WKNC 88.1 FM - North Carolina State University Student RadioDJ Beowvlf sits down with King Gino to discuss his development as an artist and participation in the collective that is Callisto Records. Independent creators and musical collaborators also participated in this interview that are similarly part of Callisto Records.
In preparation for WKNC’s Double Barrel Benefit 17 on Feb. 7 and 8, DJ Beowvlf talks with station adviser Jamie Lynn Gilbert about the history of DBB and Gilbert shares some of her favorite DBB memories.
Released on November 29, 2019 (Metal Blade Records), Death Atlas is Cattle Decapitation’s eighth studio album. The band has been issuing beat-downs for two decades. Whether or not subgenres are important to you, they do help describe a band’s sound; originally categorized as Grindcore or Goregrind (Deathgrind), Cattle Decapitation’s sound and song structure made a huge leap forward with 2015’s The Anthropocene Extinction, where a more musically progressive band had evolved. Death Atlas, in one sense, is a continuation of that progression. On the other hand, those old “Core" roots are still evident in many songs on this new record, in conjunction with the atmospheric structures we heard in 2015.
Death Atlas is a beautiful beating (IMO)! In just under an hour, the listener is pulverized by the patented double-base, blastbeat ass-whoopin’ one comes to expect from Cattle Decapitation, while being stretched to the point of being burst open by the harmonious Math Metal of the guitars and bass. All while experiencing the emotional agony of lyrical genius in screams, gutterals, and tortured (nearly clean) vocals. An experience is precisely what Death Atlas is! Thrown on the conveyer of slaughter, it is a fatal ride of horror through the mill of misery.
Travis Ryan masterfully delivers (as usual) the vocal onslaught, via no less than four different styles. Josh Elmore continues to amaze on lead guitar, with production and down-right power. Dave McGraw, one of the premier drummers of extreme metal, consistently beats your brains in with break-neck tempo changes, multi-count structures, and symbol combinations. Death Atlas sees the permanent addition of Belisario dimuzio (the band’s touring guitarist) as a solid rhythm guitarist with incredible talent that can’t be missed. And Olivier Pinard (Cryptopsy) is an excellent base player in his own right and is not unfamiliar with punishing the ear holes of the listener. This five-piece is a perfect storm to produce the masterpiece, Death Atlas.
The record is almost exclusively concerning the band’s perceived horrors of humanity on the environment. From the album cover, to the four “spoken word" interludes, to the lyrical content Death Atlas is an expression of this California band’s insistence that 1) humans should experience the evils that we unleash on animals and 2) Mother Nature is growing weary of the human race and will (sooner than later) eradicate its existence. And Cattle Decapitation issues images of these sentiments in vivid order. Whether or not one shares the band’s point-of-view, one definitely must respect the hell out of the way they communicate it! Even if you don’t agree with what they’re saying, you gotta love the way they say it!
Rating: 9.5/10!!
Favorite Songs: Be Still Our Bleeding Hearts; Bring Back the Plague; Death Atlas
Stay Metal,
THE SAW
So, there has been a trend of people posting their 2019 Spotify lists of their top played artist, songs, and podcasts. I like looking at these because it gives you a recap of what you have played throughout the year, and this year Spotify gave listeners the top artist, bands, and songs of the decade.
Even though I am a metalhead at heart, I listen to a lot of different music that doesn’t consist of metal. I listen to a lot of different genres that I think people would be surprised that I listen to. I might be exposing myself but I don’t care. Enjoy the different layers of The Saw that you probably didn’t think I had.
My top genres that I have listened to the most this year from least listened to most listened are groove metal, hardcore, melodic metalcore, lo-fi beats, and pop rap. I am kinda surprised by this because I listen to a lot of hardcore influenced bands and a lot of death metal so I am shocked I have not listened to these genres more than what is stated in my 2019 wrap up. I do listen to a lot of lo-fi because the rap that I enjoy most is the type of rap that has soft hip-hop beats and has a jazzy vibe to them. One of my favorite artist’s that describes this genre is Isaiah Rashaad. Pop rap I could see because I listen to a lot of Travis Scott, Lil Uzi Vert, and 21 Savage. The majority of my friends that I hang out with do not listen to metal so I play a lot of my other playlists that are more rap influenced.
My top four artist of 2019 are Tash Sultana, TLC, Boundaries, and Whitechapel. This did not surprise me because I know I have spent a lot of time listening to these artists. I discovered Tash Sultana in late 2018 when her album Flow State came out. She is an artist that is unlike any other. It is hard for me to describe her style because she incorporates many elements from other genres. I would highly recommend listening to her. Now, TLC, I have been listening to for years and their 1994 album CrazySexyCool is my all-time favorite. It was my anthem for 2019 so it would make sense that it appeared on this list. I ACTUALLY HAVE METAL ARTISTS ON THIS LIST THANK GOD!! I discovered Boundaries in early 2019 and have repeatedly listened to their album Hartford County Misery at least every month. It’s just so groovy and heavy that I can’t stop listening to it. Is anyone surprised that Whitechapel made the list? Because I’m not. I got my DJ name from them for crying out loud so I think that explains itself.
