The Rocktagon Recap of UFC 171: Hendricks vs. Lawler!

Featuring a Ukrainian in a stranglehold of a different sort, a whole bunch of Welterweight white boys getting blasted and the crowning of of a new 170-pound champions for the first time since 2008!

For the last seven years, Georges St-Pierre has more or less dominated the UFC's Welterweight division. Yeah, there was that year-long period from '07 to '08 when the belt was strapped around the waist of Matt Serra, but since then, the 170-pound MMA world has unquestionably been owned by GSP.

Last November's GSP/Johny Hendricks tilt was easily the fight of St-Pierre's life, and I'd venture to guess a good 98 percent of the MMA community believes the wrong man's hand was raised at the end of that bout. With St-Pierre going into semi-retirement to battle obsessive-compulsive disorder (which sounds like a convenient enough excuse for a man who once claimed to have made contact with extra-terrestrials), tonight we shall be seeing a new Welterweight Champion crowned for the first time since George W.'s last year in office. In one corner, it's the man that many, many fans and analysts already consider the "uncrowned champion,"  Johny "Bigg Rigg" Hendricks, and in the other, it's journeyman fighter Robbie Lawler, whose surprise victory over top prospect Rory MacDonald has given him an unexpected opportunity to take home UFC gold. Seeing as how both fighters are known for their explosive knockout power and never-say-die smash-mouth offenses, this very well could be one of the finest MMA brawls since Don Frye and Yoshihiro Takayama went full retard back in 2002. And also, there is a very, very strong likelihood that somebody will get their head punched off, probably somewhere around the vicinity of the fifth or sixth row.

But that's not all we have on tap this evening. In our co-main event, it's Welterweight stalwart Carlos Condit doing battle with Strikeforce-grad Tyron Woodley, in a match-up that may very well determine the next man in line for a crack at the 170 pound strap. And if you wants you some more Welterweight action, we also have ourselves a dream match-up (well, circa 2009, anyway) between Jake Shields and Hector Lombard. Rounding out the main card, we've got Diego Sanchez -- AKA, the fightiest fighter of all-time -- trading paint with Lightweight up-and-comer Myles Jury, and in the evening's curtain jerker, it's Ovince St. Preux taking on Nikita Krylov. And folks, if you ain't sensing all kinds of knockouts and slobberknockers transpiring tonight, your radar most be crooked or something.

Welcome, one and all, to the Rocktagon Recap of UFC 171: Hendricks vs. Lawler!

The show is emanating from Dallas, Texas, which legend has it is populated solely by homosexuals and cattle. Meanwhile, I'm having to call this shindig from BUFFALO'S WILD WINGS, because our much-beloved Bailey's mysteriously went-out-of-business, I kid you not, just hours after the horrendous Hendricks/St-Pierre decision was read.

Our announcers tonight are that dude from Fear Factor and, as I have once overheard, "that pumpkin-headed Jewish fella.'" This here BWW is such a bizarre sight: I mean, there are actual CHILDREN here, instead of the barsexual skanks and random dwarves that I'm used to at shows of the like. But as a bonus? They have one of those multi-arcade cabinets set up in the middle of the room, so if this thing is a snoozer, I guess I can always go play some "Super Pac-Man" or something.

Light Heavyweight Bout

Ovince St. Preux vs. Nikita Krylov

Haitian-by-means-of-Knoxville,Tennesee, OSP has been on a three fight tear, with a kinda-sorta impressive 2-0 record in the UFC. Before that, he went 6-1 in Strikeforce bouts, losing just once to Gegard Mousasi by decision. Meanwhile, Krylov -- whose nickname, "Al Capone," is officially the best MMA moniker this side of "The Axe Murderer" -- is 1-1 in UFC contests, but before that, he did pretty well for himself in the Ukrainian circuits. I hate to let my biases show here, but I'm really hoping for a Krylov victory -- you know, just so he can cut a really, really awkward promo afterwards about the whole Crimean crisis, preferably through slurred speech and the most broken of broken English.

Well, this one was pretty simple. OSP shot for a takedown, Krylov tried to guillotine, and St. Preux responded by locking in a rarely seen Von Flue Choke. And if there was ever a name I didn't think I would be bringing up in a 2014 UFC show recap, it would probably be "Jason Von Flue."

Some bullrider, whom I only can assume is an HIV-infected misogynist running an illegal drug trading business out of a Fort Worth hotel room, is in attendance tonight. We get a preview for the Chael Sonnen and Wanderlei Silva coached season of "TUF," and yeah, it looks pretty entertaining, I guess.

