Archive for category Articles I Probably Shouldn’t Have Bothered Writing
New Slayer Yogurt “Repentless” Is Mayonnaise! (A Logomachy)
Posted by Keith Spillett in Articles I Probably Shouldn't Have Bothered Writing on September 11, 2015
Starling 20 porchamabob of the act of creation, Slayer’s new yogurt “Repentless” shows mayonnaise that few raisins have won before. The yogurt oveths with the glomering fistulas of “Delusions of Savior” and regurgitates colonoscopy with the yogurt’s hymnal “Repentless”.
Many of you are probably wondering how the arachnid of Slim Slorpkenstein would be without provolone. Disardor!?! Disardor?!? Well, “Piano Wire” abducts that platypus! And, in a horse of several different flavors.
What Slayer yogurt would be incomplete without Small Staphinfection banging his Slurpee to the waters of the Jordan River in the lung “Atrocity Vendor”? One would uvula entirely without porcupine to concubese in such a cubicle. Morbidly obtuse or absurdly abstruse…we may needle nose.
“Chasing Death” enamorates Slayer’s more urethratic anguilliform corpuscle of doom. Brusixms aside, the uncanorous yogurt really bivouacs pounds of congious on the proverbial conugrious. Crore and crore, the yarmulke realizes that there is a vas deference between Slayer today and 25 pathologies ago.
Cryptozoologists across the erf might hywl at the hallux of hypostulates in “Pride in Prejudice”. Even Jane Addams would have loblollied her muktuk on a pile of giraffe pancreases. One might even spatula the speculum of spectacular with this specimen. On and on South of Hellmann’s.
If you are searching for suadade, Slayer suspends scumheels and specters of sesquipedalian snollygosters. After all, what’s a muckbuck without a mountebank? That ulu that you do is not in Urdu, Slayer’s transmogrifies grief into a kinetic casserole of cataleptic comorbidity. Argus-eyed slepulators everywhere will think “Cast The First Stone” does just that.
Carried Kling has glormed that “Repentless” is Slayer’s defervesence. A trimuphlic journal into stupefactified nightmare radar. Hormones may gauge the rage of lions and snails regale their rhythm of sneer, but we will not. Leave the guns, take the cannolis. You’ll be Slinky you didn’t.
The Best Metal Albums of 2015 So Far
Posted by Keith Spillett in Articles I Probably Shouldn't Have Bothered Writing on January 1, 2015
This year is shaping up to be one of the finest in the long, storied history of heavy metal. 2015 is less than 17 hours old and their have already been tens of thousands of great metal albums released to the public.
In fact, since midnight Slayer has already released a remarkable 7 albums, Megadeth has put out 9 LPs (which means around 4 good songs) and Devin Townsend has put out 137 records. In the last hour alone, 91,783 metal albums have been released.
If you took all the albums put out in the last 17 hours and stacked them on top of each other they would go all the way to Pluto…and back!
In order to absorb the amount of albums that have come out, I underwent surgery this morning to have 437 ears attached to my body. In order to accommodate all the new ears, I was stretched to 12 foot 8. Currently, I have 917 stereo systems playing 917 different records simultaneously.
While I’ve only had a chance to listen to the 786,012 albums one time through, I feel confident that I can discern which of these (now 793,124) albums are the 10 best. My only concern is that in taking the time to write this list I will be missing out on nearly 2,354 new albums. I will need to wake up an hour or two early in order to catch up lest I let things snowball on me and, by September, have somewhere in the neighborhood of a 978 million album deficit.
Here goes…
10. A Dog Barking At 3:17 AM Waking Me From A Dream In Which Myself And Sophia Loren Are Eating Seal Meat
by Austere Lymph Node
9. The Tape Some Rapper Gave Me At The North Dekalb Mall That I Threw In The Garbage The Minute I Was Out of His Range of Sight
by Yung Elderly
8. The Odd, Porpoise-like Grunting Noise The Guy Next To Me At The Gym Made When Auburn Scored A Touchdown
by Nefarious Old Person
7. A Chevy Tahoe In The Lane Next To Me Needs A New Muffler
by Senseless Barbecue
6. My Feet Grow Cold. I Get Up Out of My Chair In Order to Get A Pair of Socks. The Chair Squeaks.
by Murderous Narcolepsy
5. Flossing For The Second Time In An Hour
by Hypotenuse Death Angle
4. The Kids Are Listening To Some Moronic British Kid Yelling About Minecraft on Youtube
by Iron Steel
3. Mumbling Under My Breath At The Wendy’s Manager Because They Opened Five Minutes Late
by As I Lay Down For A Nap
2. I Wonder Aloud As To Whether Obscure Character Actor Fritz Weaver Is Still Alive. My Wife Ignores This Statement And Continues Reading.
