SEE YOU IN HELL by Chris Krovatin

February 21st, 2012

Chris Krovatin is a twice-published teen author and a journalist for Revolver Magazine, as well as the singer for Queens-based metal band Flaming Tusk. He lives in New York City, which he loves even though he is almost positive it is trying to kill him.

Sunday morning. I shudder awake around eight-thirty with mild heartburn caused by overeating. The remnants of a cold hang on me, and I take a moment to lurch to the bathroom, my back aching from spooning my bunched blanket, and empty my throat of swamp-colored phlegm. This involves making a series of hacking, scraping, and gurgling noises that undoubtedly wake my roommate. In the apartment I shared with my brother, we had just enough room between our bedrooms that the purging process could go unheard, and anyway my brother is somewhat of a family celebrity for the suppurating noises he makes when hocking loogies in the kitchen sink before dinner. One doubts my roommate is as accustomed to them.

After coughing up crap for about ten minutes, I return to my room and sweat some more of the cold out. My room is heated by a pipe that leaves it either an igloo or a sauna. I prefer the igloo, which provides cool relief and the encouragement to bundle up in a snug little burrito, but I feel the sauna has been helping me get rid of the germs via sweating. Soon, though, it’s getting late, nine-forty, so I decide to get up. My room is a pit at the moment. On Friday night I came home at an odd hour and found my bed covered with stuff, clothes and books and fine baubles and all that sort of shit, and given the circumstances decided it fitting to fling it all on the floor in a dramatic sweep. Now, my floor and desk are covered with my niceties, either strewn about or precariously stacked. Later tonight, I have to get it back into shape. Not now, heavens no.

KILL IT! WE HAVE TO KILL IT!

WHY HELLO.

In the bathroom, I wash my face, blow my nose, and check myself out in the mirror. Not bad. The past week has been a good one for working out—three runs, two days with the weights—and I’m in the shallow end of the Fat Spectrum. This is unexpected, seeing as yesterday was spent sitting and eating (this is pathetically true. From one in the afternoon until eleven-thirty at night yesterday, I did nothing but sit on the couch, watch Internet TV, and order takeout, except for a moment around eight-thirty at night when I ventured out to buy peanut butter and cupcakes). Normally, after that kind of Saturday, I awake looking more like Humpty Dumpty than Pan, but the consistent exercise has left me in the official Not Terrible zone.

On to the kitchen to make tea (still sick, and band practice later today) and do some dishes. The rack is full, and the kitchen is right by my roommate’s room, so I try to be quiet, which of course only results in my being clumsy and loud. I lose my grip on cabinet doors and they slam. Slow-handled silverware, usually only clattery and metallic, casually knock into things and make low, vibratory noises only emphasized by the silence. A swiftly-cleared drying rack, I decide, is a big clatter, but a slowly-cleared one is the soundtrack to an Asian scene in a 007 movie. Then, it’s wrist-deep in soapy water. I’m still careful with the glasses—on Wednesday, hours before a job interview, I shattered a beer glass around my hand, slicing it in four different places. All the cuts are superficial but lay on just important-enough finger fault lines that I have to worry about reopening them. Midway through the dishes, I grab a mug on the sideboard and begin scrubbing it, only to realize that it contains my pre-prepared teabag, and now my sponge is tea-infused. I toss it out, get a new bag, make the damn tea, and get out of this stupid room.

Back in the bathroom, I’m hocking up more flu jello. At least this means it’s leaving my body. This cold hit me without warning. Thursday night, I was out feeling great at the Lock-Up/Goatwhore show, and even went drinking at Lucky 13 afterwards. Friday morning, I was a full-blown carrier: aching muscles, clogged sinuses, hacking dry cough, complete disorientation. Somehow, I managed to run two and a half miles and go out to dinner and drinks without fainting in a feverish heap (between the run and the dinner, I did wonder if I was going to die). It slowly dawns on me that Tomas Lindberg was sick at the show—he was coolly apologetic about his half-there vocals, citing throat soreness and flu—and that the At The Gates and Great Deceiver frontman might have gotten me sick when he slapped me on the back to get past me earlier in the night. Silently, I curse the famed death metal vocalist for infecting me, because it was definitely he, not the four hours of hard drinking that followed the Lock-Up show, that destroyed my immune system. That Swedish bastard.

We have a pull-up bar now, so I do a couple of pull-ups, meaning literally two. They are still an exercise I have yet to master. I blame my muscles. I am achey like an old man these days, especially in my lower back. Lately, I’ve been talking a lot of shit about going to get a professional massage, but this week I might go for it. My muscles are all knots; sometimes, scratching certain parts of my body causes severe pain to run through my entire shoulder. My calves feel like they’re going to explode. More and more, I wonder if having the tension kneaded out of me would keep me from being so violent and compulsive. If it doesn’t work, I’m moving on to acupuncture. For some reason, that has always made sense to me—by piercing and tapping into a specific well of tension in the body, you can bleed the stress out like a pimple (I find it helps once you stop thinking of these practices as concerning chakras, crystals, and tantra, and instead personify them as corporeal purging, like lancing a blister. You feel less like a pussy when you imagine yourself literally squeezing congealed hate out of a sore on your spirit).

Eleven in the morning, and my roommate still sleeps. Out my window, south Brooklyn stretches like coral, squat red bulges etched with geometric lines, ancient in its architecture but flashy in its signs, dead trees poking up furry and grey-brown along the streets, exhaust vents and chimneys and gables reaching up toward the cloud-choked sun. In the distance, there’s the rise of the hill, the dropped skyline around the cemetery. The two gates of the Verazano loom, the connection of their cables hidden by buildings, so two of the same dinosaur herding together. My iPod doc screams grindcore. My room swelters, and I sit and drink hot tea and bead with sweat and stink, both from Friday’s extracirriculars and Saturday’s lack thereof. Soon, I’ll shower myself into a state of blissful cleanliness and head to band practice, but for now I’m content to sit and fester, just a dude, an electrical charge wearing a disgusting meat costume, staring out over the sprawling beer gut of Brooklyn.


SEE YOU IN HELL by Chris Krovatin

January 28th, 2012

Chris Krovatin is a twice-published teen author and a journalist for Revolver Magazine, as well as the singer for Queens-based metal band Flaming Tusk. He lives in New York City, which he loves even though he is almost positive it is trying to kill him.

