as much fun as grind gets in my opinion. This whole album is one of my favorite grind pieces of all time, so it's impossible to isolate a single track, but this one stood out even when I was too young to fully appreciate what I was hearing.

8. "Zombie" from Kill Trend Suicide
This one's got almost a carnival sort of feeling to the spiraling riff that leads into the song. Fear not, grind fanatics, for like most Brutal Truth songs this riff evolves into the ferocious and jagged assault we've all come to know and love from these guys. Wholly unique in the genre, but completely familiar for fans of the band.

9. "Jemenez Cricket" from Sounds of the Animal Kingdom
An acid trip hard rock song that feels equal parts Slayer and Obituary while swirling around itself into maniacal moments of heaviness before the whole thing crumbles into dirge-paced oddness only to revisit its main riff again. I used to hate this song because it was weird, but now it's like if The Butthole Surfers played grindcore in a way. I love it.

10. "Celebratory Gunfire" from End Time
Much like Carcass's Swan Song (until this past year, of course), this album's title is unfortunately accurate. "Celebratory Gunfire" sounds like Today is the Day gone primitive, and is every bit as aggressive as anything they'd have released two decades earlier. It's evident that they've grown so much yet it's apparent they also never lost sight of their roots. What fans of Brutal Truth can take away from this release is that the band ended its career with an album that stands as tall as any other in their storied career. I can honestly say that I haven't heard a single bad track from this band, and that's rare. Even my favorite bands have made some serious missteps in their careers. Perhaps Brutal Truth are dearer to me than I previously realized. They'll be missed, but I look forward to seeing what the members create in its wake.

BONUS: The entire split with Bastard Noise.
Hardly your typical Brutal Truth release, if such a thing exists. This is a foray into pure harsh noise and mechanical horror, collaborating with noisegrind legends Bastard Noise, with a bit of help from Peacemaker and Winters in Osaka. This may not sit well with the metal loving portion of my readership, but those that straddle both lines like me will love the experimentation provided here. Folks looking for something slightly familiar should check out "The Stroy" from the CD version, which is slightly more familiar while retaining the creepy noise atmospheres of the other songs here.

BM&B Exclusive: Yersinia Pestis Debuts With New Streaming Song

It's with great excitement that I share this new song from Yersinia Pestis with my readers. If you aren't already familiar with black metal mastermind E's work in BM&B favorite Morthylla, chances are you heard his prior work in Aerugo. With two solid, reputable projects to date, and Morthylla still an active entity, the announcement of this new project shows a drive and passion for creating great black metal in what he views as a stagnant community. Rounding out Yersinia Pestis is the rhythm section of filthy doom trio Sassu Wunnu, whose members are also responsible for providing the vocals here. This is slightly more feral, traditional black metal than the mid-paced somber melodies of Morthylla, so those who might want something more aggressive will feel right at home with Yersinia Pestis. This project is currently preparing for a limited cassette release as part of the Antilight Collective and is seeking a label to release a 12" record. Any labels interested in releasing this on vinyl can make contact through the Antilight website. While we wait for an official release, here's their debut offering, "Altars."

Ben Djarum shares his top picks from 2013

I recently received a submission from my pal Ben Djarum. As a craft beer rep and metal musician, it only seems appropriate to include his thoughts. He's a self-described Lovecraftian scholar and craft beer prophet, and his project Voidcrawler released one of the more exciting demos that I had the luck of reviewing last year. If that's not enough, he's got a blog of his own in which he details RPG campaigns and extreme music culture, often fusing the two in exciting ways. With his unique set of interests and tastes, it's an honor to feature a list of his top albums of 2013 here on Black Metal & Brews. As each of his lists were "in no particular order," I've decided to alphabetize them for convenience.

As always, we'll start with honorable mentions:
Castevet- "Obsian"
Cloud Rat- "Moksha"
Eissturm- "The Path"
Gamardah Fungus- "Night Walk With Me"
Grift- "Fyra Elegier"
Mortefoutre- "L'Execrable Symbole Defraichi"
Chelsea Wolfe- "Pain is Beauty"

And now, those worthy enough to receive serious descriptions:

Altar of Plagues- "Teethed Glory and Injury"
The late Altar of Plagues released one final disc before disbanding this past October. "Teethed Glory and Injury" could not be a better document to mark the end of the band's lifeline. They draw upon the pallets of sound that made albums like "White Tomb" and "Mammal" so essential. What this band once did in lengthy soundscapes, they now do in angular crystalline blasts of emotion. Fare thee well, Altar of Plagues.

