It’s true! The summer is over. Sad. We’re closing down early today to enjoy the long Labor Day weekend. That also means we won’t be here Monday. We hope everyone has a great, Axel Rudi Pell-free weekend!

While you await our return, here’s some fun stuff we did this week:

• We wrapped up our interview with Amos Williams from TesseracT, and spoke to Tom Niemeyer from The Accüsed, too.
• We checked out the latest releases from Diamond Plate and Odyssey.
• We concluded our celebration of 31 Days of Faith No More.
• We debated which band was worse, Skip the Foreplay or Design the Skyline.
• We were sad to learn that Metal Blade has also pulled out of Spotify.
• We wondered if Latinos are born to mosh.
• We declared djent to be pop.
• We watched Jack White lick the Insane Clown Posse’s ass.
• We learned to write a breakdown from a deck of cards.
• We continued to be baffled by the popularity of The Devil Wears Prada.

Okay, time to go get fucked up. See ya Tuesday!

-AR

The Accüsed turned thirty this year. What did they do to commemorate the milestone? Did they reissue one of their early crossover classics in a five-CD box set format with four hours of throwaway demo tracks? Nope. Did they play The Return of Martha Splatterhead in its entirety on a lifeless reunion tour? Not a chance. Did they switch up their sound in a bid for relevance? Hell no. Ever the black sheep of the Pacific Northwest extreme music scene, The Accüsed celebrated by playing the smallest, least-traveled markets they could find in the region, as part of their “Backwoods Bloodbath Tour 2011.”

You could see that approach as either a humble “thank you” to the small towns that supported The Accüsed while they cut their teeth back in the ‘80s, or a “fuck you” to the notion of a self-congratulatory victory lap. Maybe it’s both. Legacies are for dead men anyway. And if the affability of the band’s guitarist Tom Niemeyer is any indication, The Accüsed have a whole lot of life left in ‘em. Nevermind that Niemeyer is the lone remaining original member of the band. The Accüsed will keep on going as long as their murderous mascot Martha Splatterhead has more work to do. And she always has more work to do.

We talked to Niemeyer about the evolution of the band, his horror obsession, and how he stays motivated after so many years.

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When I look back at the last twenty years, there is perhaps no more important musical entity in my life than England’s EARACHE RECORDS (srs). Back when I was a little kid on a quest to find the fastest, most cock-smashingly brutal music I could get my hands on, I stumbled across a copy of the legendary Grindcrusher compilation, and I’ve been hooked on death metal ever since. As my gateway to metal, Earache will always have a special place in my heart– and when you care for someone as I do for Earache, it hurts to see them lose their way, stumble, and fall as Earache did in the 90s and 00s. I had written them off as yet another band/label/artist who has a brief moment of brilliance, burns brightly, then fizzles out before dying in undignified circumstances [via Vincent Van Gogh]. But I am happy to report that I couldn’t be more wrong! Earach is back on the horse, stronger than ever, and signing more relevant, exciting bands than ever (srs).

In this post, I will briefly recap the label’s history in three sections to bring newer readers up to speed on Nottingham’s finest export. I will then share my thoughts on their current signings and solicit suggestions on which bands the label should sign next– hopefully Dig is reading!

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FEATURING MEMBERS OF DRAGONFORCE, A LIFE ONCE LOST, ALL SHALL PERISH, CANCER BATS, THE ACCUSED, AIRBOURNE, ABSU, WOE, WHILE SHE SLEEPS, DIAMOND PLATE, MALEFICE, MUTANT SUPREMACY, GENGHIS TRON, AND TRENDKILL BOOKING AND RECORDINGS

For 2010, we decided to do something special as part of our regular end-of-year festivities here at MetalSucks — namely, ask musicians from across the vast spectrum of the metalsphere (or, in a few cases, the almost-metalsphere) what their favorite albums of the year were. Death metallers, thrash metallers, black metallers, stoners, grinders, and djenters alike graciously contributed lists to MS, and we’ve be running them in groups of ten to twelve musicians at a time twice a day all week.

After the jump, check out the eighth and final group… we hope you enjoy seeing what some of metal’s heaviest hitters were into this year as much as we have!

(And please note that these are musicians and that they, um, have a lot on their minds. So some of ‘em named albums that actually came out last year. Please don’t freak out.)

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I was fortunate to grow up in the Seattle area during a time in which there were some seriously fucking great metal and punk bands: Forced Entry, Dumt, Last Gasp, Daterape, and Bitter End were all sick, but none of them were as groundbreaking, insane, and generally fucking awesome as THE ACCUSED.

