Monthly Archives: April 2020

Quarantine sci-fi: Iain Banks’ The Player Of Games

Posted on April 23, 2020 by Old Disgruntled Bastard

  The Player of Games is the second book in Iain Banks’ Culture series, notable for its mix of hard science fiction, world building, and socio-political commentary. In the distant future, humankind has left its home planet to become an … Continue reading →

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Cóndor – El Valle del Cóndor (2018)

Posted on April 22, 2020 by Old Disgruntled Bastard

As in language, so in music, the possibility of meaning becoming lost in translation is immense; especially so when the music is more parochial than the norm and the interpreter comes from a milieu altogether different from the creator. Such … Continue reading →

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Human Agony – Putrescence Of Calvary (2019)

Posted on April 20, 2020 by Old Disgruntled Bastard

Putrescence of Calvary is unabashed Blasphemy worship channeled through the likes of Pseudogod, but eclipses both by virtue of tighter songs than the first and less knuckle-dragging than the latter. As the video below of the band’s life performance illustrates, … Continue reading →

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Iron Maiden at 40

Posted on April 17, 2020 by Old Disgruntled Bastard

Iron Maiden‘s self-titled debut turned forty this April 14. Forty years is but a decade shy of half a century, a long passage of time by any measure, one that has seen the world change beyond recognition, and yet this … Continue reading →

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Sammath – Across The Rhine Is Only Death (2019)

Posted on April 16, 2020 by Old Disgruntled Bastard

I read somewhere that metal as opposed to rock n roll is thought over feeling, meaning that the metal musician feels first and then reasons upon that initial feeling to come up with an expression of his intellect. It is … Continue reading →

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Regarde Les Hommes Tomber discography review

Posted on April 15, 2020 by Old Disgruntled Bastard

Regarde les Hommes Tomber are the kind of band for which the parking-lot drinking session before going in to watch the headliner was invented: post-hardcore screamo with a djent tone on their self-titled debut, then incorporating more drone on the … Continue reading →

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