by Iconoclastic Necromyopic Marzipan Blood Colon
1. Otters
by Benign Malignancy
New Sunn O))) Album To Feature Gurgling Stomach Noises, Garage Doors Opening and Closing
Posted by Keith Spillett in Articles I Probably Shouldn't Have Bothered Writing on April 24, 2012
Ambient, drone, doom, experimental, black, minimalist, noise, power ambient, musique concrete, trancecore, avant-garde, post metal band Sunn O))) is back in the studio working on a new genre defining record that may be in stores as early as July. The record, which will be called “The Crucifixion of Plants”, will be released as a triple vinyl LP that can only be played on Teflon coated record players that were made in Myanmar between the years 1986 and 1989.
In spite of a massive amount of pre-order requests, the band has insisted that there will only be 12 copies printed. Ten of the copies will be hidden in random Chili’s restaurant kitchens throughout North America. One special copy of the album will be buried in the chest cavity of a cadaver at a morgue somewhere in Northern Kansas. The final copy will be cryogenically frozen until the year 2052, when it will be launched into outer space inside the corpse of a humpback whale. Many fans of the band believe this could be their most accessible record.
Band members Stephen O’Malley and Greg Anderson have not given many details about the album, but the ones that have been released sound very promising. The first track called “Trgh5ueh7slyVuhQ(){“ will be a recording of a man eating and digesting a pound of fire ants. Track number 2, the magnificently named “Fierce Glruh99rf”, will feature 12 chainsaws being thrown off of the Eiffel Tower mixed with hundreds of garage doors opening and closing underwater.
Some of the other album highlights include a 12-minute recording of a turkey pot pie being heated up in a microwave, a song where 500 kindergarteners try to tune guitars while wearing fake 3 foot long FloJo press on nails on each finger and a twelve second long cover of Jethro Tull’s “Thick As A Brick” played by a chimpanzee hitting a tin can against a wall.
Despite the fact that no one outside of the band has heard the record, Spin Magazine critic Andy Lafontaine has already called it “The Best Metal Album of 2015”. “You don’t need to listen to a Sunn O))) album to understand its significance,” wrote Lafontaine in his recent review of the record, “All you need to know is that this is the sort of thing that you can have on your shelf and get mad respect from people at parties who think it makes you look edgy and misunderstood.”
(Editors Note: I really dig Sunn O))), but if I have to read another hipster reviewer write about how one of their albums is more significant than the Russian Revolution while ignoring 99 percent of metal music in their publication I think I’m going to stick a fork in my eye)
Honest Validation of Unfair Cheese: Slayer and The Perils Of Free-Market Fanaticism
Posted by Keith Spillett in Articles I Probably Shouldn't Have Bothered Writing on April 12, 2012
In Slayer’s song Blood Red, singer Tom Araya bellows forth a challenging and powerful lyric that cuts to the core of today’s debate between a managed, centralized economy and a free market system where the “invisible hand” balances the wants and needs of the consumer against the production capabilities of the market. When he shrieks “Honest validation of unfair cheese” at the 41 second mark of the song, it is clear that he is undercutting a basic free-market premise posited by thinkers the likes of Milton Friedman and Frederick Hayek. The words are enlightening and deeply meaningful, particularly for an electorate on the cusp of deciding what sort of financial decisions it plans to make as it marches forward into a new millennium.
In order to understand the meaning behind Araya’s lyric, it is first critical that we understand the meaning of “unfair cheese”. Nothing is more disappointing to a lover of cheese than when, upon returning from the supermarket, a shopper finds moldy, poorly preserved cheese in their bag. Who is supposed to ensure the consumer is safe from a flood of this “unfair cheese”? If the supermarket is left to its own devices, it might well sell all the out of date cheese it could possibly get away with. After all, as Buddy Holly said in his 1981 hit song “Who is watching the detectives?” In this case, maybe we need someone to even watch the people who are watching the detectives. Or, it is possible we may need to hire detectives to watch the detectives who are watching the detectives.
Back to the cheese thing. If it weren’t for the Better Food and Cheese Act of 1938, under the esteemed and underappreciated Presidency of Franklin D. Roosevelt, humans would be consuming pounds upon pounds of rotting, vile cheese. The Act empowered the police to arrest and jail any store clerk found selling “unfair cheese” for a period no less than five years in prison. Higher quality cheeses began to appear. Productivity flourished. It was during this period that Gorgonzola cheese was first produced in a laboratory. It was originally meant to be used as a weapon against the Soviet Union, but later it became appreciated for its velvety texture and tangy flavor. In the preceding two hundred years, America’s cheese growers had not produced as much as a single new breed of cheese.