Probably my overall favorite Accused song, “Pounding Nails (Into the Lid of Your Coffin)”

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The MetalSucks-sponsored Waste The World Tour (featuring Municipal Waste, with Goatwhore, Brutal Truth, Phobia and Cauldron on as support for various dates) is off to a wet start. On the tour’s fifth show — Wednesday night in Houston, TX — a fan decided it’d be a good idea to climb on the pipes hanging from the ceiling during Goatwhore’s set. ‘Cause, ya know, hanging from pipes is always a great idea. The sprinkler system erupted, flooding ensued, and the whole show was forced to evacuate the venue. Fortunately the Meridian had an extra room available, so after an hour of chaos the show went on, faster and harder than ever.

Make sure you catch this tour when it comes through your city. Dates after the jump. Please note that The Accused are no longer part of the tour.

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On paper, Washington’s Black Breath is not the sort of band one typically associates with Southern Lord. Dronesmiths Sunn O))), doomy stoners Eagle Twin, instrumental rockers Pelican, and black metalheads Wolves In The Throne Room all coexist comfortably together on the Californian label. Yet Black Breath’s hybrid of gutter-level punk and classic thrash metal somehow make sense, even if it doesn’t exactly seem appropriate for Southern Lord. Coupled with the August release of Seattle punks The Accused’s all new The Curse of Martha Splatterhead, it almost seems as though the ostentatiously hip imprint is slowly embracing a much less esoteric sound.

On November 10, Southern Lord will re-release Black Breath’s Razor To Oblivion mini-LP in CD format in advance of a proper debut album scheduled for early 2010. That forthcoming full-length was recorded earlier this year and engineered by Converge’s Kurt Ballou. Visit the band’s MySpace page to hear some tracks from Razor To Oblivion.

-GS

[Gary Suarez eats his pizza crust first. He usually manages the consistently off-topic No Yoko No. Say, why don't you follow him on Twitter?]

Bummer. The Accused, who were scheduled to provide support for  some (but not all!) of the dates on the MS sponsored Municipal Waste “Waste the World” tour, have been forced to drop off due to “scheduling conflicts.” Oh well.

The good news is that Goatwhore are still doing all dates from 11/06-11/16, Brutal Truth are still doing all dates from 12/04-12/11, and Phobia, Cauldron, and, of course, The Waste themselves are still doing ALL dates. And hopefully a new support act will be named to step in for The Accused.

All of the bands remaining on the tour are killer. If you’ve never seen MW fuck shit up live, you ain’t seen shit. Get complete dates after the jump.

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MetalSucks is sponsoring the “WASTE THE WORLD TOUR 2009″ featuring none other than our favorite party thrashers Municipal Waste.  Providing direct support on the tour will be Goatwhore from 11/06-11/16, The Accused from 11/18-12/03, and Brutal Truth from 12/04-12/11.  Appearing on all shows will be Phobia and Cauldron. No matter which direct support band is playing when this tour rolls through your town, this show promises to be a great, fun, drunken time.

Stay tuned to MetalSucks for your chance to win tour tickets as well as other MU swag. Check out Municipal Waste’s hilarious new video for “Wrong Answer” and pick up their 3.5-out-of-5 horns rated new album Massive Aggressive, out now on Earache.

Full list of tour dates after the jump.

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So I’ve been living in the UK for about four months now, and have managed to take in quite a lot of this “culture” thing they’re so fond of over here. I’ve been to nine countries, eight major metal festivals, and a handful of cities in Ol’ Blighty itself; I’ve gate-crashed hotel parties in Norway with the drummer of Swallow the Sun, stage-dived into a sea of muddy grind freaks in the Czech Republic, gotten roaring drunk with Wolves in the Throne Room in the Netherlands, met Gaahl’s boyfriend in France, gotten lost in Rome, watched Electric Wizard blow an amp in Manchester, lost my mind to Eyehategod at Hellfest, seen Manowar (‘nuff said there) – and that was just the first couple months. Between all the metal, mud, bruises, whiskey, calimocho, hard cider, and terrifying Czech liquor (Becherovka and Fernet are no fucking joke, even if it is Kevin Sharp and Danny Herrera pouring you a shot), I realized that, somehow, something was still missing.

To my immense chagrin, I had yet to take that all-too-necessary pilgrimage up through the Black Country and into the Unholy Land itself – to Birmingham, England. Every metaller worth his leather (and several million other music fans besides) knows exactly why this unimpressive, coal-smudged city matters so much. Birmingham is the ancestral home of heavy metal. Everything – whether it be doom, black metal, powerviolence, or even the plague that is deathcore – everything came from here. The famed Mermaid Pub provided a fertile breeding ground for extreme metal, nestled as it was in a dodgy part of town where the cops ignored the punkers and longhairs milling around out front as the early rumblings of a deadly new sound thundered away upstairs The city itself was the original stomping ground of the dirty sexy hard rock’n’roll of Led Zeppelin, the NWOBHM gods in Judas Priest, the crusty proto-grind of Sore Throat, the scummy grindcore forefathers of Napalm Death, the industrial noise terror of Godflesh, and the one and only BLACK FUCKING SABBATH.

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