Battle Dagorath- "Cursed Storm of Ages"
An international collaboration that has spawned two previous full-lengths. "Cursed Storm of Ages" is an absolute epic of desolate, snow-crusted landscapes, cold night skies, blood, battle, and fire that stretches over two discs. Cold ambiance, frosty blackened riffs, and Tolkien references. Essential winter metal.

Charnel House- "Black Blood"
I was shocked to learn that Charnel House is a duo hailing from Indiana. It sounds like a strange cult of nomadic doom gypsies gathering for a mid-summer funeral. Otherworldly female vocals rise like ghostly flames. The drummer pounds away like a necromantic shaman. Strange drones, whirring sounds and sparkling chimes spiral around the core assault. Were I a wealthy man, I would have bought every friend and family member a copy of this album.

Csejthe- "Reminiscence"
A powerful work of affecting ambiance and dark romanticism. It's difficult to create a work that is so profoundly emotive without it digressing into gothic cheese, but this Quebecois horde does it brilliantly through measured deliberation (there are a lot of slow, brooding passages that bring to mind falling snow), competent musicianship and deft musical storytelling.

Esben & the Witch- "Wash the Sins Not Only the Face"
Shimmery guitars, driving bass, tribal drums. It's as though the early 4AD roster were caught in a horrible rainstorm, with only a sinister gothic mansion to take refuge in. Call it silly names like "goth pop" or "post-goth" but I call it beautiful and inspired.

Fell Voices- "Regnum Saturni"
Opening with the drone of a harmonium, we transcend the old growth forest and are held aloft in the frozen void above the chaos of distant Saturn. The gauzy veil of buzzing guitars with myriad oppressive melodies within paired with the incessant drums inspires some serious cosmic trancework. Too bad the gray banality of the outside world still exists when it's all over.

Grue- "Casualty of the Psychic Wars"
An amazing mix of yearning vocals and melodies, blast beats, crusty riffs, trippy keyboards and wild aggression.There's also an emotive hardcore urgency to some of this which gives it another layer of might altogether. I guess that's their Boston hometown influence creeping in.

Nahar- "The Strange Inconvenience"
Brutal psychedelic brown acid blackened doom from France. Six songs of punishing guitars and drums with creeping arpeggios and tendrils of post-metal exploration weaving their way through the proceedings.

Njiqahdda- "Serpents in the Sky"
It's become too easy to throw coins on a grid and come up with cycles of buzzwords and descriptive labels for bands that evolve and recreate their sound. It would be lazy of me, as well as downright disrespectful, to try and apply those words to this fucking kaiju of an album. I could almost call "Serpents in the Sky" a dictionary of heavy metal. Styles shift and bend and mutate from thrashy riffing to frenzied picking arpeggios that climb up and down melody lines like tiny mind spiders. The vocals go from defiant shouting to a sneering Stiv Bators croon. Fucking majestic, huge, and monolithic.

Oranssi Pazuzu- "Valonielu"
An enthralling album. These Finnish pyschedelic doomlords continue to refine and evolve their sound. It might be more accessible, maybe a bit cleaner, but "Valonielu" is just as otherworldly as 2011's "Kosmonument." This is what is playing on the starship stereo after you've set the controls for the heart of the sun.

Patrons of the Rotting Gate- "The Rose Coil"
Irish two-man metal horde, members of Kiriath, who I have not heard, but which Metal Archives describes as technical death metal. I usually associate the word "technical" with an emphasis on guitar wankery over substance and emotional weight. Patrons of the Rotting Gate, however, have serious depth and emotion behind what they do. This is also one of the few albums in recent memory that address the themes of atheism without the typical Luciferian trappings. The lyrics are brilliant, something far too many people don't take into consideration. A crushing and magnificent debut.

Seidr- "Ginnungagap"
Like other albums mentioned here, this is a two-volume grimoire of soundworlds created by earth, fire, and cosmos. Seidr use passages of chanting, sitars, flutes, acoustic guitars, and natural ambiance to create a ritualistic trance before ascending into the crushing metallic sorcery that lay within its core. Beautiful.