My number 1 most played artist this year, however, is Saweetie. I know Saweetie and everything that she stands for. I discovered her late 2019 and if she is my number 1 artist, this should tell you how much I love her music. I bump her songs all the time and I am not ashamed of it what-so-ever.
Here’s the funny thing, none of my top played songs in 2019 are metal. I can’t even believe that. My top played songs are: Nights Like This (feat. TY Dollar Sign) by Kehlani, My Type by Saweetie, Make Me Feel by YBN Cordae and YBN Almighty Jay, Creep by TLC, Act Up by City Girls, Egyptian Joint (All I Need) by Young Bull (North Carolina locals), Ball w/o You by 21 Savage Casual by Doja Cat, Kream (feat. Tyga) by Iggy Azalea, and Pissed by Saweetie. All I can say is… I was having a “hot girl” summer okay? Ok.
But my number 1 artist of the decade is Upon A Burning Body (finally, I gained some of my metal creds back). This really doesn’t surprise me because over the decade, I have listened to a lot of Upon A Burning Body. I love every single one of their records (mainly The World is my Enemy and Southern Hostility). I know every word to every song and the band knows this, they have pointed me out at shows because I just yell everything back to them.
Here are some more stats of my tops of 2019 and of the decade. I am not surprised, but disappointed that my top artists of the decade were metal but my top songs and genre are not. I promise I am more metal than what Spotify gives me credit for.
What bands, artists, songs, and genres made your Spotify Wrap Up?
Stay Metal,
THE SAW
BEST TRACKS: Dark Green Water, Rosalie, English Garden, Treat Jar
FCC Clean
Recommended if you like: Strange Ranger, Diet Cig, Fleet Foxes, Speedy Ortiz
A lot can change in a just a couple years. Over the past two years, 5-piece indie rock outfit Great Grandpa, who had previously all lived, toured, and made music together, were split 2,000 miles apart when two of the members moved from Seattle to Milwaukee. This drastic change in their lives seeped through to the band’s music as well. If you listened to Great Grandpa in 2017 and now, you might almost think that you were listening to two different bands. With the release of Four of Arrows, Great Grandpa officially marks their movement past the grunge sound of their slightly younger, Plastic Cough days in favor of a more elegant, folksy sound.
In the third track, English Garden, Abby Gunderson goes above and beyond with her blooming violin, which Pat Goodwin’s banjo dances around romantically in an elegant song, flush with hopefulness. Lead singer Alex Menne does this thing where she beaks her voice switching from a chest to upper register. Menne and Goodwin’s voices sound like they were born to blend together flawlessly like fresh snowflakes dissolving in the palm of your hand.
In Four of Arrows, grunge is tossed aside to make room for cinematic flourishes and soft, fairytale melodies. This album is country-tinged and delicate, but far from dull. Intensity seeps through in the raw and emotional delivery of the lyrics, which is, in my opinion, easily the most impressive element of this album and of this band in general.
Four of Arrows is representative of new beginnings and joy. Even its darker moments, this album can’t hide the pride and love that Great Grandpa has for this album. In this album, they’ve achieved the sound they’ve always wanted.
If you used to listen to Taylor Swift in 2008, and deeply resonated with Katniss Everdeen when you watched Hunger Games, this album is perfect for you.
-Safia Rizwan
A few weeks ago, skimming through Spotify, I came across a brilliant track by the East London R&B/Rock Fusion group, The Equals. The song is titled “Michael and His Slipper Tree” and was released in 1969 on their album “Equals Strike Again”. The band was formed by Eddy Grant, Lincoln Gordon, Dervin Gordon, Pat Lloyd, and John Hall when the five were in high school. They began touring by 1965 throughout Europe. “Hold Me Closer” was the band’s first single, however it did not make it big. It was their 1967 song “Baby, Come Back” that put them on the charts. The song did particularly well in Germany and the Netherlands.
I was surprised to discover the band recorded in the 1960s. When I heard “Michael and His Slipper Tree” for the first time, I initially thought the band would have been from the 1980s. They certainly have a unique, timeless sound that will have you singing “Michael! Michael and his slipper tree, slipper tree, slipper tree, brand new shoes for you and me!” all day. Spotify even has a radio and maxi version!I highly recommend giving this band a listen!
