Underrated Masters: Mortal Sin

In a post a few weeks back, I reported, in detail, about Tankard. The Germans are one of the most underrated bands in Metal. In the same vein, Mortal Sin never got the recognition they deserved. Most things from Australia are pretty shitty and gay, like kangaroos, koalas, INXS and Olivia Newton-John. But not these Aussies!

When we were a kids, my brother and I were limited musically to whatever records made it to South America's stores and whatever dubbed tapes we got from friends, who'd gotten them from their friends. Well, in a trip to the record store in the mall in '89 or so, we saw a Face of Despair record in the Rock section. At first I thought the band might be some shitty Christian rock, but when I turned the record around I realized these guys meant business. Metal business. White high-tops, ripped frosted denim jeans, sleeveless "Shut-up and Skate" T-shirt and Suicidal Tendencies-like bandanas? Damn, the temptation was too much. We bought the LP and played it as soon as we got home. We were not disappointed.

"Face of Despair" quickly became one of our favorite records. We never really got the cover, with the girl and the "SEX" neon sign and a syringe and the crucifix... I guess they were trying to make a deep point about girls and sex and health care in Australia. Whichever way, the music spoke for itself. The first song on side B, "Innocent Torture" opens with a rad sample of a judge sentencing someone to death. From there Mortal Sin rip a fucking awesome tune with awesome riffs that would make Tenacious D proud. The production on the record is not super clean and the guitar sound is a little whiney, but the that song is still one of my favorite thrash tracks of all time. The other tune in here that is bad-ass is "I Am Immortal". Here's a video from some TV show in the 1989. It might be in Australia, but I thought they only got electricity there in the late 90's...




So, here we were, in love with a band we knew nothing about and wanting more. We didn't even know where they were from. We'd have settled for any info at all, but what we had coming was more than we expected. Enter: the Peña Twins.

If it wasn't for Mortal Sin, the Peña Twins wouldn't be mentioned at all in our memoirs. The Twins used to ride bus #1 from school with us and got off on 140th Street, just below 7th Avenue. They were pretty annoying kids and were always getting in trouble, so my brother and I ignored them through the school year. That was only until one day, when one of them (the one with braces) asked me if I'd ever heard of Mortal Sin. "Fuck!", I thought, "how does this little shit know about OUR band?" Mortal Sin wasn't a band people were allowed to listen to without getting permission from us. After all, we'd discovered them. How did Peña Twin #1 know about them? How did he know anything about metal at all? Sure he wore high-tops and had a skater cut with a rat-tail, but he was far from being metal. They knew who Black Sabbath was and maybe even Metallica, but that was about it. My friends and I had a list of ALL metalheads in the school and the Peña Twins were NOT in it. I was shocked. Hiding my outrage, I told them I knew who they were. He then told me he had one of their records. "Jesus, Mary and Joseph, this POSER has a Mortal Sin record?" Well, he probably bought it by mistake in the same record store we bought ours, I thought. "I can't remember what it's called, but the cover has a demon eating buildings" - "You must be mistaken, dude. That's not a demon, it's a little girl. And she's not eating shit, she's scared as hell!" He told me I was crazy and he'd bring the record to school the next day.

Originally released in '86 with the cover on the left and re-issued in '87 with the cover on the right.

"Fuck my ass!" or something like that, is what I thought the next day when I saw one of the Peña Twins holding "Mayhemic Destruction." I don't even know if it was the same Twin, but at that point I was more concerned with being one-uped by certified posers than analyzing the differences between these 2 genetic mutant freaks. My brother and I looked at each other in horror. We were both thinking the same thing: "Don't look surprised, we can't let them think they know more than we do." But they did. They had a Mortal Sin record we didn't! It was too much to bare, we had to compromise our metal integrity to listen to this record. I broke down and asked him to borrow it. "We already have it on tape, at home, of course" I lied, "but the tape is really old and you can hardly hear it."
Wow! The sound was much rawer than I had expected. I realized while listening to it that it was their first record. It wasn't as Meliah Rage-ish as "Face...", it reminded me more of "Kill 'Em All" or "Ride The Lightning" Pretty goddam metal whatever it reminded me off. I made a tape of the record and returned it to the fucking Peña Twins. Fuck'em. Here's my favorite tune from that album, "Women In Leather".





It wasn't until 12 years later that I would finally own a copy of "Mayhemic (is that even a real word?) Destruction" I got a really nice Japanese pressing that I paid entirely too much money for. I also scored a 12" single called "Voyage Of The Disturbed" that the sold on tour in the US in '89.

My Mortal Sin vinyl collection today. The Peña Twins ain't got shit on me anymore!

