Festival Report – Brutal Assault, 7-10 August, Jaromeř, Czech Republic,

Okay guys, this is going to be a long one. It’s mostly going to be a list of bands I saw at Brutal Assault last week, brief reviews of their sets, and assorted observations about the festival and the Czech Republic. If you’re not fully sure what grindcore is or how it’s different to death metal, you may want to skip this one.

Or better yet, keep reading! Every day is a school day!

If you want to skip ahead to the bits where I say nice things, the highlights for me were: Carcass, Dying Fetus, Gojira, Ihsahn, In Flames, and Meshuggah; and standout new discoveries were Alcest, Dr. Living Dead, Leprous, and War from a Harlot’s Mouth. Continue reading

My Taste in Terrible Music #7: Attila [Special Double Feature]

I’ve encountered a lot of terrible music in my two-and-a-bit decades of life, and some of the more artful and interesting among these trainwrecks I am chronicling in this series of blog posts.

Today, however, I am lucky to present for my dear readers what may be a unique event in the history of Terrible Music; two terrible acts, both alike in dignity, that share the same name!


The first Attila is an Atlanta, Georgia based hardcore band. Currently signed to Artery Recordings, they are a perfect summation of what’s wrong with hardcore. Check out the lyric video for their song Nasty Mouth (fair warning, this is pretty bad hardcore, it’s extremely crass, and more than a little misogynistic):

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Baroque Cantatas are Pretty Metal

So I touched on this in my last post and I feel it deserves to be expanded upon: some baroque cantatas are pretty metal.

When you look at it a certain way, it’s not necessarily all that surprising: “baroque cantata” covers a broad range of works and “metal”, similarly, is a large category and it can mean a lot of different things. However, I don’t think they are close enough in most people’s minds that if I were to ask someone “How would you describe BWV 199?” that the answer would be “Sweet riffs, man.”

In general of course, we’ve got a few commonalities; in general they both use simple formal structures, there exists a common element of individual instrumental solos within this framework, and they can both have a slight tendency towards the theatrical. The kind highly ornate melodic lines we often encounter in this music would easily fit into songs by bands such as Dragonforce or, if we restrict ourselves to good bands, Iron Maiden.

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