MMXX

 
 

 

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Une publication partagée par (@highonfireband)

 

… Denier concert finalement auquel nous aurons assisté avant la réclusion pandémique. Nous avons conséquemment trouvé refuge dans la lumière rédemptrice de ces épouvantables vociférations :

 

*Retro-bréviaire de la scène locale PQ et cinéma de claustration :

Slave To The Grind
Doug Robert Brown, Canada, 2018, 99 min

 

If you lived in Flint Michigan, USA in the 80s, you likely worked in an auto factory. If you lived in Birmingham, England in the 80s, you likely worked in an industrial setting. If you were a teenager in either of these cities during those years, you either accepted your fate or broke the mold. In defiance of tradition, groups of punk rockers and metalheads in these respective cities created a new sound, and consequently a new genre of music that was too punk for metalheads, and too heavy for punks.

Grindcore fused the anarchistic attitudes of the UKs Punk scene with the speed and drunken aggression of Death Metal, which was simultaneously being created in the US. When Napalm Death released ‘Scum’ in 1986, world-renowned BBC DJ, John Peel, announced that ‘Grindcore’ was the fastest and most abrasive sounding music imaginable, and he was right.

Slave To The Grind is the first documentary on Grindcore to capture the genre’s 35 year life span. The film takes you to Japan, the United States, UK, Australia, Singapore, Finland and Sweden to discuss why the genre has persisted, and changed, over time.

 

GRINDCOREFILM.com

 

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‘De retour des cendres, et en PDF!’ :

 

Mai 2018 – Qui l’eu cru? Déjà 20 ans??? non, c’était hier n’est-ce pas? Beaucoup de fluides ont coulés sous les ponts depuis le lancement du SANG FRAIS #1 (3 mai 1998: Dragon Lore + Aphasia au Café Chaos). Le dernier Sang Frais ayant été publié en 2005, c’est donc dire que tous les metalleux du Québec qui célèbreront leurs 20 ans cette année n’ont probablement jamais eu le plaisir de nous lire. Peut-être le Sang Frais est-il simplement une légende urbaine? un mythe?

Peu importe, sa mission de faire passer les artisans à l’histoire aura été accomplie haut la main, et ce site se veut une façon de partager les souvenirs de notre magnifique scène locale. Voici donc pour vous, les SANG FRAIS #1 à #17 en PDF à lire dans le confort de votre foyer. Cheers!

 
 

DEATHSPELL OMEGA ‘The Furnaces of Palingenesia’ (2019)
Norma Norma Evangelium Diaboli

 

‘This world contains neither meaning nor justice’

 

TEITANBLOOD ‘The Baneful Choir’ (2019)
Norma Norma Evangelium Diaboli

  

DRASTUS ‘La Croix de Sang’ (2019)
Norma Norma Evangelium Diaboli

 

AORATOS ‎‘Gods Without Name’ (2019)
Debemur Morti Productions

  

MGLA ‘Age of Excuse’ (2019)
Northern Heritage 

 

VASTUM ‘Orificial Purge’ (2019)
20 Buck Spin

 

 YERUSELEM ‘The Sublime’ (2019)
Debemur Morti Productions

 

MZ. 412 ‘Svartmyrkr’ (2019)
Cold Spring

  

NORDVARGR ‘Daath’ (2019)
Cyclic Law

 

TREPANERINGSRITUALEN & NORDVARGR ‘Konung Krönt i Blod / Salve Teragmon’ (2019)
Cyclic Law

 

MONARQUE ‘Jusqu’à la mort’ (2019)
Sepulchral Productions

 

OSSUAIRE ‘Premiers chants’ (2019)
Sepulchral Productions

 

OSSUAIRE ‘Derniers chants’ (2019)
Sepulchral Productions

 

PROFANE ORDER ‘Slave Morality’ (2019)
Sentient Ruin Laboratories

 

SACCAGE ‘Khaos Mortem’ (2019)
Torture Garden Picture Company, PRC music

 

OATH DIV 666 ‘Apocalypse Division’ (2019)
D7i Records, Doomsday Machine Records

 

SEDIMENTUM ‘Demo’ (2019)
Fucking Kill Records

 

MARÉCAGES ‘Marais Juana – Une Ode Cannabique’ (2019)
From the Urn

 
 

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Rééditions admirables de MMXIX :

ABRUPTUM ‘Orchestra Of Dark’ (1992, RE2019), Profound Lore Records;
ABRUPTUM ‘Vi Sonus Veris Nigrae Malitiaes’ (1996, RE2019), Blooddawn Productions;
DAHMER ‘The Studio Sessions Discography’ (2003, RE2019), D7i Records et Doomsday Machine;
DARK SPACE ‘II’ (2005, RE2019), Avantgarde Music;
INCANTATION ‘Upon The Throne Of Apocalypse’ (1995, RE2019), Relapse Records;
LEVIATHAN ‘Verräter’ (2002, RE2019), Profound Lore Records;
MELVINS ‘The Maggot & The Bootlicker’ (1999, RE2019), Ipecac Recordings;
MZ.412 ‘In Nomine Dei Nostri Satanas Luciferi Excelsi’ (1995, RE2019), AnnapurnA;
les PAYSAGE D’HIVER sur Kunsthall Produktionen;
TETRAGRAMMACIDE ‘Third World Esoterrorism’ (2014, RE2019)
les ZOVIET FRANCE sur Vinyl-on-demand;

 

JOHN COLTRANE ‘Blue World’ (1964-2019)

 
 

The album was recorded at Van Gelder Studio with the Classic Quartet in between the Crescent and A Love Supreme sessions for the film Le chat dans le sac. Director Gilles Groulx was friends with Jimmy Garrison and he used that relationship to request songs for Coltrane’s quartet to record. Groulx traveled to the United States to attend the recording sessions for Coltrane’s only soundtrack work and Coltrane recorded it without informing his record label. After three hours in the studio, Groulx took the master tapes with him to Canada. When the director ended up shelving most of the music, it went unreleased until 2019, when Coltrane’s long-time label Impulse! Records decided to release it, with the original composition « Blue World » being released on August 16, 2019 along with the announcement of the album. Release was delayed by several years due to the NFB owning the rights to the tape itself but Impulse! having the rights to release it as an album.

The recordings were stored away until the early 21st century, when an archivist from the National Film Board of Canada was tasked with assembling Groulx’s work; the government agency negotiated with Impulse! to have the album released. This album comes a year after the successful release of Both Directions at Once: The Lost Album, also from Impulse!, capturing a Classic Quartet session from 1963 and is part of a trend of unreleased albums from 1950s and 1960s jazz greats released in the 2010s.

 
 

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Le chat dans le sac
Gilles Groulx, Canada, 1964, 1 h 14 min

 

Premier long métrage de fiction de Gilles Groulx, dans lequel il intègre les méthodes du direct. Le casting est composé d’acteurs non professionnels, les dialogues sont improvisés et le tournage en continuité réalisés dans des décors naturels assurent la spontanéité et l’authenticité propres aux productions documentaires. À travers la confrontation d’un couple dans la vingtaine, ce film pose la grande question de l’accession à la maturité politique du peuple québécois telle que perçue par un cinéaste épris d’idéal et d’absolu.

 
 

 

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Le TOP MMXVIII (December 30, 2018)
Le TOP MMXVII (December 30, 2017)
Le TOP MMXVI (December 30, 2016)
Le TOP X MMXV (December 30, 2015)