Crucial 00's

I decided to jump on the bandwagon and do a Best Albums of the Decade list, barely sneaking it in before the new year. I'm not Pitchfork, meaning I don't have a bunch of cronies to review 100 records. So I went with a more manageable number in 10, counting down to my favorite. I made these picks based on the first 10 that popped into my head. I think this kept it honest, rather than turning things into a hipster checklist. Unfortunately, the picks lean heavily on the first half of the decade, with none past 2005 and most coming from the first three years. Well, like I said, at least it's honest. Enjoy.


10) Andrew WK - I Get Wet

For a moment in time, he was a god amongst men. Appearing on first encounter to be a full grown wild-child that had been haphazardly positioned in a band, great purpose resided underneath the apparent mental case that was Andrew WK. Of a singular earnestness and dedication, this man headed one of the most remarkable humanitarian crusades in recent history: the party. I Get Wet served as an enduring mission statement which did not mince words: life is not to be attended as a soiree or gala, but to be set ablaze with the intensity of an (not necessarily sexual) orgy. This manifesto found perfect companionship in a raging pomp and circumstance best described as Def Leppard mainlining a cocktail of meth and 'roids, within the context of colossal, overdub-happy production. It did not take long for the music and the message to take effect. Soon collectives of supposedly incompatible people (nerds, jocks, geeks, uber bros, etc.) came together under the banner of the party. Yet as mysteriously as he had first arrived, blood face and his dirty white jeans disappeared into obscurity (i.e. Japan). Fortunately, I Get Wet remains - a dream not deferred.


9) Burnt By The Sun - Soundtrack to the Personal Revolution

The initial tag-line for this record was "a detailed study in the forward motion of heavy music." I'd like to amend that statement with the following: "Progression is great, but if you're too hip for Pantera - get the fuck out." Not to kill the analogy, but Soundtrack to the Personal Revolution is Far Beyond Driven written by Coalesce. Burnt By The Sun are a noble example of what "metalcore" was before the term became associated with tepid hybrids like As I Lay Dying and All That Remains. Tempo and groove shift with the force of passing tectonic plates, ranging from an ambush of blastbeats to some of the most crushing breaks ever put to tape. A seriously menacing listen when it came out, this one still obliterates today. (I wrote an explication piece on the song "Famke" for a high school English class. In retrospect, I should have chosen "The Boston Tea-Bag Party" instead.)


8) Bane - Give Blood

Having discovered hardcore by way of 90's Victory bands like Hatebreed and Buried Alive, much of what I considered to be "hardcore" actually had prevalent metal influence. Not to discredit those groups in the least, but Bane showed me the merits of taking things back to basics: if purpose and energy are job #1, a solid foundation for the music has been laid. Grasping this maxim, they penned a contemporary classic in Give Blood - a record that pays respect to a history rich in tradition, yet avoids an '88 jack move. Echos of the old school fuse with a willingness to evolve within the parameters of the style. In doing so, Bane demonstrate a keen knack for supplementing the punk stampede with huge kinesthetic grooves that dodge metal categorization. Getting verbose about Give Blood as a composition is unnecessary, in a way trivializing the experience - one that revives the now fleeting inspiration of youth, when becoming a better person was a feasible goal. If that comes off a little too sanctimonious, know that "Ante Up" is about a poker game.


7) Pedro The Lion - Control

How this - an album centered around divorce - was sold at Family Christian bookstores still baffles me. I guess it is as "Rapture" says: "Gideon is in the drawer." Witty quips aside, Control is an incredibly affecting record to take in as a whole. David Bazan's waning lamentation poignantly illustrates the deterioration of a marriage in all it's infidelity and melancholy. That is not to say this a right-versus-wrong finger pointing scenario. By weaving in and switching between different perspectives, Bazan complicates the matter much to our consternation, in way stating that everyone carries these reproachable characteristics and is capable of such social wreckage. Told with an everyman's simplicity, there is no questioning the reality of the tale. To make this bumout palatable, Pedro The Lion's signature stripped-down approach was revamped with a newfound vitality. Songs like "Magazine", "Rehearsal" and the already noted "Rapture" rock a little harder than previous Pedro material, while "Indian Summer" implements a lush synth to create a humble pop-gem. Bazan may have put The Lion to sleep, proceeding on to other credible projects, but Control continues to be the songwriter's most focused and moving work. Look at it this way: I - an intolerably harsh critic of faith - have recited "God bless the Indian summer" countless times without thinking twice.


6) Cursive - The Ugly Organ

Domestica solidified Cursive's place amongst the upper echelon of inde-rock, brandishing a group who could expertly tow the line between raw catharsis and catchiness. It can be said that the proceeding album kept the same elements in tact, but that they were more pronounced with a larger dichotomy between the two, submerging the listener into a nerve-wrought atmosphere akin to walking on glass. A precarious doppelganger, The Ugly Organ wolfed down those in search of instant satisfaction. While the angelic "The Recluse" cast its complacent lull, "Herald! Frankenstein/Butcher the Song" quickly reigned down with a jarring racket that was anything but harmonious. Credit is due to cellist Gretta Cohn, who played an integral role in the musical juxtaposition just outlined, providing elegance to the delicate parts and severity to the clamor. Continually shifting from pastoral to caustic and then back again, The Ugly Organ forced a new, comprehensive definition of beauty.


5) Little Brother - The Minstrel Show

The most significant concept album the genre had seen since De La Soul Is Dead, The Minstrel Show was a desperately needed satirical critique upon the lowest common denominator of modern day hip-hop. Under the guise of a TV station (UBN) thriving off the purveyance of such cliches as the foolish slow jam (see Percy Miracles) and misplaced cultural affirmation in white people (see Dave Wood), Little Brother not only took their shots but provided track after track of filler-free bangers. Like forefathers A Tribe Called Quest and the aforementioned De La Soul, these natives of North Carolina managed to make the smooth hit hard, so as to provide for maximum head bobs. Much of this can be attributed to 9th Wonder's stellar production, a masterful infusion of soul into beats that is on par with the work of the late J Dilla. Of course, history shows us that artistic achievement generally goes unappreciated; in a case of sad irony, BET declined to pick up the single "Lovin' It" because its was considered "too intelligent".


4) At The Drive-In - Relationship of Command

The album that introduced independent music to a generation of naive suburban kids weened the mainstream. "One Armed Scissor" somehow infiltrated popular radio and video outlets, displaying a sound completely at odds with that of its accepted peers on K-ROCK and MTV. Punk in spirit but full of alluring instrumental twists and turns, Relationship of Command put ATDI in an elite company of genre innovators with Refused and Fugazi. Though the band/album may not have been so impactful minus one eccentric frontman with melodies to burn: Cedric Bixler - creator of a long-stemming infatuation with both nasal sass and girl jeans. And while Bixler's irrefutably self-indulgent lyrics are more or less ambiguous poetry, ATDI's swansong was an arresting venture, leading many of us to question the necessity of our Linkin Park records.


3) Godspeed You! Black Emperor - Lift Your Skinny Wrists Like Antennas To Heaven

Imagine compiling an array of rock instrumentation, classical arrangements, along with various products of human sound and sending them out into space. Then imagine a signal is shot back to earth with all original components still in tact but rearranged and cross-linked in a manner where unfathomed sonic territory has been forged. Enter Lift Your Skinny Wrists by Godspeed. Utterly triumphant layers of beauty cascade into moments of disconcerting sorrow, all held together with the interspersed words of a doomsday prophet, an aging Coney Island beach bum, and an automated teller machine. It's difficult to move beyond cryptic descriptions. A crude lineage traces back to Sonic Youth and Slint, while streamlined descendants are identifiable in Explosions In The Sky and Mono. Such comparisons, however, only get you halfway. Godspeed exhibit an omnipresent expansiveness on Lift Your Skinny Wrists which places them on the fringe of conventional reference points. Here is the postmodern opus of the decade. Kid A, you have been served.