Welterweight Bout

Jake Shields vs. Hector Lombard

Prior to their actual entries into the UFC, both Shields and Lombard were considered two of the hottest "free agents" on the planet. For years, Shields was the sport's consensus number 2 Pound-for-Pound Welterweight when he was in Strikeforce, while Hector Lombard was considered arguably the best non-Zuffa contracted 185-pound fighter in the world. Unfortunately, both fighters have kinda' languished in the UFC, with Shields dropping three bouts in a row -- including a failed piss-test reversal -- and Lombard looking like last week's garbage against Tim Boetsch and Yushin Okami. With both fighters on upswings of sorts -- Lombard, with a recent KO of Nate Marquardt and Shields on a three-fight winning streak -- this is definitely a must-win bout for both competitors. Simple MMA-Math here: whoever wins gets one step closer to a potential title shot, and the loser? Hope he enjoys fighting on UFC on Fox prelims for awhile...

Lombard has Shields down early with two thick jabs that didn't connect 100 percent. Trust me, if they had, Jakey-Boy would be counting sheep right now. Shields tries to pull guard, but Lombard ain't falling for it. Shields shoots for a takedown, but Lombard stuffs it and rattles off some heavy shots of his own in the clinch. Shields goes for another takedown, but Lombard sprawls. Lombard with his own takedown, and he makes Shields eat some big hands on the ground as the bell sounds.

Round two. Lombard throwing some bombs, and he gets Shields on the mat with a sweet Judo sweep. The ref orders a stand up. Shields goes for another takedown, but it ain't happening. Lombard busts Shields open, and secures one more leg sweep before the round concludes. It's gotta' be 20-18 for Lombard. 

Lombard begins the third stanza by immediately kicking Shields in the balls. Brief time out, and Shields goes for ANOTHER takedown, which allows Lombard to set up his own takedown. Lombard with some shots on the ground, and another stand up is ordered. Lombard with one final takedown; Shields tries for a guillotine with about ten seconds left, but its nowhere near enough time to pull off the miracle. 

An unanimous decision victory for the resurgent Cuban. After a performance that lackluster, it wouldn't surprise me at all if the next time we see Jake Shields in action, it'll be inside a World Series of Fighting cage. 

A promo for UFC 172 airs. 

For all of my pseudo-vegetarian kin out there: BWW's black bean burger is actually pretty good, especially with the in-house honey BBQ sauce. 

Lightweight Bout

Diego Sanchez vs. Myles Jury

Diego Sanchez is a fighter known primarily for three things: that one time he came out holding a crucifix like he was Van Helsing or something, being the mastermind behind Bryan Danielson's shamelessly stolen "Yes!" chant, and of course, fighting like a coked-up baboon who thinks his heart will explode if he even thinks about letting a split second transpire in a fight without lobbing a punch at something. His opponent tonight is Myles Jury,  an undefeated lightweight, whom since landing a spot on one of the four million different seasons of "The Ultimate Fighter," has gone 4-0 in UFC contests. While something of a stylistic clash, all it takes is one look at Diego's fight record to know that this dude, even in losing efforts, just flat out brings it -- if "The Fury" wants to win this one, he's going to have to weather one hell of a barrage or two, that's for sure. 

Jury has to be the least intimidating MMA fighter I've ever seen. He's so nerdy, he makes Kenny Florian look like Perry Saturn by comparison. Sanchez, of course, comes out screaming and looking all shades of retarded. The referee, it should probably be noted, also looks like a reformed meth salesman. 

Sanchez with a spinning kick, to which Jury responds with a head kick. Sanchez shoots for a takedown, but he's stuffed. Now Jury looks for a takedown, but he can't get one either. Stalemate. Sanchez breaks free, and now he's taunting his adversary. Jury then pops him with a right, whiffs on a high kick, and makes good on a follow-up right. Jury with a takedown, as Sanchez unsuccessfully seeks a heel hook as the round expires.

Sanchez comes out throwing punches like crazy, but he's not connecting with any of them. I mean, any of them. Jury with a right in riposte, and a head kick that sorta' connects. Sanchez with a right, and he's bleeding like crazy. Jury with another head kick and a ton of jabs. More jabs from Jury, and then, a takedown. Sanchez eyeing a guillotine, and he almost has it. Jury manages to snake his way out, however, and caps the round with a hard right on the ground. Has to be 20-18 for Jury.

Final round. Sanchez out swinging and tossing high kicks. Jury with a jab, and Sanchez retaliates with more body shots. Jury with a knee, and a successful takedown. Sanchez going for an armbar, but it's not going to happen. Back up, and Jury lands one more takedown for good measure. 

As expected, it's a unanimous decision victory for Jury, who is most certainly a top ten lightweight following tonight's performance.

Cain Velasquez gets a huge pop. 

Hey, aren't you exited about an online-only Roy Nelson/Big Nog match-up! What if I told you it had Kawajira taking on Clay Guida on the undercard, too? If you're not enthusiastic about the prospect, congrats on still having your sanity. 

Welterweight Bout

Carlos Condit vs. Tyron Woodley

With just two losses on his record and a chiseled physique that most action-movie stars would kill for, Tyron Woodley is certainly the kind of media-ready breakout star the UFC sure would love to have on their championship roll call. A win here might just put him next in line for a shot at the Welterweight belt, but before he can set his sights on that lofty goal, he first has to get through perennial title contender Carlos Condit. While Woodley may have the more spectacular finishes, Condit is certainly the more battle-tested of the two; needless to say, whoever wins this bout is going to scrap like hell to pick up the 'W.'

