KEYBOARD WARRIORS: “GRIM” KIM KELLY

 Interviews  31 Responses »
Aug 312012
 

(photo credit: Nick Palmiretto)

(In this post, Dane Prokofiev [formerly known as Rev. Will around these parts] returns to NCS with another installment in his Keyboard Warriors series, in which he interviews well-known metal writers. Today’s subject is the thoroughly awesome “Grim” Kim Kelly.)

The name “Grim” Kim is, surely, not unknown to denizens of the metal blogosphere and physical print media.

Starting at the tender age of 15, the New York-based female metal writer worked her way up from underground fanzines to bigger outlets, and she has been at the craft for nearly a decade since. Her career as a metal writer seems to be one of the most successful cases around, as evident from her perennially expanding portfolio (she recently became a staff member of Pitchfork Media), and so it is only natural to inquire: what were the unique life experiences that shaped her to be who she is today?

Of course, that is not all that perks the interest of the body modification enthusiast’s admirers and peers. In this interview, No Clean Singing delves into certain iffy metal issues with the seasoned metal scribe as well.

 

Hello Kim, it’s time to start talking about yourself again! Were you christened (or satanized) “Grim” Kim by a good metal pal, or did you come up with it yourself?

It’s a nickname given to me by my friend Curran Reynolds. He runs Precious Metal, a weekly metal night at Lit Lounge in Manhattan, and when I was in college in Philly, I’d often come up to catch the show and hang out. I eventually started DJ-ing there upon occasion, and he decided that “Grim Kim” was to be my DJ name. When I started writing for MetalSucks I used it as my pen name ‘cause everyone else there had a quirky nom de plume, and from there, I guess it just stuck. People like rhymes. Continue reading »

VHÖL

 Metal News  13 Responses »
Aug 302012
 

You know, if I owned a kvlt metal record label (and therefore, by definition, did not care about food or running water), I would do something like this.

The phone would ring one day, and someone would say, “Would you be interested in signing a band composed of these folks?”

Mike Scheidt (YOB)-Vocals

John Cobbett (Hammers of Misfortune, ex-Ludicra)-Guitars

Sigrid Sheie (Hammers of Misfortune)-Bass

Aesop (Fucking) Dekker (Agalloch, Worm Ouroboros, ex-Ludicra)-Drums

I’d think on it for about two seconds, while wiping the drool off my mouth, and while the inner me would be squealing like a little girl, I’d try to play it cool and ask if there was any music to hear. And upon being told Not Yet, I’d just go ahead and give up and ask where to send the contract, and then excuse myself to go change my shorts.

I’m not exactly sure it went down like that in the offices of Profound Lore. All I know for sure is that this band is a real thing, it’s called VHÖL, they’re recording an album, and Profound Lore plans to release it. Continue reading »

SEEN AND HEARD: SOILWORK, PIG DESTROYER, AND THE TONY DANZA TAPDANCE EXTRAVAGANZA

 Metal News, RANDOM FUCKING MUSIC  19 Responses »
Aug 302012
 

Here’s a quick round-up of news items I saw today. I may have more later . . .

SOILWORK

That’s a really good promo shot up there, don’t you think? It was taken by Hannah Verbeuren. Could there be a relationship to the band’s fabulous drummer Dirk Verbeuren?

In addition to seeing that great photo, I also saw the news that Soilwork’s new album, The Living Infinite, is going to be a double-album. According to the band’s front dude Björn “Speed” Strid , it will be: “A REAL double album, in the true sense of the word, which means no fillers and no left-overs.”

Oh, let’s hope that will prove to be true! And let’s further hope that with all that extra room it will include the kind of harder-edged, melodeath marauders like “Needlefeast”, “Follow the Hollow”, “Like the Average Stalker”, and “The Chainheart Machine” that Soilwork once enjoyed delivering, in addition to the catchy, poppier, cleanly sung stuff that dominated The Panic Broadcast (2010). I’m not saying I didn’t enjoy that last album, because I did, but I kept waiting for something with real teeth in it . . . and waited in vain. Now I’ll start waiting again . . . .

