Monthly Metal Mixtape: October 2020

We’re celebrating Halloween here at Change the Rotation (or at least the best we can), while preparing for a virtual Hallowmas. Here’s some of the horror-themed records we are jamming this month. Or records about the end of the world. So, ya know, same thing.

Anaal Nathrakh – Endarkenment (2020, Metal Blade Records)

There were a couple records I thought about using this space to talk about, and while we might get to them eventually, I have to go with the phenomenal new Anaal Nathrakh record. From the release of leadoff single of the Orwellian “Endarkenment” through a hilariously acerbic video (that I’m still “spinning” on repeat), this is the record I needed in 2020. Clearly a record influenced by the times, with Endarkenment being a spin off the Enlightenment, Anaal Nathrakh are scathing, at least in the lyrics you can understand or that they’ve released (historically they don’t publish lyrics). And we’ve gotta talk about how those lyrics are delivered, because Dave Hunt continues to show why he’s one of the most versatile vocalists around. From the gurgling, chaotic depravity of “Beyond Words” to King Diamond-esque falsettos in “Libidinous (A Pig with Cocks in Its Eyes)” to the chorus of “Create Art, Though the World May Perish,” which straight up reminds me of Bruce Dickinson, Hunt’s range is incredible. And Mick Kenney, who does all the instrumentals, provides one hell of a backdrop through which Hunt can shine. “Feeding the Death Machine” is an apocalyptic, thrashy, melo-death. The aforementioned “Create Art, Though the World May Perish” contains the most NWOBH-vibe ever vomited forth from the chaotic black-grind Kenney usually creates. Tracks like “Beyond Words” and “Punish Them” are just pure auditory chaos. “Endarkenment” and “The Age of Starlight Ends” are surprisingly comprehensible epics with grandiose choruses. Anaal Nathrakh have been on a roll for a while and Endarkenment might just be their highest point yet, certainly matching 2016’s The Whole of the Law (which we deemed the black metal record of the year). Seriously, check this out. And if you’re unfamiliar with Anaal Nathrakh and not sure what you’re about to get yourself into, well, buckle up, hold on tight, and enjoy the ride. – Steve O

City Hunter – Deep Blood (2018, Youth Attack)

If you’re anything like me you spend your weekends staying up late watching horror flicks and spinning records all night. Sipping whiskey and cheap beer while alternating between 80s slashers and 80s hardcore. This has been my ritual for maintaining sanity for the past two months or so. City Hunter’s 2018 release, Deep Blood, fits so well into this ritual it’s scary. Thematically the album takes a lot of notes from horror movies and true crime tales. But it isn’t like some cheesy horror punk band where the singer wears a hockey mask while covering The Cure’s “Friday I’m In Love” in the style of The Misfits. It’s 14 short bursts of pummeling brutality that sound like a punk band fronted by a serial killer that's actually out for the audience’s blood. Let the crowd killing commence! Song titles like “Bind Torture Kill,” “Beyond Recognition” and “Stab and Repeat” should give you an idea of what you’re in for. The band beats the genres of hardcore, crust punk, and metal past the point of recognition. Is it punk? Is it metal? You tell me! – Danny Collins

Fastway – Trick or Treat Soundtrack (1986, CBS)

To coincide with the Halloween theme this month, I give you a song from the best heavy metal horror movie of all time: “After Midnight” by Fastway from the 1986 film, Trick or Treat (not to be confused with Trick 'r Treat from 2007). The entire soundtrack is done by the band Fastway, featuring "Fast" Eddie Clarke (RIP) of the mighty Motörhead, and it's a ripper! If you have yet to see this gem of 80's cinema, I suggest you seek it out immediately and get in the Halloween spirit. There's even appearances from Ozzy Osbourne and Gene Simmons. Long live Sammi Curr. No false metal! – James Bauman

Fetish 69 – Antibody (1993, Nuclear Blast)

Fetish 69, and no, I’m not talking about that DVD you keep hidden beneath your mattress, were an industrial rock/hardcore/metal band hailing from Austria. The styles are all over the place on their ’93 release Antibody, full of samples, bass that sounds more like taut cable lines, gravely vocals provided by Christian Fetish, and sludgy, slow riffage. That’s not to say this record doesn’t pick up the tempo, with songs like “Stomachturner,” with its steady drumbeat and clamoring guitarwork. There’s something a little unhinged and dirty sounding about this record, which sounds like a man in the early stages of a mental breakdown. Sadly, it’s no longer in print on Nuclear Blast Records, but it’s not hard to find a used copy at a record store or online. Here’s the full record on youtube for you lazy fucks. – Richard