2) Mastodon - Remission

What's in a band name? Be it to correspond with predetermined molds? To increase t-shirt marketability towards brats? Alas, these things are often the case. Though sometimes a name can capture the very essence of a sound. The first time I called upon Remission, thence appeared before me the great mastodon: a indomitable prehistoric behemoth that stormed over frozen tundra, forgoing all regard for that which lay in its path. An animal fiend from ages past, I did see. But its sonance failed to fit any previous documentation. It was a brutish amalgamation, combining the arithmetic of Botch, the physics of Celtic Frost, the putrefaction of the Melvins and the occasional melodious refrain of Iron Maiden. One labyrinthine riff spun dizzily into the next, all while the never-ceasing war hammer struck out in new sequences, refusing to settle on a meter. It's cry? Well, it was the call of the mastodon: a wrathful bellow which cut the terra firma from itself. Since this meeting, the depicted creature has amassed a phenomenal amount of acclaim. Criminal it may be to forsake Leviathan from inclusion on this memorandum, yet I do believe Remission to be its zenith of destruction. All parts in perpetual chaos, but always moving forward as a whole; it was here that I first looked the beast in the eyes and knew it for what it was. Righteous.


1) Converge - Jane Doe

If you know me at all, you saw this one coming. If we've conversed about music, I've spoken highly about this record, perhaps to the point of becoming overzealous in praise. Hype is hype, but this one lives up to every positive word ascribed to it. I say this as someone who wasn't necessarily sold on Converge and Jane Doe the first time our paths crossed. Simply put, it was just too much. "Concubine" would hit and trigger an immediate sensory overload. Still teething off Sepultura, I couldn't get my head around it. But I did recognize the sheer power that came through my speakers. Playing it passively in background was impossible. It compelled, forcing confrontation. So I kept coming back, trying to figure out what the hell all this noise was doing. Eventually I got it (at least partially) and realized why this band and record are a pair of all-time greats.

On Jane Doe, Converge transcend the plethora of influences which make up their sound. It's not hodgepodge of styles that stand apart from one another. Hardcore, punk, metal and grind: these components are seamlessly integrated, coagulating into something completely different, not anchored in any one source. There is no moments of "oh, here's the mosh part and there's the thrash part." This cohesion is result of a nihilistic dissonance and tireless intensity which permeate the songs, eradicating direct resemblances. I mean, what have you heard that even comes close to "Thaw", a demential funhouse on an angry sea of riffs? Where can you place the primal brutality of "Phoenix In Flames", which is composed only of percussion and vocals? And though incessant aggression is a trademark of this album, dynamics and textures have variance; "Distance and Meaning" reeks of The Jesus Lizard smut, while "Phoenix In Flight" exudes a Swans-like ethereal canopy. Closing out is the absolutely massive title track; with a duration of nearly twelve minutes, this monster finale is the culmination of each already mentioned facet of Converge.

Considerable lengths have been taken to explain how ugly and overwhelming this record is. But in many ways, Jane Doe is a positive, empowering experience. The auditory violence is not self-serving. It is the deconstruction of traditional conceptions of art, including the allegedly extreme forms. It takes preconceived notions about music, rips them apart and demands that you either put it back together or walk away. Choose the former and forevermore become an engaged listener - always searching for and constructing meaning. Reflecting back on this record and the challenge it posed, I see it as making an important contribution to my progression in critical thought: not finding truth at the start, but through a process of constant reassessment. To those of who snicker at these principles, by all means continue to arbitrarily nod your head along to REO Speedwagon. This is not for you. But for those who come forth with patience and an open mind, the effect of Jane Doe can be galvanizing.

Best Holiday '09 Commercial

Not trying to push this camera, but you can't deny The Biz.

Glassjaw - El Mark EP

Warner Bros.
(2005)

A few leftovers compiled here: the first two from the now out-of-print Cosmopolitan Bloodloss import single (which I almost purchased years ago at an exorbitant price) and a third that was just unreleased. "El Mark" is standard fare GJ - meaning it's catchy but doesn't sacrifice energy or urgency, leaving me scratching my head as to how it didn't make the cut. "The Number No Good Things Can Come Of" is a full-fledged ballad, stripped-down and subdued in a manner the band had previously only really displayed for brief periods in songs. "Oxycodone" has a similar feel with a more prominent jazz influence; while the verses are a tad awkward as Palumbo attempts the poetic bounce of Fiona Apple, he redeems with a chorus that is both sultry and undeniable.

Whether you're anticipating the new Glassjaw record or it's been awhile since you last listened to them, check this EP out (if you haven't already). Better yet, revisit their full lengths. Either way you're likely to hear a band that has aged surprisingly well.

"I was raised on classic rock."

More like you were too lazy to dig outside of your parents' anemic and uninspired record collection or turn off KZOK. Not saying it's all bad, but "classic" status in "rock" music can be easily and rightfully extended to bands/releases from the 90's and beyond. And ditch the Led Zeppelin shirt. That mess is tired and about as definitive as having eating food and watching sports for hobbies.

Iron Maiden, Motorhead and Black Sabbath are not classic rock, since they receive little to no play on stations designated to play such music (ironically, because they probably rock too hard for the wuss-demographic who make up the majority of radio's audience). That's right. Black Sabbath are not classic rock. You might occasionally hear "Iron Man" and "Paranoid" on the airwaves, but that's it - which is criminal considering the plethora of raditude that band produced (Dio years included).

So when someone asks you if you like classic rock, tell 'em Dave Wood says "to hell with you and your misnomers."

Lots of sauce

Is it just me or are there a lot of commercials airing for liquor? Ketel One, 1800 Tequila, Jameson Whiskey, Crown Royal, Jack Daniels, Jim Beam, etc. I've seen a bunch of TV advertising for these brands lately (much of which is terrible - maybe I'll get to that another time). This is the first year in quite a few that I've had cable, so I could easily be mistaken. But I swear the first time I ever saw a bottle of Old No. 7 was in a Guns 'n' Roses video, not in a commercial. I guess hard times calls for hard alcohol. Get strapped and loaded. Been there, done that. Without the gat. I'll stick with beer. Though I am hoping one of these brands' ads will show their liquor relieving a small child of a toothache. That I will drink to.

Kids suck

In my Friday evening CAD/Drafting Methods class last week, I came across some general shittiness from a fellow student of a more youthful age. I was showing a group of students how to go about downloading the student version of AutoCAD 2010, warning them that the program could be a little temperamental if one has an older computer system. I explained that I owned one of these older computers and had crashed it multiple times when attempting to run the program while listening to music with a media player at the same time. Then this kid, who couldn't be older than 18, relayed the following to me.

Oh yeah. When my grandmother heard I was going to college she gave me like 30,000 dollars. So I bought this ridiculous HP system that has like 100 GB of RAM. So AutoCAD runs no problem.

I was quiet for a second. But the kid had on a shitty Poison "world tour" shirt. So I asked him why he'd bring that up after I'd confessed to the poverty of my computer. Why would someone do that? After one person admits a deficiency - be it personal, financial or what have you - what drives another person to essentially say "I'm better"? I would understand had I taken the route of bragging about how nostalgically bitching my 2002 Gateway is, plastered with its AFI and Sick Of It All stickers. That might induce a competition of sorts. That was not the case.

The kid didn't have an answer for me. Half jesting, I told him he was a fucking asshole. His response: Well, now you're calling me names. So why should I be nice to you? After witnessing his inability to reason, I explained to him - with the tact of a kindergarten teacher - that I wasn't calling him names, but assessing his character. That was pretty much the end of that. But what the hell is wrong with kids? Maybe that one is just upset that he's a trust-fund, string-bean wuss and that I'm a meatless beast of unparalleled wit. That must be it.

Switching gears, I saw Where The Wild Things Are this past weekend. Absolutely fantastic. For the past couple days I've tried and failed to come up with something profound to say about it so I could post it here. Allow me to use the words of someone else in place of my own.

