I had a dip in activity early this year (personal/family issues) but still made some sporadic posts elsewhere when motivated, admittedly failing to update here at the same time. Income prevents me from getting out as much to capture shows but made it to Vancouver's fifth noise festival, had a good time.
Full article/write up over at The Plow Behind You. Video on my
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http://www.cvltnation.com/tapes-of-a-neon-god-15-17-18/
"Tapes of a Neon God have new items, so if you didn’t get enough when the giveaway was going on or you’re interested in what Anderson’s been toiling at, then read on.
The Tennessee label has a love for unlovable, grueling sounds and an aptness when it comes to vivid enclosures and analog formats. Pick up any record they’ve been involved with and
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I wrote a three-part wrap-up of the second brilliant metal festival in oshkosh, Wisconsin known as Gilead Media Festival. It's up on CVLT Nation in three parts so check it out. Photos and videos and all that good shit. Three days of powerful sounds.
Day One: http://www.cvltnation.com/gilead-media-festival-ii-day-one/
Day Two: http://www.cvltnation.com/gilead-media-festival-ii-day-two/
Day Three: http://www.cvltnation.com/gilead-media-festival-ii-day-three/
All videos are on my youtube channel and all photos are
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Go check out all the hi-res stuff here:
https://flic.kr/s/aHsjYUo6D6
https://flic.kr/s/aHsjZx2z7F
There's footage on my youtube channel and an article that will be up soon on The Plow Behind You.
http://theplowbehindyou.com/2014/06/16/godstopper-children-are-our-future-2014-ep-review/
"Children are our Future has me excited enough to skip it ahead of a few other reviews.
I once saw Godstopper while living in Toronto. They were admittedly overshadowed by my excitement seeing Mare headline on a second night of reunion but I didn’t ignore their simultaneously crushing and gentle noisy doom-rock. It would be hard to do considering their curious, irregular patina.
That
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http://theplowbehindyou.com/2014/06/05/new-lows-abhorrent-endings-2014-12-ep-review/
"Abhorrent Endings rips.
I’ve had mixed feelings about Boston’s hardcore quintet New Lows. When Harvest of the Carcass came out I gave it several chances but was eventually attracted to their first demo’s sound more than the LP. Just how loud and unfettered it was with four perfectly flattening songs, everything came together in simple animosity so well.
Of course I didn’t
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http://theplowbehindyou.com/2014/05/29/thantifaxath-sacred-white-noise-2014-lp-review/
"While living in Toronto in from 2011 onward Thantifaxath became a regular presence at black and death metal shows I had attended. And due to their distinct approach as well as stage presence those attending were always drawn to their performances.
I must have seen them at least five times not including Messe des Morts II in Montreal which was the last chance I
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http://theplowbehindyou.com/2014/05/12/frail-vessel-frail-vessel-2014-review/
"You may recall that one of my favorite releases last year was a 22 minute demo cassette/cd of grind-violence by Newfoundland’s Frail Vessel. It had a blistering tempo and striking vocals, structured by strong, gratifying writing; as well as equally awesome subject matter. Something that left an impression.
Well earlier in February this three piece ended their short existence with a final self-titled
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http://theplowbehindyou.com/2014/05/10/observe-vancouver-noise-festival-iv/
"Last Saturday on the rainy Vancouver coast there were several good shows being organized. Two in particular were my focus and unfortunately would be happening simultaneously. You can see plainly which of these I attended, Vancouver Noise Festival IV, while the other was an occult death metal gathering headed by Mitochondrion and Ævangelist during the Wacken Metal Battle in the same city.
http://theplowbehindyou.com/2014/04/22/shit-luck-self-inflictive-self-destructive-2014-review/
"It was early 2013 when Floridian SHIT LUCK first impressed me with their demo SLOW DEATH. Ultimately their blackened crust was on point in most regards: a rusted maelstrom whose success when blending abused styles was engaging, memorable and quite loud.
It was like a decrepit engine roaring as it tears itself apart, unhinging from the struts and shearing metallic grime from it’s
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