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Eargasms For Your Genitals EP Review

Eargasms   Marianne Toilet And The Runs are an extravagant sex-positive comedic rock act from Massachusetts. This is a must see live band, which is something that doesn’t always translate well to record. In fact, more often than not, the difference is disappointingly staggering. Thankfully, this is nto the case here. Eargasms For Your Genitals is a really enoyable release that effetively captures the character, hilarity, and fun of their live performance.

Eargasms opens with a rousing southwestern-style religious sermon and the origin story of Marianne Toilet and the bowel-moving manifestation which brought this wonder upon our world. Having seen them live a few times, I expected the theme to follow (sadly absent from this ep), but FiFi was a great transition. What is a fifi? A fifi is a homemade pocket pussy made with a cup, a couple sponges, and a latex glove. It’s also a great upbeat love song you just can’t stay still during. Next is Frat Guy In The Closet. We all know a few and can rejoice in his hidden happiness. Gentleman And A Scholar is the most honest ballad I have ever heard. The tragedy of Lawnmowing will bring a tear to your eye. The Blumpy? The Blumpy is a wealth of ideas buried in an endearing story of a darling lady. In this mix, we have an ep that takes us on an emotional and very horny journey from the inception of Marianne Toilet and beyond.

Marianne Toilet And The Runs write very effective rock songs about hilarious takes on the debaucherous corners of our society. Pimp d’Crip’s guitar work and both Marianne and Cami’s vocals really stand out for me with The Red Nightmare’s solid drumming keeping it moving. The humor is infectious, the songwriting is very solid, and the production is clean and strong. The idea is wonderful and the execution is brilliant.

5/5 – an absolute must have album

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Autopsy – Macabre Eternal

autopsy-macabre-eternal   This is death metal done right. I feel like it’s the late 90s, I am on a 72 hour sleep deprivation stint, sifting through metal zines and promos (CDs and cassettes!), typing out lyrics, thinking about a review I’m going to write, and working on writing new Morpheus material. I should be watching Traces of Death, chomping on a slice of pizza, smoking a cigar and flipping through Swank to the obligatory necrophilia article. Autopsy is back and their new full length, the first in over a decade and a half, Macabre Eternal, is a true, vile, brutal harkening back to the sorely-missed Golden Age of death metal. I honestly could not be happier.


Hate Eternal – Phoenix Amongst The Ashes

1304383451_1302789080_hate-eternal-phoenix-amongst-the-ashes   Hate Eternal is, and has been since its inception, top notch death metal. Mastermind Erik Rutan (ex-Morbid Angel, ex-Ripping Corpse, ex-Alas) has, since the very first album Conquering The Throne, never failed to produce quality brutality and chaos with excellent musicianship. The latest release, Phoenix Amongst The Ashes, not only holds to that standard, but blows it out of the water.

   Every Hate Eternal release, from Conquering The Throne to Fury & Flames, has been an impressive death metal outing; full of chaos, brutality and exceptional riffing. Until Phoenix Amongst The Ashes, I had no idea something was missing.


Morbid Angel – Illud Divinum Insanus

Morbid Angel - Illud Divinum Insanus   The iTunes store made pre-orders available for the new, and long anticipated, Morbid Angel album Illud Divinum Insanus. A lot of those minute and a half samples felt ridiculous on first listen. Before listening, I was sure that I would find some enjoyment in the album, but there was nothing in the samples that really grabbed me like the seven studio albums before it. After hearing the full album there still is certainly a feeling of let down here, and that, I feel, is the core of the negativity pervasive over this album.