Death metal is meaningful as music because it is entirely true. It is a genre fixated on a genuine fact: there’s life, and then you die. Sure, there are plenty of embellishments, with the fixation on some kind of afterlife, be it as a bloodthirsty zombie or just a soul sauteeing in the bowls of Hell. But at its core, death metal, in all its incarnations, is focused on the idea that the end is near. For me, for you, for us, this building, this city, the country, the earth, and eventually the cockroaches and the Styrofoam. The genre’s tendency towards the grossness of human anatomy in the face of violence comes from a fascination at what happens to the meat vessel when the electrical storm that is my personality detaches from it. Death is coming, no, not coming, here, now, behind you. At the end of the day, everyone’s face is a skull. Period.

The fear of Death is the lubricant thanks to which spins the axis of our world. This is how it is, how it’s always been, and there’s not too much we can do about it. It’s honestly pretty funny, how one minute we’re these fonts for creativity and strength and the next we’re a lump in a box with some flowers on top. And I love it, just like most people. When I eat a peanut butter M&M, it’s killing me. When I drink orange juice, it’s not. When I watch a funny episode of something on my TV, it’s something pleasurable I did, something funny and original that I experienced because I’m not dead yet. Every birthday is a reminder that I didn’t get shot or choke on a household product that year, and gifts are happily accepted. Thanks for the sweater, I’m still here to wear it. We’ll see how this next year goes.

Back in the times of our initial ancestors, when the wolves circled and the fire burned low, humanity’s grasp on the Reaper was clearer. Sometimes the hunters never came back from the freezing darkness outside the cave, or dinner got you first. Old people were seen as either freaks or mystics, consulted and feared for the sheer amount of knowledge they possessed after outliving seventy snows. But feeling old, even as what we now consider a young man, was as inevitable as Death. By the age I am now, I would’ve seen enough mammoth intestines to leave me scarred for life, or fought a war using rocks as the primary weapon. There were no teenagers, just men who hadn’t witnessed enough horror yet. It seems romantic, but it was probably just awful. That’s the extreme fear of Death, the simple base-brain instinct that keeps us sprinting from the beast.

Look at the dog!

He knows if you've been bad or good/So be good, for goodness sake

People live so long these days. It boggles my mind. Being old seems rough. In my late twenties, I feel lame and helpless all the time, so I assume from some quarter century’s worth of observation that it just gets worse. It can be done more gracefully than not. Exercise, diet, and worldview can be used to adjust well the old age, if one chooses to accept it. Some of my favorite pleasures are Old Man stuff, like drinking a few whiskeys while reading on a sunny porch, or carving a jack-o-lantern and talking jive with a nephew or niece (I’m not a weird uncle yet, but the idea tickles me). It’s just that being old means much of the time I spend these days carousing with my friends and laughing like crazy is going to be replaced by finding new methods of warding off Death. Falling in love will be replaced with medication. Being young at heart is all you can do, but it’s amazing how few people make a point of keeping up the act. It’s gotta be hard. These days I get tired washing the dishes.

I was once having a beer with my sister and some of her friends, and we were talking about life, and one of them, a woman in the process of becoming a midwife, brought up my general demeanor, my thing—the tattoos, the metal, the endless obsession with Death. I replied that my perpetual morbid streak was because most everything relates to our fear of the end, from plastic surgery to chocolate. I went on to say an idea I’d formulated some time ago, that Death was the one thing all human beings had in common. Kings and paupers, saints and sinners, they all ate the casket sandwich one way or another. She countered that I was forgetting that we all came from somewhere too, that all human beings are born, and she said it in such a way to imply that she found birth far more relevant than . In a way, she is right—stories always have better beginnings than endings. Decay and nonexistence often comes in a clumsy charnel house way, while birth is intricate beyond belief, every time. No one has ever waxed poetic on the miracle of Death. But I like my idea better.

There are outstanding beauties to life, moments of sublime clarity and spiritual awareness that make the whole march worthwhile and at the same time meaningless. We can’t live without them. There is no point to life other than happiness, and everyone must fight to find it. Obviously, contentment comes in many forms, and in the specific cases of human monsters, sociopaths and narcissists in which the human machine has obviously broken along the way, obtaining it is horrific. For most of us, even the perverts and the primates and the off-kilter realists and the straight-up nerds, these basic moments of happiness are easy to achieve if we apply ourselves to them. But they’re glowing buoys in a sea of plan grey Death. Every piece of proof that something like God exists is surrounded on all sides by cold dark space, which, at the end of the day, swallows it.

There was a time where I felt Death’s awesome presence, but it was far away enough to watch it unscathed, like the sun. These days, I am too close, and my skin has begun to burn. I run at least fives miles a week and lift weights at home. I eat more salads than I ever imagined I could stomach. I feel lousy if I don’t get my eight glasses and eight hours, so I tone down my after-hours tomfoolery. And yes, these are selfish moves, tolerated more to help me get laid than healthy, and they remain underwhelming given how often I drink liquor to excess, smoke more than I should, and consume fried foods at hours not believed in by our forefathers. No one wants to press their body against someone who looks and feels like they’re not trying. But at the end of the day, even that base desire is related to my fear of the final curtain. If I can get laid, I’m trying, and if I’m trying, I’m winning. Every bite of baby spinach is a crucifix in my window, warding off the shadows. When I throw on my sneakers and jog out into Central Park, I’m well aware of what I’m running from.

I exist in a world where Death rules. Everything I see outside of my door, and indeed all over the entire world, are images of beauty, desire, and order that all translate into quick, panicked breaths on the last glowing ember. There is nothing else to do in life but forge ahead, try to make my garden grow. Because it’s coming. This I am sure of. It is a fact, and one that I share with each and every one of your who reads this blog post, and each and every one of your who doesn’t. I’m not going to escape it, and honestly, that’s fine. To do so would be inhuman, and I am content with the animal I was born as. My name is Chris Krovatin, I’m twenty-six years old, and I am dying.


SEE YOU IN HELL by Chris Krovatin

November 7th, 2011

Chris Krovatin is a twice-published teen author and a journalist for Revolver Magazine, as well as the singer for Queens-based metal band Flaming Tusk. He lives in New York City, which he loves even though he is almost positive it is trying to kill him.