There are different ways to read the wild things, through a Freudian or colonialist prism, and probably as many ways to ruin this delicate story of a solitary child liberated by his imagination.

The New York Times critic who said this was referring to the book, but the view appears to have been shared by director Spike Jonze. While it's clear that a good deal of addition needed to take place in the film to supplement a 40-page story consisting mainly of pictures, Jonze chose to primarily expand upon the liberating imagination of a child. What happens in the book happens in the movie, but with less parameters. The world of the wild things is boundless, with more variance in the environment and that which can be encountered and created within it. The wild things are recognizable in form, but now carry distinct personalities and tendencies. It is in the interaction with and between the wild things that film steps beyond the book, fleshing out why it is that the Max would want to quit his fantasy to return home to his family. (Not a spoiler. Happened in the book.) So go see it. It's rad. I told you I had nothing profound to say.

The Wire

Damn. It's over. Admittedly, a sentimental part of me wishes it could have continued on to reach "happily ever after" territory. But I'm genuinely impressed by how loose ends were left to be, giving no neat and tidy solutions. That is an honesty you don't often experience with television drama. Yeah. I could elaborate more. But Josh is just about to begin his journey with The Wire and it should not be spoiled. I wish him the best of luck. May he enjoy it as much as I have.

Sheeeeeit.

Punch - s/t

625 Thrash/Discos Huelga
(2009)

Despite the renowned words of Kevin Seconds, hardcore unequivocally is boys' fun. The ratio of dicks to chicks is 10:1. Testosterone levels can be lethal or at the very least off putting. When a "she" does wind up in the mix, the result is Walls of Jericho. So yeah, the scene could really benefit from a well-intentioned lady's touch. And no, this isn't a covert scheme to raise probability for the boot-knock.

Respect to Punch. Female-fronted and seriously pissed, they put to rest any reservations concerning the ability of women to step off the sidelines. In terms of intensity, their vocalist (Meghan) spits with a scathing venom that far exceeds the generic dick-flex of most guys on the microphone. It's like nails on a chalkboard, but awesomely refreshing. She's rounded out by a thrashy brand of hardcore that brings to mind the likes of Ceremony and American Nightmare. Fast enough enough the crew, crusty enough for the flannel, and just the right amount of heavy breaks to lure the flatbrims. There's scene unity for you. Should have know it would be a broad showing dudes how the game is played. Excuse me while go I scarf down a Luna bar.

Download

"Who's Bringing the Microwave?"

This is old and probably isn't real, but nevertheless funny as hell.

http://www.collegehumor.com/article:1789446

9/19/09

Wake up at 7:15am. Eat some Organic Raisin Bran. Scrub nuts and brush breath. Mash up I-5. No traffic. Jam The Wash (three weeks running). Everett. ITT. Math. Trigonometry. Eight year wormhole. Back in high school. Time to set it straight. First quiz. Flawless. Nailed it. Annoying kid interrupts lecture. A lot. Bad jokes. Crickets. Apparently views class as appropriate forum to practice failed comedy routine. Gravely mistaken. Give clown a pass. Blows for next time. Literal punchline.

Get home. Eat pizza and watch UW/USC game with mom. Incredible. Can't sit still. Curse like a fiendish sailor on UW blunders. Mom says quarterback Jake Locker can't react like that. Tell mom that's why he's on TV playing football and I'm 25 living at home watching football. Illegally download new Rise and Fall album at halftime. Our Circle Is Vicious. Destroys. Surrogate 'til new Converge album drops. Final score. USC 13. UW 16. Contest in arbitrary context of rules and point system generates battle fervor. But a giant is a giant. And he has been felled. Exquisitely surreal.

Go to Oktoberfest with brother, his fiance, and friend Steve. Fiance brings two friends. One is mother of two. Other is Christian Scientist (not real scientist). Nice people. At least there is beer. Steve references "Dick In A Box". Christian Scientist has no clue. Likely confused. Definitely appalled. Familiar with Justin Timberlake? Steve asks. She has. Christ. Tiny glasses. 1/2 measuring cup. Righteous brews. Kona Porter. Tad thin. Dark enough. Elysian Pumpkin Ale. Wow. Pumpkin pie and beer had sex in mini-mug. Again in mouth. Not too sweet. Super thick. Jasmine IPA. Another Elysian. Sounds odd. Sleeper hit. Subtle floral notes. Alaskan Smoked Porter. A-1 jumped in my beer. Meh. See a couple friends. Old roommate's girlfriend. Bestows drink token. Bonus. Piss five times. Enormous lines. Almost go in pants. Twice. Main troth overflows. To the brim. Disgusting and hilarious. Extra Honey Buckets fork-lifted in. Heroic event staff.

Back at brother's place. One final piss. Probably shouldn't drive. Do anyways. Short distance. Not completely tossed. Still dumb. The Wash again. For composure. No sign of the beast. Pull in driveway. Enter house. Total stealth. Brush breath. Rip ungodly ass. Crickets. Smells like bacon, eggs and propane. In bed. Headphones. Pass out to Madlib. Shades of Blue.

The days are just packed.

For Josh

Crapulous in concurrent love and suffering at the thought of his omniscient creator, John Donne was (at best) a crappy poet.

Somebody call the wahmbulance.

New favorite word

Phonetics trump semantics here, but still...

Crapulous
1. given to or characterized by gross excess in drinking or eating.
2. suffering from or due to excess.

Shrinebuilder

Most supergroups are pretty unnecessary, failing to produce any vital material and leaving you to wish that you were instead listening to the members' original bands. Shrinebuilder is not that supergroup. Check the pedigree.

Scott Kelly (Neurosis)
Wino (The Obsessed, Saint Vitus, The Hidden Hand)
Al Cisneros (Sleep, Om)
Dale Crover (Melvins)

They just posted a new track, "Pyramids of the Moon", from their debut self-titled album here, which comes out October 20th. Doom, drone, psychedelia, and riffs you can ride like a mammoth. Spark the L to this one.

Lee Fields & The Expressions - My World

Truth & Soul

(2009)

Following the death of Michael Jackson, a number of ludicrous claims were made concerning the infamous superstar's legacy. One affirmation thrown around with reckless abandon was that he was a genius - an interesting assessment of someone whose biggest hits were written by others. Another prominent understanding is that Jackson established the pivotal crossover between R&B and pop music. This cannot be denied. However, the common sentiment tied to this fact induces nausea, requiring that one should be thankful for the contribution. Far be it from me to mock the dead, but I must decline feigning appreciation for he who opened the floodgates for R. Kelly, Usher or any other source of pedophilic slow jams.

Once a respectable form of music, R&B had a different name. Soul. Flourishing during the 60's and 70's, greats like Otis Redding and The Temptations continually charted hits that were indicative of the title given to music; it was a sort of carnal testifying. Lee Fields, a contemporary of this legendary generation, had a supporting role during soul music's pinnacle in the Memphis scene. While working with many big players in the game, Fields never broke through as a solo artist, attaining little more than a cult status with genre loyalists. Fortunately, patience has proven virtuous for this unsung hero, paying significant dividends this year.

Out of the current cesspool of inarticulate porno-speak, Lee Fields has come forth as a messiah, dropping the next great soul stigmata, My World. The word "throwback" fits the sound, which is akin to the aforementioned pioneers. Yet, it seems inappropriate considering Fields' history with the music; rather than switching up to a retro angle, he's just doing his thing - a thing he's been doing for quite some time now. And if one attempted to define the essence of that thing, it would have to be the seamless versatility of Fields' voice. Harnessing both the warm lull of Al Green and the tenacious bite of James Brown, Fields strikes an exceptional balance between smooth and rough. So well integrated are the two styles that they cease to be exclusive approaches to individual songs. Instead of trying to express this vocal paradox in musical terms, a hypothetical anecdote proves much more effective: Lee Fields could walk in your house, cold-clock you, bang your woman, have her make him a sandwich...and you'd still shake his hand on the way out.