Right out of the gate, Woodley cracks Condit with a right. Another right has "The Natural Born Killer" backpedaling. Now Woodley's looking for a takedown. Clinch against the cage, and Woodley gets the takedown. Condit eyes a triangle, but Woodley responds with a mini-power bomb. Woodley with another hard right, and Woodley with another takedown as the round expires. 

Round two. Woodley with another right (hey, if it ain't broke, don't fix it) and another takedown. Stalemate on the ground, so the ref orders a stand-up. Woodley with a kick to the knee, and Condit does a double pirouette before collapsing to the canvas. That makes it s TKO victory for "The Chosen One," then. 

In the post-fight interview, Woodley said he deserved a title shot. It may be just a tad to soon for that, but with one more impressive victory of the like, this dude may indeed be a bona-fide 170 pound contender. 

Rounda Rousey gets a huge reaction, but what's really funny is how the camera man completely ignores Nick Diaz, who is setting right beside her.

And one more hard sell for tonight's main event, and folks...it's time to declare ourselves a new Welterweight champion. 

UFC WELTERWEIGHT CHAMPIONSHIP BOUT:

Johny Hendricks vs. Robbie Lawler

It's certainly an unorthodox championship bout: on one end, it's a punch-happy brawler whose title contention here is only slightly less believable than a resurgence in the popularity of Pet Rocks, and on the other, it's an Oklahoma-tough wrestler's wrestler, whom just so happens to lug about a left hand that could conceivably kill a dinosaur. Hendricks is definitely the favorite going into the bout, but as Lawler has proven to us time and time again, he's just one cocked-back fist away from victory at seemingly any point in a fight. Odds are, this one won't be a technical clinic, but if you like watching dudes hit each other, really, really hard? This, amigos, might just be your presumptive "fight of the year" frontrunner.

In case you haven't heard, Mr. Hendricks had a wee bit difficulty making weight the day before the fight: is there a possibility that hour or two in the sauna yesterday could impact his performance tonight for the worse? 

Hendricks, clearly, is the favorite in this one. 

Lawler comes out with both guns blazing, and he manages to tag Hendricks quite a few times. Hendricks backpedals, and then bullies Robbie against the cage. Big Rigg looking for a takedown, but he just can't grab it. Lawler sneaks out, Hendricks closes the gap with a few jabs, and has Lawler back up against the cage as the round concludes.

Both men swinging to begin the second, with Lawler appearing to rattle off the more impressive shots. Hendricks fires back with some punches and knees. Hendricks with a low kick, to which Lawler responds with two hard jabs. The two exchange lefts, and Hendricks comes roaring back with the knees. A real back and forth standing battle as the second wraps up. 20-18 Hendricks in my eyes.

Hendricks with a body shot to begin the third. Hendricks with a left, and Lawler with a left in response. Lawler staggers Hendricks with a left. And then another left. Hendricks backpedaling. Hendricks with a takedown attempt, but no dice. Hendricks gets some good shots off, but this was clearly Lawler's round, from start-to-finish.

Fourth. Lawler with a flurry of punches and knees, and Hendricks is bleeding pretty badly. Lawler once again staggers Hendricks with a left, but he remains upright. Hendricks shoots for a takedown, and a shot from Lawler really busts him open. Both men delivering some heinous lefts now. Lawler seems to be winning the exchange, but Hendricks finally lands a takedown in the dying moments of the round. An absolute dead heat, 38-38, heading into the fifth and final round. Whoever wins this one, fellas, wins the 170 pound strap.

Lawler begins the final round with a left-right combination, and Hendricks, repeating his strategy from the first round, bullies him up against the fence. Hendricks has Lawler tied up, bashing him with knees to the legs. The two exchange more shots, and Hendricks shoots for a takedown. No dice. Another awesome left-and-right exchange from both competitors. Hendricks with a left, and another, and he finally has Lawler staggering. Another left, and Hendricks completes a takedown. About a minute and a half left in the round. Hendricks keeps his adversary tied up, and rattles off a few punches on the ground as the final horn sounds.

48-47 across the board, for your NEW Welterweight Champion of the World -- Johny "Bigg Rigg" Hendricks!

SO, WHERE DO WE GO FROM HERE? While a rematch between Hendricks and GSP would be the most desirable (and profitable) route to take here, the much more realistic path is most likely a Bigg Rigg versus Rory MacDonald match this summer, with the winner of that bout taking on the winner of a Hector Lombard/Tyron Woodley battle before the year's over. And since Robbie Lawler demonstrated that he is still a top ten Welterweight fighter, why not put in the cage against Dong Hyum Kim for a midsummer's night bloodbath? Don't look now, but OSP is 3-0 in the UFC; why not have him do battle with fellow Strikeforce alum Rafael Cavalacante next? And lastly: why not put Jury up against either Michael Johnson or the winner of the upcoming Jim Miller/Bobby Green contest next? 