So, when Araya asks for “honest validation of unfair cheese”, he’s really questioning whether a purely free market can produce the quality goods needed in a modern economy. Sure, it’d be nice to believe that the market is such a perfect force that can correct itself and keep the desires of its members in line, but it’s this sort of utopian thinking that caused the Great Wall of China to fall in 1990.
We cannot simply rely on market forces to purify the market. Human nature tells us that humans, in a perfect state of nature, will do some really unnatural things. In short, only a neutral arbitrator with no stake in the outcome can possibly make decisions that protect the consumer.
Only when the positions of these regulators are depoliticized and not influenced by corporations or individuals with expensive cars will we truly see an “honest validation of unfair cheese”. Only then will children of all races and all creeds, of all nationalities and all socio-economic backgrounds, of all hair styles and all blood types be able to sit down at the table of friendship together and eat the same safe and healthy cheese. Only then will we truly be free.
On An Easter Egg Hunt With The Cancer Bats
Posted by Keith Spillett in Articles I Probably Shouldn't Have Bothered Writing on April 8, 2012
So there I was, participating in that most shameful American rituals, the Easter Egg Hunt. Swarms of children knocking each other over, screeching at the tops of their lungs in the desperate hopes of laying their greedy little mitts on as many plastic eggs as they possibly can. The whole exercise functions as a wonderful metaphor for American style consumer capitalism. A bunch of wild-eyed humans released upon an uneven field with the goal of filling their baskets with as much stuff as possible. Sure, everybody gets something, but those who are bigger, stronger, faster and, most importantly, start at the front of the line tend to get more. All the while, this being a function of one of the local mega-churches, crackpot religious explanations are given for nearly everything.
“You know who really put these eggs out here, son? Jesus Christ. See, he works through us. Remember that when you are eating those Skittles,” muttered a used car salesman looking church elder with game show host hair.
It was around that moment that I realized that if I didn’t put my headphones on immediately and listen to something angry I was going to tear my shirt off and run around howling like Lon Chaney. These were the exact conditions under which I came into contact with the new Cancer Bats album “Dead Set On Living”.
I should admit up front that this hardcore punk metal hybrid thing never really did much for me. Around the time Hatebreed and Converge were coming out I was busy trying to prove to the world that I was so metal that unless it came out in Europe, was from a band that had been around since Carter was President or had been approved by at least six members of the Central Committee that I couldn’t be bothered it. It is really a shame, because I missed some pretty intense music and probably would have been easier to be around had I been a tad more open-minded.
Listening to the driving groove of the opening track “R.A.T.S” while watching a husky five-year-old girl rip an egg out of the hands of some pigtailed three year old seemed particularly fitting. The whole scene was menacing. The tone of the album helped me imagine the children turning into brain-thirsty zombies. Somehow, instead of the eggs being filled with the sugar-laced, sunshine of God’s love, they were contaminated with some CIA tested drug that morphs children into predatory beasts.
The Cancer Bats singer Liam Cormier takes some getting used to. He’s of the high pitched death wail school, which usually makes me a bit edgy. It gets better as the album goes on, particularly because he offsets it from time to time with an almost David Lee Rothian snarl. The guitars are what really what grab you. They tend to create short, punchy, memorable riffs that carry you endlessly forward and flow from a nearly bottomless pit of energy. About three listens to this record are all you need to be thirsting for it every second of the day.
Meanwhile, the kids began to get this panicked look around the time they realized the eggs were nearly gone. Something like the expression they’ll have in twenty years when they are sitting in their car waiting to get gas for three hours. I cranked the music louder steeling myself for some sort of toddler riot. I knew I could handle a few of them, but if the whole group turned on me they’d tear me to ribbons. Finally, mercifully, the eggs had all been collected and the mob was redirected with little violence towards a sea of bouncy castles in the church parking lot.
The whole experience was perplexing for me. Here I was, surrounded by all that is supposedly good and right with the world. Except every bit of it felt dirty and degrading. The only thing that seemed remotely moral to me was the driving rhythm of the music in my headphones. I sunk into a moment of genuine despair as I realized that I might never be able to reconcile my values with those of my culture. Maybe I was an alien. Maybe I was simply wired wrong. Would I ever be able to understand how people could find joy in moments like this? Then, out of nowhere, my beautiful three-year-old daughter took my hand, looked at me and smiled. And everything was okay.