photo manipulation by nacrowe
its really cool the stuff that is being released on YOUTUBE these days. since 1987 the DUTCH television live performance series 2 METER SESSIONS has been film/recording/mixing one session a week of upcoming musical talent. as you can imagine, the variety and scope of these recordings has grown immeasurably over the years and there has been a slow trickle via their YOUTUBE channel releasing the more memorable performances.
everything from BURNING SPEAR, BECK and YEASAYER to SEPULTURA, NADA SURF and even NIRVANA.
definitely look these vintage performances up if you have the inclination. definitely worth the effort.
parodies by nacrowe
tonight's new episode of DEER GOD RADIO at 8PM EST on MAKERPARKRADIO.NYC is all about the brutality of MAX CAVALERA and his legendary discography with projects like SEPULTURA, SOULFLY, CAVALERA CONSPIRACY, NAILBOMB and KILLER BE KILLED. this is gonna be fun!
past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website.
and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience!
photo & text by nacrowe
recently i finished reading this book CHASING DEATH: THE IMPROBABLY HISTORY OF DEATH METAL & GRINDCORE (BAZILLION POINTS, 2016) by DECIBEL MAGAZINE editor-in-chief ALBERT MUDRIAN. it very much gets into the weeds on how both these genres developed out of teenagers in the mid-80s who were looking for a more intense expression for their rage in the wake of the HARDCORE and THRASH METAL scenes in both the industrial midlands of britain and the eastern seaboard of the united states.
my impetus for exploring this genre was partly to provide context to a host of bands i've enjoyed over the years including PIG DESTROYER, NAPALM DEATH, CARCASS, DEATH, THE LOCUST, MORBID ANGEL, SUFFOCATION, CANNIBAL CORPSE, BOLT THROWER, GORGUTS, NILE, IMMOLATION, AUTOPSY among countless others.
what i didn't expect to find was the relative obscurity of bands that made a truly global impact due to the international tape-trading scene of that pre-internet age. case in point: DEEP WOUND from WESTER MASSACHUSETTS and the pre-DINOSAUR JR HARDCORE band of J MASCIS. despite their relatively minor status in the BOSTON HARDCORE scene of which they were on the periphery stylistically, socially and geographically, their music which was more intense, uptempo and chaotic made them a must-have for tape collectors seeking their next fix of more extreme music as far away as JAPAN, SWEDEN, HOLLAND, GERMANY and the UK. despite being a regional act, their influence abroad far outweighed their geographic limitations and proved to be influential in the scene. that cross-pollination of the HARDCORE, INDIE and extreme metal scenes wasn't something i was aware of but makes sense given that their supporters (AMERICAN college radio, JOHN PEEL at BBC1) were equally open-minded, even during this formative stage.
even the amount of label infrastructure that came about to support and profit from this burgeoning yet seemingly hopelessly unprofitable scene is staggering in its own right and has benefitted countless other extreme genres in its wake (and, er, NICKLEBACK). this includes most predominantly:
ROADRUNNER RECORDS (DEICIDE, OBITUARY, PESTILENCE, IMMOLATION, SEPULTURA)
CENTURY MEDIA (GRAVE, ASPHYX, ARCH ENEMY)
NUCLEAR BLAST (DISMEMBER, IN FLAMES)
EARACHE RECORDS (NAPALM DEATH, CARCASS, BOLT THROWER, MORBID ANGEL, TERRORIZER, BRUTAL TRUTH)
NECROSIS RECORDS (REPULSION, CARNAGE)
PEACEVILLE RECORDS (AUTOPSY, AT THE GATES, OPETH)
COMBAT RECORDS (DEATH, POSSESSED)
METAL BLADE RECORDS (CANNIBAL CORPSE)
RELAPSE RECORDS (AMORPHIS, NILE, ICANTATION, DYING FETUS, SUFFOCATION, PIG DESTROYER)
the book is definitely worth looking into if you are interested in getting a broad overview of the history of the scene. like any comprehensive book on a given genre, reading this has helped me rediscover stuff i hadn't thought of in a while and made me consider how diverse and complex fringe music can be.