THE VERDICT? This was definitely the best UFC card of the year so far, with what is definitely the early frontrunner for match of the year in Hendricks vs. Lawler. Pretty much every fight on the main card delivered, and the undercard was much stronger than usual. With all of the grueling, stand-up battles we witnessed tonight, UFC 171 really did feel more like a Strikeforce show than your standard Zuffa PPV -- and that is a very, very good thing, of course. 

SHOW HIGHLIGHT: Hendricks vs. Lawler, for sure: two ugly ass people punching the hell out of each other for 25 minutes, complete with a bloody come-from-behind fifth round reversal of fortune.

SHOW LOWLIGHT: I guess the Lombard/Shields bout had a few doldrums, but since most of that fight consisted of Jake Shields having his face punched in, I'm really kinda' hesitant to call it a "lowlight" at all. 

ROGAN-ISM OF THE NIGHT: "Aww, he ain't hurt. If he was, he wouldn't be standing right now." -- OK, so it isn't exactly a quote from Joe Rogan (it was said by some frat boy behind me during the Woodley/Condit decision), but to be fair...that does sound a whole hell of a lot like something you'd hear the Rog-Meister utter on live television.

FIVE THINGS I LEARNED FROM TONIGHT'S SHOW: 

• It's entirely possible to choke out a motherfucker while he's choking you out.
• Judo sweeps are approximately 600 percent more successful than traditional wrestling takedowns.
• In MMA contests, throwing a million billion punches only matters if, you know, those punches connect with something.
• It's entirely possible to do a triple axle spin on one leg. 
• You know when's a really good time to start connecting with your jabs? The fifth round.

Well, that's all I've got for you this week. Crank up "Waydown" by Catherine Wheel and "Angel of the Morning" by Juice Newton, and I'll be seeing you in a few.

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Ten Underrated ‘90s Metal Albums

…that you should definitely take a listen to.

With March unofficially representing Heavy Metal Appreciation month here at The Internet Is In America, I reckoned it would be worth our collective whiles to take a look back at some of the lesser heralded metal offerings of the 1990s. Sure, sure, we’ve all heard the bona fide classics a million times by now -- hell, I just did a list counting down the 10 most ass kicking death metal albums of the era -- but what of the records that, while not setting the world afire then, sound pretty darn impressive in hindsight?

Well, here’s a sample platter of ten heavy metal albums released during the “Beavis and Butt-Head” era that I believe all self-respecting metal heads would be wise to revisit; you may have scoffed at them way back when, but something tells me the past twenty years or so might just open you up to some reevaluations of your tastes…

Anthrax -- “The Sound of White Noise” (1993)

Anthrax is probably the least heralded of the “big four” of thrash, but to their credit, they are probably the only group out of that quartet that can say they recorded genre-defining master works in three different decades. While “Among the Living” and “We’ve Come for You All” stand out as among the absolute best metal offerings of the 1980s and 2000s, respectively, 1993’s “The Sound of White Noise” remains one of the most underappreciated albums of the grunge era, and quite possibly the finest alternative-metal record of the decade not produced by a band named “Helmet.” Far and away the most popular track on the record is “Only,” an ass-kicking alternative-metal hybrid that James Hetfield once described as the absolute perfect song. From “Black Lodge” to “Potter’s Field,” it’s actually a fairly nuanced and original-sounding album throughout; it may not be the thrash masterpiece you’d come to expect from Scotty Ian and the boys, but it’s definitely a diamond in the rough, nonetheless.

Body Count -- “Body Count” (1992)

Although rap-metal grew to become one of the late 1990s biggest scourges, this pioneering release from 1992 is actually one of the best start-to-finish alternative metal albums of the 1990s. Even without the original album’s closing ass kicker (the controversial-beyond-words “Cop Killer"), Body Count’s eponymous debut album is still a tour de force, with so many underappreciated anthems that you just have to  wonder how this thing kept from becoming a mini genre classic in its own right. “There Goes the Neighborhood” and “Body Count’s in the House” are both pure testosterone ass-stompers, while alternately morbid and hilarious tracks like “KKK Bitch” and “Momma’s Gotta Die Tonight” are certainly deviations from the wannabe Megadeth and Metallica norm that came to represent most early ‘90s metal offerings. All in all, this is a rock solid album; if you’re looking for something to change your perspective on the separation of metal and rap, this is about as good a starting point as I can imagine.

Megadeth -- “Cryptic Writings” (1997)

While Dave Mustaine, the individual human being, is crazier than a shit house rat, its hard to deny the dude’s musical dexterity, and “Cryptic Writings” stands out as one of the band’s better post- “Rust in Peace” outings. Initially decried as the band’s equivalent of “Load,” this late ‘90s release certainly holds up a lot better than most mainstream metal releases from the same timeframe, due in part to the album’s atypical production qualities and stylistic diversity. While the prospect of technical thrash titans like Megadeth toning it down for an album of relatively simplistic tunes may sound like a gargantuan fuck-up, the more subdued and experimental nature of the album makes it a lot more interesting, and pleasurable, in my ears than something like “Risk” or “Youthanasia.” Tracks like “Use the Man," “She-Wolf” and “Vortex” really aren’t the kind of tunes you’d expect from Megadeth -- which may be at least one reason why the album stands up as well as it does today.

