Video Premiere: Kill Me – “Bloodsluts”

Let’s just say that with a mere 2:23 to work with, Seattle sludge noiseniks Kill Me manage to pack their latest video for “Bloodsluts” with the kind of imagery that’d make Beavis and Butt-Head pitch tents. There’s little opportunity for “story development” here, so the duo—Travis Zar (guitar/vocals) and Mike Guerette (drums/vocals)—just throw zombies, religious iconography, churches, blood, eyeballs, snakes and, somewhere in the purple haze, obscured performance footage. It’s a good fit for a song that seamlessly switches between low-chug grunge/sludge and surf-inspired fuzz guitar runs, with demented vocals running amok across it all.

“Bloodsluts” is the first single from Kill Me’s second album, simply titled Kill Me, which was recorded early in the new year. The album was mixed/mastered at Titan Recording Studio by Scot Michael and produced by Scot Michael/Travis Zar and is set for release on June 15. In the meantime, you can get a digital download of “Bloodsluts” here.

This is what Zar had to say about the track:

“This song started as a means to figure out how to stop overanalyzing everything to the point of creative paralysis. This was the first track that me and Mike did together from the ground up and it really changed the way we operate. It’s about overcoming these tendencies for perfectionism that can be rooted in different traumatic experiences in our past—like religious influence, neglect, critical opinions, abuse, etc.  Sometimes the healthiest thing to do is stop fucking thinking and just make something that sounds cool to you.”

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WORLD GONE COLD: World Gone Cold

March 17 Rockfest Records I have to admit when I first saw the debut album from World Gone Cold cross my desk with the word “supergroup” attached to it, I nearly scrolled straight past. Not because I’m a snob or anything like that, it’s more because generally when a promotor feels the need to add […]


Reborn in Blasphemy: Revisiting Pavor’s ‘A Pale Debilitating Autumn’ Album Nearly 30 Years Later

A Pale Debilitating Autumn
Imperator Music/Self Release (1994)

We are hanging out at my place in San Diego, sometime in 2003.

San Diego had this amazing website going back in the day,, and all the top forumites were over at my place, beer in hand, some brought CRT Monitors and Gaming PCs. Members in the non-gaming crowd included some of the Cattle Decap gang, the Domination guys and the Gutrot crew plus many others.

Beers were had, Maiden was played per decree, a massive LAN party was going down with around a dozen of us duking it out in Battlefield 1942 “Desert Combat.” The screams coming from the speakers and the players themselves were the background static for the rest of the attendants who enjoyed the music, friendship, beers and pizzas with the goal of turning said beer/pizza mix into a Pizza buffet on the road surface in front of my house later on. Never failed.

And of course, as the night progressed and people got filthy drunk, the obscure bands got called out. You guys all know the drill. The non-metalheads call out Bon Jovi, the die-hards request Ápophis well knowing what they do to the “other team,” And that was before the Internet had it all on YouTube or Apple Music, you either had the album in your physical collection or bust. The die-hards went through the usual a mix of funny band names (Splattered Mermaids) and the very kvlt and obscure such as God Macabre (before the scene finally discovered them and gave them the respect they had always deserved. All hail Ola).

Now my turn, my ace in the sleeve, the monster of all monsters, Pavor’s 1994 debut album, A Pale Debilitating Autumn. The faces… of all in attendance… when the first song hit. The exact same face that I had made when I first heard the album. “What the f is this?”

To let you in on it, PAVOR—and you better spell it in ALL CAPS or Rainer Landfermann (Bass) will make you scream in anguish just as he did on Bethlehem’s Dictius Te Necare—PAVOR are what Atrocity should have become after Hallucinations. A monster. An absolute monster. They played better than anyone out there, they were rawer than anything ever in the realm of technical yet true death metal. Their goal was always intimidation. Shock and awe before the U.S. Forces stole the term from the band only two years later. And PAVOR shocked and awed that very night in San Diego in 2003.

First the stunned looks, then light chuckles revealing various levels of discomfort amongst everyone in the room, it plain too much too soon, too much to process. People were passive-aggressively not getting into it, yet some were spotted running straight for my record collection room to study the release. What followed was more uneasy laughter when it was discovered by the musicians in attendance that Pavor had written in their booklet that all, “wimps and posers should stay home and practice.”

And that is what kept PAVOR away from the masses. Their arrogance, the superiority, the ritzy attitude and devastating skills, their raw style and synapse-breaking song writing. An alpha band. Mix that with a production that sounds more like a jazz creation than a Skoksberg or Morrisound metal production. Everything here is as dry as Neill Jameson’s humor.

The aloof made them keep to themselves, to not care about being accepted by or being part of the masses. What worked just fine for 90% of Norway’s population in 1992 did not do the same for PAVOR. It kept them out of the spotlight. Their raw style is what kept the connoisseurs of the finer art of noodling scales away, their brutal production done yet again by Rainer Landfermann (I tell you, this guy is not even human) did not fit any mold that releases by Earache or Century Media had created.