On the other hand, I don’t think lack of teeth will be the problem with this next band’s new album. Continue reading »

SHORT BUT SWEET: SATYROS – “THE DIRT OF AGES”

 Album Reviews, Free Shit, SHORT BUT SWEET  4 Responses »
Aug 302012
 

Riven, the 2011 album by Germany’s Satyros, was one of my favorites from last year. The band self-released it last March, and I posted this review in April. I also included one of its tracks on our list of 2011′s Most Infectious Extreme Metal Songs (here). It was an ambitious undertaking, a true musical journey consisting of 12 songs and approximately an hour’s worth of diverse music that took years to create, and yet the band released it for free download on Bandcamp — as they have with everything they’ve released to date.

Satyros are now working on their third album, but in the meantime they’ve started a new project, the concept of which is just as interesting as the music. They call it the Open-Anthology-Project, and its first product is an EP named The Dirt of Ages, which Satyros put up on Bandcamp yesterday to celebrate their 7th anniversary as a band. For the EP, the band assembled three songs not included in their previous works — but this is only the beginning.

Satyros intend to use the project as a vehicle for releasing future songs that would not be part of albums. As the band explain, “This allows us even more artistic freedom to experiment with new sounds, styles, and blends of genres than before, apart from our songwriting for upcoming full-length outputs.”

This is a cool idea, and one that I hope catches on with more bands. My sense is that most bands create music that for one reason or another never make it onto an album or EP, maybe because it diverges from the musical style that identifies the band or perhaps because it doesn’t fit within the concept or arrangement of music on a larger release. But if the band is nevertheless satisfied with the music, giving it away on Bandcamp (or some other platform) could benefit fans as well as giving the band an added vehicle for ongoing creative expression.  Continue reading »

DEVOLVED: “REPRISAL”

 Album Reviews  2 Responses »
Aug 302012
 

This is a review of Reprisal, the fourth album by Devolved. In writing it, I feel conflicted. On the one hand, I’m delighted that the band have given me the chance to hear the album in advance of its release. On the other hand, I feel a sense of guilt because it is so far in advance that our beloved readers won’t be able to share in the full awesomeness of the music until November 20, 2012, which is something like 80 dog years from now. It’s so far in advance that I can’t even feed you a link for pre-orders.

Obviously, my sense of guilt hasn’t stopped me from forging ahead. I just want to be clear that it’s not because I enjoy torturing you. Except, of course, those of you who enjoy being tortured, and you know who you are, and to you I say, “Happy to be of service!”

And yes, Reprisal is awesome, Devolved’s best album yet, and one of the year’s gems. It benefits significantly from the changes that founder/lyricist/drummer John Sankey has made since the band’s last album, taking greater control over the songwriting process and bringing on board two new performers — Mark Hawkins (guitars and bass) and Mark Haggblad (vocals) — both of whom are simply superb. Between the three of them, they have constructed an unstoppable killing machine.

The music delivers cold, mechanized power with almost inhumanly fast, ridiculously precise drumming and riffing. The rhythms have an industrialized quality — jabbing, hammering, jolting, in a start-stop flurry of pneumatic, piston-driven blows, with the drums, guitars, and bass often tightly in sync. The sound conjures mental images of some giant robotic factory in overdrive, fabricating ominous ranks of weaponized cyborgs ready to begin crushing and blasting our frail humanity. Continue reading »

VASALLO: “MONUMENTS EMERGE”

 Album Reviews, Off Topic  5 Responses »
Aug 302012
 

(In this post TheMadIsraeli brings us a fascinating change of pace, with a review of classical music composed by Nick Vasallo.)

Today we aren’t reviewing a metal album.  Today we’re reviewing a classical album.  We at NCS are classy men anyhow, so why not?

