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  • “A New Reason to Live”

    There is a perpetual war within my head between the part of me that aspires for better and the cancer of negativity which gestates nearby and in almost equal quantity. There are days when I feel joy, happiness, and contentment; other days I wish nothing more than to die screaming my grievances at the top of my lungs and just say “fuck it all” before blinking out of existence. I am – and have always been – adept at self-destruction. Sometimes, the only reason I think I’m still here is that I’m too damn stubborn and spiteful to die.

    But now I have another reason to keep at it, and it’s a damn good one: my daughter.

    For years, I’ve relied on spite, brute force and ignorance to get things done. “I’ll show those bastards” could have been my catchphrase, because nothing has ever motivated me more-so to succeed than to prove others wrong. To conquer and never yield. I can no longer allow this to be true. In June, I’m going to meet the most important person I’ll likely ever know, and it’s my responsibility to teach her to do better. I have been a spiteful, cruel man with a lot to prove. Now, I must adapt love and kindness, and above all else, patience. The last thing I want in this world is for my daughter to feel as hollow, miserable, and alone as I at many times in my life have. I can’t wait to meet her.

  • “Tombs of the Blind Drugged” – Moss

    The best way to describe the cavernous sound of “Tombs of the Blind Drugged” is to liken it to being bound, blindfolded, and dragged through the hot, sticky bowels of a decomposing subterranean dragon to have your essence drained from your barely-living body at the end of it all, and then being left to rot as a desiccated husk in this festering intestinal-crypt.

    “Tombs…” is crushingly oppressive and sounds like it was recorded in a dungeon. The title track, which features vocalist Olly Pearson playing the Hammond organ, sounds like a funeral march for giants. Additionally, this EP ends with a soul-rending cover of “Maimed and Slaughtered” (Discharge). For fans of lo-fi drone, doom, and misery.

    Listen Here:

  • “A Learning Experience”

    November 30th2018 was an important date: one year clean to the day. The “miracle” had already happened; the cravings and nightmares had subsided, but the shame and guilt remained -and still do, but not exactly. The events which led up to and occurred during my period of addiction are hazy fragments at best. I choose not to recollect them, to forget and push on through, but there remains a lingering dysphoria: not all is well with me upstairs. I’m nervous, paranoid and angry. I did not want this. When I saw it coming, I cowered.

    Then there are questions and regrets. Of course I regret doing what I did, and often wish I had just fucked off out of there, never tried it, but then I wouldn’t be where I’m at now, and that’s a tough thing to deal with. Where would I be? Would things have still turned out this way, or would I be living a different life altogether? Would I have learned as much about myself? Would I have learned humility? I’ve always valued wisdom as a thing which can only be acquired through experience. It’s a powerful trait, but I still wonder if the sleepless nights, sclerotic veins, the persistent feeling of despair, the self-loathing, all of this and so much more, if everything was worth it. At this point, the cards have been dealt. But maybe, if I play my hand right, I’ll keep up top. I’m not invincible. That was an important lesson.

    Another thing I learned: I don’t trust anyone anymore. I thought I understood that man was a sick animal before, but I wasn’t ready, and I still think most humans and their secret faces areuglier than I know even now. Everybody wears a mask, sometimes a few. It’s the face beneath that bites hardest; it’s the real deal, teeth and all, the one not to fuck with. I suppose I’m like that, too.

    But I’m trying.

  • “Let Us Prey” -Electric Wizard

    Electric Wizard have been one of the biggest names in stoner doom for some time, having released genre-defining classics such as “Dopethrone” and the much sought-after “Supercoven” EP. The defining factors of their sound are fuzz-laden bass and hosts of whirring, psychedelic guitar riffs, as well as Jus Oborn’s ‘Sabbath-styled vocals, all of which were expertly demonstrated on their 2002 album “Let Us Prey”, which was also the final album featuring the original lineup of the band.

