htaeD no tabbaS

Goatpenis is one of the most "extreme" of extreme metal bands - and an impressively long-lasting one, too. Though it took them 13 years to release their first LP (longer if you count their pre-Goatpenis band), they were extremely active throughout the 90s in releasing numerous EPs, demos, and splits that built a substantial underground following in the burgeoning Brazilian scene. htaeD no tabbaS is their first demo, and it's... rough. About as rough as you can expect, really - and still by no means a small feat given Brazilian black/death bands typically had access to very little in the way of recording studios or even instruments, often making do with the cheapest sets available.

So, it's not a surprise that this demo isn't exactly kind to the ears, nor would anyone be amiss to pass on this demo purely because of its fidelity. The twenty minutes here have a strangely "watery" introduction and exceptionally raw, even blurry extreme metal played by a band at the very beginning of their career as they are still learning their instruments. The guitars are barely in the mix, the percussion is stilted and militaristic, and the vocals are absolutely deranged. The sound quality is virtually non-existent - though it's still not surprising that it made the rounds in the ultra-underground black/death scene given that it is one of the harshest and most intense pieces of music of its region - even among contemporaries like Sarcófago and Mutilator (fans of which should check this out).

It is difficult to recommend Htaed No Tabbas for listening appeal, even those who are massively into "war metal", Goatpenis's career, and Brazilian extreme metal. The harsh production and barely held-together "songs" simply don't lend it to listeners who aren't into ear-masochism. There are better releases by Beherit, Blasphemy, Naked Whipper, and the aforementioned Sarcófago and Mutilator (not to mention the rest of Brazilian extreme metal) for those interested in this kind of sound. This is primarily worth checking out for its historical value in black/death and the regional scene - the importance of which is certainly greater than its musical quality.

-The backwoods of extreme metal: reclusive and missing some important links-

The band has had some history with raw soundscapes. Most notably with song writing, projection of that same song writing, and of course production. They would be distant and loose with this last mentioned item, though upfront about their ideologies with an almost mocking tone. Building up from a death metal band prior to this and then switching over band names to reveal a malicious and evil side, they would continue to dive with both feet forward into the absurd. A shameless chance to galvanize senses possibly untapped and produce fear or unsettling discomfort. Making themselves not "at home," but an intruder accidentally let in and out for gallons of blood.

If the band Von, for instance, at around the time of this same release was extreme by extreme standards with their super primitive guitar style, then Goatpenis shares the cake with their vocals for containing some of the most intense and over-the-top vocalizations from what I've heard for the time period. And that's not even to begin to describe how far he takes them or to put that last sentence lightly, middling, or even sort of. He realistically sounds like he is being tortured as the microphone picks it all up. Draining himself to an emotional peak into the afterwards of a small, decrepit pile of what's left of him. There are examples I could point out by other more well-known bands at the time and prior that take it to specific culminations during songs. Essentially parts where the music hits a climax and the vocalist might essentially add variations of screams and then level off into their regular vocals. Though here he is pretty consistent with bringing it to something like a plateau of apexes if you can get an idea of what I'm saying. Either on the verge of upchuck, rupturing his vocal chords, or waking the whole entire neighborhood up when originally recording them. They don't seem to be pinned down to a certain capturing style. He takes it to profound extremities with growls, rasps, shrieks, howls, whispers, you pretty much name it if it retains to distorting human vocal chords to inhuman like realms. Not to mention delay and reverb are maxed out and make them that much more preposterous sounding. He even surprisingly adds some clean moaning vocals during the last track; like a choir boy briefly gone good till the possession takes over again and his halo shattered.

This helter-skelter band at this point deafens your vision and blurs your ears, with a terrible sounding production that makes it sound like a rehearsal with vocal tracks later dubbed into it. The drums are lower than the vocals, but are still heard much better than the guitars, which are a faint and distant noise. The bass guitar even seems louder than the guitars. The only time the electric guitar appears to be decipherable is when the music slows down or between vocal sections, even higher pitched solos are a tiny fragment in the background. And then strangely amongst all of the insanity there are some clean guitars that pop up during the last track and at the end of another producing some basic plucking strums in both occasions. The overall speed of the music can range from medium sections with minimal fills and cymbal hits that you get a breather from to some super sloppy blasted moments. What makes it even more extreme is his snare is really bassy sounding and that he doesn't even mind that his timing shifts as infrequently and random as motorists on the expressway. Pulling out like a grandma just over the wheel, without signal, and then extending a middle finger to add salt to the wound.

This demo is without conscious, without grace, and for a good chunk of it without a steady structure. That is what makes up the beginnings of a band that with all likelihood was doing it on purpose, and then some. Instead of being grossly immersed, the band hopes you'll be grossly upset or grossly sickened to the pit of your stomach from something that broke down your barrier. I don't think it is possible to initially listen to this and be unmoved, even if you're the type who uses laughter for relief, which might not even happen. This is the sort of material that isn't intriguing in the normal sense. Yes, even after this many years pilled on, I can imagine it will still manage to raise eyebrows and shake heads from indifference or just plain shock. To get a better idea of where this sits for me, this isn't a recording that calls me back to it, or a recording that I'm thinking back on to certain sections. The whole thing kind of just hits you with full and one-sided force: either taking it or leaving it behind. The vocalist is the main culprit behind its pushed limits, secondly the drummer takes it to chaotic severities where skill minimally matters, and the guitarist not being heard fully makes it that much more of an unreasonable recording.

Goatpenis I think was going for something along those lines though, and I think they were spot on in that regard of getting some kind of reaction out of you (and the joke's on me for breaking down details and reviewing it). But it is still in the long run a one-off recording that I can still say should be heard if exploitation is your gig, or you want to see how far these southern Brazilians take it with their mixing bowl of extreme metal with a touch of wickedness. Another band prior to this also from the state of Santa Catarina called Necrobutcher played a heinous form of death-black-grind that had some wild ideas of the same stock, although on the otherhand the material I've heard isn't worth taking the time to listen to. If you're like me and the films Aftermath, Cannibal Holocaust, or The Devil's Experiment is something that you've seen, or heard about and interested you, then not for the gore side of it, which this album lacks, but by the limits that those have also gone beyond in the spacious genres of art. Yet, some recordings in music to be the first to do or elevate levels of something can seem crutched and idea based, eventually imitatable and lack substance. Goatpenis is a little more tainted because this isn't restricted by politics of producers and labels, and isn't anywhere near being trendy. Though in the end, I think this album throws out a few sparks, but doesn't get the fire rolling because with all of its rawness it lacks 'raw talent,' and I feel only just contains very few raw and spontaneous ideas to grab my attention even after it is listened to and done with. Or even something that I would value to repeatedly mention with praise, rather than deviously sneaking it in, putting it on the stereo at full blast, and potentially ruining somebody's Saturday night merry-making. (For the next succulent review see Goat Emperor)