The first Thursday of November, Greenpoint, Brooklyn. You stroll north on Manhattan Avenue past dollar stores, delis, and old Polish men. Slowly, you see a smattering of couples heading my way. Each person is dressed in black from head to foot and has a book under their arm. All of them are grinning like children.

“How is it in there?” you ask one scruffy passerby who resembles Geddy Lee.

“It’s thinned out a bit,” he says. “You should be able to get in there, no problem.”

St. Vitus appears, its exterior surrounded by long-haired older men in flak jackets and hoodies looking either stoked or nonplussed. Inside, the all-black bar is as hard to navigate as always, the few votive candles scattered throughout the bar doing little to fight away the fluid shadows of the place. This place, you remember with a smile, is such a great damn metal bar. It’s just so fucking dark. Everyone inside is laughing, chatting, and drinking pint after pint. All of them have the same book either in their hands or under their arms. You get a couple of noncommittal glances on the way in, but then everyone returns to their brew. The side of the beer makes you lick your lips, opens a whole in your stomach, but you cast it from your mind and keep slithering through the mob. Booze can wait until the Mayhem show tonight. That’s not why you’re here.

At a nearby card table, you find a long-haired dude who almost could be the guy from Main Street Jukebox in Stroudsburg sitting at a card table. He has a box of the book everyone’s holding, and surprisingly tells you that you canpay for it with a credit card. He hands you a copy—Christ, it’s heavier and thicker than you’d expected, but then again, the man’s done no small amount of living—and then swipes your credit card through a small fork-ish card swiper he has plugged into his iPad. “I can text you a receipt,” he says, “or not, whatever.” Technology boggles your mind these days. Tomorrow’s dream indeed.

Figure in black

The back room of St. Vitus has a line stretching through its black interior that goes all the way to the stage. The ribbed black walls on either side of you boast huge screens featuring crosshatched drawings of abstract blasphemies—dead trees, looming churches with inverted crosses, winding serpents, skulls. You wonder if they’re just for the signing, or if they’re now part of the bar’s décor. One of the booths on your left is filled with a gang of relatively square-looking men and women quietly talking with grave looks on their face—publicity folks, no doubt. One long-haired gentleman nearby makes eye contact and smiles at you, and for a second you remember him from all the magazines and documentaries and nosebleed seats, but his name alludes you. Balls.

You inch forward bit by bit until you’re standing in front of the two small steps that lead to St. Vitus’ stage. Atop it, a card table covered with votive candles sits flanked by the owners, whose names you forget, of course. A tightness grows in your neck, your head, the hinges of your jaw, your fingertips. It’s something between buzzing and pulling. You told yourself this wouldn’t happen. You’ve interviewed, fuck, everyone by now—they’re all just people. This guy’s just a guy, sitting in a chair, sipping some tea. And yet here you are, practically vibrating, feeling the air grow thicker and the shadows around you shudder with energy, with presence. It’s like in Dracula, where Jonathan Harker describes the anxiousness of even being around the Count. Like you’re here in your little podunk reality, but someone from another dimension, who breathes different air and has seen ages beyond your comprehension, is next to you.

As you ascend the stairs, the skinny owner of St. Vitus takes your book from you, nods half-knowingly at you—probably thinking That’s the drunken goon at Impiety who kept thinking he’d lost his backpack—and opens the book to its front page. He slides it along the table.

“Hey, Tony,” you hear yourself say.

Tony Iommi, lead guitarist of Black Sabbath, picks up your book and signs it. He looks up at you with soft, weary eyes.

What is this, that stands before me.

“Thank you,” you say. “Thank you, Tony. Not just for the signature—I mean, Jesus, I appreciate you coming out to this far-off metal bar in Greenpoint to sign copies of your book—but for all of it. For the way you play your guitar. I don’t play, myself, but I worship the guitar, I stand in awe of its undeniable power, of the way it can grab my heart and mold it like clay. You have the ability to do that with a guitar—you have for ages—and that deserves all the gratitude in the world. Thank you for tapping into the sounds of darkness and touching the weird, brittle souls of me and hundreds of people like me. There are so many of us, Tony, who walk this earth feeling tortured and betrayed and present in a more sinister game than anyone wants to admit to being a part of, but your music, the organic bestial drone of your guitar, makes sense to us. It’s the sound of what we stand for, what we want to be. And sure, we might be more focused now one whatever pack of strung-out twenty-somethings are channeling the new variation of this spiritual longing, this desire to master our reality, but at the end of the day we are all here because of you. Black Sabbath fathered this thing that seems so extravagantly and obviously beautiful to us, but you were Sabbath’s driving force, even when the drumming sounded light and the bass could’ve used more reverb and Ozzy was singing a clichéd lyricthat we patiently overlooked. You were always there, at the base of it, emanating a force that gave us purpose. Thank you for that, Tony. Thank you for making me feel less alone.”

Heh. You wish.

“Here you go, man,” he softly intones.

“Thanks so much, Tony,” you manage. “I really appreciate it.”

He reaches out his hand, the Hand Of Doom, two fingers wrapped in black. You shake it carefully.

“Take care,” you think he says.

“Watch your step,” says the other owner of St. Vitus, the short stocky one, handing you your book back and gesturing you back toward the bar.


SEE YOU IN HELL by Chris Krovatin

November 1st, 2011

Chris Krovatin is a twice-published teen author and a journalist for Revolver Magazine, as well as the singer for Queens-based metal band Flaming Tusk. He lives in New York City, which he loves even though he is almost positive it is trying to kill him.

When you stumble out of your room, your eyelids heavy with liquor and your stomach great with candy, the sight of the starved pumpkin almost offends you. Its color, the ruddy organic orange of a turning leaf in the light of a setting sun, hits you with a sneer when for the past month it has sparked in you nothing short of giddy life-affirming excitement. As you shower and brush your teeth, you wonder if the cockroach you saw the other day was attracted by the rotting gourd. The Internet said no, and you were so full of holiday spirit that you decided that you’d rather live with roaches than without a jack-o-lantern, but now you’re suspicious. Better throw it out by tonight, or tomorrow at the latest. It might stink up the place.

I'm in your house!