-DJ Lizzo
The Local Beat: Thirsty Curses
DJ Beowvlf is live with Thirsty Curses in the studio playing some tracks off their self-titled album. The cover topics such as their music videos, transitions as a band, & where they fit within the Raleigh music scene.
For more on Thirsty Curses’ new album, check out our review from Assistant Daytime Music Director Safia Rizwan.
Artist Record Label
1 GASPAR SANZ Meanderthal [EP] Helium
2 GEOWULF My Resignation PIAS
3 DAYGLOW Fuzzybrain Self-Released
4 BLACK SURFER Black Surfer [EP] Self-Released
5 NEW PORNOGRAPHERS In the Morse Code Of Brake Lights Concord
6 VARSITY The Basement Takes Run For Cover
7 TURNOVER Altogether Run For Cover
8 BASEMENT REVOLVER Wax And Digital [EP] Sonic Unyon
9 CHASTITY BELT Chastity Belt Hardly Art
10 PEAER A Healthy Earth Tiny Engines
11 BODYWASH Comforter Luminelle
12 FRANKIE COSMOS Close It Quietly Sub Pop
13 METZ Automat Sub Pop
14 CHERRY GLAZERR Stuffed & Ready Secretly Canadian
15 CRUMB Jinx Self-Released
16 MAUNO Really Well Tin Angel
17 STRANGE RANGER Remembering The Rockets Tiny Engines
18 (SANDY) ALEX G House Of Sugar Domino
19 DUDE YORK Falling Hardly Art
20 CEREMONY In The Spirit World Now Relapse
21 CHARLY BLISS Young Enough Barsuk
22 PHANTASTIC FERNITURE Phantastic Ferniture Polyvinyl
23 SURF CURSE Heaven Surrounds You Danger Collective
24 DARKSOFT Brain Self-Released
25 BEAST Ens Thrill Jockey
26 CLAUD Sideline Star [EP] The Orchard
27 TROPICAL FUCK STORM Braindrops Joyful Noise
28 CRITICALS, THE Mimosa Hygiene [EP] Self-Released
29 LONG BEARD Means To Me Double Double Whammy
30 TEEN BODY Dreamo Broken Circles
TOP ADDS
1 CHRISTINE RENNER “Tonight” [EP] Self-Released
2 ALEXANDRIA MAILLOT Benevolence Self-Released
3 PALACE Life After Avenue A/Fiction
4 SNOWDONIA Veneers Self-Released
5 LITTLE MONARCH Grains [EP] Super Bloom
6 COMMON HOLLY When I Say To You Black Lightning Barsuk/Solitaire
7 JUNIOR ASTRONOMERS Body Language Self-Released
Artist Record Label
1 CATTLE DECAPITATION Death Atlas Metal Blade
2 I DECLARE WAR Downcast [EP] Self-Released
3 DESPISED ICON Purgatory Nuclear Blast
4 INFANT ANNIHILATOR The Battle of Yaldabaoth Self-Released
5 KUBLAI KHAN Absolute Rise
6 CARNIFEX World War X Nuclear Blast
7 AFTER THE BURIAL Evergreen Sumerian
8 MESHIAAK Mask Of All Misery Mascot
9 COUNTERPARTS Nothing Left To Love Pure Noise
10 SILVERTOMB Edge Of Existence Long Branch
The end of 2019 marks the end of the decade. I honestly didn’t think much of it until Spotify reminded me, but after I got to thinking about how much things can change in a decade. Since 2010 started we’ve had a lot happen in the world (don’t worry I won’t go into anything here because a decade is a lot to cover) but my point is there has been rapid change in the world and that change hasn’t left any aspect of life the same, especially not music. We just finished a unit, in my music literature class, on last year’s pulitzer prize winner Kendrick Lamar, which pushed a huge conversation on music, specifically the direction hip-hop is taking in our world. I think the timing is perfect for the new decade since it’s about time hip-hop and other incredible works get more recognition and don’t get pushed aside because they don’t fit the classical definition of ‘high class’ music. It’s about time that definition changed.
But that’s just a part of the story. The fact of the matter is this was a huge decade for music because technology has changed our world A LOT. Making music is the most accessible it’s ever been, it’s not just something done by the few and far who can access it anymore, anyone can make anything and publish it. This huge change will only further the development of music going into the next decade, I mean it already has but since the new decade also has that and the new discussions that came with Kendricks win I think we’re in for a lot of change in the next decade. Change can be scary, but I’m pretty excited for the possibilities here. Entrepreneurship and the arts are making such a bold leap these days I wonder just how much new material we’ll have in the next decade and what new developments will come our way.
What do you think? Will technology and the discussion of what ‘high class’ music is rapidly change the music scene in the coming decade? Are you looking forward to it or have any predictions? I think genres will be challenged even more and music will become even more abstract then it already can be, do you agree?
– DJ Psyched