    Thematically, the albums lyrics and song titles are a nod to the weird fiction of HP Lovecraft (as in “The Outsider”) and Edgar Rice Burroughs (“Priestess of Mars”), among others listed in the album’s liner notes.

    I picked this CD up from a record store in Tampa on a whim sometime between 2010 and 2011, almost a decade after its release, but fell immediately in love with it. I listened to it incessantly, and had my first experience smoking pot while listening to “Priestess of Mars” which further fueled my love for the band. The song seemed to drone on into eternity, pulling at the fabric of my tiny human mind. I was like Randolph Carter entering the Dreamlands to seek the Old Gods atop unknown Kadath, searching endlessly in equal parts horror and awe for a cosmic fix I was unable (until recently) to achieve sober. This is my favorite Electric Wizard album to date, and I absolutely recommend it for any and all fans of the band or of stoner doom in general.

    Listen to “Priestess of Mars” here: 


  • “Silhouette in Splinters” -Leviathan

     One of the more unique bands reviewed on this site is acclaimed and incomparable one-man USBM act, Leviathan. Boasting a prodigious body of work, some of the more familiar titles under artist Jef “Wrest” Whitehead’s belt include 2003’s “Tenth Sub-Level ofSuicide” and the following year’s “Tentacles of Whorror”, not to mention numerous splits with bands such as Xasthur and the ever-controversial Nachtmystium. These, as well as other releases, boasted raw, gritty recording, alternately gurgled and shrieked vocals, and produced an atmosphere as close to hell as one can get whilst still breathing.

    Then, there’s “Silhouette in Splinters”.

    “Silhouette…” is a brooding dark ambient release, devoid of the spiraling blackened guitar riffs and demoniacal aggression showcased in previous releases; rather, it conveys a sense of brooding melancholy and isolation through slow, thrumming background resonance, occasional groaned vocals, and slow but painfully deliberate guitar melodies. Chillingly bitter, “Silhouette” evokes a sense of an ethereal realm layered behind the tattered veil of our own reality coming closer to the surface, and more frighteningly, of the ghosts that haunt that somber extra-planar darkness. This album is an atrementous abyss teeming with unlife. Dive in…

    Here:

  • “Worms”

    The past seems like a bad dream only partially recollected: little fragments worm their way up from my subconscious and back into the daylight of the present from time to time, withering away almost as rapidly as they break the surface. The little pits and holes they carved are miniscule, yet multitudinous, and through this tangled labyrinth of tiny, meandering holes and pits I can almost see my inner self, the other me that was born of suffering and nurtured by addiction, festering inside of my mind.

    He’s tired and sickly, dying of starvation in the depths of my head, but he’s vengeful, too, and so I must remain vigilant, so that bastard doesn’t steal the helm. Even though I beat him once, I doubt my ability to win another war of that magnitude.

    I think every recovering addict has another person inside of them, like a warped reflection of their true self, as seen in a not-so-funhouse mirror. That inner nightmare-person is an entity entirely separate in most of us from our normal being. We say and do things we never thought we could sober, and not for the better. Recovery is simply the act of battling with oneself: light versus dark, man versus monstrous counterfeit. But we never really win. We just lock that bastard away and starve it out. Sure, it whispers to us, and sends its worms to probe for weakness in our hearts and minds, but we must endure We must mend the wormholes and snuff out these vermin at their first appearance.

    It is through subconscious subterfuge that the addict enslaves the recovered, and often only through brute force and dumb luck that we seal the monster back into its crypt.

  • “Emperor (S/T)”

    “Emperor (S/T)”

    Emperor’s 1993 self-titled EP represented a portent of things to come with regard to the band’s sound. Many of the tracks on “Emperor” are re-recorded songs from their legendary demo, “Wrath of the Tyrant”; while “Wrath…” is well known and praised for its lo-fi recording and distinct 2nd wave black metal aggression, “Emperor” boasts a more polished production, which really allows the majestically incorporated synthesizers to create a powerful, evocative atmosphere of primeval darkness, and the re-recordings of such songs as “Night of the Graveless Souls”, “Cosmic Keys to my Creations and Times”, and of course “Wrath of the Tyrant” are displayed in a new light which aptly showcased the band’s immense talent at that time, a talent which also included the legendary dungeon synth progenitor, Mortiis, who played bass and wrote many of the lyrics.

