Metal Sucks & AdHoc Present
Cattle Decapitation, Revocation, Full of Hell, Artificial Brain, Alekhine's Gun
Compromise is not a concept Cattle Decapitation are willing to entertain. Ever. Over the course of nineteen years and six full-lengths the San Diego quartet have more than proven this, defining themselves as one of the most vital, brutal, and relentless forces in extreme music, and with The Anthropocene Extinction they have delivered a volatile, apocalyptic beast that is as hideous as it is compelling. "I feel that something rare happens with our band in that we get better and better with each release rather than going in the opposite direction, which happens to a lot of bands," states vocalist Travis Ryan. "As we get older we feel we have less and less to lose, which is freeing, and we really want to go as far out on a limb as we can without losing the extremity that has always driven us."
With 2012's Monolith Of Inhumanity Ryan, guitarist Josh Elmore, bassist Derek Engemann and drummer Dave McGraw delivered a sledgehammer blow, maintaining their position at the most violent end of the death metal spectrum yet expanding their sound, allowing a little more melody in without losing any of their intensity. As always tied together by a central concept, Ryan's bleak lyrics bluntly illustrated the fate of the human race if allowed to continue pillaging and destroying the planet. With The Anthropocene Extinction he extrapolates on this subject, looking back at the world in the aftermath of such ecological and environmental devastation, with its focus largely centered on the Pacific Ocean. "The Anthropocene Era is the time period where humankind has had the most profound negative effect on the Earth and its ecosystems and the record focuses on how we have managed to bring that era to an end. From even before the Industrial Revolution and into the present day, humankind's inexhaustible need for resources and explosive population growth have accelerated us towards a future world where we will have either consumed or polluted ourselves out of existence. When you look to the oceans the footprint we have left comes in the form of all the junk and plastic that has made it out there because we let that happen, and the effect that has, because when you start breaking down eco-systems it's a domino effect and will one day end up doing us in. The Anthropocene Extinction is set in the world that we destroyed, and lyrically, it's certainly the most depressing record I've written."
The Anthropocene Extinction also sees the band extending their collaboration with Wes Benscoter, who has handled the artwork for every release since 2002's To Serve Man. "As with the case of Dave Otero, when we work with Wes he becomes a member of the band, and this also applies to Mitch Massie [who directed the notoriously NSFW video clip for Monolith Of Inhumanity's "Forced Gender Reassignment"]. I care about their opinions just as much as my own, and it's about putting the ball in the court of these guys as much as possible without sacrificing our artistic integrity." As usual, Benscoter formulated striking imagery that conveyed the record's themes in unflinching style, the cover featuring a bloated and distorted corpse washed up on a beach, its torn abdomen disgorging a mass of waste plastic. "It harkens back to what's going on with the albatrosses they have been finding on Midway Island for years. They're mistaking plastic for krill, ingesting this and dropping dead on the island, and as they decay the plastic inside them spills out. It paints a vivid picture of what's going on out there, and we're taking that and putting that within a human context, because, as I said before, it's a domino effect that ultimately leads back to our own downfall."
Having delivered five killer albums boasting some of the most potent, technical and abrasive metal unleashed over the last decade, it would be easy for Revocation to sit back and rest upon their laurels. However, with their constant drive to push their sound ever forward and refusal to compromise their integrity, this could never be the case – and Great Is Our Sin is their most dynamic, boundary-pushing and weighty release to date.
Front-man Dave Davidson commented about the first track: “‘Communion’ is the fastest song we’ve recorded to date, and while it’s blistering in terms of speed, there are also some proggy elements present to add contrast to the aggression.”
Regardless of the state of the world, nothing is going to slow Revocation down any time soon. Whilst the lineup has changed over the ten years the band has been in existence, Davidson’s passion has never waned, and they are arguably sounding better than ever as they look toward the future. “We can’t wait to bring these songs out on the road and perform them for different audiences all over the world. ‘Great Is Our Sin‘ is a new chapter for the band, and collectively we feel that it is our defining record to date.”
"In certain circles, Full of Hell needs no introduction. This young band has made a name for themselves in a short amount of time, racking up a prolific touring and release history while exploring a gamut of sounds within the spectrum of extreme and avante garde music. Formed in 2009, the embryonic beginnings of Full of Hell display their palette at it’s most primitive, d-beat and blast ridden hardcore punk with spats of noise and caustic rhythm, and within a few short years, they have bloomed into a true force to be reckoned with within the punk and metal communities. Within the past two years the band has released their now acclaimed 2xCD collaboration with none other than MERZBOW himself, which showed the band truly beginning to come into their own, combining elements of grindcore, death and black metal, punk and hardcore with a smattering of sonically laden power electronics and industrial pounding. 2016 saw the release of their collaboration with the thundering and depressive duo, THE BODY, entitled “One Day You Will Ache Like I Ache”.. This acclaimed release was followed by a collaborative live tour, where the band bent expectations again in a whirlwind of electronic percussion and drone. 2017 will see the release of an as-of-yet untitled third full-length LP. Numb your mind."
Alekhine's Gun is a heavy metal outfit from Brooklyn, New York that blends elements of thrash, black metal and death metal with subtle undertones and nods to New York hardcore of the 90's and all things extreme. In this unique combination they have unlocked a captivating sound and style and created a feel that is notable and recognizably their own.
In 2012, AG released a four-track EP entitled "MEDITATIONS IN WRATH" with Jeff Martinez (Desolate) on guitar, Dan Martinez (King Hell) on bass, and Jessica Pimentel "The Crusher" (Everybody Gets Hurt/Desolate) on Vocals and guitar. This NYC veteran lineup delivered a greatly received, high-energy sonic assault with their debut release. Their music is laced with a barrage of head-banging riffs and groove, colored with dark harmony and accented by relentless, technical drumming. Adding to all of this are fierce, in your face vocals and lyrics steeped in the profound wisdom of ancient Buddhist texts, vibrant imagery, and raw emotional honesty. Alekhine's Gun brings you a primal, transcendent, electric energy. This fury is not only felt in recordings but wherever they go as they have been marked as being stand out, vigorous, dynamic performers who hold their own in any live venue alongside world renowned bands. In 2014 with the sophomore release entitled "...And Kings Will Fall" still proved Alekhine's Gun is a force to be reckoned with. They bring to you heart and passion; Insight and meditation; Wrath and spirit.