Author Archives: Nuclear Abominations

The missing Seraphic Decay singles

I still haven’t got the chance to see the Seraphic Decay book that was recently released despite it’s supposed to hold an interview w/me on the SCAM-033 Absurter Cryst EP that I (re)released last year, so what you read here might be redundant or plain wrong but I thought it might have been interesting to read what kind of thinking I did when looking for a code for this EP.

You might have seen this shirt before. Sic. Only 5 made… And I am not one of the owners. Look at that first Mortician LOGO!

The Absurter Cryst EP has been just a metropolitan tale for several years, but my guess is it could fill the blank in the numbering for SCAM-033. How did it get to SCAM-033? Well, 31 was missing so it could have been any between Nunslaughter, Rotting Christ, or Grave (edit – a friend told me these were supposed to be early releases). We have the SCAM-32 code for Suppuration so the choice was between 31 and 33. Being 33 is also the age of Christ… It was an easy choice. Plus, SCAM-031 was released as a bootleg 2CD compilation from Mexico which took the idea from an interview with O’Bannon, it was quite obvious that 33 was the perfect fit.

Left to right: ltd. Nuclear Abominations, regular Nuclear Abominations, unreleased Seraphic Decay. The ultra-limited edition is a tribute to the Mortician single with a different cover you can see below.

Yosuke is a fucking lucky guy and I am so incredibly envious of this stash he got, I could not sleep for a week boiling with envy when I saw this picture on his Instagram. Unluckily, any attempt to get some extra data on these test pressings has failed, we all crave additional information, in particular if they contain some unreleased EPs?

So where did Nunslaughter, Grave and Rotting Christ end up in the catalog numbering? Unsurprisingly, Nunslaughter ended up as a Hell’s Headbangers single (of course, this information I found in an interview with Don). And my guess is Grave was probably the Tremendous Pain EP. As for Rotting Christ things are more indistinct. Maybe the split with Monumentum? I’d go with “Dawn of the Iconoclast”. My three likely candidates below.

GRAVE “Tremendous Pain” Century Media, 1991

NUN SLAUGHTER “Ritual Of Darkness” Hell’s Headbangers, 2004

Here it’s worth noting that Hell’s Headbangers was anticipated by The Black Vomit which apparently already bootlegged the demo in 1993, WAY before the label was an idea. The cover below looks MUCH better than the HHR version in my opinion.

Another thing that should be noted is that in 2004 Hell’s Headbangers also reissued “The Rotting Christ” and “Impale the Soul” demos on 7″. They would not have been the first time O’Bannon reissued demos on vinyl. However, the year falls within the range so who knows.

ROTTING CHRIST “Dawn of the Iconoclas” Decapitated, 1992

Even though we are a couple of years ahead I get the impression that for Rotting Christ this could have been the idea for an EP on Seraphic Decay. The year before came out a split with Monumentum so maybe they just unpacked The tracks on various items. I have no idea.

Whatever the reality is I will get back on the issue after I finally get my copies of the book which I PREORDERED too when the first press was made but was never contacted. Hmph. Let me have a read and I’ll be back with a follow-up.

Recent mauling of parcels

I wonder what on earth is happening to the package delivery system in the last few years. I’ve been shipping records for a good 30 years now, and never have I had so many problems with deliveries arriving in pieces, kicked and crushed violently. Until the early 2000s even, I used to ship LPs in pizza boxes and even with just a ribbon of bubble wrap the records always arrived in decent condition. In recent years, despite using professional mailers with open cardboard flaps that are supposed to protect the corners, the latest shipments outside Europe have arrived in unthinkable conditions. And the longer the route, the worse the condition of the disks. Currently, I have had to double the mailers, sandwich them with some padding, and tape the edges with cardboard shims to protect the corners. A bit of the problem, maybe, could be directed to the insane collecting pathologies of the Mint fanatics, after all nowadays music is no longer listened to on physical media, we labels sell merchandise or luxury items as they can be called. There is no question, though, that there has been an intensification of courier delivery issues because it is not possible to see such an amount of split, damp, and torn packages. Not that I want to create a community, but have you also experienced this continued deterioration of postal and courier service in recent years?