Gracefully orchestrated and stunning in its arrival, My World takes the crown for 2009. Sadly, it's more probable that the record will end up as one of the diamonds in the rough, due to the dire poverty this music now resides in. While D'Angelo and John Legend may have updated it, and Amy Winehouse might periodically mirror it, Lee Fields proudly exhibits that there is no substitute for classic soul. Let's bring it back.

(Seriously, don't sleep on this.)

Poor Mount Vernon

It's bad enough that a d-bag like Glenn Beck could be the product of such a quaint settlement. But it's worse that their ignoramus mayor, Bud Norris, is awarding said d-bag the key to the city on September 26, further designating the date as "Glenn Beck Day". Against his critics on the decision, Bud stands firm: "This isn't about his political views. It's about recognizing someone who has a history with our city."

You're right, Bud. This is isn't just about his political views. This is about someone who couches brainless fear and hatred in his political views. How is it that you can so easily separate an individual from their words and actions? How can you celebrate Beck's success without taking into account how it was achieved and/or what he's actually "successful" at? Apparently celebrity status provides exemption to these issues, instead equating a high profile in pop culture with that of philanthropy. I guess I shouldn't be suprised. But if this is the case, respective city keys for Monica Lewinsky and Kato Kaelin are way overdue.

Inglourious Basterds

Directed by Quentin Tarantino
(2009)

Instinct calls for a diatribe upon the grossly overrated nature of Quentin Tarantino, taking the following potshot: Tarantino is to cinema what Slipknot is to metal - not authentic. But I won't do that. I've learned to accept the director's work for what it is: entertainment. He often attempts to shift into the realm of art, but such is little more than clever dialogue and ultra-violence cloaked in dramatic camerawork. And that's fine. My conscious doesn't require an overhaul with every movie. Sometimes things just need to go boom.

Inglourious Basterds delivers what you'd expect it to. Pronounced wit and superfluous brutality. Brad Pitt cracks a funny and a Nazi gets a swastika carved in his forehead. Justice served. To condense a needless summary that can be found in abundance over at Rotten Tomatoes, you should walk out of the theater entertained. Though I will add that Christoph Waltz gives a breakout performance as the cunning and malicious (and humorous) Colonel Hans Landa, aka "Jew Hunter".

But in comparison to Tarantino's past offerings, Inglourious Basterds lacks. Namely in terms of character depth regarding "The Basterds". This is a shame, considering the opportunity presented by the notion of a Jewish death squad in World War II. We could have had The Dirty Dozen meets The Watchmen. Though some great character ideas are presented, like the baseball bat-wielding Bear Jew, they never flesh out beyond their awkward introductions. Instead, the film's two other storylines eat up the clock, leaving Brad Pitt's brazen doofusness as the only memorable trait of the Bastards. Inglourious Basterds needed the large scope that Kill Bill had, allowing for a number of characters and storylines to develop without any gaps or forced acceleration. This film feels like way too much was left in the editing room.

Alright. I said I wasn't going to be an asshole on this one, but it can't be helped. The premise here is outrageous. Beyond that, it's too easy. Who can the audience justifiably hate the most? Nazis. Who can take the most satisfying revenge on them? Jews. Tarantino is like that whale of a stepfather who spoils the children with expensive gifts in order to win their affection; he might gain their favor, but ignobly so. Again, I know I'm not supposed to access the cerebral with this guy, but it pains me to see him held up as a genius by most (Copernicus was a genius, idiots), when he's really just dressing up cheap conflict in pomp and circumstance. More painful is knowing that Tarantino has an extensive knowledge of cinema and continues to produce this ornamental tom-foolery.

He needs to learn how to spell, too.

I got knocked.

Blogger, Mediafire, and assumedly Barsuk Records gave me a collective "hell no", so I had to pull the link on the new Bazan album. I should have known better, since that's something of a high profile release and I leaked it. (Josh, that was for you...and you couldn't even download it!) There hasn't been an issue until now, so obviously none of the other stuff I've posted here has set off any alarms with artists/labels. So I'm gonna keep providing, just avoiding the leaking of popular shit. I'm also gonna switch the link up so it's not so transparently labeled "download". Don't worry. It won't be hard to find.

The Wire

I know I'm late, but damn this show is good. Best I've seen in quite some time. Well written and grimy as hell. HBO will go down in history for reinventing television.



Wait. Doesn't that foul-mouthed fellow look vaguely familiar? REWIND.



That is just great casting.

WTF

I swear on my mother that I just heard an ice cream truck playing "Silent Night".

David Bazan - Curse Your Branches

Barsuk Records
(2009)

Even as a militant secular humanist, I have always held David Bazan in high esteem. I attribute this fact to his never irrationally doctrinal lyrics. Bazan has always dealt with the less attractive aspects of life, like divorce and suicide, with poignant realism that elicits an inevasible melancholy. Though "God" and "Jesus" have always been occasional invocations, they are never made in praise or supplication, tending to appear in the context of desperate futility. (And he's never been too prudish to refrain from dropping an f-bomb or focusing "his high hopes on a vagina or two.")

Curse Your Branches shows the futility hit a breaking point. While he renounced Christianity around the time of Pedro the Lion's Winners Never Quit, this marks the first record where Bazan can be heard openly criticizing the constituents of his past faith. At a few tracks in, the skepticism could feasibly be interpreted as a mocking of Doubting Thomases. But by the time "When We Fell" plays, all jokes are off: "You knew what would happen and made us just the same. Then you, my Lord, can take the blame."

Lines like these provide me with a sort of personal affirmation, not to mention a giant shit-eating grin. Yet, for Bazan such a conviction brings about severe consequences. A little knowledge of his backstory - being married to a devout Christian intent on raising their daughter in church - reveals a quandary that clearly influences much of the discouragement found on Curse Your Branches. On "Bearing Witness", Bazan dispenses with the old fables and offers his child an invaluable piece of rational thought: "Though it may alienate your family and blur the lines of your identity, let go of what you know and honor what exists. Daughter, that's what bearing witness is."

It's an absurd world. Every time I watch the news or pick the paper, humans are damning and killing one another over discrepancies in archaic belief systems. Each time, a bit of my sanity dissipates - to the point where I start to believe it is actually me who is delusional. It's records like this one that bring me just enough resolve to know I'm not completely marooned. For every Cat Stevens, there is a David Bazan. Well, that's pretty delusional. But maybe one day it won't be.

(May Jeremy Enigk be the next to fall from grace.)

Special Delivery

A new Converge track, "Dark Horse", can be heard here. Good goddamn it's rad. Get stoked for the new album, Axe To Fall, which drops October 10th.

Transcending white trash

So hard.

Shit pending.

School has had me in a vice for the past few weeks. It'll be over after 20th. So I'll have some new goods posted up here in about a week. Until then, enjoy this scene from a screenplay I'm writing that addresses the truth about universal health-care.

PARENT: Oh doctor! How is my child?

DOCTOR: Well, I've got some bad news. It's a retard.

PARENT: Oh no!

DOCTOR: Oh yes. And because your child's panel review showed unacceptable levels of potential societal productivity, we have no option other than to euthanize.

PARENT: Lord have mercy!

DOCTOR: This, of course, means it will be terminated via repeated blows of a heavy wooden stick.

PARENT: (sob)

DOCTOR: Kidding! Lethal injection is protocol.

PARENT: Oh cruel world!

DOCTOR: (walks away and high-fives passing doctor)

Cue Van Halen's "Runnin' with the Devil"

Brutal Truth/Converge - In These Black Days: Vol 2

Hydra Head Records
(1997)

It's pretty hard to technically botch a Black Sabbath cover. Being little more than a dirge of distorted blues chords, they are commonly some of the first songs that novice guitarists of good taste bumble through. So the question then becomes whether to play the songs straight up as tributes or to expand in directions the originals only hinted at. But this provides a set of pratfalls. Sticking too close to the progenitor's style lands you in that reoccurring local-dive bar-scene territory, while taking too many artistic liberties causes the song to collapse from excessive deviation - bad news for a Sabbath track.

