Tin Wyrm — End of the Year Mix — Kaptain Carbon Tin Wyrm — End of the Year Mix — Kaptain Carbon

Hardcore Avant Metal Experimental Noise

Find a place to start. A house on the hill. Call it Grave’s Manor. A man lives there. His name is Hugh..

Tin Wyrm was created between Charles and myself as a safe haven for all the heavy music we both enjoyed but strayed far from rigid classification. Somewhere between his hardcore / weirdo noise feature Tin Ear Tuesday and my metal column Tape Wyrm, we found an agreement. We would join our talents in finding fringe and borderland music that lay outside any established style. Runaways, bastards, and rouges who never fit into any one regiment or family. We, as partners would find music that lay under the nebulous cloud of hardcore, avant, metal, experimental and noise.

I am a surgeon and an inventor, a husband, and a father. My wife is named Ellenora. My children are Clara and William. They are young: five and seven, respectively. My wife is the same age as me but for the sake of her vanity I dare not share the integer. I am 52. My family has been my everything and through this ordeal became the only thing I cared about while I slowly slipped into darkness. My family has been my everything while I became a pariah, a monster, and finally an explorer.

Tin Wyrm began in 2012 with the collapse of Hydrahead Records, which fitting enough was a record label that forged the very concept we are now reverent to. We are not that assuming to consider ourself flagbearers yet we recognize our influences and wear their badges accordingly. We did a Hydrahead tribute and a Lovecraft mixtape. Right now, both Charles and myself made mixtapes to celebrate the end of the year and to release them, oddly enough, during the end of November. Both of us do not own calendars.

These are my memoirs and records to the madness which know unfolds beneath my feet. Hector is awake. It wasn’t suppose to be like this. The mechanics. The metal man that now breathes fire. Things were suppose to be simple. Ellenora. The kids. Now, the incessant pounding of Hector’s fists against the cellar door is the only thing I hear. The sound that never stops. The rhythmic noise which reminds me of the things I have done. The time in which things were normal and the afternoon in which it all changed.  

Both Charles and myself hope to continue this column after the new year begins. Tape Wyrm will still exist as well as Tin Ear Tuesday. There have been no formal plans to file as a business or print up business cards. Alright, maybe there are business cards. Charles and I are also trying to write science fiction stories for cheap publication and even cheaper pay. He still has yet to edit our first story about a treasure hunting robot and disgraced surgeon. This type of music, both Charles and I agree, speaks to a very primal and strange aspect of human nature. It combines the very artsy intelligence of progressive nature with the violent and dark attitudes of something which can be intimidating. Like a wounded painting student whole wields a knife in an alley, Tin Wyrm exists and will live in 2013.

Oh, I tried to end the suffering for him and myself. Both came on the same evening where an heirloom rifle did nothing to stop him. Without hope and reason to continue, I then turned it on myself. I wanted to leave just like my father and his father did before me. Ellenora and the kids were just going to have to grow up without seeing their father turn into more of a monster. I awoke cradled in the arms of the metal giant. His body still warm from the fire which burns inside him. The air still heavy from the stench of gasoline. We were both weeping from the fumes — bleeding but intact. While I tired, I never wanted to succeed in dying. Hector was my only reason for living. And when I looked into those aluminum eyes, I knew sympathy. I knew he had the power to heal. I understood he would be the savior of mankind.

We wish you luck in these final hours of 2012 and remind you to remind you of Tape Wyrm’s Top 10 and Pinpoint’s end of the year coverage. Both Charles and I wish you the very best of holiday merriment. Time to get strange. Rockit.

It was going to have to be this way. We were going to have to travel to the center of the earth to make things right again.

Tin Wyrm 2012 from kaptaincarbon on 8tracks Radio.

METZ – “Knife in the Water” from METZ

I like Metz the same way I enjoy underestimating ocean waves when they throw me off balance. Shit. This is what this album is. An unbalancing act. Metz is from Canada and they sound like something coming through the goddamn wall. I am hard pressed not to mention Nirvana as the combination of sludge, punk, and hardcore mix into something even Cobain could be proud of. Wow, I do not think I ever mentioned Cobain in my writing before. I am so confused whether or not this is tacky. Am I looking for his approval when I listen to music? This whole album kills feels like a cinderblock dropped edge first onto my foot. You see I was really just going for the cheap cringe in that one. Broken bones in tight socks.

Abske Fides – “Wont You Come” from Abske Fides

It is always interesting to look back and not remember how one came across a band. I forget where I first heard the Brazilian band Abske Fides. What in Christ’s name was I searching for? I wrote about this band’s 2012 debut before for another black metal article. I am still wondering why I wrote about this for black metal as the band makes it a point to never fit into a neat category. Melodic post punk, death/doom, post rock, black metal all sort of lay about the apartment conversing, never leaving or getting jobs rather just sulking, smoking hash, and writing poetry in the dark. The only difference between what I just said and the start of your friends high school band is Abske Fides is totally awesome. Your friends band is not. Sorry, they just don’t have the drive and commitment to win the battle of the bands and save the local diner from closing down. Do not let all this lighthearted discussion fool you. Abske Fides hates life as we know it. Mood music for the end of time.