Skagos- "Anarchic"
Lengthy slabs of sonic excursion through the dark primal woods and into your own subconscious. As a child, I used to have strange dreams where I was desperately looking for something along a forest path or river. Now, as an adult I realize that it was this album all along. Skagos cover an entire world of sounds here.Waves of feedback give way to gentle passages, crystalline passages of frenzied black metal open up into ethereal heights of wonder. Easily my favorite album of the year.

Throne of Katarsis- "The Three Transcendental Keys"
Three lengthy Norwegian black metal rituals, recorded live in studio to analog cassette. Weighty and majestic. Bores a hole into your mind and pours in an ocean of demoniacal wonder.

Yellow Eyes- "Hammer of Night"
Six songs that don't stray far from six minutes in length but with enough sonic intensity and structure to make for an exhilarating and otherworldly experience. A whirlwind of clattering drums and insectoid guitars, but with well-crafted dynamics, torturous cries and ambiance.

For your collective convenience (if you don't feel like clicking individual links), here is a link to a playlist of tracks from Djarum's favorite releases.

New from Danvers State Recordings: Whitewater Orgasm & Creation Through Destruction/Knurl Split

I recently received a packaging containing two of Danvers State Recordings' newer cassette releases. As they are currently running a sale through the end of January, (enter PROMO2014 when checking out from their store to receive a 15% discount) I feel there's no better time than now to share my thoughts on two of the more excruciating and rewarding noise tapes I've heard recently.

For all the euphoric imagery that accompanies Whitewater Orgasm's "Moments of Suffering," the music is hardly uplifting. Squeals of some sort rotate throughout some songs, mechanical and foreign. Layers of crumbling low-frequency static roar as a backdrop of sorts for most of the cassette. Occasionally more blissful, possibly even melodic sounds are introduced, only to serve as a source of nostalgia or a reminder that while beauty may exist somewhere out there, it's far from the horrifying places we are taken while listening. Indeed, while traces of beauty are dangled before the listener, the maddened vocals that occasionally show up seem to be far more of a statement of intent. Even the voices feed back here. Nothing is safe or sacred, yet most of the actual threat lingers just outside of the listener's periphery. The building of tension and the restraint required not to simply explode with chaos at all times is what shows the true mastery of form here. By the end, I'm left wondering if the ferris wheel gracing the album's cover is meant to be a place where people are out having fun or if they are trapped atop the world. An excellent demonstration of harsh noise and power electronics as genres with room for subtlety and balance, something that many in the community seem to forget.

Creation Through Destruction is responsible for the A-side of their split with Knurl, entitled "Dissection of the Machine." Creation Through Destruction wastes no time in building up a static frenzy of rapidly moving machinery. I feel like I am clinging to the side of a subway car, hearing the howling of wind, sparks flying as the train turns, and screeching of metal as the vehicle brakes rapidly. After a moment, things slow down just enough for the body of the song (or collection of sounds at least) to really set in. Every component introduced seems to linger for the duration of the piece, swelling and receding in some sort of harmony with its peers. The effect is almost hypnotic, with a constant flow of churning sounds leading the listener along until the last few moments of static, which taper off rather quickly. I'm not sure what "the machine" in this song is, but it's evident that it has been thoroughly deconstructed by the song's end.


Knurl's side of the cassette contains two songs. Opening things up is "Nitrobelium," which displays a bit more variety than the A-side. Shrill noise and rumbling bass frequencies roll along together, with occasional breaks and lulls that create a greater sense of motion here. Not that the static meditation of the tape's A-side is lacking; it's simply nice to hear a split in which each artist clearly has something unique to contribute. The exploratory sense is key on this entire release. Knurl is clearly seeing where things can go and just how long the listener can be teased and tormented. It's fantastic in a strange way. When the lulls finally cease and the song moves into a more constant place, it seems to only occur because there was no other way to keep the listener on their toes. The mastery of atmosphere is evident and it's thrilling to be dragged along for such a scathing journey. The second and final track on this release, "Thymotacine" is far more ominous in its entry. Empty space is used to great effect, with great rumbling percussion coming from a distant place, like the approach of something dreadful and massive. When it finally arrives, the horror that follows is not quite deafening so much as the distorted blur of madness that must run through one's mind when placed in a life or death situation in which death looks like the only real option. The song departs with the fading signals of a brain slowly losing its capacity to process information. Immersion in music of this nature quickens my heartbeat, and I feel quite anxious by the time it's all finished. I love it.