In this split between grind kings Brutal Truth and a pre-Jane Doe Converge, a collective attempt to foil this heavy metal conundrum is made. Both bands, to varying degrees, take a middle path between tribute and experimentation with Black Sabbath. For Brutal Truth, this approach acknowledges a momentary shift in their sound, as nary a blastbeat can be found in their cover of the doom-laden "Cornucopia". Though a slight increase in speed and inherent crust of the band help avoid any shameless idol flattery. Yet, it is Converge's take on "Snowblind" which gets the blue-ribbon. Oddly enough, it comes across almost musically identical to the Sabbath version. That is, until Jacob Bannon unleashes his inhuman vocal exorcism upon the once crooned lines of Ozzy, smothering them in a malevolence that the heavy metal of Sabbath's era may have claimed but never actually produced. Perhaps the most remarkable insight to arise here is how comparable the melodies in "Snowblind" are to those found in the earlier, more melodically inclined material of Converge. Even with this unlikely connection drawn, it's still amusing to hear such a definitive hardcore band play what is essentially a rock song, and do it in a way that won't make you cringe.

BOTTOM LINE: Classic bands covering classic songs by another classic band. Do the math.

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Hum - You'd Prefer An Astronaut

RCA
(1995)

I smell something good. Oh, it's that tasty 90's alternative smorgasbord otherwise known as Hum. A mash-up of big Deftones styled riffs, thick and spacey but less experimental My Bloody Valentine layers (which can be harvested for secret sounds when blazed), and the driving rock of vintage Smashing Pumpkins, Hum are the band you heard and liked but couldn't name. Or at least that was my experience. I heard their only real hit "Stars" numerous times on the radio, but never knew who they were until years later. Turns out they didn't slouch on their major debut; the entire track listing is solid, including the perplexing failure of follow-up singles in "The Pod" and "I'd Like Your Hair Long". But the most notable part of the album is its duality of production. Much like Loveless by My Bloody Valentine, You'd Prefer An Astronaut can be enjoyed at polar ends of the volume spectrum: a quiet drone for naps or a cranked amplitude for physical emulsification with the music. Though the latter yields far superior results.

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Peace to the Braille Tapes and Josh. Both will be missed dearly for similar/different reasons. Memories for days.

Show You No Mercy

While at the Seattle date for the Cro-Mags reunion tour, my friend got to interview vocalist John Joseph (an interview I hope to read at some point). During the course of questioning, Joseph mentioned that he had written book on vegetarian diet/exercise titled, Meat is for Pussies. The book has not yet been published, but below is its introduction. Joseph is far from eloquent, but what would you expect from the frontman of one of the fiercest hardcore bands of all-time? And to be honest, it is refreshing to hear someone speak coarsely in defense of vegetarianism, as so many come off as pretentious dickheads who would scarf down a plate of foie gras before confronting anyone without a master's degree. Regardless of your thoughts on the issue, the read will provide enough laughs to make it worth your time.

Who propagated this bullshit that meat makes you macho? My guess is it's the same big business assholes that told you the Marlboro man was a stud. Eating defenseless animals doesn't make you tough numbnuts. It makes you a coward. You wanna eat meat? Instead of purchasing factory killed, slickly packaged animal parts, have some balls and try this: Go out to the woods or jungle, tear down an animal with your bare hands, rip it apart and eat it. I guarantee you you'll find out just what a big pussy you are because you'll get your ass handed to you like some idiot on that TV show "When Animals Attack."

I've met so many weight lifter Neanderthals over the years that were like, "Yo, I need meat, it makes me aggressive." Or my favorite, the protein myth, "Yo, where do you get your protein from guy?" as if the only source for protein is dead, rotting carcasses. In reality there are dozens of sources of protein that doesn't require the systematic incarceration, torture, and finally, slaughter of animals. And as far as aggression, I know some vegetarians that will rip your fuckin' head off in a New York minute.

These people have all bought into the lies and propaganda put out there by the douche bags running the meat industry who are some of the most powerful lobbyists in the U.S. Do you remember that bullshit ad campaign they ran a while ago? "Beef it's what's for dinner." yeah, and cancer, arterial sclerosis, high blood pressure, impotence, as well as dozens of other meat-eating related diseases. that's your karmic dessert.

I'm sick of people, who are either ignorant of the facts, or even worse, have hidden agendas, dissing vegetarians because we care about animals and the environment. What do you want to live in a barren wasteland dick wad? Now, just so we get off on the right foot here I want you to know my background. I'm not some new age, macro-psychotic wimp trying to get you to eat your sprouts. Most new age people make me fucking puke. The fact is I've probably had a harder life then 90% of you out there. Just read my first book, "The Evolution of a Cro-Magnon." I survived orphanages, abusive foster homes, boy's homes, NYC's mean streets in the mid-seventies at 14, shootings, stabbings, lock-ups, drug addiction, homelessness, the music business and the list goes on. So if anyone knows a thing or two about being tough and fighting on it's me. What I'm giving you in this book is a no-holes-barred, New York style beat down for your brain cells on real health and real nutrition, and I'm not pulling any punches.

To be honest I don't blame you carnivorous fuckers for being turned off to a vegetarian diet by the looks of a majority of vegetarians. The first thing meat-eaters say to me is, "Damn, you're a vegetarian?" I know what they mean. Most vegetarians look like weak-as-fuck string beans. But I've been at this a long time, almost 30 years, and I'm as physical as they come. On any given day it's not at all uncommon for me to run ten miles, hit the gym, pump some weights, then hit the bags for another hour. As a matter of fact just last year in '07, I ran the Marine Corps Marathon and I beat every fucker in the running crew I ran with, some of whom were almost half my age. Their reaction as they crossed the finish line to find me cooled off enjoying a snack, "Damn old man."

At 45 I'm still a stage diving, triathlete maniac and I attribute the longevity to two things. consistency in my training and the most important, proper food choices. Over the years I've worked out at so many gyms and watched trainers instructing people and the one thing I find ridiculous is most of these guys don't know shit about nutrition. I mean, at one old school gym on the Lower East Side I had this Puerto Rican bodybuilder tell me Alpo-burgers are great protein and if its good enough for his pit bull, its good enough for him. That's an extreme case, but you get my point. If you aren't hip to what the fuck you're putting in your body it's like trying to light a fire (training), but constantly throwing water on it at the same time with what you're stuffing your face with.

That's why in this book, the first thing I'm going to do is tell you exactly what all that shit your eating is really doing to your body. Then I'm going to show you alternatives, even show you how to cook great tasting meals and give you a seven-day work out and meal plan. Notice I don't use the word diet. diets are for pussies. If you're tired of being an Atkins', Jenny Craig, or Weight Watcher-type diet pussy, man up because this book is for you. But, on the other hand if you're happy with your yo-yo diets and calorie counting like a fat chick in her Curves calorie class, return my book and continue on with your chronic pussy-ism.

I'll show you what's worked for me as well as so many others I've turned on to this knowledge. Remember, the first part of learning is to keep an open mind and try new things. It's all about live foods, whole foods, green foods, energy producing foods, foods that have their enzymes in tact, plant based protein foods that don't put strain on your body's organs to digest them, and most importantly, foods that taste amazing and are 100% meat-free.

Make no mistake about it; my intention is to get all you Joe-meat-and-potato-head fuckers to stop eating meat for your own sake. That's why I put some kick-ass, easy to make, nutrient rich meals in the back of this book and some super-food recommendations as well, that will kick you, your metabolism and your libido into overdrive.

If you take advantage of this knowledge and combine it with a good exercise regiment, you'll become an unstoppable force to be reckoned with instead of a two-pump-chump in the gym, and the bedroom. The choice is yours, you can continue on your path of debilitating health, being weak, tired and miserable, or listen up to what your woman's been telling you all along, "It's about longevity" and just in case you didn't know it, meat not only affects your endurance down the road, but your schlong as well! Ah, now I got your attention, don't I fucker? Read on and you'll find out how.