One glance at the fridge makes you shudder—you could not drink a Post Road Pumpkin Ale for the rest of your days. As you head out to buy milk and coffee (good job getting it on the way home, retard), you take stock of the things sitting in front of your apartment door—a plastic skull, two rubber rats, a latex severed hand, a pumpkin pail, and a large rubber bat dangling from the burglar hole. Those you can stand to leave around a day or two; they’re metal enough to not evoke the holiday and the holiday only. Outside, the streets are littered with the expected detritus: broken eggs, a paper Frankenstein mask, candy wrappers, scraps of streamers, and a single red vinyl high heeled shoe. At C-Town, you get the basics, the whole time smiling sadly at the paper ghosts and witches that dangle overhead. Bulk chocolate is half price today. You wonder how cheap things are going for at Abracadabra. Maybe you should swing by and get some make-up stuff while the prices are still down.

Back home, you’re stunned by the sheer amount of work you’ve let back up. There are a ton of reviews to write, e-mails to send, invoices to check on. You wish you had no idea how this happened, but you’re no fool, you know. The work went undone while you hauled cases of Post Road back to your place from Eagle Provisions, while you pushed through the racks at Ricky’s around the city trying to discover if they had snap-on shark teeth, while you were out at the dry cleaners’ getting your black tux cleaned, while you were sitting on the couch watching one Simpsons Treehouse of Horror after another. And your slacking wasn’t even out of ignorance. You knew you had this work to do the whole month. It came to your mind immediately today. You just didn’t care. Wasn’t creepy, kooky, mysterious, or spooky. It would have to wait.

Your mailbox contains the late-arrival copy of Young Frankenstein from Netflix, and you immediately seal it up without watching it. Not in the mood. A glance at your DVD queue brings about a similar sense of aimless annoyance. Tossed down are Zombie Holocaust, Children Of The Night, and Slaughterhouse, and bumped up are Thor, Michael Clayton, and Total Recall. Sitting on the can, you find yourself with nothing to read except two trade paperbacks of The Walking Dead and a book of foreing horror movie posters, none of which you particularly want to read. Again, you can’t help but smile at the difference. You wouldn’t have read anything else yesterday. If someone had offered you the book of your life, you would’ve handed it back and asked for something by Clive Barker. Now look at you.

In the next room, the cat knocks something breakable to the floor, and you spray-bottle that little fucker into a corner before picking up the two items that’ve fallen, a collins glass now dissected into a million shards and your mask from last night, a simple plastic children’s goat mask. It had looked amazing on top of your black tux, somewhere between Eyes Wide Shut and The Devil Rides Out. Even with your drained holiday spirit, you have the nerve to put it back on, and immediately you see why you wore it so sparingly at the Sleep No More after-party last night—the wide-set eyes give you a Hell of a blind spot in the middle. You’re surprised you didn’t slip on some dog shit and break your neck walking around in this thing last night. If you do something similar to Sleep No More next year, you have to find something with the eye holes a little closer together.

Your forearm stings, and you remember that oh yeah, you got a tattoo yesterday, dumbass. In the bathroom, you wash, apply ointment, and then give it a good look in the mirror. It’s the mask from the first chapter of Ray Bradbury’s The Halloween Tree, your favorite book of all time. Each chapter has a scare mask over its title, and you intend to get a new one added to your arm every year. This one’s a skull, one eye outlined white and hollow, the other outlined black and dotted with a maniacal pupil. The strings of the mask flutter in the air next to it, and its mouth is opened in a childishly disturbing cackle, as though it’s flying through the air at you, screaming that death is here, he’s arrived for one night only, and they’re having a big party for him downtown, you should come, wear a mask.

Put an apple in the pillowcase, bitch. I dare you.

And that’s when it hits you—the good feeling, the release. All day, you’ve been wrestling with the leftovers of your holiday cheer, the hangover that’ll make you puke if you so much as smell Frankenstein or candy corn. But this tattoo is your reminder that you can head into winter with your head down and your chin up. Your monster muscle should be tired after the week you’ve given it, the marathon of ghoulishness that you’ve undertaken over all of October. It’ll be here next year, ready and rejuvenated; around July you’ll begin to get postcards from it, and by Labor Day, you and the Specter of November’s Eve will be in serious talks about costumes and microbrews. For now, the Reaper can toss his cloak and scythe in the corner, throw on some PJ pants, slump back in an armchair with a cheap watery beer, and throw on some football or a superhero movie.


Weekly Metal Guide (10/28-11/3)

October 27th, 2011

Friday (10/28)

The Mercury Lounge:  Panzie / Ghosts of Eden / Beta Plus Embryo / MP Project / The Mighty Pragmatics / Ten Ton Mojo.  Doors @ 8pm / $12.  21+.  217 E Houston St, NYC.

St. Vitus Bar:  Reagan Youth / Too Many Voices / Real Mentality.  Doors @ 6pm / $10.  18+.  1120 Manhattan Ave, Brooklyn.

The AcheronNatur / Hessian Record release / Pilgrims.  Door @ 8pm / $10.  ALL AGES.  57 Waterbury St, Brooklyn

Saturday (10/29)

Hammerstein Ballroom:  Danzig.  Doors @ 7:30pm.  ALL AGES.  Tickets Here.  311 W 34th St, NYC.

The Wunder Bar:  Torturous Inception / Thanatotic Desire / Perish The Thought / Darkness Descends / Ashes of Your Enemy / Embrace Agony.  Doors @ 8:30pm / $10 with costume, $12 without.  21+.  37-10 11th St, Long Island City, Queens.

The Trash BarThe Hixon / Generation Kill / IKILLYA / Mahavatar / Trial By Terror / Hail the Fail.  Doors @ 8pm / $12.  21+.  256 Grand Street, Brooklyn.

The Acheron:  Warcry / Ripper / Trenchgrinder / Gas Chamber / Dead Reich.  Doors @ 8pm / $10.  ALL AGES.  57 Waterbury St, Brooklyn.

Monday (10/31) HALLOWEEN!!!!!!!!!!

Lit Lounge:  Pyrrhon / Man’s Gin / Cut Your Teeth.  ALL COVERS SET.  Doors @ 9pm / $6.  21+.  93 2nd Ave, NYC

B. B. KingMisfits / Juicehead.  Doors @ 6pm / $28 ADV, $32 DOS.  Tix Here.  ALL AGES.  237 W 42nd St, NYC.

Highline Ballroom:  Queensryche / Sonic Bliss.  Doors @ 7pm / $55 ADV, $60 DOS.  Tix Here.  431 W 16th St, NYC.

