The Mummies - Play Their Own Records!

The Mummies were the ultimate lo-fi garage punk noise act, partially a nutty monster novelty group but also the best band playing in the style, hands down.  There's a lot more than just caveman rock here too: surf, bluesy vamps, biker anthems, spooky haunted house themes, instructional dance numbers, and frat rock classics, all smashed up into one glorious fucked up mess.  This first LP is only the beginning of a long stretch of classic material, but it's as good a place to start as any.

Food, Sickles, Girls

Gravediggaz - 6 Feet Deep

The great grandaddy of all horrorcore rap, Gravediggaz' 6 Feet Deep fused the skewed, dusty funk of Wu-Tang onto Addams Family organ and a lyrical prediliction for horror theatrics, although in contrast to what followed, many of the songs are tongue-in-cheek, goofy, and digressive.  Containing two members of hip-hop veterans Stetsasonic and RZA from the newly-famous Wu-Tang Clan, plus the late Poetic, they initially formed after being screwed by Tommy Boy records in various ways.  What at first was a one-off spleen venting became a movement in underground hip-hop, with a legion of horror obsessed freaks taking to the 808 and mirroring the rise of underground death metal in the early and mid-nineties.  I've made a little game lately of comparing landmark albums in the respective genres; let's call this one Mental Funeral.

Bang Your Head

Deicide - Legion

Another crucial piece of your narrator's youth - Deicide's Legion is a classic or crazy, evil death metal merging cartoon Satanism, Lovecraftian cosmic horror, and a level of heaviness heretofore unheard.  The track "Dead but Dreaming" is an important piece on the map of Lovecraftian metal, one of the best known and earliest.   Legion clocks in at just under thirty minutes, but packs more brutality and nihilism into that short time than a dozen albums by lesser bands.  It's easy to forget in light of later shenanigans, but at one time Deicide was the evilest, hardest band in the world. 

Revocate the Agitator

Roky Erickson - The Evil One

Counting down to my 500th post and perusing the archives lately has brought to light some glaring oversights, albums I haven't posted yet that form the backbone of my musical taste.  Many of these (this one included) have remained un-posted because I listen to them so much that I can't imagine life without them.

The first one that came to mind was The Evil One, the most well known and arguably the best album by Roky Erickson.  I have posted many Roky albums here before and casually assumed that anyone perusing my little Swamp would at least have a passing familiarity with the man.  A huge percentage of albums on here are directly influenced by him, and many others have a spiritual kinship in their themes of paranormal phenomena, struggles with madness, and weird gibberish.

Lyrically, Roky draws from vintage horror movies and urban legends as much as he uses early rock n' roll's predilection for mantra-like refrains and cribbed blues motifs.  Musically, it's basically Buddy Holly and Bo Diddley squeezed through a proto-punk meat grinder.  Creedence Clearwater Revival's Stu Cook played bass on and produced much of this album, lending a layer of cosmic hillbilly mystique to a record already doomed to obscurity.

Of course now Roky is known as an essential part of any rock fan's collection and he continues to produce new material, against all odds, but this is the pinnacle.

I Walked With a Zombie

Antonius Rex - Zora

While we're on the weird outer rims of heavy metal, let's stop over in darkest Italy, home to many truly bizarre bands of all sub-genres.  Antonius Rex, the brainchild of Jacula leader Antonio Bartoccetti and vocalist/multi-instrumentalist Doris Norton.  Of their many simultaneous projects, this is the darkest and most explicitly occult, enough so that they were dropped by their label and forced to self-release it in limited quantities some years later.  Mixing the baroque organ fugues and jazzy psych of Jacula with a cinematic adventurousness influenced by Goblin and Morricone, with the pair's sometimes distracting vocals and breathless narration kept to a minimum.  This version is a recent reissue containing the extended track listing of later versions but with the original, suppressed cover art intact.  One can hear influences on occult rock modern bands, especially Blood Ceremony, but nobody has the freeform batshit wildness of this monster.

Morte al Potere

Stoned

In keeping with the spirit of the season, let's all listen to Acid Witch's superior second LP, Stoned.  This album was easily one of my favorites last year, and still gets frequent rotation in the Swamp, especially this week.  Acid Witch explores the sort of death/doom purveyed by Coffins and Hooded Menace, but in contrast to the dark and cryptic vibe of those bands they explode with technicolor gore, like a Suspiria-inspired marker set by Lisa Frank found in the cheap costume aisle of your local grocery store, the kind that get you high as hell.  With festive seasonal gusto in the lyrics and a warm layer of horror-movie organ to fend off the foul weather, and several trippy digressions into cinematic abstraction belying the knuckle-dragging facade, Stoned glows like a pillar of green flame rising from a distant pile of corpses.