I decided to pen this book at the urging of people I've given advice to over the years who were like, "Damn bro, this is easier than I thought." No shit Sherlock. I use the acronym K.I.S.S. as my mantra. Keep It Simple Stupid. It ain't rocket science. I studied this for almost 30 years and besides having a degree from The University of the Streets in Ass-Kicking-101, I know my info on health better than lots of people in the health field. Bottom line. most doctors are pussies. Why you ask? Because they don't deal in prevention they just want to sell you the drug company's medicine to treat the disease. Very expensive medicine I might add. See that's because there's no money in the cure. If you're healthy most of them are out of work, that's why there's practically no research conducted in preventive medicine i.e. herbs and natural foods. The FDA is even trying to make herbs & whole food vitamins illegal. Do they suck wooly-mammoth balls or what? So it's up to you. you can continue to be a pussy and fuck yourself up, or you can be a real man and pull up your pants.

With my approach I always try to be a little philosophical. As such I hope I don't overload any brain cells here by quoting the late Eleanor Roosevelt who said, "Somewhere along the line of our development we discover what we really are, and then we make our decision for which we are responsible. Make that decision primarily for yourself because you can never live anyone else's life." Exactly fella's, it's all about you making lifelong changes, and you never retreating back to a life of unhealthiness. Every journey in life starts with a first step. The first step on this journey is to understand that as the harmful effects of meat take a toll on your body...YOU WILL BECOME A PUSSY.

Keith Murray - The Most Beautifullest Thing In This World

Jive
(1994)

My hip-hop baptism has proven hard to pinpoint. I usually make reference to the Enter the Wu-Tang (36 Chambers) as the jump off because it's (a) untouchable (b) familiar to almost everyone, and (c) honestly the first record my mind gravitates to when searching for the beginning. Memory, however, has an odd way of being unsound, even concerning such linear perceptions as the chronology of life. But in digging back through time, which is well documented in musical crates, I found an error in my previously consistent testimonial ("It was 'C.R.E.A.M.' to infinity, man..."). Important as the former album may be in the grand scheme, it did in fact have predecessor (in terms of the assembly of my collection): Keith Murray's The Most Beautifullest Thing In This World, an album that was one of the first five CD's I ever purchased. Rather than an indication of juvenilia, the early carbon-date is a measure of legitimacy; of the initial five, this album is one of maybe two that have weathered the changes in musical taste brought with each passing year - still remaining in my possession to this day.

It would be fair to consider the sound of The Most Beautifullest Thing In This World dated. Fortunately, this date occurred before the dawn of "bleep-bloop" SFX and Auto-Tune technology. Rather, Eric Sermon's now classic darkened funk stylings lend the majority of tracks a chill but slightly hostile demeanor - the perfect mixture to hold proper levels of interest and bounce. The title track (a minor hit in its time) strays from from the formula, being a tad more genial both musically and lyrically; but the tastefully understated R&B melody and an awesomely implemented background nuance in the warm crackle of a record spinning not only help keep the track from becoming an obvious single attempt, but solidify it as an under appreciated anthem.

While he's not quite Rakim, Keith Murray holds his own on the microphone. Coming off like the poised and collected member that Onyx never had, Murray harnesses an important x-factor in charisma, which allows for great shifts in vocal inflection and rhythmic delivery. Listening to him flow is the equivalent of watching a good welterweight bout: plenty of speed and agility, with the occasional heavy blow. Lyrically, Murray isn't exactly a slouch, though his memorable lines waver between clever and ridiculous.

"Cowabunga/I'm taking MC's straight under/You can't see me like Stevie Wonder."

"You couldn't see me if you ate 5 million carrots."

"I'm internationally known from the East to the West Coast/I likes hot butter on my breakfast toast."

An all-around credible release, The Most Beautifullest Thing In This World represents an era in hip-hop when talent found an outlet in the mainstream (the record is certified Gold). Eschewing any transparent gimmickry, Keith Murray kept it simple with solid rhymes over solid beats - a should-be but often distorted maxim. At 15 years of age, this album has inevitably been lost to both current and future generations. I therefore deem it necessary to borrow a savvy line from the man himself: If you got a crew, you better tell 'em.

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NOTE: Some of you may have a vague recollection of Keith Murray being part of the Def Squad, a group consisting of him, Erick Sermon and Redman. They scored a big hit in '98 with a cover of "Rapper's Delight".

Not so fast, freeloader.

Below is a great article addressing the rampant issue of illegally downloading music from the infamous hardcore/metal website, Lambgoat. While it's easy to dismiss the whining of a record executive at Columbia or Metallica, the possible adverse affects of free downloading upon the independent music community should at least be taken into consideration. I know what you're thinking: "Dave, how can you say that when you yourself are contributing to the problem by uploading music?" I am a bit two-faced in this regard. But I liken what I do on this blog more to cassette/CD trading with friends; judging from the number of (attempted) downloads registered in my Mediafire file folder (the average being 2-3 per album), my friends are the only ones downloading from here. I'll stop myself from going on any personal tangents, since the article is a tad lengthy. So check it out.

Lambgoat's resident reviewer Nick decided to tackle something a little more challenging, an actual article. This time Nick discusses file sharing and illegal downloading with several record labels in the scene. Are they happy, sad, confused, or suicidal?

When asked of the changing audio mediums in today's music market, George Vallee of Century Media starts laughing, saying, "It was funny. I saw a kid just instantly walk out of a store, rip out the package, grab the CD, and toss the jewel case in the trash with the liners and the booklet. I was like, 'Oh my god. Well, I guess that's all that matters. Just give me the music. Let me throw it in the computer. The rest is trash.'"

Although Vallee's anecdote certainly deals with extremes, it is the perfect representation of the unpredictable evolution of listeners' wants, demands, and mindsets within the independent music community. Ten years ago, no one could have predicted the way crude file sharing systems like Napster, Audiogalaxy, and Kazaa would revolutionize music distribution on the Internet. Just five years ago, before broadband Internet access was ubiquitous and the final regulatory axe was given to these file sharing programs, the concept of full albums being readily (and illegally) available online via a network of blogs, forums, and upload sites such as Mediafire and Megaupload was still inconceivable. It's been a wild ride, and everyone in the independent music community has witnessed a whirlwind of changes driven by technological advances and a younger generation raised on an on-demand lifestyle. And it's no secret that labels are struggling to keep up.

The effects of illegal downloading are complex and far-reaching, touching everything from the obvious implications in label sales and distribution, to secondary side effects like changing listener mentalities and the potential rise of "independent" culture as a whole. And within the metal and hardcore community, the reactions from those labels responsible for driving independent music, whether it be "giants" like Metal Blade and Century Media, mid-sized outfits like Deathwish Inc. and Black Market Activities, or basement-run DIY operations like Teenage Disco Bloodbath and Gilead Media, are far from unanimous. Illegal downloading, though certainly a well-trodden topic, is by no means dead, and the overwhelmingly enthusiastic response from some of metal and hardcore's most influential labels just might make listeners think twice about the ramifications of pirating music on the Internet.

Album Sales: A Downward Spiral?

With downloading causing the overall decline of CD sales from majors and the financial failure of large music retailers, the assumption is that the independents are also witnessing similar trends, albeit on a smaller scale. Upholding that statement is Nicole Hollis-Vitale of Boston's Deathwish, Inc., saying, "Well, hardcore isn't really one to sell tons of copies, but we've definitely seen a slight decline, though it has more or less leveled off. Online sales are great, and we try to push digital stuff as much as possible, but of course, nothing beats free."

Century Media's Vallee echoes a similar stance, commenting, "We really excelled and had our most profitable years in 2002-2003. As downloading stuff became more prominent, we saw our sales decrease more and more each year. Now we're at the point where we realize, 'how are we going to combat this?'"