Motorhead -- “Sacrifice” (1995)

While many claim that Lemmy and company haven’t really done anything new since “Ace of Spades,” this forgotten mid-90s release shows that, contrary to popular misconception, the band DID have the ability to shake up their sound a bit, and the overall outcome, surprisingly, is quite enjoyable. While tracks like “Sex & Death” and “War for War” are very much the bass-driven, The Kingsmen on crystal meth-sounding tunes the group are known for, the band actually does mix it up a bit with this 1995 offering, especially with tracks like “Make ‘Em Blind” and “Don’t Waste Your Time” -- the latter being a piano and saxophone-accompanied ode to Jerry Lee Lewis. Clocking in at a blistering 36 minutes, the band never lingers any longer than they have to on any one track, and the general “stripped-down” production of the album makes it sound unlike anything the band has recorded since…or, really, before, for that matter.

Ozzy Osbourne -- “Ozzmosis” (1995)

Post “No More Tears” yet pre-MTV reality show, “Ozzmosis” catches Ozzy at a fairly staid point in his career. Now, you’d think that (relative) stability would result in a rather uninspired album, but 1995’s “Ozzmossis” is actually a pretty damn fine release, with some of the best ballads Mr. Osbourne has ever recorded. While the opening track "Perry Mason" is just sheer cheese, things pick up considerably with the super symphonic sounding "I Just Want You," which gives way to the suprisingly soulful "Ghost Behind My Eyes," which sounds like Black Sabbath with Matthew Sweet on lead vocals. Really, "See You On the Other Side," the album's centerpiece, is reason alone to give "Ozzmosis" a listen -- not only is it one of the finest songs Ozzy has ever recorded, it might just be his single best ballad ever, even eclipsing classics like "Mama I'm Coming Home" and "Changes."

Rollins Band -- “Weight” (1994)

No matter your opinion on Mr. Rollins, you have to give the ex-Black Flag front man some credit: not only did he find a way to excel after he severed ties with his bread and butter, he actually managed to craft a new sound that was not only about as far removed from his old band as imaginable, but actually pretty damn awesome and innovative, to boot. So what do you call the disaffected, “Disconnected” angst alt-metal contained in “Weight?” With its half-spoken, mostly observational lyrics, the entire album feels more or less like the internal dialogue of Michael Douglas’ character in “Falling Down,” only with crunching guitar riffs in the background. There's actually a quite bit more to the album than it's most celebrated track, "Liar", including standout post-punk-alternative metal tracks like "Icon" and "Shine." If you're looking for some '90s metal that's funkier -- and certainly, much more cerebral -- than the norm, this is a record you definitely need to give a spin.

Slayer -- “Undisputed Attitude” (1996)

It’s Slayer doing metal-tinged covers of sundry DIY punk standards -- how could it possibly suck? I always tend to think of this album as the CD “Garage Inc.” wanted to be.  The band absolutely blazes through Minor Threat, D.I. and Verbal Abuse standards, stopping periodically to pound their way through a reworked version of The Stooges “I Wanna Be Your Dog” (now christened  as the far less subservient-sounding “I’m Gonna Be Your God”) and “Gemini,” a Slayer original that appears to be inspired by “The Exorcist III.” Even better? The Japanese release has even more tracks, including a few Suicidal Tendencies and GBH re-dos. It may not be the “Reign in Blood”-era Slayer we all know and love, but it’s certainly an experimental risk that pays off; and if nothing else, it’s WORLDS better than just about anything the band has released post- “God Hates Us All,” for certain.

Sleep -- “Jerusalem” (1999)

Simply put, Sleep’s “Jerusalem” is the single riffiest album in the history of recorded music. Clocking in at a little under an hour, the entire album is basically one full-length, chopped up song, containing some of the chunkiest, sludgiest guitar work you'll probably ever hear -- seriously, if you thought the dudes in Crowbar and Corrosion of Conformity could make slow sound so heavy, you haven't heard shit, amigos. In a decade with so many guitar heavy metal masterworks from bands like Down, Monster Magnet and Kyuss, this is arguably the zenith of the stoner metal subgenre. Although definitely not for all tastes, for those of you that like your metal booming with the kind of thud that only irradiated dinosaur footprints could muster,  "Jerusalem" is a largely unheralded record you direly need in your collection.