Thundering Hooves

Arkham Witch - On Crom's Mountain

At last, a new release from Arkham Witch!  I'm breaking my own no-new-releases rule once again here due to my excitement over this album.  Straddling the line between the old-school Lovecraftian doom of Simon Iff's other project Lamp of Thoth and the NWOBHM-informed approach of like-minded bands such as Christian Mistress, On Crom's Mountain isn't deep or particularly dark heavy metal.   Instead, it's a fairly upbeat, joyous drunken celebration of crusty rock n' roll, ragged and righteous.  Of course, there's the requisite Lovecraft/Howard lyrical leanings, along with some witch and viking-related material, and some more cryptic sentiments.  It's still gestating in my ears, as I've only listened to it a scant handful of times, but even now I must go crack another beer and loosen up the old neck muscles - It's tough to headbang and type at the same time.

Through Arkham madness, and lunacy

In gibbous frenzy - we are free!

Vader - The Beast

Poland's unkillable death metal O.G.s  Vader put out a tough-as-nails album this year, Welcome to the Morbid Riech, which I highly recommend.  This record, from 2004, finds the band in a more eldritch mood than usual, with a pronounced Lovecraftian bent to the lyrics and an obsession with the black abyss of the sea.  The music, of course, pretty much just sounds like Vader always does: thrashy first-wave death metal with Piotr Paweł Wiwczarek's hoarse throaty bellows booming over the top.  You can't go wrong with a Vader record, unless you're an asshole.

I Shall Prevail

Bruce Dickinson - Chemical Wedding

Here's an esoteric gem from Bruce Dickinson's uneven solo career, a mixture of prophetic and allegorical material based on the writing and painting of William Blake, and Rosicrurianism's secret rites and alchemical preoccupation.  On top of being a world class fencer, aviator, novelist, and heavy metal singer, Mr. Dickinson is a serious student of the occult, and he explains the album in depth here far better than I could.  Many of the lyrics are cryptic and abstract, though, allowing one to come to one's own understanding and relationship with the album.  Musically, it's pretty straightforward and solid Maidenism (Adrian Smith is the primary guitar player) aside from a few excellent cameos from Swamp veteran Arthur Brown and the occasional modern screamy vocal accent.  The patient disciple will discover multiple layers of meaning and depth, and the casual headbanger will find a bunch of kick-ass heavy metal.  

This is the river of space 

This is the river of time

Orion - Country

Jimmy Ellis was an obscure rockabilly singer who was blessed and cursed with a singing voice eerily similar to that of Elvis Presley.  After Presley's death he assumed the identity of Orion, mysterious masked country singer, who bore an uncanny resemblance to a certain supposedly dead singer, wink wink nudge nudge.  As gimmicks go, it a weird one - for one thing, Ellis really does sound almost indistinguishable from Presley, and the production closely matches the slick proficiency of Elvis's seventies output.  But on the other side, Ellis received a slice of the wildness that was Presley's later years - not to mention legions of crazed fans' misplaced obsession.  He soon abandoned the persona altogether and took to touring and recording under his own name, unsuccessfully, before retiring to open a convenience store in Alabama, where he was tragically gunned down in a botched robbery.  It's a weird music business story for the ages, sad and ludicrous and, not surprisingly, the source of some good goddamn country music.

Crazy Arms

Make Love

After the first night of real usage of my new ridiculously loud tube-based amplifier, my weary ears can take no music, so we must make do with this hilarious audiobook from the hammy king of b-movies himself.  A combination of standard memoir and hyperkinetic radio play, Bruce and a legion of his associates take you on a dark, boozy journey through the various rungs of Hollywood life, from straight-to-VHS hackwork to the smashing up of Richard Gere's antique vases.  Slapstick, romance, self-reflection, fear and loathing, and of course piles of corny jokes all weave seamlessly into the narrative, brought to life with sound effects and broad caricatures of the many people Mr. Campbell has crossed orbits with over the years.  A sight for sore ears.

Part 1 and Part 2

Jag Panzer - Tyrants

This classic first EP from Jag Panzer contains a Nam-as-apocalypse anthem, two songs about the crushing power of heavy metal, a song about Conan battling iron statues come to hideous life, and another sword-and-sorcery romp about besieging a citadel.  The epic "When Metal Melts the Ice" is, without a doubt, one of the Most Metal Songs of All Time.  Musically, Jag Panzer would evolve into slick power metal, but this first release is raw, thrashy, and wildly over-the-top no-modifier metal from a time before sub-genres walked the earth.

I'm a vicious tiger Roaming across the land

Jack Starr - Born Petrified

Not to be confused with the guy from Virgin Steele, this Jack Starr is a Texas-bred rockabilly outsider and monster-movie director, famed for his dark, twisted music and larger-than-life persona.   A marvel of ingenuity, this album reflects the duct-taped mentality one would assume prevailed upon his seemingly lost filmography as well: glaringly home-made, using an old bathtub as an echo chamber, varying wildly in quality and length, at once charming and unsettling.  Given a dusty ambiance by the tinny, distant sound and Starr's nasally wail, the songs float among a sea of hiss and ectoplasm, sounding a good thirty years older than their sixties vintage. 

It's the little seat-of-the-pants details that really give the record depth - for example, "Done Away With the Mean Old Blues" contains a middle passage that sounds like Starr playing piano with one hand and slapping his leg in counter-rhythm with the other.  Occasionally the recording descend into frenzied gibberish worthy of Men's Recovery Project at their most obtuse.  Other moments offer pure, fragile beauty and joy.  And then there's the songs about vampires and shit, those are good too.