So, I guess after "Face..." the Australians went the way of kangaroo shit. The have re-formed again and again, but it's not the same. One of the dudes put out a record in '91 under the name Mortal Sin and got sued quick-like. What a douche.

What a gay cover. No wonder he got sued.

A new record came out in '07, but the new line up is pretty pathetic and a few of them have advanced cases of Robb Flynn's Disease. It's very sad. See for yourself. The video starts off with no audio, but give it a second.

Anyway, here's to another underrated band that made the days of my youth worth living. Cheers, mates!

Ask me about killing black metallers

When I lived in Cleveland in the late 90s, there was a crazy Russian kid that used to wear a black baseball hat that just said "DEATH METAL" on it in big white letters to all the shows. I think he had it made at the mall or something. I thought that was really cool, but one day he took it one step further and arrived at a Nunslaughter/Malignancy show wearing a shirt in the same style, only this time it said "ASK ME ABOUT KILLING BLACK METALLERS."


I'm not really sure what the point of this story was. In the same way that I admired the straightforward title of Dismember's 1999 album "Death Metal," I guess I just admired his commitment to death metal. Like him, I was angry and confused by black metal. I didn't know why anybody would rather listen to screeching banshees wailing about trolls and vikings over repetitive, trebly guitars when they could be jamming to Pyrexia or Baphomet. I still don't. Not when there are great bands out there like Cemetery Rapist.

Anyway, I don't know what happened to that guy, but if you know him, please tell him that I would like to ask him about killing black metallers.

"We are firmly interested in raging after the show!" Exodus' Paul Baloff—Stage Banter All-Star

Paul Baloff, Exodus frontman (who also sang in Hirax and Piranha) passed away in 2002. Luckily for all of us, he left behind a fantastic legacy of stage banter that puts him up there with some of the best.

Metal Inquisition grafix designers have teamed up to create the video below, which serves as a fine example of Baloff's genius. Enjoy.




I expect full credit for being tasteful and not using the "aneurysm" tag. He died of a stroke you see.

Metal Inquisition Video Vault: Slayer In-Store Appearance

The Metal Inquisition video vault is the pride and joy of all Metal Inquisition staffers. The collection housed within the vault is made up of roughly 100,000,000 hours of footage (in formats ranging from Beta, to DVD, to filmstrip), documenting the world of metal at large. The collection, which has been compiled through years of hard work, has already been accepted in the the permanent collection at the Smithsonian, and includes a substantial amount of rare and unusual content. The M.I. vault is housed within a former limestone mine in the continental US (the exact location remains undisclosed for security reasons.) This climate controlled facility and its contents have until recently only been accessible to Metal Inquisition staffers and close associates. No more. Based on the response that the clip of Lonn Friend received just last week in this very blog, we have chosen to open up some of the vault's contents to our readers. As such, we will from time to time, allow certain small pieces of the collection to be viewed by the masses here at Metal Inquisition.



With all the formalities out of the way we present you with the first Video Vault offering, a report documenting a 1991 Slayer in-store appearance in Greenwich Village's Tower Records (the Broadway location that is now a Toys R Us). Though certainly not one of the more obscure items in the vault, it is nevertheless an enjoyable one.

This report features a few noteworthy items.


1. Slayer band members wearing their usual oversized Oakley sunglasses. Dave Lombardo's are particularly troubling.



2. Listen to the girls with the over the top, almost fake New York/Jersey accents. You know how sometimes people say "oh that guy, he's a real character". Well these two really are characters. They are straight out of a terrible SNL sketch called "New York metal girls". At the risk of insulting our readers in the New York metro area, I have to say that when you hear these two talk you understand why 9-11 happened. I'm not saying you support it...but you kinda understand.


3. Listen to the first guy that talks, the one who says that "once energy is created is cannot be destroyed". Look at that guy. Remember his face. If you see that guy in a parking garage, or lurking in a subway station...do not confront him. Inform the authorities, then duck and cover.

Impetigo: REAL GRINDCORE

I was blessed to have been at the Milwaukee Metal Fest XII in 1993. Not only did Phantasm play a kick-ass show, but I witnessed the final Impetigo show...ever. it was better than a peanut-butter and jelly sandwich that has been sitting at the bottom of your schoolbag for the whole day. It was awe-inspiring. It was one of the happiest days of my life. Really. I’m pathetic, OK?