Some, however, aren't as quick to point the finger in the direction of online freeloading. Michelle Ferraro of Black Market Activities argues a different angle, saying, "Any slow growth in sales in the music industry today can be attributed to the economic slowdown that the United States is experiencing rather than with the prominence of illegal downloading." She continues, adding, "It is possible that this economic slowdown could cause a surge in illegal downloading. The simple truth is if consumers have less disposable income to spend on "luxury" items, they might be more tempted to obtain them illegally."

Other labels even suggest that the influx of online music has helped their overall business. Both Metal Blade and Chicago's Seventh Rule, representing opposing extremes of size in the world of independent metal, argue just that. Metal Blade founder Brian Slagel comments, "Actually, our sales have been up the last few years. The current metal scene has helped us to achieve this. Certainly the digital world has helped to spread the word, but more so from fans on sites like MySpace and Facebook." Seventh Rule owner Scott Flaster reiterates a similar view, saying, "We are hitting year five and honestly, things keep getting better. The online exposure is good as the interweb allows us to reach into the areas our bands aren't touring. It's not like we have locked down a distributor for India or the Middle East." These positive views, however, appear to be in the minority, as the overall reaction from labels in the hardcore and metal community is slanted toward the agreement that illegal downloading has triggered an overall decline in record sales.

One specific occurrence leading to decreased sales is the pesky and almost impossible to regulate event of album leaks. For larger labels, this occurrence is like an unavoidable ritual in the album release process. Slagel estimates that the average Metal Blade CD leaks onto the Internet two weeks before the release date, although some have been known to sneak out even earlier than that. Vallee adds to the hopelessness of the situation, saying, "One way or another it's going to get out there sooner or later. That's just the way it is. So it's just a matter of holding it until the last possible minute and hoping that it doesn't get out until the week of release."

Although some labels have turned toward new copyright protection technologies such as watermarking, album leaks have still persisted. "I have used watermarked promotional discs in the past, but I think their effectiveness in preventing downloading presents a conundrum. Watermarking is expensive and often times few watermarked discs are produced, maybe 50 to 100," comments Ferraro. "It is hard to say whether the absence of a leaked record is due to the deterrence created by a watermarked disc or to simple statistics: the fewer discs that are serviced, the smaller the probability that a record will be leaked."

The promotions department at Deathwish has a different way of dealing with the unfortunate situation. Hollis-Vitale offers some insight, answering, "We believe that advanced press is less important than saving an album from leaking. We do not send promos to press any more than four weeks in advance of a street date. This makes it hard to have advanced, even timely reviews -- but it's better than having the whole record available for download two months before it comes out."

But the smaller players in the music community – the Gilead Medias, Seventh Rules, and Teenage Disco Bloodbaths of hardcore and metal – don't appear too worried about the prospect of album leaks. When asked if his label witnesses album leaks, Flaster enthusiastically replies, ""Never checked! All our promotion is sent out months before a release date so I am sure it can happen, but it isn't anything I would lose sleep over." Jonah Livingston, the brains of DIY operation Teenage Disco Bloodbath Records, provides an even blunter response, joking, "I haven't done anything to 'combat' leaks because, honestly, no one cares enough about my bands to be in any sort of a rush for leakage." From the responses on album leaks alone, it appears that the increased online availability of music, even in illegal formats, actually holds some advantages for the smaller labels.

But weighing the pros and cons of the distribution of illegal music online is not such an easy task. Most labels struggle with defining the line between helpful and harmful. John Strachan of Prosthetic Records acknowledges both sides of the argument, saying, "It hurts the music industry, but at the same time, it's turned a lot of people on to music they would have never heard before. I just wish kids would use it as an outlet to find new bands, not to say how many records they have on their iPod."

Both Slagel and Ferraro emphasize the necessity of viewing music business, as, well, a business. "I do feel that the Internet and the communities help music greatly," Slagel comments. "However, there is a lot of money, time, and jobs that are out there to create this music. If these things do not exist then the music will not exist." Ferraro offers some more insight on behalf of bands in the community, saying, "For bands with a record contract, even on the smallest of labels, illegal downloading can be detrimental to the success of the band. Record labels need to make money to sustain themselves and to invest in new talent. While 99% of bands will tell you they make music because they like to, it is no secret they also want/need to make money to continue to function as a band."

Other labels respond directly to listeners in the community. Hollis-Vitale openly confronts those who run sources of illegal online music, adamantly stating, "These blogs that post things for download, while putting the name out there, are being incredibly detrimental. If they were posting a stream of a few songs, or even a download of one song – that would be different. Instead, they are giving away something that does not belong to them. The vast majority of people will not download a record, love it, then immediately go out and buy it." She continues, saying, "By downloading music for free, I can safely say it directly affects both the label and the band in a negative way, and I really wish that more bloggers and fans of music would realize this."

But the idea that illegal music distribution is indeed 100% detrimental isn't actually shared by all. Flaster takes an entirely different, more positive angle, saying, "It would be amazing if these communities wanted to license some music from me. I would be willing to work on the cheap."

Adam Lee Barlett, owner and operator of Wisconsin's Gilead Media, provides a more surprising take, arguing, "Many artists don't realize they would be nothing without file sharing and illegal downloading. And you know, I've been working for a music distributor for almost five years now, and a record shop four years before that. I've never seen more people download than those who are actually involved in the music industry -- working for labels, stores, whatever. Can't have your cake and eat it too, folks."

Information Overload

Labels aren't the only ones being affected by the massive quantities of illegal music available online. This overflow is reshaping how listeners demand and process new music, and it represents yet another challenge for labels in keeping up with constant evolution of music in the digital age.

"I know growing up in the age of walkmen, then discmen, you brought one or two tapes or CDs out with you for the day," says Livingston, getting a little nostalgic. "I had a few favorite tapes and just jammed on them over and over, learning them inside out. Now I have thousands of songs on my computer and iPod. Obviously I'm exposed to all sorts of music I'd never hear if I had to pay Tower Records (RIP) prices, but at the same time, I couldn't tell you my favorite song off of many of the digital albums I listen to. Not because I don't appreciate them, just because I'm listening to so much that single albums and songs don't have a chance to sink in as much as they used to."

Hollis-Vitale adds, "In this day in age everything is instant and fleeting. Your new favorite CD could be overshadowed by another new favorite CD within a week. I am exposed to new music all of the time, mostly through the Internet, and I just click and click and find new favorite bands on MySpace."

Others, like Ferraro, describe a backlash-like effect from the large quantities and ease of availability of new music in today's community. "As a consumer, I suffer from intense information overload when it comes to the availability of new music. I don't think I'm alone in saying the abundance of new music available evokes hermit-like tendencies in me. When I become overwhelmed with the amount of new bands, I stop seeking out new music and retreat to old favorites or new records from bands that I already like."

Barlett offers a similar view, saying, "It has also watered down my love for a lot of music. The scope of what I truly enjoy has been slimmed because new music is everywhere. Instead of enjoying most of what I hear, life has turned into wading through the shit to find a small nugget of something I really enjoy."

Some labels view this availability as an opportunity. Slagel recognizes the challenges that the digital music age has created, commenting, "I think it does make artists have to make good music. Since many people can get it for free, it needs to be good for someone to actually buy it… If you really love the music you hear, you will support it."

Downloader Rationalizations

Listeners are constantly dreaming up new angles in which to justify their acts of illegally downloading music. Perhaps one of the most popular arguments is that "Bands don't make any money from CD sales -- they make it from touring and merch sales." Such a blanket statement is bound to hit the nerves of those involved, but the responses offer incredible insight into the challenges of operating a modern underground music label.