Cronesmoon, Gulag, Ekadzati & Anatra: The Many Voices of Zareen Katherine Price

It was not until Record Store Day of last year that I became familiar with the music of Zareen Katherine Price. A friend posted about a sale (I believe it was one tape free with the purchase of three?) her label Milam Records was hosting, so I paid the label's bandcamp page a visit and listened. Within an hour I decided to order a small handful of tapes from Serpentina, Ekadzati, Mare Cognitum, and Greed & Rapacity. A few months later, through wonders of social media, we came to be acquainted. Having enjoyed her previous works, I have elected to review two separate cassettes (released with no label affiliation) featuring songs from many separate projects of hers in which is the sole member (with friend Dan Nahum assisting on drums). For one artist to have so many separate projects might seem silly to some, but it's evident that each of these projects needs its own space and concept, even if the sounds might be complementary when placed on the same cassette tape.

First, we're examining "VII MMXIII", a split between her three projects Ekadzati, Gulag, and Anatra. The album flows sequentially, with Ekadzati contributing two songs, and Gulag and Anatra sharing one each. Wasting no time, Ekadzati's track "Argham" opens things up with ravenous higher register shrieks and trebly tremolo picking backed with constant drumming. The swelling of sounds feels like an ocean storm, tormenting the listener for a couple of minutes before finally engulfing them. Interestingly enough, while writing this review, I took a look at the lyrics, which give a detailed description of what appears to be an intentional drowning. The ominous nature of the music pairs quite well with the lyrical intensity, but it's especially nice when Ekadzati takes a moment to build up tension with the reflective introduction to "Padyam." I really hate track by track reviews, but in a tape with such diverse sounds, this really just makes sense. As soon as the listener is lulled into comfort, it's back into the typhoon of insanity. Unlike its predecessor, the song relents rather than ending with an assault, showing the many different musical sides of Zareen Katherine Price with just one of her projects.

Up next is Gulag, with "Inscribed in Skin." The song lurches in appropriately enough with frantic low-end fixated guitars and some sort of hideous belch. While not wholly removed from black metal, this more greatly resembles a faster and more aggressive take on the cavernous death metal that's become quite fashionable lately. The song's progression sees the pace escalating wildly until a sudden stop with the crash of a cymbal.

Flipping the cassette, we are presented with Anatra's contribution, "Wind Over Water." In stark contrast to the violent chaos of Gulag, the song opens with a repeatedly chiming bell of some sort. Slightly meditative, slightly foreboding, it perfectly sets the pace for this nearly lengthy piece of dark ambient exploration. With the title in mind, one hears the howling static of cold winds blowing over an empty bay. In the distance you might think you hear the echoes of something resembling human sounds, but they never present themselves as anything other than a possibility. While the song is initially maddening, I find myself becoming more immersed in it about halfway in. Smaller, higher pitched sounds occasionally slither in and out, allowing just enough variation for my attention to remain on the sounds. At the cassette's end, I am left neither at peace nor troubled. Perhaps this was intentional. It does not feel like an intended goal was missed. Indeed, I feel like the B-side is the palate cleanser for the aggression and turmoil of the A-side. While each of the three acts stands alone, the pairing works brilliantly here.

The second cassette featured today is still up for sale: "XI MMXIII." This is a split between Gulag and the newest of Price's projects: Cronesmoon. Gulag's song here, "Icosahedral Keys to the Fleshly Gate" instantly feels like a more focused and accessible beast than "Inscribed in Skin," with an intentionally awkward marching pace starting things off before delving straight into a valiant and driven mid-section. Gulag is self-described as "war metal," and the pacing of this song is the strongest evidence I've found so far. Galloping and violent, this feels like far more of a statement of intent, although both songs are quite enjoyable and clearly come from a similar place musically. In another presentation of direct contrast, Cronesmoon follows Gulag with the closest thing Price has created to traditional second wave black metal sounds, "Sister Tongues of Rain." There's certainly a slightly more cerebral and involved way of approaching the music here, almost as if the progressive and psychedelic leanings of modern-day incarnations of more established black metal bands were infused into the classics of the early nineties. While the song is longer than most of Price's other metal-rooted songs, the furious nature of the song makes it feel like it has passed all too quickly, ending the cassette.