VomitmantiK/Hellcrash/Goat Vomit Noise/Slaughter Messiah @ Freakout club

I’ve probably never seen as many concerts in a row as I did the last couple of months (at least after 2004), which is especially strange because I’ve also begun to appreciate them again whereas for years the titanic battle between couch and pain in the ass in the car had always ended in favor of the former. To be fair, all the last few concerts I saw had a percentage of interesting bands above 50 percent, and at least something to see on stage in terms of set design and presence. The night of Saturday was among them, with an interesting surprise as well. Usual urban location with a handful of scattered headbangers, a low turnout but unfortunately it was to be expected.

VomitmantiK

I will not spend many words on the wild and ferocious horde that is VOMITMANTIK because they recently released the CD on the label (allow me an invitation to buy a copy though), except that it was the first time I had seen them live outside of a rehearsal room. The keyword definition here is crude barbarity. VomitmantiK is a rough embryo that draws its strength from being primitive, from that atavistic, primal ferocity that embodies the instincts of the woods, the totemic bloodlust of ferocious beasts that feed on carcasses and entrails. Hammer and nails: simple tools for channeling instinct into massive, direct songs. Powerful and raw, as the genre must be.

Hellcrash

Here is where the evening took an unpredictable direction. I was imagining yet another Australian-like nostalgia product that might end up on the endless roster of photocopy bands on Iron Bonehead or Unspeakable Axe, but on the contrary, things went in a totally different direction. I had heard a few of their songs on the fly online in the past and was not particularly impressed, even after a quick review in the last few days to see if anything had changed.

Seeing HELLCRASH live, however, has been an entirely different matter. This group rocked the stage to fucking splinters. Even if my infatuation with thrash/speed metal wore off fast around 1992 when the genre had lost that raw polish that made albums by bands like Whiplash, Razor or Rigor Mortis timeless classics that still give me the sudden rush of twenty energy drinks, and honestly never came back despite various more or less pathetic revivals (don’t get me started on Earache bands). Yet, evidently, the magic in the genre is not gone forever because Hellcrash’s set was devastating. The arena that somewhat encapsulates all the obvious influences is Possessed and Venom but within the continuous shredding coexisted instances of Blood Feast, Exciter, Sadus, early Whiplash etc. It’s interesting to witness how simple things always work, at the end of the day you never get tired of eating bread after all. Square and precise, textbook stage presence, studs and leather, a drummer who crashed the skins like a poacher clubbing a baby seal, Becerra/Cronos-esque throaty vocals, spread-legged headbanging, and everything else that could serve the cause. If they pass through your area, don’t miss their show.

Goat Vomit Noise

GOAT VOMIT NOISE, on the other hand, is a very strange beast. If the first two bands took you into the comfort zone, here we are talking about somebody that manages to put together a unique compositional style even if clearly inspired in spurts by this or that other sound, a bit like what happened in the days of NEFAS, when you knew exactly the language, but could not recognize the words. The concert was airless the whole time, there is not a moment of melody or breathing in the whole set. It’s a bit like walking through some post-apocalyptic, gray, lifeless urban scenery, gasping for some air or fresh water. I had listened to some interesting things online before, but let me say that after witnessing this set I now believe that speaking of Black Metal this is one of the ten most interesting bands we have in this country right now. Having a look at the performance on stage, once again, allowed me to box the view into a whole different perspective. Goat Vomit Noise’s world has no color or hope. It is a finite, bleak black granite wasteland where the only life left is armored and covered with fangs. It is indeed an experience to follow the monolithic, inescapable flow through GVN’s circles of lifeless hell. Excellent.

Slaughter Messiah

I took no pictures of Slaughter Messiah because I left the room halfway through the first song. Uninspired, boring, and derivative second-grade black/thrash with riffs so overcooked and overdone you could grate parmesan on them and cook everything in the oven the day after an hangover. This is the kind of band I was mentioning above, that adds nothing to the music world. Which was doubly weird since they were headliners too. All form, no meat. Nice packaging and merch, but apart from that, there was nothing substantial to sink your teeth into.

Mythos demo 1993 on CD/LP/MC

Nuclear Winter records just announced a new pressing of the 1993 MYTHOS demo that was released back in 2009 on vinyl for the first time. This time you can also get in on CD and tape formats as well. I seldom publish this kind of news but old Mythos was so incredibly good they deserve some extra visibility if I can somehow help promote this old material.