   This is a departure from what we’ve come to expect from Morbid Angel, but is it a positive new direction, or a trainwreck? Let’s delve deeper…


Darkly, Darkly, Venus Aversa

A ninth, redeeming release brings the Cradle back into my rotation…


A Prettier Hate Machine

The 1989 industrial rock classic gets a polishing off and some sweet loving…


Cradle of Filth – Godspeed On The Devil’s Thunder

Cradle of Filth - Godspeed On The Devil's Thunder (2008, Roadrunner Records)   Cradle of Filth are a melodic black metal band from England. On this release, they are: Dani Filth (vocals), Paul Allender (guitars), Charles Hedger (guitars), Dave Pybus (bass), Martin &0138;karoupka (drums), Rosie Smith (keyboards), Mark Newby-Robson (keyboards), Sarah Jezebel Deva (backing and female operatic vocals), and once more featuring the guest narratives of the legendary Douglas Bradley of Hellraiser fame. Cradle of Filth return from the lighter and more accessible sound they embraced with Thornography and Nymphetamine to their more traditional, black metal influenced sound in Godspeed…, much to the delight of their core fan base.

The Blood
   This is a concept album about fifteenth century serial killer Gilles de Rais [Wikipedia article]. We all remember the last time they did a concept album about a famous, historical nutter, right? Cruelty And The Beast was an epic masterpiece! They were thinking right in going with that formula again. Godspeed…is indeed masterful. It is Cradle of Filth true to form once more. The guitars get good and fast when they need to and carry truly dark melodies throughout. I will likely learn a couple of these to warm up with. Dani gives a better vocal performance than he has for a couple of albums, but what caught my ears the most was an increase in Sarah’s involvement. This is something fans have been asking for for some time.

The Piss
   While I am indeed gushing over their return from more pop-inclined realms, this release still has a few down sides. Dani Filth still is not hitting the ear-piercing highs like he used to. I’m not one to beg for a screeching cat fight, but it is his signature. There has been some speculation that this is the result of Roadrunner Records influence. It sure seems in line with RR’s behavior in the past. They seem quite partial to bringing mainstream moderation upon once extreme acts. Douglas Bradley’s narratives are always good, but these are not up to his usual par. Perhaps it is in acting as de Rais, different from previous ‘voices’ he has been, but they seem more to the cheese than his past performances with Cradle of Filth. Finally, while all of the above I’ve said about the guitars hold true, there is still too much Maiden and not enough black metal in the riffs. Oh, Gian Pyres, how we miss ye.

The Judgement
   This is a step back in the right direction. Cradle of Filth should not and never be a Hot Topic-friendly, emo-pop accessible band. They should be bitingly violent while cruelly beautiful. They should not be the beloved of 13 year old, neo-mullet wearing mall-goths. The music should not be MTV-friendly. This album is a drop of hope that Cradle of Filth can resist the influence of Roadrunner Records and stay true to who they’ve always been. Godspeed On The Devil’s Thunder belongs with the elder releases in regular playing rotation. While it is not Dusk…, or any of the Gian-era releases for that matter, it is exceptionally better than their recent offerings. I give it a nice four and a half stars.


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He Gave Us The Slip

NIN Trent Reznor is back with another new nine inch nails release. This time, as a gift to the fans, the entire album is free to download. Again, as with Ghosts, it is 100% Digital Rights Management (DRM) free. Unlike Ghosts, however, this is a traditional NIN release — vocals and all. I spent some time with The Slip to see how it struck me. While I support Trent and his newfound freedom wholly, his last few releases haven’t held up to the first 12 halos [link] in my ears.

nine inch nails - The Slip (2008) The instrumental track opening this release up, 999,999, is a a neat, little piece of atmospheric synth play. 1,000,000 kicks in nice and distorted, albeit with Trent’s more recent upbeat melodies. It is nice to see some of the familiar droning sounds filling out the soundscapes. Is that a hint of breakbeat in Letting You? Discipline reminds me why Trent is so damn good at writing about obsession. Echoplex is an interesting sound, like his own personal escape chamber. Lights In The Sky is a soft, poignant dream swirling downward into oblivion. Paired with the instrumental piece Corona Radiata, this is easily one of my favorite portions of the album. The concluding section of this release is a nice, dark wrap-up of an all around great recording.

The Slip fails to capture the aggression of old NIN, but makes up for it with solid and tight compositions. All in all, this is a strong release. It stands above the rest of the post-Closure era and is a right solid set. The Slip shows both Trent’s maturity as a song writer and the forward progression of his style. This will be on my mp3 player for some time to come.