Though in all seriousness, classical music has been (dare I say it) the foundation of metal (not rock) as we know it.  Yes, there is no doubt that Blues was as integral to metal’s development, but I think classical is an even bigger part of the equation.  You can take even brutal tech-death like Cryptopsy or Suffocation and find a way to draw parallels with baroque, classical, or even romantic-era music.  This shit flows through the veins of the most brutal of music, so in my mind it actually seems entirely relevant that this kind of music should be reviewed here.

Of course, I didn’t just go and pick something out of the blue; this album is even more related to metal than most of its genre.  Why?  Because the Vasallo in question is Nick Vasallo — one-third of up-and-coming tech-deathers Oblivion (whose three-song demo I reviewed in February — it fucking owned).  I was quite surprised to find out that he’s a classical composer and that this is actually his musical forté (maybe even over metal?), although it’s quite obvious in his work that he tries to incorporate his love of metal into this niche, as well as both Western and Asian classical music.

This creates an interesting dynamic.  Usually we humans take the old, the established, and try to find ways to keep them fresh, yet grounded in convention.  Vasallo does the opposite, taking a tried and true ancient form of music that brought us some of the greatest masterpieces ever written and breathing new life into it by reversing the roles, where the orchestral instrumentation is made a student of the metal.  I realize that sentence sounds garbled as fuck, it may not even make much sense, but it’s the best I can do at the moment.

So, in essence, what does metal have to bring to this table?  I suppose it should be noted that in my dialogues with Vasallo, death metal seems to really be his thing.  So, to rephrase the question, what does death metal offer?  What does it capture that’s relevant to these compositions? Continue reading »

SEEN AND HEARD: KATATONIA, KRODA, ASMODÉE, AND TAKEN BY THE TIDE

 Metal News, RANDOM FUCKING MUSIC  7 Responses »
Aug 292012
 

As mentioned in today’s last post, the last 24 hours have brought a torrential flood of news and new music that I care about, and because I care about all this shit, I’ve been grinding my talons down to nubs on the keyboard, on the assumption that you will care about it, too. And if you don’t, please keep that to yourselves, because I bruise easily. Without further ado, here are four more items to add to the long list that has already filled up our site today.

KATATONIA

We published a very, very early guest review of Katatonia’s new album, Dead End Kings, in this post. We also were fast in posting about the wonderful music video for the first song to debut from the album, “Dead Letters”. For reasons I haven’t figured out, we’ve been getting a ton of hits on both of those posts over the last 3 or 4 days despite the fact that both of them are two months old. We might as well add something a bit more current.

This afternoon, DGR alerted me to the fact that the entire album is now streaming at the Canadian Exclaim.ca web site. HERE is the link for that. Dead End Kings was released yesterday (August 28) via Peaceville.

KRODA

We’ve written so many times about this Ukrainian black metal band that I’ve lost count (actually, I could count them if I had more fingers, because all the previous posts are collected here). Schwarzpfad was probably my favorite 2011 black metal album of all the ones I heard last year. It also showed up on Andy Synn’s list of the year’s Critical Top 10 albums, as well as his list of 2011′s Great Albums, and I included a song from Schwarzpfad on our list of the year’s Most Infectious Extreme Metal Songs. Continue reading »

SEEN AND HEARD: GLOWSUN, TOMBS, P.O.O.R., AND TOTAL VOMIT EXPERIENCE

 Metal News, RANDOM FUCKING MUSIC  3 Responses »
Aug 292012
 

For someone of my tastes, this has been an action-packed 24 hours in the world of metal, and hence the flood of posts on our site today. But the new videos from Enslaved and Kvelertak, the new song from Daylight Dies, the new free download from Impureza, and . . . uh . . . the new video from Baby Metal . . . have just been the tip of the iceberg. I’ve seen and heard a lot more things that have got me really pumped up at the moment — so much so that I’ve written two of these “seen and heard” posts. This is the first one.

GLOWSUN

First things first: that colorful album art caught my eye in a big way. It wasn’t the name “Glowsun”, because I hadn’t heard of that band (or their music) before seeing the artwork. It turns out that Glowsun are from northern France, and their second album Eternal Season is scheduled for release by Napalm Records on September 28. It also turns out that the cover art was created by Glowsun’s own singer and guitarist Johan Jaccob.