With three projects poised for more output (it does appear that Ekadzati is being put to rest, at least for the time being) I can only recommend you keep an eye on her output however you're able. Even if one of her many projects doesn't appeal to you, another just might. Additionally, all music described here can be heard by clicking the links to each of the album titles. Usually bandcamp embed codes work just fine but today they're being a pain. Rather than delaying this review, I'm just going to force you guys to click links. Thanks for your patience.

Into Armageddon's Maw: An Interview & Exclusive Streaming Song from Fury 161

If you keep up with my blog as regularly as I do, you probably recall the streaming single "Purify" by Fury 161 which I shared a few months ago. As pre-orders for their impending full-length album, "Armageddons Maw," have gone live, I feel it's a good time to share a BM&B exclusive interview and streaming song. For those not yet familiar with this project, "Armageddons Maw" is a death industrial album that (depending on your standpoint) either takes the genre's typical sounds and pushes them outward in every direction, or it stands defiantly against the genre just as much as it embraces it. With synthesized melodies washing up against scathing electronic walls and frenzied vocals raging against the very things that society holds dear, this album is one hell of a ride. Whether you're interested in power electronics and death industrial, or if you're just a regular reader checking out a new feature, it's hard for me to recommend this album highly enough. I've had access to the files for a couple months now and I'm simply chomping at the bit waiting for the official release. Without wasting more of your time on my rambling, here is a brief transcript of my chat with the two madmen of Fury 161, followed by an exclusive stream of their track "Spirits" for your enjoyment.

BM&B: Okay, welcome and thanks for your time. State your names and duties, if you will.

Corvus Rex: Corvus Rex. Vocals, Treatments, Guitars, Keys, Mixing and mastering.

Xerxees Bane: Xerxees Bane. Sounds, samples, beats, art.

BM&B: Okay gentlemen, since this is a review for a website specializing in music and beer, do you drink? If so, any preferred or recommended beverages?

CR: I drink very little, and sadly no beer. I drink liquor. I would recommend South African cider though. I always have some when I go home.

XB: I am not adverse to the odd drink now and again.My choice of poison is lager. No real lager I'd particularly recommend as there are many to choose from and their effects can be similarly varies. However, I was fond of peach schnapps many moons ago.

BM&B: That does the job just fine. So, how did the two of you first meet and decide to form a musical union in the form of Fury 161?

CR: Xerxees, you answer this one.

XB: Okay, here it goes. The modern miracle of the internet played its part in the formation of Fury 161. Corvus initially posted a Project:Void track on the webpage of a favourite artist (Theologian). I liked what Corvus had posted, and we initially became friends because of that. I was also doing music prior to Fury, under the name Pigrat. Pigrat was influenced by gabba, breakcore, and tribal beats. I sent some of those tracks to Corvus and he saw potential in them...

BM&B: And the rest is history?

XB: Sorta...I've taken some of the elements from Pigrat and mutated the ideas in Fury.

CR: I asked Xerxees to send me a breakdown of one of his tracks, which he did, and I treated, remixed, and remastered it.

XB: Yes, and it sounded suitably rusty, gnarled, crushing...

CR: That was the track that became the instrumental "Black Heart Attack." From there, we discussed joining up as a unit.

BM&B: That song is actually one of my favorites on the album. It stands out as a unique, yet appropriate centerpiece.

CR: It fuses many elements. It also brings a bit of light to the darkness

XB: Yeah, you could go the route of just crushing sounds. However, as Corvus said, a little bit of light makes the darkness that little bit darker.

BM&B: So as an official unit, is there a set songwriting process for Fury 161, or does each song come about in a different way?

CR: There are various ways they come about. Xerxees is always working on music, as am I. When the moment is right, we will then swap these sounds with each other and they will either be accepted by both of us or rejected.

XB: For my part, I don't have any real approach to writing the songs. I have found that if I have a pre-set idea, it never pans out as how I imagined it in my head. I will sift through sounds to find ones that I may find interesting and then will see what comes of them. Some songs are written in a few weeks, and some are years old. One, in fact, dates back to around 2007.

CR: If you think of it, a good song should be timeless.