Uraniavore Goatphago / VomitVulva / Sadomortuary, the (almost) perfect 2.0 post-pandemic gig

I’ve been working in IT most of my life and I am not extraneous to the concept of hacking which sounds better than “anally drilling out the reasons why some experiences do work while some others fail”. Yesterday’s concert was actually a big win for me and I will try to understand why did it work so well, and ultimately consider if this is the right dimension for post-pandemic shows.

My old friend Paolo from Coagulated rex bundled the ultimate Black Metal lineup for the night by sewing three top-tier barbwire unholy monstrosities with as much stage presence as infernal sound. Does this ring Black Metal, anyone?

The show was closed to random people, factually restricting the invitations to those actually interested in the show, which was partly a bureaucratic decision but nonetheless a strong message I could relate to, akin to what we did with the Nuclear the Abominations fest 2 years ago. The venue was small and clean, with astoundingly decent toilets, which is something I am graciously obsessed with: THANK you for letting me piss and shit without being hauled in a dimension out of Kapala-Tetragrammacide lyrics minus the aliens. Also, the beer served was quite good and not the usual shitty carbonated dishwasher water you get in bigger venues for ridiculous prices, which is another big thumb up.

On the downside, if I had to find a major flaw in the evening the overall sound was tragically confused. Given the chaotic nature of the music, the result was a giant wall of slurred noise in which basically you couldn’t understand half a shit. Which – at the end of the day – could have been far more tragic if the three bands had not been able to create that kind of suffocating atmosphere of combat shock: the fixed red lights, the stage set, the putrid energy reverberating in the air was really the perfect storm.

So was the shitty sound so much of a problem? Hell NO. Because Black Metal is never about the single riff, it’s about the overall EXPERIENCE. You listen to a Profanatica record, close your eyes and you’re taken to hell. But what about a show? Is it the same as listening to the same record at home? Nope. You go to a show to live some first-person experience and here I am answering myself from the latest grognard posts. Shows like the one I attended yesterday are the reason why shows DO actually still make sense today. It’s not just the music. You get a completely new dimension, like a 4-D cinema when you see something like that. You’re literally submerged in the music, INTO the songs. Eyes, ears, and skin, all harmonically convey the same message. It’s being alive and part of what’s going on in the moment. So no, the sound, shitty as it was, was just a part of the whole.

The second flaw one could point out is that everybody already knew each other, so it was basically a high-school meeting with band shirts. But is that a problem? Did the decision of a private party actually bar anyone from attending? Did id lack in (AH AH AH) “Inclusivity”? Well, you bet it did, ah ah. And you know what? Fuck it! Not because we’re elite, but because selecting dedicated people led to a perfectly balanced night where everyone was accountable for himself and his friends. Which is cool, because it did not really actually bar anybody to come, it just put some first-level funneling into the process. The people that were invited in turn consciously invited other people, there was a first-level connection with at least someone in the show, and I am certain if someone new to this music wanted to attend, nobody would have raised any objections. Despite what one might think, this is an open, welcoming environment, if you’re not a cunt. So no, this second objection doesn’t really work either.

Yesterday’s show was like being catapulted into Jacob’s Ladder under Pervitin.

Uraniavore Goatphago have been the first shock of the horrors of war when adrenaline first hits the brain. VomitVulva were the slaughter in the trenches, where shrapnel made your friends’ limbs fly and covered you in guts. Sadomortuary took the souls of the dead to hell, while the bodies afield were eaten by mutant Armageddon cannibals.

Uraniavore Goatphago

First time I see the awesome Uraniavore Goatphago and I was blown away bt the sheer static barbarity this duo manages to compress on stage. It’s the kind of brutal primitive violence of late Deranged turned black by the Blasphemachine. Horrific noise wall vibrating destruction.

VomitVulva

VomitVulva were the perfect choice to jump from the solid berm of the Uraniavore Goatphago directly into the thick of the carnage. The stage was filled with something that looked more like a narcos squad than a group of musicians. A chaotic mass of riffs, profanity, STDs, and shitty booze. This is what you need when you have to tie together the show.

Sadomortuary

And then, it was Sadomortuary again. The effluvia of the crypt solidified on stage like Ossorio’s blind dead at dawn. If we take away the new hipster nuance of the term “ritualistic”, it would be the right one to describe the interminable minutes of inevitable hooded DEATH that were punctuated by the band that in my opinion best represents Black Metal in this country today.

I don’t have much more to add, I hope that this evening will set a school and that there may be more such evenings. If so, I will gladly go back and get my bloated old ass out of the door.