Constellation of a Fool

Briton Rites - For Mircala

 

Greetings, dearies!  I have once again returned to the Swamp, and am back among you.  Today I have for you one of the great unheard doom albums of the last year, the debut album from Georgia's hirsute Briton Rites. Effortlessly evoking the dark history of doom metal without sounding artificially retro or atavistic, For Mircala is a loose concept album centered around vampirism and Lovecraftian dimensional bleedthrough.  I have a particular weakness for metal bands with literate and diverse sources, and these chaps certainly deliver on that front: the title cut is based on a pre-Dracula vampire novel; "The Right Hand of Doom" is grounded in a Robert E. Howard short story starring his demon-hunting Puritan, Solomon Kane; several other are grounded in Hammer Horror flicks and pulpy supernatural melodrama.  Musically, it owes a heavy debt to the doomier side of NWOBHM, like Witchfinder General of Pagan Altar, with killer vocals from Phil Swanson (of such Swamp favorites as Hour of 13, Seamount, and Atlantean Kodex) and guitars by Howie Bentley of legendary Georgia metal band Cauldron Born.  More importantly, every song is memorable, catchy, and tough - no pretty stuff here, just doom and blood and haze.

The doom evoked by the words he spoke, as the hand began to crawl

Abgott - Artefacts of Madness

Proving the old adage about the weirdest of metal coming out of Italy, Abgott's complex, mathy black metal is thoroughly constructed and precise.  There's hints of that Meshugga-derived irregular chug, Enslaved's epic sweep, and the sheer nuttiness of early Voivod, combined with a Lovecraftian lyrical bent.  For all the clinicism of the playing, there's still a nasty heft here, a mad whirl of rage usually absent from today's technical death metal scene.  Abgott are no theoreticians or hipster music school dropouts - this is the real deal, and it is scary.

Diabolical Surgery

Brotha Lynch Hung - Season of da Siccness

It's one of those nights, my dearies, where only the ugliest and most twisted horrorcore can satisfy the dark urges roiling within. Brotha Lynch Hung's pet themes - cannibalism, mysogyny, madness, infanticide, booze - all permeate this miasmal gangsta record like smoke from a funeral pyre. A west coast answer to the New York's burgeoning horror rap movement, this first LP sounds like a hybrid of the G-Funk synth-and-melodica slink and the menacing funk of a John Carpenter soundtrack. This is roughly the rap equivalent to Butchered at Birth. Tread cautiously.
Rest in Piss

Fearless Vampire Killers - Target

Another knock-off band on the turntable tonight - this time it's the Japanese Bad Brains, Fearless Vampire Killers. Not quite up to the standard of their inspiration, especially in the vocal department, this is nonetheless a raging buzzsaw of hyperactive punk fast enough to sand the zits off your face.
All you offend to my eyes

Pagan Altar - Lords of Hypocrisy

Skirting the doomier edges of the NWOBHM, Pagan Altar played a stoic, dead-serious brand of heavy metal drawing influence from the first Black Sabbath album's graveyard shuffle and Paranoid's war-pig politicism, while delving further into the realm of mystic lyricism. Right off the bat, the title track comes stomping out of Stonehenge decrying the evils of war and greed, immediately followed by the doomsaying "Satan's Henchmen," arguably another war parable. This relentless pace eases up a bit as the album progresses - the b-side is more expansive and subdued, but the closing number fulfills the promise of Armageddon. Terry Jones's instantly recognizable, haunted vocals are another huge draw here - full of fear and anger and sadness, they really elevate the album above the legions of bands playing in this style today. Alas, the man will probably never be spoken of in the same reverent tones as your Ozzys or your Dios (or Halfords, Dickinsons, etc.) but in my mind he really is in their league as a frontman.
Strangely, Pagan Altar never managed to release a proper album during their initial run as a band, but a late-nineties reunion managed to produce a stellar crop of albums, of which this is the second. The gods of doom may move slowly, but sometimes they reward the faithful.
Death will come to even the righteous
Only the good die young

Let the Right One In

Well, let's have a bite of this excellent, expansive soundtrack to one of my favorite newer movies, composed by scholarly Swede Johan Söderqvist. Anyone who has seen the film will no doubt remember the haunting dirge-like drones punctuated by slashes of noise and splatters of dissonance every time violence erupts onscreen. Evoking the icy chill and desolation of the movie and also the weight of sadness and inevitability, this wonderful, horrible soundtrack is for nocturnal use only.
Then We Are Together

Fear No Pain

Lord Vicar is the group founded by former Reverend Bizarre guitarist Peter Inverted and vocalist Christian Lindersson, most notorious for replacing Wino in Saint Vitus on the under-appreciated "C.O.D." album. It's about what you would expect - molasses paced swaying doom riffs, eldritch lyrics, and crushing despair and hopelessness. Strangely it also sounds wonderful while I am sitting on a porch, sipping on a fruity girly drink, whiling away my first day of downtime in weeks. Ponder the futility of human existence and pass the pomegranite juice, you wanker!
Pillars Under Water