Stormtroopers of Death -- “Bigger Than The Devil” (1999)

While S.O.D.’s landmark  1985 hardcore/thrash fusion debut “Speak English or Die” put Scott Ian and Billy Milano’s other band on the genre radar, in many ways, their much less celebrated 1999 release “Bigger Than The Devil” may ultimately be the better of the two recordings. With hyper-fast, bluntly political "satirical" tunes like "Kill the Assholes," "The Crackhead Song" and "Skool Bus," S.O.D. is one of the few quasi-intelligent metal albums of the decade to merge humor with hardcore, resulting in some truly amazing, mini-crossover-triumphs. From "Celtic Frosted Flakes" to "The Ballad of Michael H." to "Frankenstein and His Horse," this is an irreverent, self-reflexive record that also happens to be a truly fantastic metal recording by its own merits. That, and the special edition bonus EP contains what may very well be the greatest Slayer song never actually recorded by Slayer -- the hilarious (yet undeniably ass-kicking) homage "Seasoning the Obese."

Vader -- “Black to the Blind” (1997)

“Black to the Blind” is far from being Vader’s finest album. Heck, one could argue that it’s not even the band’s best recording from the 1990s. That said, the first time I heard this album way back in '97, it totally blew me away; as soon as Doc Raczkowksi started pounding his drumset like a maniac on "Heading for the Internal Darkness," I knew I these Pollocks were for real. Not quite visceral enough to qualify for death metal and way too fast and abrasive for the Metallica set, this album was pretty much the perfect entry point for thrash and alt metal fans to hop into the heavier, darker stuff. At only 29 minutes in length, this is a record that pulsates like liquid magma, erupting and not even thinking about stopping. And to think: the sole reason I picked this thing up back in the sixth grade was because the group shared its name with my favorite pro wrestling bad guy!

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When Social Sciences Triumph Over ACTUAL Sciences

Gender identity, pseudo-science and the semi-fascist pitfalls of political correctness

In February, Facebook struck a pivotal (read: completely pointless) blow for so-called "gender nonconformist" rights when they introduced more than fifty different options for social media users to describe their sex -- or lack, or mixture, or rejection -- thereof. No longer oppressed by the tyrannical social constructs based on irrefutable chromosomal sciences, all of the world's transfeminine, pangender and non-binary FB junkies can FINALLY boost to the world that their personal definition of self is social media official. And for those of you that refuse to catalog yourself as agender, cisgender or genderqueer or even "two-spirit," Marky Zuckerberg went the extra mile and even gave users the ultimate post-post-modern retort to the question of 21st century sex -- an option simply labeled as "other."

If that's not enough, Facebook also gave users the choice of three sets of pronouns, including the completely linguistically incorrect "their and they" to describe singular individuals. Nothing says cultural progression, I muse, quite like literally destroying the English language in order to satiate niche political bases.

Of course, the "preferred pronoun" bandwagon has been trucking along at full speed for quite sometime, with the Associated Press making the not-at-all dictatorial decision to force journalists to describe "trans-people" in accordance to their requested gender identities -- in effect, making reporters completely ignore biological reality if they want to get published.

As this semi-entertaining blog post reminds us, the control of language indeed equates control of debate. The same way the fascist state of Oceania manipulated public opinion through the co-option and restructuring of language, perhaps one can see just an teeny bit of crypto-fascism sneaking through all of this "trans-language" personalized-pronoun hubbub.

The entire trans-language argument rests upon the acceptance that gender isn't a biological fact, but indeed a social construct -- which, of course, was forged and controlled by a predominantly white male hegemony. The problem, however, should be quite evident: gender is indeed a biologically-determined aspect of the human condition, and nothing short of supreme willful ignorance of science rivaling that of the Flat Earth Society can supplant the oh-so obvious knowledge before us.

In many ways, perhaps the trans-language argument itself can be satirically perverted to mean "the rejection of the letters X and Y in the Roman Alphabet." From a biological standpoint, defining gender is pretty damn simple: if you have at least one Y chromosome produced by functional SRY proteins, you are a male. If you lack this, you are most likely a female. Granted, there are a few women out there with 46, XY karotypes, but they lack ovaries or uteri; similarly, Turner Syndrome and Klinefelter Syndrome, two of the more common XX/XY chromosomal abnormalities, are specifically locked betwixt the sexes -- meaning that only biological men are susceptible to Klinefelter Syndrome, while only biological women are susceptible to Turner Syndrome. True hermaphrodism and mixed gonadal dysgenesis are both incredibly rare, yet the chromosomal structure for those with said abnormalities are still "gender-locked" between various XX (female) and XY (male) karotypes. Outside of just one reported case of an individual with a predominant 46, XY karotype and a smattering of true hermaphrodites with mosaic XX/XY chromosomal structures, these supposed "intersex" individuals are wholly incapable of giving birth. So that means that even if an individual has both sex characteristics, he or she, chromosomally, is still genetically "male" or "female" hinging on the presence of that aforementioned functional SRY-protein.

As clearly explicated above, there is indeed an exact science in place to describe, determine and (perhaps most importantly) verify gender as a biological construct. Or, as a bunch of really smart South Korean dudes put it, "sex determination is not from a simple hierarchical cascade of gene action but from a complex network of gene expression and protein-protein interaction in which SRY, SOX9, WT1 and SF1 are involved."