    While “Emperor” may not be as auditorily stunning as  “Anthems to the Welkin at Dusk” or “Equilibrium”, and other later works, it was -and remains- a landmark release for the legendary band, and raised the bar for many other early 90’s black metal acts that would follow.

    Listen Below:

  • Phantasmagoria

    I used to be afraid of headlights. After dark, when another car is creeping up in the rear-view, its easy to imagine that every single car (apart from your own) belongs to a cop. I was like a cockroach: every flicker of any nearby light, and I was out of there like greased lightning. I imagined myself hunted, and there was no peace or respite when any light was about, as myriad nocturnal eyes followed me and my fiance` around every corner, in and throughout the darkest alleyways and parking lots of Daytona.

    These eyes were mostly imaginary. I see that clearly now. We used to joke when we’d go shoot up or smoke in the park that the cops were in the trees. One of us would laugh and say this, and the other would respond, “no, the cops are the trees”. As I delved further and faster into the underworld of junkie life, this joke became less and less amusing. When you’re up for several days end-to-end on a bender, you tend to misconstrue reality. I’ve seen fifty-foot tall basket ball players swaggering and looming overhead where streetlights should have been, black mass demon worship in parking lots, elves in the road, and other bizarre apparitions, and I can tell you I believed every minute of it. Sleep deprivation, stimulants, and malnourishment can do that sort of thing.

    I’m not sure how I never got arrested or killed for that matter, but I’m glad to be able to just cruise down the street at night without being afraid of cops or other phantasmal pursuers anymore. It’s a blessing, one of many simple things that most people take for granted. For those of you who are still lost between the worlds, find a light and go ever toward it. And for those of you teetering, don’t look back. -CM

  • “True Traitor, True Whore” -Leviathan

    Imagine picking a scab, seeing the wound beneath open up before your eyes, and staring into the blood and tissue within. Suddenly, the wound is stretching open, yawning out like a great, snarling, undulating maw. This flesh wound suddenly expands into a massive mortal gash, growing deeper and wider, swallowing the body around it, and eventually pulling you and everything you love down into a living abyss festering with vile fluids and vexing organic noise. You spend eternity in this wound-hole, and are digested whole, slowly, forever.

    Leviathan’s “True Traitor, True Whore” is the auditory equivalent of the previously described experience. A bizarre album to say the least, and at best, a masterpiece of the highest caliber, if one has ears to hear such things. Disturbing and mournful, “True Traitor…” is a shifting mass of hateful, living soul-swallowing sonic plague.

  • Night People II: “Slope”

    “Hey man, I know you.”

    The grimy, unkempt man was sitting in the doorway of an empty club or restaurant in Ybor, insisting he knew me. Puzzled, I told him I wasn’t sure he did; in fact, I was positive we had never met. All the same, he persisted, this time, revealing his name, as if this would improve my memory.

    “I’m Slope. You know me. Where you from?”

    Now, this was perplexing. Of course, this man had no idea who I was. We had assuredly never met. If we had, he might at least have known where I was from. But still, oddballs and vagrants have always been drawn to me, and I was becoming confused by his insistence. Maybe he was gas-lighting me, or maybe he was hallucinating, mistaking me for someone he did actually know.

    “Well, Slope, I’m not from here, and I’m certain I’ve never met you.”

    “Yeah, man, you know me! I’m Slope!

    I told him awkwardly to have a nice day and walked off. He muttered something about drugs and what I think was a threat just under his breath, and continued sitting in the shade, under the awning of the empty building in Ybor. I could feel his eyes on my back as I walked away wondering to myself what kind of name Slope was.

    -CM