St. Vitus Bar:  Vital Remains / Strong Intention / Prostitution / Gang Signs.  Doors @ 8pm / $12.  21+.  1120 Manhattan Ave, Brooklyn.

Thursday (11/3)

B.B. King’s:  Chimaira / Impending Doom / Revocation / No Remission.  Doors @ 6pm / $17.50 ADV, $20 DOS. Tix Here.  ALL AGES.  237 W 42nd St, NYC.

Gramercy TheatreDay One of The MetalSuckFest ft. Mayhem / Keep of Kalessin / Hate / Abigail Williams / Woe.  Tickets Here.   Buy a 3-day Pass Here.  16+.  127 E 23rd St, NYC.

The Acheron:  Loma Prieta / Black Kites / Nailed Shut.  Doors @ 8pm / $10.  ALL AGES.  57 Waterbury St, Brooklyn.

 


SEE YOU IN HELL by Chris Krovatin

October 17th, 2011

Chris Krovatin is a twice-published teen author and a journalist for Revolver Magazine, as well as the singer for Queens-based metal band Flaming Tusk. He lives in New York City, which he loves even though he is almost positive it is trying to kill him.

You blink twice, and then your eyes fully open and the world comes lurching back to you.

What. The. Fuck.

Pain shoots through your head like a bolt of lightning. Your jaw, recently savaged by minor surgery, is throbbing with red-hot waves of agony. Your right knee has a sharp ache to one side that suggests you got violently knocked over by a warlike Mexican. Flashes of the evening shudder into your head—St. Vitus, Mutant Supremacy, Melody Henry, cheap pints, too many shots, fucking Impiety—as you reel to the bathroom, take a 45-second long piss, and pop some Ibuprofen. A nub of sausage in your teeth brings back the taste of the diner food you had at three in the what the fucking morning. Your pockets reveal receipts galore and two band patches featuring goats wearing gasmasks. You have no cash.

After a little therapeutic Futurama, your stomach pipes up. Yeah, water and OJ are all fine and good, but your festering bowel needs to be plugged with something substantial. But you’re broke, and Seamless seems like a chore. Your mind stretches out across the apartment and takes stock. No peanut butter, no soup, no frozen chicken tenders, barely any bread, no milk, only a little bacon left after the carbonara you made yesterday—

And then it hits you. It gets its hooks in your mind, unable to be shaken off, no matter how many times you argue it away, no matter how much it seems like your white flag in the Battle of Acting Your Age. That Tupperware in the fridge seems to pulsate with an inhuman glow, and you know what has to be done. It’s inevitable.

You gotta eat that spaghetti, dogg. You gotta eat it all.

Spaghetti carbonara doesn’t seem like something that’s easy to fuck up, but plenty of people just can’t get the hang of it. It’s the eggs. Carbonara, or goodcarbonara, has an egg-and-butter base without the help of cream or milk, and the egg is lightly cooked by the outside of the pot. Your friends always end up with spaghetti and scrambled eggs because the pot was too hot, or they didn’t stir quick enough. But it’s really the easiest thing to make in the world. Butter, eggs, parmigian cheese, stir spaghetti, add crumbled bacon and more cheese. It’s a peasant dish, made with whatever was left in the house at the end of the week. Yesterday, you made a huge delicious pot of it. It was so good, you had seconds, and put the rest in a Tupperware for later. Well, guess what, buddy—it’s later now.

This can only end badly.

On first glance, it, like you, hasn’t slept well. The eggs have aged overnight, and giving the whole thing a jaundiced yellow. The bacon, this thick-cut home style stuff you got from your Bacon Of The Month Club (fatass), has turned a little gray where it should be red and crispy. In fact, the whole thing gives off an not terribly pleasant odor, and for a moment, you second-guess yourself, and wonder if you should just have some cereal, but guess what, dumptruck, you’re out of milk. Besides, you know there’s no going back now. You’ve decided that you’re going to eat spaghetti carbonara for breakfast. Don’t be an asshole and renege at the last minute. Besides, if it looks like this now, it probably won’t look much better at lunch. Thank God your roommate is out. He’d never let you live this down, if he saw this.

You overturn the Tupperware onto a plate, and then pat it’s bottom like you’re burping a baby, until the spaghetti falls out of its plastic cell in a single square piece. Then you crank the over up to two-fifty and go watch some more cartoons. Twenty minutes later, you pull that steaming plate of reheated hangover cure out of the oven and take it to your room. You don’t even switch plates, you just swaddle the oven plate in a dish towel to keep it from burning you (even though you do burn yourself on it, repeatedly). You take the plate back to your bed and get comfortable. Careful, ego, this is going to hurt.

There are no bites. There’s not much eating, even, in the traditional sense. It’s more like packing hay—you jam your fork in the pile, and then jam it into your mouth. The many muscles in your aching jaw just sort of draw it in, crunching bacon and slurping butter all the way. Everything feels a little chalky, a little reheated—the spaghetti’s ends are kind of crunchy for your taste—but as it moves into your body, you feel it take the pain’s place. The Hangover shrieks, holds up its arm, flashes its stinking teeth, but then its mottled flesh melts away, burned off by the shining light of this big plate of greasy-ass leftovers.

Slowly, the day returns to you. You watch some more cartoons, then get a little writing done. You ponder coffee. Yeah, fast movements are an impossibility, and whenever you stand up there’s a pounding throb in your head and a sharp spike in your knee, but overall you’re pretty mobile. You sew one of the gasmask goat patches onto your denim jacket. You finally put on pants.

And then, searching among the band flyers and demo CDs in your pockets, you find it. A crisp, green twenty dollar bill. Remember? At the diner, you only had a credit card, so she gave you her cash. You could’ve ordered something, anything really, instead of sucking down a about a helping and a half of leftover pasta at 11:00 AM. But, you wonder, would it have been the same? Would it have been as satisfying, as pleasant? And the answer is yes. It would’ve been better. You just ate spaghetti for breakfast in bed, dude. You’re a real piece of shit.


SEE YOU IN HELL by Chris Krovatin

October 13th, 2011

Chris Krovatin is a twice-published teen author and a journalist for Revolver Magazine, as well as the singer for Queens-based metal band Flaming Tusk. He lives in New York City, which he loves even though he is almost positive it is trying to kill him.