The typical first listening experience of PAVOR’s A Pale Debilitating Autumn is ‘well, this is fucked up’. And most don’t dare to line up at the buffet for seconds, they rather consume palatable tech-death next.

This is a sophisticated album for savages, never saw a vinyl release and is no longer in print. And even here the band went against the grain in 1994. They never shopped the album, never hustled the band, they self-released before self-releasing was a thing or remotely sustainable.

The CD can be found per usual on Discogs, no re-release is in the works, and their follow up Furioso is even more compound than their debut. But start here first, you need to get gently broken in by PAVOR before you are ready for “Furioso.”

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ORIGIN to Release Exclusive New Track, “Disease Called Man,” via the Decibel Flexi Series

Technical brutal death metallers Origin are legends—that’s right, fucking legends. After eight dizzying full-lengths over 25 years, the Kansas/New York/California quartet stand as one of the most important and influential band’s the subgenre’s history. Press accolades, countless adoring fans, international touring triumphs—they’ve done it all. But you know what has eluded them? That’s right, a goddamn flexi disc. And the Decibel Flexi Series is happy to be the, um, host to “Disease Called Man,” a brand new Origin blast furnace that is 100% exclusive to the series!

The only way to ensure your copy is by signing up for a deluxe Decibel subscription by Monday, March 6 at noon ET. The sickness that is humanity will eventually expire, but not before this offer! Sign up today!

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Blast Worship: THIN

Where they from?
New York, New York. Spring Training for baseball is upon us and all anyone is talking about is the goddamn pitch clock. Purists say it’s ruining the game and everyone else doesn’t seem to have an opinion on it because the only people who watch baseball nowadays are the hardcore purists who act like changing the rules of MLB is like adding a constitutional amendment. World Series prediction: Padres over Mariners.

Why the hype?
Well, well, well, what do we have here? In light of the recent Botch reunion tour (anyone got a spare ticket for Philly?) it seems that mathcore is making an honest-to-god comeback. But amongst the slew of reuniting bands are the newer bands like THIN, who I’ve followed for a few years but have really impressed me with this new album. Imagine Drugs of Faith, Unsane and Coalesce got into a massive cockfight and randomly the singer from Circle of Dead Children will show up to call out the end of the rounds. God, everything I do is a sports metaphor.

Latest Album?
Dusk, self-released. A truly wild ride, from the psychotic Dillinger-esque beatdown of “Foilage” to the shoegaze grind of “Liminal” all the way to album closer “Mangrove,” which ends exactly as you would think any math/grind opus should: sardonic, instrumental bluegrass. 10/10 for creativity, big time album of the year contender (and it’s only February!).

Dusk by Thin

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SUBWAY TO SALLY Release New Track ‘Ihr kriegt uns nie’

German folk-rock icons SUBWAY TO SALLY inspire hope with 14th studio album Himmelfahrt. With Himmelfahrt SUBWAY TO SALLY present a new beginning and departure. The German folk-rock pioneers unveil their new album on March 24, 2023 via Napalm Records, celebrating hope and life together with their fans. The third single from the new album, (You’ll […]


BLOODBOUND Release Second Album Single ‘The Raven’s Cry’

Following their much acclaimed, 2021-album, Creatures Of The Dark Realm, Swedish power metal act Bloodbound has shared a new track of their upcoming masterpiece, entitled Tales From The North. The band’s tenth studio album will be released on July 7, 2023 via AFM Records as a 2-CD digipak including a live CD, a strictly limited […]


DAATH Sign To METAL BLADE RECORDS, Release ‘No Rest No End’

Metal Blade Records is pleased to announce the signing of Atlanta, Georgia’s highly experimental, progressive death metal band, Dååth. “After 12 years on hiatus, we agreed that if we’re bringing DÅÅTH back, we’re doing it right. That’s why we’re so excited to announce that we’ve signed to our dream label, Metal Blade! From day one, […]


DOWNFALL OF GAIA Unleash Latest Single ‘Existence Of Awe’

DOWNFALL OF GAIA today unleashes their latest single, Existence Of Awe. The pummeling new psalm comes by way of the band’s sixth studio album, Silhouettes Of Disgust, scheduled to drop on March 17via Metal Blade Records. Wanting to keep things short, simple, and a bit more confrontational, the record does not feature the eight- to […]


LAST IN LINE Release ‘Do The Work’ From Upcoming Album JERICHO

Rock outfit Last In Line have released Do The Work, their second track lifted from the upcoming album Jericho which is out on March 31. Do The Work is a dynamic and thought-provoking track that encourages listeners to strive for success and self-realization despite any obstacles they may face. The catchy and uplifting chorus invites […]