Death – Spiritual Healing (reissue)

A reissue usually ends as a buy for the die-hard fans, definitely a glimpse for timid metal fans and continue whatever you were doing if you don’t like metal. Originally a 1990 release, Spiritual Healing remains a critically-acclaimed, noteworthy album. This will definitely not be an exercise in nostalgia, seeing as I was 3 months old during the time of its initial release. Yet, 23 years later they made a reissue and seems like the perfect time to lay down some opinions on Death.

They are one of those pioneering bands that you just cannot talk shit about if you’re truly interested in the origin of death metal. Having a life-span of 18 years, the band was bound to go through some teething problems and teenage angst. Retrospectively easy to criticise, Spiritual Healing is perhaps not their greatest release (Sound of Perseverance comes to mind). It’s nonetheless an amazing album. This reissue presents cleaner production, something lacking in the original release. The album contains 8 tracks with a variation of songs, clocking in at 43 minutes. Chuck Schuldiner is nothing short of a legend, by being a masterful soloist and lyricist – the solos and lyrics being the main feature on the album.  

I think the original Spiritual Healing was a step in the right direction, representing a progressing force with their third album. Death pretty much defined death metal in its early years, even though the death metal label has now far transcended its pioneers. For one, Chuck’s trademark aggressive and screechy vocals is not definitive of the genre anymore.

Spiritual Healing has an experimental sound in comparison with the rest of Death’s discography. The album has a frantic feel to it, with the vocals taking dominance. The title track is amazing, ranging from slow to extremely fast. The song Low Life contains amazing vocal techniques. The lyrics differing from controversial matters to straightforward political messages.

Known more for their logo and album art than their music, I feel Death is a pioneering band that deserves our respect. But, perhaps not our money from just a reissue. The point is that this merely a record label gimmick and delivers not much new except better post-studio production.

Juggernaught – Bring the Meat Back

They are manly, rugged, ballsy and probably drink lots of whiskey. Now that we have all the manly catchwords out of the way, let us focus. This is fucking good music. Live they are truly spectacular and definitely not the average rock on the radio. Their new album, Bring the Meat Back has eleven songs, clocking in at about 41 minutes, and is of the best-produced rock that SA has delivered.

Bad Idea is a spectacularly catchy song. With Herman screaming “Bad. It was a bad idea”, I succumb to imagery of drinking whiskey out of the bottle, riding on a Harley on the N1, blazing at 200 kilometres an hour. An awesome tune with bizarre bass riffs from Angilo, mixed with a cowbell ranging from 2:30 to 3:10. This song is a full-bodied intro that sets the tone of the album.

Train is a glorious song, and my favourite. The intro of the song is spectacular – seventeen seconds of sheer bliss. The guitar is a chilling melody, representing the archetype image of rock. The drums roll in, adding to the flavour that takes you into the band room and immediately my head starts to sway. Throughout the song, one automatically tries to imitate Herman’s deep voice, myself missing it by at least an octave. Amazing pronunciation on certain lyrics, such as “The sound of guitars and the smell of sweat. Is this as good as it gets?”

The Storm starts with a catchy guitar-riff. I enjoy the extended pronunciation of the lyrics, because it gives that extra groove that place emphasis on all the right places. A catchy, rocking chorus. Beef or Chicken is my second favourite song. A slap in the face of religion, or rather a satirical take on the guilt induced by religion. I am astonished by the lyrics; my favourite: “How come our preacher got so big car? – Money, money, money buys salvation”.

The self-titled single, Bring the meat back has deep growling vocals and a guitar riff that cuts through bone. With a spectacular music video, this song is definitive of their sound.

Wors is a cool, catchy musical exposé of South African braai culture. With a fucking funny Hadida sample, this is my new braai anthem. That cowbell interests the shit out of me. “Wors. Fok ja!”

Catch their Cape Town tour in July 2013

Dead Rejects – Screaming by Myself

Having been influenced by the likes of The Infested and No Cash, Dead Rejects is a three-piece band from Jersey City. Screaming by Myself is an 8-track Ska-core album that you can download here. Personally, I wasn't a big fan of Sleeping is for Suckers that was released in April. Yet, I felt Screaming by Myself deserved attention due to it having an immense variation of sound. Continuing the iconic ‘dying monster’ drinking coffee album cover, it clocks in at 27:40 and meant to be listened as a whole (as all albums should be listened). The Crack Rock Steady label is fair (if you ignore some Punk Rock elements), yet I feel the Ska-core/Ska-punk labels are more appropriate.

Ruthless World first chorus being “Fuck the world, cause everything seems to be wasting away”, I felt in good company. It’s a nice, anthem-ish song and strong start to the album. I dare associate this song with the likes of Against All Authority and The Casualties.

Insane has a bizarre intro riff. Interesting progression into ska-beats, notably having only one guitarist. Screaming by myself ranges from accessible punk rock to more guttural vocals. Rejects from the dead is full blown Ska-Punk and the bass is awesome. Set it to fire and Dead Chords have a melancholic feel to them.

Overall a must listen for fans of heavier Punk music.

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ING – Ingquisition

As it has been years since I have received a physical copy of a local band's music, played it and not immediately being put off, interest was immediately invoked. ING brings a fresh sound to the table and with politically oriented lyrics they create terrifying imagery. They’re hard to compare, but I would venture to name Exodus as a likeness.

The album gives the feel of revolution on the brink. In a milieu of a heating political atmosphere and general violence, ING establishes an authentic feel. Clocking in at 46 minutes, with 13 tracks in total, this is a full-bodied LP that deserves recognition.

After a comic introduction, the song Ingquisition takes full control. The awesomeness of Thrash occupying your ears is supplemented by a remarkable and fitting solo. The vocals are powerful and adds to the fast-tempo of the rushing guitars. The drums pound away to amazing riffs and I’m immediately sold as a fan.   

Subsiding Murder starts with an interesting sample. An impressive bass lick gives way for short, fast transitions that pleases my ears. I love the composition of the vocals; well-crafted drumming adds to the flavour by giving it a swaying feeling.

Organ Donor brings the album to full swing. On the heavier side of things, this is what defines them as Thrash in my eyes. Fast tempo, impressive rhythm and general good mix between the instruments makes for a full bodied sound.

The song Julius is too much. With a comic sample imitating Julius Malema as the retard he is, it’s obvious this band takes a stance on idiocy and I cannot support their fight more. With an epic chorus of ‘Julius’ breaking at 1:56 this is an explosive track. The track ranges from completely satirical to demonically serious. 

Systematic cull-ture presents a feel of a fast Punk-Anthem vibe. This is one of the coolest songs to have come out of Cape Town. With harmonies of the chanting of ‘fight’ I admire their stylistics. 

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