Now, I'm no gene theorist or molecular engineer, but that statement seems to authenticate the existence of a thoroughly complex, natural biological process which posits "gender" not as a socially-manipulated ideal, but an indisputable chromosomal reality. In today's ironically antagonistic hyper-P.C. culture, however, we've been brainwashed enlightened with the fantasy sociocultural theory that describes what people who give a shit about actual science homophobes call "sex" as a culturally-indoctrinated set of norms and values that an individual comes to accept or reject. Of course, applying the same socially learned theorization to "sexuality" is denied, Denied, DENIED by the same proponents, but that's a matter to wrestle with at a later date, I suppose.

By redefining "gender" as a personal choice, we're giving the A-OK to a form of pseudo-science really no different than creationism or phrenology. Instead of embracing the mathematical and empirical realities in front of us, we're rejecting them in favor of a more palatable ideal that behooves our political agendas. Not that I really need to remind you or anything, but generally, whenever political regimes start telling you that their kind of science is better than actual science, you're pretty much guaranteed to encounter some bumpy, bumpy roads ahead.

The older I get, the more I begin to ponder if anti-prejudicial pogroms are really any less dangerous and counterproductive than the clearly prejudiced pogroms of yore. Yes, yes, I understand the technical good that comes about via equality and egalitarianism and all of that, but is it really worth denying scientific evidence and co-opting the goddamn language itself in order to get there?

The trans-people "liberation" movement is, at least to some capacity, fascistic in the sense that the most hardcore and prominent crusaders of the cause aren't just rallying for oddly unspecified rights, but for the totality of the culture itself to accept their ideological conditions and reject all others, including that troublesome philosophy known as "actual biology."

As far as public accommodations go, what more could the trans-folk want? Outside of unisex bathrooms (including the inalienable right for six-year-old boys with government-sanctioned identification labeling them as females to use girls' rest rooms in elementary schools), I can't think of a single public amenity that's off-limits to them. Trans-folks can vote, they can sue for discrimination and I'm pretty sure they have they right to wed in states that have already given the thumbs up to gay marriage. Really, what these people are striving for is something beyond civil rights, because truth be told, they already have them. The quite literal trans-valuation of language is indicative of something a little more concerning, that being a clear political putsch to promote -- or even enforce -- a bizarre, authoritarian sense of anomie among the masses.

If there's a central plank to the trans-platform, it's the neo-modernist ideal that labels don't mean anything, and only the individual him or herself can adequately describe who or what said individual is. In that, all forms of mass social labeling is bad and need to be discarded, even those social labels that appear to be rooted in biological truth. Yes, we could argue all day long about how "sex" and "gender" describe two separate ideas, but the fact that so many societies, throughout history and across the globe, have considered the two so entwined as to be inseparable as constructs is something the trans-crusaders conveniently ignore, or simply chalk up as yet another "oppressive" edict from the much-maligned "patriarchy" that's responsible for all wrongdoings in the world.

As "oppressive" as language may be, the lack of language is inherently more despotic. The recent logorrhea shat out by Facebook isn't so much an enhancement to the English vernacular as it is a blatant attempt to dilute it, to take away any kind of descriptive language under the guise that such terms are "proscriptive." By transforming the finite question of "sex" into something that entails an infinite number of answers, the power of  language, its collective meaning, is reduced to mere lettering on a page, of etchings that can only be deciphered by the individual interpreter him, her or their-self.

The hypocritical (and some would say impossible) demand here is enforced relativism, a sort of reverse-totalitarianism in which the masses are unified not by common beliefs, but a rejection of
beliefs. The endpoint here is a completely befuddled system where nothing has definite value and subjective personal benefit completely trumps objective reality -- in short, the (inadvertent?) goal line here appears to be the breakdown of shared meaning as a desirable component of the public sphere.

Ultimately, what becomes of a social system when something as important to culture as sex itself becomes a matter of opinion instead of a concrete variable? Even more concerning, what becomes of a social system when the questioning of absolute sciences becomes less tolerable than the simple "acceptance" of abstract social science ideals?

Ultimately, there's only one kind of state that emerges when an entire culture rejects biology and other hard sciences: and this time around, it looks like we're eyeing a theocracy of political correctness instead of religious fundamentalism.

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The Ten Greatest Death Metal Albums of the 1990s

A countdown of the absolute best extreme metal albums from the genre’s golden decade

Both black metal and death metal came to prominence in the 1980s, but I think we can all agree that it wasn’t until the 1990s that both genres hit their respective peaks. While the pioneering efforts of bands like Venom, Bathory and Possessed remain fun little relics of yesteryear, it’s hard to deny that even masterpieces like “Black Metal” and “Seven Churches" don't sound just a tad outdated today. The 1990s, as such, represented the maturation of death metal as musical genre, with titans like Death, Cynic and Emperor releasing innovative albums that completely expanded -- and in some cases, totally obliterated -- musical boundaries.