I’ve just reread my last three entries, which are these well-written but overall sad bastard entries about my life and how hard it can be. Fuck that. This blog is about fucking metal, right? So let’s talk about metal shit in my life.

Go pick up, download, whatever, the demo of New York City-based black metallers Mutilation Rites. Even better, track down their next show and go see them live. This band has these blaring washes of noisy black metal grimness, but they’re punctuated by charging thrash reminiscent of the best old Slayer. It’s what you want out of a band like this: the black metal elements are overly present, and the wide stretches of painful, insatiable darkness are emotionally powerful, but those bursts of speed and melody take it out of the overly-sprawled sound that some bands like Liturgy and Krallice overdo. I saw these guys at the Acheron last Monday, and they were killer. Highly recommended.

Mikeller/Stillwater recently released Rauchstar, a smoked rauchbier whose name is betrayed by its kult-ass label. And while each one-pint-nine-ounces of this beer clocks in at $18 at Bierkraft in Park Slope (in this economy, eighteen bucks is no joke), it’s sharp bacon-y flavor and smooth mouth feel are totally worth it. Rauchbier is normally kind of hard to drink, but Rauchstar is as easy and enjoyable as any dark flavorful lager or stout. Oh, and I guess it’s worth mentiong that this shit is 9.4% ABV, meaning one pint of this black nasty will give you nice sharp fighting drunk, perfect for stomping home to your hovel in the hills outside of Oslo and blaring “Jesus Tod” out of your cassette player for the rest of the night.

Black Metal Vol. 2 by Rick Spears and Chuck BB is the metal comic to own this fall. The book, released by Oni Press (who have done some pretty spectacular stuff in the past with Jim Mahfood and Troy Nixey), picks up where Vol. 1left off, telling the tale of Shawn and Sam Stronghand, two corpsepainted pre-teen halves of a reincarnated Hell Baron who now rule over a large portion of the abyss with an ancient sword they discovered by listening to a Frost Axe album backwards. Still with us? Okay. The last volume was all about the grim passage into Hell; here, the brother traverse the abyss fighting giant snakes, swarms of locusts, and even Satan himself on their quest to obtain unbeatable darkness in their hearts. The cartoonish art and melodramatic tones of speech only add further black valor to this comic. Fans and newbie’s alike should feel free to blow their unemployment on this book.

Tits on a beer.

TRUE.

Though it was released back in 2008, I only recently discovered the Demonstraiton Desolation demo by German blackened crust-thrashers Choke Thirst Die, but I’m happy I did. Playing a murky but infectious brand of ugly blood-spattered slugfest metal, these guys slay track after track on this demo, with songs like “Total Destruction” and “Bastard Race” perfectly blending the best parts of Discharge, Bathory, and Destruction before running them through an old Victrolla covered with dead worms. This isn’t alone-in-the-dark blackened thrash, either, the way certain Nifelheim records can be—this is walking-around metal, the kind of music you throw on your headphones when you want to wander down the street and directly into a knife-fight, the kind of stuff you blast in your car as you mow down a crowd of schoolchildren (their panicked smiles are lies, you know they’re all monsters inside, just like the rest of us). A must-have for any fan of nasty underground thrash metal, underground black metal, or packing wounds with poultices containing cocaine.

If you want to eat like a Viking, then Korzo in South Park Slope is the place to go. I’m not talking one-pound turkey legs, I’m talking cheeseburgers deep-fried in Langós and covered with onion spread and pork neck. I’m talking the Flat Iron Max, a steak, onion, cheese, and butter sandwich that will make you feel like a family of Cossacks has moved into your stomach. I’m talking liters of German and Polish beer, crisp and yellow as they run down your chin. And I’m talking about a place with a tattoo parlor right next door. That’s right, if you want to eat seven thousand calories, drink a gallon of hefeweizen, and then get Rat Fink tattooed on your eyelid, you can do that without walking more than twelve feet.

Man, isn’t Judas Priest’s “Leather Rebel” just amazing? The other night at Lucky 13, Matt Kepler was DJing, and he played this song, and I was suddenly reminded of how unarguably rad it is. The lyrics describe something without telling a story. They’re technically nonsense at times, but they all suit the song so well, and paint all this ambient imagery in your head. And then there’s that kick drum of Scott Travis’, which never tires the whole song. And who can deny that opening riff? There are some metal songs that are, in their very essence, about being metal as fuck, and this might be the best one. Judas Priest might just be the most metal band in history.  “Leather Rebel” is even their later work, proving that right up until 1990, this band was making mind-blowing music and selling awesome records. This song is tits on a beer.

I am now living near the Green Wood Cemetery, and it is a stunning monument to death. It’s like entering into some kind of death-themed fairy tale land. Paved roads and tiny cobblestone paths named things like “Warrior Path” and “Victory Way” stretch throughout a jagged, clogged collection of some of the most breath-taking monuments you’ve ever seen. Giant pillars carved to look as though they bear a shrouded urn. Huge adorably morbid traditional tombstones, their stone thickness and simply biblical quotes making them look like giant cookies. Mausoleums with city hall-ish stone pillars in front. One grave bears a life-size statue of Pythagoras, Greek philosopher and mathematician. Throughout all the upfront morbidity, there are nice marble stairs and big trees throughout that make it a perfect place to take a seat, relax, listen to a little music, read some fucking ‘Salem’s Lot. It’s vast, too, at least a third of Prospect Park’s size. The giant Disney-like stone gates at the front entrance have a family of escaped monk parakeets living in the center spire. The gates bear the inscriptions “Come Forth!” and “The Dead Shall Be Raised!”

You guys ever heard of Joanna of Castille? AKA Juana La Loca? Oh man. So, here’s how it goes. While she’s reigning Queen of Castille, Joanna’s husband, Phillip The Handsome—you wonder why no one had that talk at the bachelor party, “Dude, you’re handsome, she’s crazy!”—dies of Typhus. Five weeks after his death, Joanna has him disinterred, has the body brought out, and prays. She prays and prays and prays that Phillip will somehow rise and come back to her. And she drags everyone out to watch, to see what a crazy thing this’ll be. And after a while, she starts kissing his putrefied feet, so they drag her away, and then her son has her sent to live in a windowless cell going insane for the next thirty-five years. That’s some real historical darkness there, man.