Death Grips – “Blackjack” from The Money Store

Ohhh shit. Here it comes. Charles first wrote about Death Grips in their strange relation to black metal. I do not know whether or not it was just a publicity ploy but the parallels between Death Grips and extreme metal is interesting. For a style that has historically been cradled in some from of consonance it is interesting to see such a caustic variety. I love feeling anxiety with my music. Shit, even Gravediggaz had relaxing beats. The Money Store came out earlier this year with the follow up coming packaged in a photo of an erect dick with the title written in marker on said dick. That’s right no joke there. I have seen a few attempts at people trying to introduce Death Grips to the metal community with varying success. To be honest I have seen people trying to introduce Death Grips anywhere with varying success. Is it heavy? Is it dark or weird? That’s all that matter in the yes of Tin Wyrm.

Narrows – “Under The Guillotine” from Painted

What happens when members of Botch, Unbroken, and these Arms Are Snakes get together? Madness on top of cosmic anarchy. Narrows makes me feel like I am backpedaling on a giant ball on top of a tightrope over a fiery pit of alligators. This is tilting hardcore from 100 feet in the air. At 26 minutes, Painted possess the intensity of longer album with even enough energy to make a stellar mid album track full of unnerving atmospheric noise. This is not your grandmothers hardcore. Why in the fuck is your grandmother listening to hardcore? It is getting to be that old ins’t it. We are going to have hardcore grandfathers soon if we do not already have them. Fuck, that’s awesome.

Germ – “Asteroid of Sorrow” from Wish

I love this fucking record because it makes people uncomfortable. Uncomfortable in the fact that the combination of electro-synth and black metal reasonably suits each other but in no way should be talked about. Germ is one of the projects of Australian Tim Yatras who also goes by the moniker Sorrow and also plays with a musician named D who is in a band called Woods Of Desolation. Germ’s music is fantastic and doesn’t really fit into the landscape of traditional black metal. It will also never fit into the realm of pop music unless things have gotten a lot cooler since I stopped paying attention. Emotional, riveting and completely Jurassic in its approach to vocal harmonies.

Ladder Devils – “Common Dogs” from Nowhere Plans

This one maybe an odd pick but I believe this band has the tension and intimidating presence to make anyone under the age of 3 weep uncontrollably. The chorus of “Common Dogs” is so threatening that I almost imagine the band shaking their closed fist next to my face as if to imply immediate violence. I love bands like this that have the presence to demand attention. They would be the people who I would want to drink with and eventually have my back when we meet the wounded art student waiving a knife in the alley. Ask me. Ask me how I know this.

Furze – “Reaper Subconcious Guide” from Psych Minus Space Control

Furze is the creation of Woe J Reaper, a Norwegian woodsman whose work in the field of experimental black/doom has been nothing short of amazing and frightening. Psych Minus Space Control is Mr. Reapers 5th album since the early 00’s and it is incredibly difficult but rewarding in the most difficult way possible. This is black/doom after exiting art school with a head full of ideas and a shoulder full of insurmountable debt. I am thankful for people like Sir Reaper who continue to push and prod the boundaries of what can actually be considered metal. I would like this in 8-track please. Tin Wyrm is throwing a new years party at its at Furze’s cabin in the middle of Hell Woods.

Swans – “Avatar” from The Seer

The Seer is, in few ways, fun to listen to. Swans was built and, for the better part of a decade, reeked havoc upon the musical landscape with their nihilistic brand of art house post punk. Out of the furnace of No Wave came something more confrontational and difficult to process. Atleast those other guys made silly films. Swans was a monster in the 80’s and went to sleep for more than a decade. The return of Swans in 2010 showed a band that never lost a step in terms of tension funded noise theater. The Seer is Swans closing statement for 2012 and if the world would end in a fiery abyss, this would be its closing credits. “Avatar” is the albums single because it is the most closed and least inhabited by experimental noise. Do not let anyone tell you different, The Seer is one of the year’s best albums. It is monumentally important to the development of album based artforms. It is just not a party record. Unless you at a Tin Wyrm party in Hell Woods because then that would explain all the gin and vintage erotica.

Wreck and Reference – “Nausea” from No Youth

This column exists because of this band. Plain and simple. After Charles reviewed No Youth upon its release, I became enamored with its sound, its disposition, and its reason for living. Split between hardcore, black metal, and noise, Californian trio Wreck and Reference takes a sledgehammer to the emotional spectrum to watch the cracks crawl up its side. Holy shit. There is little I can say or do to prepare one music which has the texture of steel wool and the taste of cleaning solution? It stings my eyes and makes me weep uncontrollably in the basement filled with gasoline. This came from Bandcamp? These guys are also very nice over email. They said they would give Tin Wyrm an interview after the year’s end. I imagine they have to recollect themselves after what transpired in No Youth.

Ulver- “The Trap” From Childhood’s End

What a way to end a mix. This is my everything. Ulver hasn’t retained metalhood for quite sometime. The band, however, was a force in the early 90’s with their trilogy of black metal/dark folk records. Since then, this Norwegian outfit have been traveling across the horizon, through lands of electro goth to finally the kingdom of dark psych. To celebrate the band releases an album full of obscure psych rock covers from the late 60’s. I can’t think of anything else than mournful renditions of Jefferson Airplane, Common People, and 13th Floor Elevators. “The Trap” comes from Bonniwell’s Music Machine, an American garage act that whose penchant for dark clothing and darker psychedlia would later be championed by Ulver. This isn’t your Grandfather’s psychedelia…wait it is…shit. God people were dark as shit then. Um you may have gotten a ghost song which is included in this mix which is another track from childhood’s end called “Dark is the Bark” originally by Left Banke. Fuck you technology. You win this round.



Comments are closed.