XB: Agreed, and you know you've done a good song when you can listen to it for your own pleasure and you find nothing about it that you'd change.

BM&B: That makes perfect sense. Knowing that you are both musicians with musical endeavors prior to this, what music has inspired each of you as a whole? What specific music inspired this project?

CR: Each of my bands draws from different influences. Project:Void's harsh power electronics draw influences from sources such as Whitehouse, Sutcliffe Jugend, and Wolf Eyes. Black Crow King is an exploration of how deep doom can go, and draws inspiration from doom, goth, and power electronics. I'm also in a death industrial band called N.D.E.

XB: Personal influences? Napalm Death, Godflesh, Slab, Converter, Test Dept, Adam and the Ants, E-Noid, Rotator...

CR: I think with Fury we never really set out to create a particular sound, it just kinda developed.

XB: Yeah, evolution in progress.

CR: We never said "let's create a death industrial band." We just said "let's join up and see what happens," and brought our combined influences to it. The vocal approach I use has more akin with extreme metal or power electronics. I hope that somewhat explains it.

BM&B: Of course. With your rather unique sets of inspiration and approach in mind, do you feel there are any current artists with whom you share a common bond or a sort of musical kinship?

CR: There are a few bands that share some of the same elements with us, such as Deadwood or Steel Hook Prostheses or other death industrial bands, but we have not really made a bond. I think it is safe to say if the listener is into death industrial, power electronics, or extreme electronic music of any form, then they will hear something they like in Fury.

XB: Ramblack is good too. Hopefully we stand out because we use sounds that the listener may not "expect."

CR: In fact, you may have seen a recent update on our facebook page. We're planning a split with Steel Hook Prostheses.

BM&B: I did see it. I'm quite excited for more details. Musical inspiration aside, what other sources of inspiration do each of you draw upon when creating your music as Fury 161? Whether it's art, nature, politics, etc. Would you like to share what gets your creative juices flowing?

CR: This is very personal for me. Nature, or rather what we are doing to nature, is a huge problem for me, as are politics, mental issues, and my loathing for humanity at large. My music, lyrics, and vocals are a purge for me.

XB: For me, the techniques of John Heartfield play a big inspiration, ie. photomontage, and taking things from their original context and mutating them to our own ends. Film plays a part...a certain Alien film especially.

CR: Ha ha, can't forget Alien.

XB: Nope, and it's a David Fincher film.

BM&B: So two very different sets of inspiration come together. I like that. Corvus, would you say that as the lyricist, you consider Fury 161 to be a project that is driven by its message, or simply a project that has a lot to say, with music first and message secondary?

CR: I would say it is a project that is driven by the music and has a lot to say as well. Xerxees is just as important as I am. On occasion he also comes up with lyrics. For example, the song "Purify" that was released as a free download had lyrics written by both of us.

XB: I find that when I occasionally attempt lyrics they are not quite my forte, so I leave it to he who does it well.

BM&B: So do you feel that even the moments without lyrics and vocals have their meaning for the dedicated listener?

CR: The opening track "Thanatos" is an instrumental, but it helps set the tone for what is to come.

BM&B: Similar to "Black Heart Attack" then, although each song stands on its own as well, not really needing the greater context.

CR: It flows as an album, but each song has its own story to tell or mood to create.

BM&B: I was actually going to ask about the flow of the album. For an album that works so smoothly, there's a lot of musical territory covered on "Armageddons Maw." How did you manage to compile such contrasting sounds without killing the album's continuity?

XB: Thanks, this is the first album I've ever worked on. It has cohesion, rather than being a set of disjointed pieces. When it comes to writing songs, I sometimes get contrasting sounds that jump into my head, taking a song elsewhere--which I like. For me, it has to be something I'd wanna hear. Dark, but not derivative. Light, but not in a happy, skippy way. The light enlightens the dark! Yin yang. Or Abraxas, if ye prefer.

CR: I think when we decided on songs, they were ones that we knew would work together. The next job was to decide the order. For this, I came up with a list of an order, then Xerxees and I decided on it together and laid the track listing for the album down.

BM&B: That was probably a lot harder than you're making it sound.

CR: No, not really. We have a strange connection when it comes to Fury 161. Nothing seems to be much of a struggly, everything flows. There are no egos in the band, which is a great help.