One would assume that all labels will have a similar reaction, but as with many of the other downloading related topics, the stances are varied. Slagel and Ferraro provide the perfect example, initially disagreeing, but ultimately arriving at a similar conclusion. Slagel argues, "That is completely incorrect. Bands still make a lot of money on CD sales. Many bands, especially those just starting out, make almost all of it from that. Big, gigantic bands who have already been successful for a long time make less on CD sales. But indie bands, again especially new ones, need this source of revenue to exist." Ferraro provides her angle, saying, "That is absolutely true, however, it represents a very shortsighted view of how the music industry really works. Labels make money from CD sales. This money is used to fund new releases, artist development and touring. To anyone who has used that statement to rationalize an illegal download: Keep illegally downloading music, but when your favorite bands don't put out anymore records, or can't afford to tour, you have no right to post whiney comments on Blabbermouth."

Vallee suggests other implications of listeners using that justification for downloading, taking All That Remains as an example. "They might not be making any money off of a hundred thousand record sales, but if those sales weren't there, they wouldn't be on the major tours they're on to make the money on the merch and have better guarantees. So obviously, when everybody's booking tours, they look at the Soundscan numbers. So if those sales aren't there to back it up, you're not going to get the bigger tours." Now the only question is this: will recognizing this inherent connection between CD sales and the ability of bands to profit from touring actually deter listeners from justifying illegal downloads from their favorite bands?

There's another popular downloading rationalization that argues in favor of "trying before buy," i.e. illegally obtaining the music before making a purchase. The responses to this justification are even more heated, with strong support from both sides.

Ferraro vehemently opposes the practice, saying, "I agree, sometimes you like to try things out before you buy them, but when you go to a show the band doesn't let you wear around their t-shirt for the night so that you can decide whether you want to buy it or not. Likewise, when I go to Target to buy cat litter, the store doesn't let me take it home and let my cat shit in it before I decide whether I want to buy it." She continues with a more direct angle, saying, "Bands make so much music available from their records before the release date that it's impossible to not know what to expect from a record when you purchase it… Labels aren't trying to trick fans. We don't purposely post the tracks from a record that sound like Slayer, when the rest of the record sounds like Taking Back Sunday, and then laugh all the way to the bank when you spend $14 on a CD that you hate. We're not evil!"

Livingston is skeptical of the "purchasing" end of the rationalization, commenting, "I think the idea that people download an album, end up loving it, then immediately rush out to buy a physical copy is largely a fairly tail. I know it happens rarely, but every once and a while I'll check to see how many people have certain TDB releases on file sharing services and it decimates the number of physical records I've sold."

Others view this practice as a regulatory measure, and suggest that such actions may help music in the long run. Slagel touches on this, saying, "I think it is a great thing that people can hear the music before buying it. That keeps the quality of the music up and the listeners benefit from that."

Barlett is even more enthusiastic: "I 100% approve of this practice. It is like a bullshit measure. In the past a band could put one or two really great songs out there with a record full of filler… essentially ripping off the listener by delivering them a record of garbage. Who enjoys being let down by a record that sounds nothing like the one or two tracks you heard and loved? The try before you buy mentality has given the listener the power to weed through the records that are trying to just rip them off and support the artists that are truly putting the effort into creating something beautiful and meaningful."

Flaster takes an even more unique route, suggesting that this practice is, in fact, nothing new at all. "Some of my favorite albums growing up were listened to on copied tapes made by friends. I also owned a dual-cassette tape deck for this same purpose. The CD burner eventually replaced the dual cassette deck, and now we have computers that can store it all. Has anything besides the technology really changed? If I was never given a copied tape of The Number of the Beast I probably wouldn't even be having this conversation right now! Decades later I swear I have bought that album twice on LP and once on CD."

The Dreaded Legalities

Everyone has heard the tales of the Recording Industry Association of America suing individuals for astronomical figures, often sending college students and liable parents into financial ruin. However, recorded music, even on the independent scale, is still a copyrighted commodity. Have the independents considered any types of legal action to curb widespread downloading?

"There really is not a lot we can do at our level. We just try and use the technology as best we can and look to put out the best music we can," responds Slagel. "I would not sue individual downloaders -- that really makes no sense. Why would you sue your fans? I do not think the indies will follow suit on that and certainly there would be a backlash. We do have to protect our rights, but going after individual people is not something we condone."

In fact, opposition to suing individuals as a method of regulating illegal downloads might be the only stance that metal and hardcore labels share on this complicated issue.

"Earlier this year, I watched a lawsuit destroy Middian, an amazing band and awesome people," begins Flaster. "They did nothing except try to be a band and release awesome music. Look up the case if you aren't familiar, but there definitely is no room in the indie community for lawsuits and random legality. Is there even enough money floating around to pay the legal fees?"

Ferraro echoes the views of Slagel and Flaster, but also recognizes the opportunity for the betterment of labels. "I am a big proponent of small government. I don't think that there should be any federal regulation of any part of the Internet and that includes sites where people engage in file sharing. We are trying to have a capitalist society. Illegal downloads should force labels to market creatively to keep consumers interested, otherwise labels revert back to Tin Pan Alley-era complacency."

The Rise of Independents

Despite a rather concrete correlation between illegal downloading and decreased sales, independent hardcore and metal labels have not been hit as hard as the majors have been, thus opening the door for the independents to crack the charts far more frequently than in the past.

"There's no doubt about it. Sales are down [for everyone]," comments Vallee. Compare the number one album on Billboard in 2002 versus 2008. It's drastically different. And those diminishing sales allow a lot of our bands to break into the top 200."

Slagel also provides similar insights. "With the downfall of the majors, they cannot afford to have smaller niche genres on their roster. That has helped indies who do have a strong niche. So that is one reason why you see the bands more on the charts."

But if downloading and Internet promotion has leveled the playing field for the majors and independents, are the days of hardcore and metal existing as a thriving underground scene dwindling? Without the umbrella of mainstream culture and with the increased accessibility of independent music, is it possible that the passion and intimacy will wane?

"Not really," says Ferraro. "For every one independent band that achieves mainstream success, there are 20 other equally talented bands in the same genre that are still selling 7-inches at "mom and pop" record stores, playing 200 capacity bars, and being ignored by the mainstream press."

Livingston also isn't too worried about the increased exposure. "That could definitely bring more people into the 'real' independent music scene. How many kids started with Hatebreed before finding out about underground hardcore? And I don't see that as a bad thing. People who really care about music -- or anything in life -- will prove they care. Those that are into it for fashion or girls or whatever bullshit will weed themselves out."

Flaster, however, offers a word of caution. "Last year when we released the first Indian LP in The Sycophant series, the band played a record release show, and the show got a write up in the Chicago Tribune. The show sold out which was awesome, yet upon arriving and going to the front to get my passes, I was greeted with someone shoving me backwards and shouting, 'Hey man, I was in line before you!' Intimacy, right? Perhaps that was a sign of success more than any Soundscan figures could show."

The Path from Here

We are, without a doubt, in the midst of a tumultuous, yet very interesting period of change in the world of hardcore and metal. Illegal downloading has caused a ripple effect, touching everything from CD sales and audio mediums, to bands' financial strategies, to changes within independent culture itself. The extents of these effects are far from proven, as the incongruity of opinions from some of the scene's most influential labels can attest. But despite these varying views and recommendations for actions against illegal downloading, the call for support from fans is undeniably unanimous.

With the likelihood of being sued by an independent label for digital piracy being just about nonexistent, one might argue that labels are waving the white flag, and in the process offering the green light for downloading. But every label understands the need for the community aspect in the hardcore and metal scene. After all, this closeness is what has driven most to the world of underground music in the first place. But in this chaotic period for hardcore and metal labels, fans need to recognize that community support has been the foundation for the scene in the past, and that illegal downloading has the potential to erode away this essential structure. Everyone – bands, labels, and fans alike – is equally important in our independent community, and if this tripod of support is permitted to wither, so too will underground music.

"We're all human. Everybody's going to [download]," adds Vallee. "Everybody's going to check things out, but at the end of the day, just buy something. As long as people are giving back something and helping the scene stay alive, fuck yeah. That's really the main point."