Okay, there you go. Metal shit in my life right now. I’ll be back to trip the light retarded and overuse “awesome” in a few days.


Weekly Metal Guide (10/7-10/13)

October 6th, 2011

Friday (10/7)

St. Vitus Bar: Deceased / Bitchslicer / Hellcannon / Possessor. Doors @ 8pm, $12.  21+.  1120 Manhattan Ave, Brooklyn.

The Acheron: Earthride / When The Deadbolt Strikes / Archon. Doors @ 8pm, $10.  ALL AGES.  57 Waterbury St, Brooklyn.

Saturday (10/8)

St. Vitus Bar: The Binary Code / Family / Torrential Downpour / Wizardry. Doors @ 7pm, $8.  21+.  1120 Manhattan Ave, Brooklyn.

Don Pedro: The Proselyte / Tidal Arms / Yorba Linda / Lunglust. Doors @ 9pm.  21+.  90 Manhattan Ave, Brooklyn.

ABC No RioArgonauts / Thou / The Body / Alkahest. Doors @ 3pm, $7.  ALL AGES. 156 Rivington St, Manhattan.

Sunday (10/9)

St. Vitus Bar: Woman / K-Holes / Degreaser / The Love Butchers. Doors @ 8pm, $8.  21+.  1120 manhattan Ave, Brooklyn.

The Acheron: Wake / Praetura / Nailed Shut / Pyrrhon. Doors @ 8pm, $10.  ALL AGES.  57 Waterbury St, Brooklyn.

Monday (10/10)

Mercury Lounge: Rwake / Hull / Primitive Weapons. Doors @ 730pm, $13.  21+.  6 Delancey St, NYC.

Lit LoungeTiger Flowers / Vilipend / Eyes of the Sun. Doors @ 9pm, $6.  21+.  93 2nd Avenue, NYC.

Gramercy TheatreImmolation / Jungle Rot / Gigan.  Doors @ 6pm, $14.  ALL AGES.  127 East 23rd St, NYC.

Tuesday (10/11)

The Bowery BallroomHelmet. Doors @ 8pm, $20.  18+.  6 Delancey Street, NYC

Wednesday (10/12)

Santo’s Party House: Bane / Defeater / Miles Away / Dead End Path. Doors @ 7pm, $12 ADV / $14 DOS.  ALL AGES.  97 Lafayette St, NYC.

Gramercy Theatre: Firewind / Arsis / White Wizzard / Nightrage. Doors @ 630pm, $19.  ALL AGES.  127 East 23rd St, NYC

The Acheron: Might Could / Tournament / Galleon. Doors @ 8pm, $10.  ALL AGES. 57 Waterbury St, Brooklyn.

Thursday (10/13)

Best Buy Theater: Cavalera Conspiracy / OTEP / Earth Crisis / Mold Breaker. Doors @ 7pm, $25-28.  16+.  1515 Broadway, NYC.

B. B. Kings: Saxon / Borealis. Doors @ 6pm, $26 ADV / $30 DOS.  ALL AGES.  237 W 42nd St, NYC.

Irving Plaza: Yngwie Malmsteen. Doors @ 7pm, $29.50.  ALL AGES.  17 Irving Plaza, NYC.

The Acheron: Hessian / Big Gunz. Doors @ 8pm, $10.  ALL AGES.  57 Waterbury St, Brooklyn.


Escape into Some Cuban Metal

October 4th, 2011

Today I received a really interesting email concerning amongst many things a Cuban Metal band named Escape.  Seeing as I know nothing about the existence of metal in Cuba, let alone Cuba itself I was especially intrigued by the message and took the time to check out Escape‘s music.  To my delight it is pretty awesome and will probably be enjoyable to any one who is a fan of Children of Bodom and Dimmu Borgir.  But while this band is awesome there is still a large stumbling block to us American metal fans ever getting a chance to check them out in concert, i.e. American and Cuban political relations.

Fortunately for us the keyboard player of Escape has come to the States and is part of a concerted effort to help get Escape here for a U.S. tour.  This is where all of us NYC metalheads can help out by coming out to the first of many events, to be held at The Trash Bar on October 6th, to help make this dream a reality.  All of this will be best detailed by simply just pasting the email that I received from Tracey, From Unblock the Rock:

…in July 2009 I left for Havana to shoot the first feature length documentary on heavy metal in Cuba, specifically the band Escape. (more info about the film here: theywillbeheard.com)

The original keyboard player of Escape, Jennifer Hernandez, who immigrated to the United States during the shooting of the film,  and myself have been working on an effort to bring Escape here for the first Cuban metal tour ever. We call it UnBlock the Rock.  Consider this Buena Vista Social Club meets Slayer.

We’ve been working very closely with Alex Skolnick and Monica Hampton, producer of Heavy Metal in Baghdad, and have some great events coming up, including our first UBTR fundraiser on the 6th at Trash Bar. We have 4 amazing bands, including Jenny’s new Cuban metal band based here, FireHaze, going on at 9 pm.
We are trying to build a community of rockers who love democracy and banging their head to spread the word, raise money and awareness, and make it happen. I don’t know how much you know about relations between the US and Cuba, but diplomatically they’re fucked.  Just for an immigration official to look at our paperwork and say either yes or no costs 10 grand.
So that’s the short and skinny of it.  So, if you’re free this Thursday night why not stop by at the Trash Bar and maybe get in on the ground floor of what could be a great experience for heavy metal fans the world over.
Check out some footage from “They Will Be Heard”  right here.

SEE YOU IN HELL by Chris Krovatin

September 29th, 2011

Chris Krovatin is a twice-published teen author and a journalist for Revolver Magazine, as well as the singer for Queens-based metal band Flaming Tusk. He lives in New York City, which he loves even though he is almost positive it is trying to kill him.

Sunday, my last day in Los Angeles. I’ve got a full schedule of touristy shit to take care of. I throw on my last pair of clean socks and get moving.