I was introduced to The Masters of Goregrind by non other than the infamous Richard C. of Wild Rags. After a few letters back and forth, he sent me a flyer for a new CD he was about to put out: Ultimo Mondo Cannibale. The art on the flyer was so sick I knew I had to get it. It looked like a retarded 14 year old had drawn it while in prison for double homicide and rape. I was doing my metal radio show at the time, so I requested a promo copy. When I first played it, I was blown away. It was SO raw! It was so...so...so BRUTAL! The production was crude, but so brutal! The music was simple, but so brutal! The lyrics were cheezy as all hell, but so brutal! Stevo's vocals were terrible and awesome at the same time...and also so brutal! The cover art was simply AMAZING. As sweet as seedless organic green grapes! I was impressed at the obvious Gauguin influences in Stevo’s art.


The thing about Impetigo was that their sound was very unique. It's probably because of the low-budget production and their simple riffs. But it was all memorable and (dare I say it) catchy. Impetigo had entered my life and they entered like a freight train (Nitro reference). My band decided to cover "The Revenge Of The Scabby Man", I put an Impetigo sticker on the bumper my 1986 Dodge Horizon and another one on my white flying V geetar. I played songs from Ultimo on the air so often people would call to yell at me, but I didn't care I was in love! As it often happens in situation like these, I needed more. I had to get their demos. I wrote a quick note to Mark, the guitarist. He responded quickly and within a few weeks I had a dubbed copy of Giallo.

The demo is a bit more hardcorish sounding than Ultimo and honestly I don’t like it that much. Anyway, Mark and I wrote for a looooong time and he even said he liked my band when I sent him our first demo. I know now, of course, that he was lying (no one can possibly have liked my band then…or now). Still, it was a nice thing to say. Anyway, Horror of the Zombies came out in 1992 and instantly became my favorite CD. Even today, Horror is in my top 10 records of all times and Boneyard in my top 20 songs of all times. The cover was, again, sick as shit! Looks like Stevo remained influenced by Gauguin for this masterpiece.


Impetigo was a TRUE grindcore band. No PC stupid and simplistic pseudo-socially-conscious lyrics here. No guys in dreadlocks preaching against sexism. No black and white patches with left-wing slogans. Impetigo were pure fucking GRIND. They had gore lyrics, hyper-cheesy and offensive cover art, samples of women screaming in pain and BRUTAL tunes. They didn’t look like peace-punks or like hardcore tough-guy retards pretending to look scary. These guys WERE scary. They looked like serial killers or rapists, or plain old farmers from the middle of Illinois…which, I guess, is what they were.

The bands that call themselves grindcore these days are a disgrace to the term.

Man, I wish I still had that ’86 Horizon.

Metal Inquisition History Lesson: I Was In The Wild Rags Street Team

Here at Metal Inquisition, our primary goal is to entertain. Another, perhaps secondary goal, is to school today's metal youth in metal history. It's with that spirit in mind that this post was written. School is in suckas.




This seemingly unassuming corner in Montebello California was once upon a time the home of Wild Rags Records, the record label and store run by the infamous Richard C (full name Ricardo Campos). Richard C is without a doubt one of the more polarizing names you can bring up to those who were involved in the underground metal scene in the early 1990's. Widely known as "rip-off" (a now seldom used term common in the days before the internet when tape trading occurred strictly through the mail) Richard and his label continue to be the topic of conversation on the internet, even though the label has not existed in some time, and the man himself has long ago fallen off the face of the earth. A Myspace tribute page is out there, but very little else remains of the once infamous label. Makes you wonder who on earth would even take a minute out of their time to keep the memory of the label who put out records by Zombified Preachers Of Gore alive...but anyway. I keep using the word "infamous" when referring to the man and his label, because I don't know what else to call the label and the bands they put out. "Laughable" could also work I guess...but then again I have the entire Nuclear Death discography on my Ipod...so I can't make fun of the label all that much.

Though Wild Rags started out releasing questionable music (including glam bands like Cherry Street), the label would go on to put out influential releases by the likes of Nuclear Death, Impetigo, Brutality, Blood, Bloodcum, Sigh, as well as Emperor and Internal Bleeding. I also remember them distributing demos by bands like Excrutiating Terror before they became the darlings of the powerviolence scene. Back to Internal Bleeding though...as I write this I have to laugh because I remember having Internal Bleeding's first demo, and thinking to myself "man, they signed to Wild Rags? They're gonna be huge!" Such a thing would only be funny to someone like me, who had the first Internal Bleeding demo back when it first came out. Old timer metal humor I guess.