BM&B: You two do seem to get along quite well. I'm sure that makes things run smoothly.

CR: That it does.

XB: It does, and one day we'll actually meet!

CR: I hate egomaniacs. They are a menace to the world.

BM&B: Fair enough. How has it been working with Canadian label Bugs Crawling Out of People? They seem to have their ducks in a row, so to speak.

CR: It has been pretty easy to work with them. He is interested in the band and what we are doing. He's committed to putting out a quality product and everything is run past us first.

XB: I can't fault them at all. I was aware of them a year or so ago via the releases they had of compUterus and I think...was a release of Pneumatic Detach.

CR: For example, before going to print he sent us a printed mock-up of the digipak to see if we were happy with it.

XB: It was a great feeling to receive a mock-up that has artwork that I spent ages drawing by hand on an actual release.

BM&B: I'm glad to hear you've found a label that treats you with the respect you deserve. Revisiting your comment about actually meeting up, do you think you'll ever try to practice for Fury 161 to become a live act or would you rather keep your music in the studio?

CR: Fury 161 will never be a live act. I have too many issues with people.

XB: I think playing live, even if it was Corvus and myself, just to ourselves, couldbe interesting if not a little tricky. I'm unsure how to go about creating it live.

CR: It would be a bit of a problem creating it live.

BM&B: That makes sense. I think it holds up well enough as a studio project regardless. I have a question about the artwork related to Fury 161. Perhaps this is for Xerxees, although you are both free to answer. I noticed a lot of mirroring in the art for both "Purify" and "Armageddons Maw," as well as your shirt design. Is symmetry symbolic in a way or was this merely an aesthetic decision?

XB: I'm not sure that symmetry does play a conscious part in the art. Again, I will just try out different ideas and see what works or doesn't. However, there is meaning to the artwork. The double headed bird at the bottom of the lower point of the chaos star is meant, or could be suggested as being both Corvus and myself, in that we are musically not looking in exactly the same direction, but the two heads come together in the same body. Fury 161 is the body.

At the teeth, I thought that not only do people get angry, but animals also. Francis Bacon amde me aware of this with some of his screaming mouth paintings.

BM&B: Interesting, I had been wondering if the teeth were something of a nod to Swans.

CR: I love Swans

XB: Yes, I find there is something quite powerful about that image. First time I heard Swans, I couldn't get my head around them at all. It was a million miles away from what I was used to.

CR: Haha, all hail Swans. Brilliant live as well.

BM&B: I understand that. Many of their recordings are older than I am and are still heavier than anything new bands are doing. That's about it for the questions. Thank you guys so much for your time.

Dalla Nebbia- "The Cusp of the Void" CD (Razed Soul Productions)

American black metal act Dalla Nebbia doesn't just dabble in unorthodox black metal sounds, it revels in taking the traditional and expanding upon it in a majestic way. With "The Cusp of the Void," Dalla Nebbia's debut full-length, they seem poised to place themselves among bands like Enslaved and Agalloch, with songs that feel equally at home in wintry black metal atmospheres as they do pushing the boundaries into slightly less conventional territory.

While galloping drums and meandering guitars are tried and true trademarks of the genre, these only appear to provide a foundation upon which the band builds a strangely familiar yet unique atmosphere. Synths echo stringed instruments, replicating the folk-inspired feeling of fiddles and violins, yet the band doesn't just cash in and head straight into folk landscapes. Instead, as with everything Dalla Nebbia does, they dip their toes in and carry a bit of it with them as they continue on their journey. Even the seemingly acoustic interlude track "Sovereign Moments" builds up into something slightly more present and full-formed than I might have anticipated. It seems fitting to me that these guys end their debut offering with a cover of a classic Windir tune, as they seem to share the same wandering spirit. Their musical products may differ, but the approach and effect on the listener turn out quite similarly. These eight tracks capture the sensation of being surrounded by a white flurry of snow and chaos. It's blindingly beautiful yet potentially lethal. In other words, it's exactly what I love to hear in my black metal.

Five hundred copies of this promising debut have been released by Razed Soul Productions. As always, I recommend purchasing a copy if you're at all interested in this group. However, for skeptics and those of us who can't afford to buy everything we like, the band has the whole album streaming on their bandcamp, with a purchase price set at only $5.