Gulch – Impenetrable Cerebral Fortress (2020, Closed Casket Activities)

The debut album of metallic hardcore monsters, Gulch, goes straight for the throat with a ferocious beatdown of pure, visceral fight music. Head bobbing, crushing caveman riffs and galloping drums are the name of the game. Touches of beefy death metal groove make the rhythm section sing and prompt some internet weirdos to label this band deathcore. Hint: it is really not deathcore unless we’re calling this like “2nd wave deathcore” or something which would be a little too absurd. This release sits more snugly in this current wave of bands playing with eclectic blends of hardcore, metalcore, death metal, and grind. This one, while definitely a blend, leans far and away towards that punchy, crunchy hardcore mastered with a blissful, rough around the edges production that compliments it beautifully.

What really ties this release together is the violent, expressive vocals of front-man Elliot Morrow whose barks, coughs, shouts, “urghs!”, “ughs!”, and “ugh! ugh! ugh! ugh!(s)” fit snugly at the intersection of protothrash swagger, hardcore punk shouter, and noise-rocking, over-the-top, can’t-be-contained maniac. The band is like Converge, but with a looser, sloppier, punk rock bent to it and a not so self-serious yet somewhat effortless, eclectic artistry to the chaos. The album is rounded out by a Siouxsie and the Banshees cover that adds an extremely interesting layer of post-punk atmospherics to everything that I would love to hear more of. At 15 minutes and with a beautiful, distinct, surreal nightmare of a painting for an album cover, it’s a perfect little repackaging of old ideas made fresh through a little bit of spice and sheer, unhinged force of will. – Mike Tri

Mägo de Oz – Gaia (2003, Locomotive Records)

As Indigenous People’s Day and Hispanic Heritage month come and go, it felt only right to dig into this metal opera telling the story of Gaia reincarnate, whose spirit is released and seeks vengeance after having her human form unjustly executed by electric chair at the hands of a white man in Georgia, USA. She retells him a story known by many of the Spanish conquest and pillaging, the Christian brainwashing and slavery of the Indigenous people and how through ignorant pride of the Spanish began the slow deterioration of Mother Earth as we know it. Heavily influenced by Celtic and Latin folk music, expect violins and accordions as well as Queen-style vocals and Deep Purple keyboards. Broken and passionate singing reminiscent of Argentina’s own Camilo Sesto, specifically the song “Getsamani” from his rock opera Jesus Superestrella (seriously, if you’re unfamiliar but think Tom Arraya’s voice is great, give this Latin Pop singer a shot and watch the Voz En Vivo 1977 version). Fun for the whole family. – Carlos M

Metallica – Live at the Aragon Ballroom, May 25th, 1986 (2017, Blackened Recordings)

I’ve been coping with the loss of live music this year by listening to a lot of live albums. Of course it’s not the same, but it’s about as good as it gets inside my own home. I’m particularly a fan of live albums that capture one show. They deliver more of the live experience than the live albums that include recordings from a whole tour or even from two to three shows. Those miss the vibe and continuity of the single-show live album. The deluxe edition of Metallica’s Master of Puppets includes a live set recorded at the Aragon on May 25, 1986. This checks all the boxes - it’s one show, it’s from the golden era of Metallica and as a bonus, it’s a Chicago show. They play the hits and include some extra 80s metal bombast for good measure. Highly recommended for early-era Metallica fans (who isn’t one?) – Phil Collins

Necrophagia – Holocausto De La Morte (1998, Red Stream, Inc.)

What better way to ramp up to Halloween than with gore worshipping death metal. 40 minutes of raw aggression, dissonant feedback, and vocals choked up on bile; ugly in the most wonderful way. The album may be rough around the edges but it's a great continuation of a scion of early death metal that fell in favor of technicality and more progressive elements. Simplistic mid-tempo riffs yield to eerie guitar passages; chaotic early black metal inspired riffs mutate into dirge-like doom. As a side note, this album utilizes samples from horror and gore films in an incredibly effective way which is refreshing; not tacked on, the samples heighten the ugliness and aggression. Lastly, and though it is an unnecessary detail, Killjoy was (in my limited interactions) a genuine and enthusiastic horror fan who eagerly shared recommendations and would talk your ear off about everything and nothing. He didn't have to talk to me to the extent that he did and for that I'm grateful. No ego; no attitude. Just a nice dude. RIP Frank. – Cry Baby Hank