My limited interaction with Richard C began after I went to a Morbid Angel show in 1991 or so, and received a flyer that talked about how much of a rip off Wild Rags was. Since I was planning on ordering the Impetigo "Faceless" EP that week, I included the flyer along with my order, and asked for his thoughts on the matter. The response I got from Richard was unexpected to say the least. Along with the EP, I got a large box with tons of records, CDs, stickers, tapes and about 50 copies of his publication The Wild Rag. The letter that came along with all this stuff explained how the guy that made the flyer was full of crap, and that he'd appreciate it if I would pass out his flyers, records and magazines at the same shows where the anti-Wild Rags flyers were being passed out. I quickly decided that the last thing I wanted was to get into a confrontation with some stranger at a show regarding a guy in California I had never met. So, I decided to sell the copies of the magazine to fellow metalheads in school (for a buck each) keep the records I liked, and sell the rest at a local record store. For a couple of years the boxes kept coming, and I had a steady supply of free gore and grind records, as well as a few bucks in my pocket. This all seems like ancient history now, but at the time I have to admit that I felt pretty cool being somehow connected to a somewhat legitimate record label. I remember telling kids in school that I was the local rep. for a label, or something like that. Even thinking of it now I cringe...but such is life.

I actually met Richard at the Milwakee Metal Fest one year without even knowing it. I approached him to buy a shirt in the parking lot to the venue, and noticing that he only had Wild Rags merchandise, I asked him if he was Richard. He quickly said "no, I don't know that guy". Later it became clear that it was him, but he didn't really want anyone to know who he was. I'm sure he wanted to avoid getting his face punched in by all the people he had supposedly ripped off...but the allure of thousands of metal fans eager to spend their money on his records and badly screened shirts had made him fly all the way to Milwaukee. Little did I know that angry guys in bands were the least of his problems. More on that in a minute.


After a few years, the packages of free stuff dried up. His zine The Wild Rag became even worse and more laughable than it had been before, and I lost interest. I had completely forgotten about the label and Richard, until fellow metal brother Sergeant D brought up the subject to me about six years ago. I began to tell him about my interaction with Richard C, and as I told him the story I thought to myself "Holy crap, I was in the Wild Rags street team before street teams existed!"

Out of all the stories and accounts of whatever happened to Richard, the only one I seem to think is truthful comes from Pat who played in Hellwitch. I used to trade metal videos with Pat around 1990-1992 and wrote with him a lot. He always struck me as being a nice and upfront guy (he also had unbelievable penmanship by the way, all in cursive...not very metal). In this interview from 2006 he said:

..Ricardo was charged by the U.S. government with crime of income tax evasion and was sent to prison!! Actually, I’m not sure if he was caught, but I know he was wanted for this crime. Some say he fled to his home country of Mexico. The members of Sadistic Intent went to the government auction of Wild Rags’ stock and purchased most of it. They now run a record store in L.A. called Dark Realm, which sells much of Ricardo’s confiscated inventory! Haha! I love telling this story! As we say in America, “What comes around, goes around!”. Ricardo got his!

Okay, now that I have this story out of my system...I promise I'll try to make my future posts funny.

Slayer Fans. Then And Now.

Maybe I'm an old fart, but I've started to miss the days when people that called themselves "metal fans" didn't look so much like juggalos. This development, by the way, can be traced directly to the rise in popularity of Ozzfest, Cradle Of Filth, and Sepultura's musical output after "Arise". Since when did metal fans start wearing crap like this?


Anyway, I was unable to find footage depicting exactly the type of metal fan I'm talking about. You should still watch the videos below and see the difference in fans that Slayer had back then, versus now. Yes, the current fans are funnier...but also more annoying.

Then
The intro to this video includes some fantastic Exodus stage banter.Please disregard the dope who is seig heiling. Note the elderly black man in the mix. Note the guy who says "Venom rules!" with a mullet and a dirstache, as well as the blond dude with a Raven shirt who screams "upstate mothafucka!"



Now
Please watch the second video all the way to the end. Surprise ending.

Great moments in art history: Obituary

Some things are better when they are worse. For example, nachos. I'm sure there is some gay restaurant in LA that has $25 gourmet nachos, but who wants that? The best nachos are from 7-11, with the thin, orange cheese sauce, old, stale jalapenos, and greasy ground beef on them. You like to slum sometimes.

Such is the case with the cover of Obituary's 1989 masterpiece "Slowly We Rot." I love it because it sucks, not in spite of it sucking. Let's look at some of the things that make it great.

1. The gleaming lens flares on the ends of the logo that really communicate the design intent: "Dude, it looks like the logo is a big fuckin knife!!"

2. The corpse of a lifeless hesher rotting in the street explicitly illustrates the album's title. I like it when artists just get right to the point. There are no sociopolitical comments, it's just a picture of a guy, rotting. Slowly, we assume.

3. "Slowly We Rot" letters are made of puke. This is just a nice touch, they really pushed themselves to make this cover images as icky as possible. Again, nice attention to detail.