I awake at my friend Jeff’s place, and we go get breakfast. Jeff is a pal more than a friend; he was once in a band, and shared an apartment, with two members of Flaming Tusk. Staying at his place in Van Nuys for the past two nights has been surprisingly hassle-free, and actually really fun. His comic book collection is amazing, and after sharing a cramped motel room with my Writing Partner for a week, it’s nice to have a moment of reading Alan Moore alone to keep me from murdering a random stranger. After steak and eggs at Nat’s Early Bite, I hop in my rental hatchback and roar off into downtown to take care of my schedule.

The past week has been absolutely insane. Since my return to LA from the Bay Area on Monday, I’ve eaten metric tons of cilantro-heavy Mexican food. I’ve driven from Melrose to Sunset to Encino to Pacific Palisades to Culver City. I’ve taken meetings will well-known producers, famous script-writers, and my agent, who still doesn’t quite know what to make of me. I’ve smoked a fistful of flavors of medical marijuana. I’ve been to bars I wish I’d made up—The Roost, the Griffin, Bigfoot Lodge (and it’s somewhat gay-vibey brother Bigfoot West), and the inimitable Jumbo’s Clown Room, which I officially deem a must-see for any LA visitors. I’ve sliced both of my index fingers open, one on the sink in my shitty motel room, the other on my razor while fumbling through my bag. I’ve been stuck in traffic for at least 24 collected hours; the 405 and I-10 West have become the bane of my fucking existence. I’ve witnessed a concert by Gaby Moreno, a bilingual singer-songwriter whose lilting voice and old-school guitar work broke my heart one song after another.

First stop, Amoeba Records, a vast music store with one of the best selections I’ve ever seen, especially of metal. Within seconds, I find two SOD Magazine classics from my youth, Occult’s Rage To Revenge and Walhalla’s Firereich (the latter is an inspiring blackened thrash record, check it out if you can). Next to me, two Latino metalheads, one large and baritone, one small and wordy, chat non-stop about metal in a way I’ve missed in the recent years. “Yeah, that album rules. You should try this one; their later proggy stuff is actually fucking rad.” After wandering the vast warehouse-sized store for an hour, I buy a red vinyl copy of Arsis’ Starve For The Devil and a grindcore album by a band named Doom Siren (turns out it’s awesome, and it only cost a buck). Somehow, I manage to keep myself from blowing a C-note on a framed silkscreened Slayer poster.

Next, the La Brea Tar Pits (is it THE La Brea Tar Pits, or just La Brea Tar Pits?). After finding parking, which is a truly Sisyphean feat in this city, I head into the Page Museum fences and behold the tar pits, which look, simply put, like an occasionally-bubbling pool of diarrhea. A model of a drowning mammoth screaming to the heavens juts from one end of the pit, his/her fake spouse and child screaming at him/her from the sidelines. The Page Museum itself is fascinating, with its huge collection of dire wolf skulls and mammoth skeletons, but it seems like it’s Asshole Day this fine Sunday, as I’m surrounded by screaming children, khaki shorts, and big gulp cups. After taking some pictures and circling the halls a few times, I return to my car and drive to Venice.

KAAAAAAAAAHN!

SCREAM FOR ME, LA BREA!

I’m not sure I believe in God in any of Her infinite forms, but if I did, I imagine She’d look like the ocean, endless, unstoppable, life-giving. This is what I think as the first wave hits my bare feet along the beach—it’s like being kissed by something far more powerful than myself. The beach stretches for ages, its sand ultra-fine beneath my feet, the blanket of soggy clouds overhead burning off to reveal a glorious blue sky. Overjoyed toddlers and wet suited surfers pass me as I stroll, my pants-legs rolled up, my shoes in hand, the sea air inundating my clothing and skin. Every so often, something in the sand wriggles on its own, but I don’t explore it. This is just about me, the beach, the walk.

Venice Beach looks like Coney Island after the apocalypse, a sprawling stretch of outdoor vendors selling paintings, T-shirts, jewelry, Dia De Los Muertos skulls, metal figurines, incense burners, ponchos, shoes, records, bongs, skateboard fixings, and occasionally organic food (though this is rare, and less trustworthy). I stroll down the warm concrete path, taking in chill biker-friendly stimulus on all sides. Overtanned rocker dudes wander by dragging their girlfriends. Every so often, a gravelly rumbling grows louder, and a skateboarder lazily snakes their way around me and through the throng. A freak show appears in the distance, outside of which a two-headed turtle crawls around in a Tupperware. The smell of weed whirls around me at all sides. As the market dissipates, I wander out to a smooth concrete skate park, where I watch a handful of kids zip around on their boards, doing their best to hot dog without busting their asses.

What if I just moved out here? Up and left New York and came to LA. Wore shorts most days, drove everywhere, ate free-range chicken and sun-grown fruit. Hell, I know I’ll be back in New York eventually; that’s the city where I’ll die someday, without question. I could take in glorious weather and eat tasty Mexican and join a gym somewhere in Culver City and bother producers every day with script in hand, becoming one of the great mass of entry-level employees with movie ideas, pilots, pitches piling up in my apartment. Why, I could even move down here to Venice, set up a tent, sell wares I build out of wire and snot (“No you couldn’t,” my friend Tori later notes, “because your mother would come here, put you in a headlock, and bring you home.”). It seems crazy, high-fallutin’, poorly-thought. But it’s an idea.

The sun begins to dip, so I walk back to the Santa Monica Pier. When I was thirteen, my mother took me to LA for an 8th Grade graduation present. We toured various special FX make-up studios (this was still when I wanted to be a monster make-up artist), and one night we went to the Santa Monica Pier and watched the sunset, so I’ve decided to come here and get a picture of it to send to her. It pains me how little I remember of the trip, how much I wish I could go back and say to my mom; I’m always caught in the details, verbal about the little things that please me, the little ideas that amuse me—I like how they did the zombies in that movie because…—and never the bigger issues, gratitude and passion and belief. As I lean on the pier’s railing and watch the sun go red and flush the clouds around it a grapefruit red, I wonder if this trip will mean anything, if my hard work and travel will come around in the form of work and satisfaction, or if this will just be another fleeting memory, something I wish I could go back and change. I have so many of those that sometimes I wonder if I should have ever lived at all.

The couple who takes my picture are juggling a baby and a dog, but they manage to take a decent photo. The sun winks at me, then sinks into the ocean. Dusk comes hard and quick, a side-effect of a city being built in a dessert. Slowly, as the air gets colder, I give Los Angeles a parting nod and head back to my car.