So, having been hooked by the cover art, I listened to a track from the album that Napalm debuted today, not knowing what to expect. What I got was . . . completely bowled over by the song. Stylistically, I suppose you’d classify “Reverse” as psychedelic stoner metal, with a real retro feel, but for those of you (like me) who don’t immediately start salivating when you see that genre label, just bear with me a moment longer:

Glowsun have ultra-mad guitar chops. Their guitar chops have guitar chops. The song’s opening riff got my head nodding quickly . . . but that proved to be just a small appetizer for the soloing explosion to come on the back half of the song. Fuckin’ caused my hair to start smoking. Listen: Continue reading »

BLOODSTOCK 2012 – A REVIEW AND MUSIC FROM THE FESTIVAL (Part 2)

 Concert Reviews  2 Responses »
Aug 292012
 

(Our UK correspondent Andy Synn, who is a lucky devil, attended the mammoth BLOODSTOCK festival earlier this month and delivered a report on the performances. You can find his review of the festival’s Friday and Saturday shows at this location, and today we’ve got his write-up about what he saw and heard on BLOODSTOCK’s final day — plus a collection of videos (some of which are full sets) at the end.)

SUNDAY

Unfortunately, the first band to assault my ears on the last day of Bloodstock were the generally uninspired Kobra & The Lotus, a band who the metal media have been trying desperately to ram down our throats for some time now, but who don’t have the songs or presence to justify it. Not the worst band in the world by a long shot, but memorable only for how forgettable they were, and for the singer’s often flat, often forced, vocals.

So it’s a good thing we had Nile! After some admittedly hilarious sound problems (where you could hear the sound guy shouting and swearing at everyone to ‘Fuck off! We’re not ready!” after Nile tried to start their intro a tad early), the quartet finally kicked into a sterling set of challenging death metal mechanics. The new songs are definitely finding their place in the complex algorithm of Nile’s set, while a run-in by members of The Black Dahlia Murder for the climactic chant-along of “Black Seeds of Vengeance” helped add to that special “festival-feeling”.

Speaking of The Black Dahlia Murder, they were up next and also faced the unappealing task of presenting their razor-sharp melodic death metal to a crowd that had seemingly greeted their announcement with either measured ambivalence or outright hostility. But with good natured aplomb, and some hilarious stage banter, the quintet were definitely up to the challenge, packing an impressive number of songs into a short time slot in an effort to win over as many with their music as possible. Kudos for the handling of the naked guy (“Raise him up, I want to see his penis… no wait, keep him away from security… oh no, they got him. Enjoy jail dude!”), and well done on ending the set with more people in the field than they started with. Continue reading »

DAYLIGHT DIES: “INFIDEL”

 RANDOM FUCKING MUSIC  1 Response »
Aug 292012
 

“Normally, we like to pen a few lines of senseless drivel to entertain before you click that orange button thingie, but today—as August rightfully wanes into oblivion—our digital inkwell is virtually dry. Parched, if you will. That being said, we’re going to let Daylight Dies dash your hopes and weather-make your sunny day outright cloudy. They can do that, you know. It’s time to enter an overcast state of mind.”

With those words of introduction, DECIBEL today began streaming a new song from Daylight Dies’ forthcoming album, A Frail Becoming, which is out October 9th on Candlelight Records USA and is available HERE for pre-order.

The song is “Infidel”. As you might expect if you know this band’s fantastic previous music, it’s a combination (on the one hand) of the deep, the dark, and the crushing, and (on the other) the sublimely beautiful. A Frail Becoming has been very high on our site’s list of most anticipated fall releases, and I can tell you that the rest of the album is every bit as strong as “Infidel”. A review is forthcoming . . . .

THIS is the link that will take you to DECIBEL to hear the song.  On that page there’s also an interesting interview with the band’s bassist/vocalist Egan O’Rourke. GO!

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