While ‘80s death and black metal was all about the Satanic imagery and gore rock -- complete with squealing solos that, beyond the guttural vocals, could’ve been lifted off any Grim Reaper track -- the genres grew both musically and lyrically in the 1990s. With the unlikely injection of fusion jazz techniques into the genres, what started off as slightly heavier riff-raff turned into sonic marvels, with blast beats and symphonic guitar wails accompanying the incomparable growls of such iconic heavyweights as Lord Worm and Chuck Schulinder. And structurally, the 1990s saw death and black metal poetry shift away from the over-the-top blood and guts of the decade prior, instead focusing on more introspective issues, and even making some legit commentary on contemporary society and politics.

Today, I’ve taken it upon myself to countdown what I (and I alone) consider to be the ten absolute best death metal albums of the 1990s. Of course, with such a major overlap between black and death metal (not to mention emerging subgenres like grindcore and Gothenburg melodic metal), the countdown interprets “death metal” as a genre rather liberally. For the sake of the article, I’m more or less clumping all of the extreme, technical skill-driven metal genres under the umbrella here, so if you’re a super hardcore purist or genre traditionalist -- well, honestly, I don’t care what you think, anyway.

Before we hop into the main countdown, I would like to take some time to address a couple of albums that, for various reasons, almost made the final cut, but ultimately wound up eliminated from competition.

Honorable Mentions:

“Slaughter of the Soul” by At the Gates (1995) -- This is an album that’s worthy of the top 10 for its impact on the genre alone. Even now, “pop” extreme metal acts like Meshuggah owe more than a bit of gratitude to ATTG, and in particular, this album, which was really way ahead of its time in terms of production techniques. And even now, wannabe “metal core” bands continue to rip off the album’s innovative sound, sometimes copying riffs from the CD nearly note-for-note. Alas, the album did come out relatively late in the decade, and there are quite a few albums that I think were even more pioneering than this one -- hence, “Slaughter of the Soul’s” position as this countdown’s unofficial number 11 entrant.

“40 More Reasons to Hate Us” by Anal Cunt (1996) -- The “Weird” Al Yankovichs of extreme metal, shock-maestros A.C. were undoubtedly one of the most appealing grindcore acts of the decade -- if nothing else, for the utter absurdity of their lyrics. It’s hard to pick just one album to represent their impressive oeuvre as a whole, but if I had to make a snap decision, I would probably go with “40 More Reasons to Hate Us,” as it contains some of the band’s absolute best/most offensive lyrics (“Van Full of Retards”  and “I Hope You Get Deported” being personal favorites of mine) as well as two legitimately amazing cover tunes -- one being a sludgy re-do of “Gloves of Metal” by Manowar and a downright amazing rendition of the “Three’s Company” theme song.

“Venereology” by Merzbow (1994) -- Easily the heaviest album I have ever heard, but since it’s technically an electronic/noise album (despite its obvious death metal inspirations), I had to reluctantly cut it from the list. It’s still worth a play at your next family get-together, though -- and at full volume, of course.

“Morningrise” by Opeth (1996) -- It would be pretty stupid to have a countdown of the best death metal albums of the 1990s and NOT have an appearance by Opeth, but while doing my homework for the list, it quickly dawned upon me that the group’s finest recording from the decade is hardly a death metal album at all. Although “Morningrise” is undoubtedly a beautiful work of art (with “To Bid You Farewell” remaining my favorite track from the band), it’s kind of hard to lump this one in with the heavier hitters of the decade. It’s arguably the finest Gothenburg-tinged album ever produced, but to consider it a true death metal album is just stretching it too far.

“Destroyer” by Gorgoroth (1998) -- I SO wanted this one to make the cut, but at the end of the day, I had to let objectivity trump subjectivity. The first time I heard this album, in particular the track “Om Kristen Og Jodisk Tru,” my jaw just hit the floor. So heavy, so fast, so distorted, and at the same time, so eerily melodic -- this was a truly amazing death/black metal fusion recording, but alas, I wouldn’t feel comfortable calling it a truly iconic or innovative release -- let alone one that genuinely deserves to stand shoulder to shoulder with some of the upcoming master works of metal glory.

And with those also-rans out of the equation, who is ready to jump head first into what I deem the ten best death metal offerings of the 1990s? Put in your earplugs and throw up the horns, folks…it’s about to get all kinds of LOUD up in here momentarily.

Number Ten: 

“Heartwork” by Carcass (1993)

From the first time I heard the title track on an episode of “Beavis and Butt-Head,” I was absolutely floored by “Heartwork.” Traditionalists may scoff at the album’s inclusion, and to be fair, a bit of subjectivity may be creeping into my ranking selections here, but this, at least, is unmistakable: Carcass’s 1993 album, in every sense of the word, kicks ass.

The fourth release from the U.K. noise merchants is a tremendous thrash/technical death metal fusion album, and easily the best record in the band’s discography. Tracks like opener “Buried Dreams” and “No Love Lost” have an almost sludgy, “groove metal” tempo, which of course, is complemented quite nicely by Jeff Walker’s prickly vocals, while “Carnal Forge” and “Blind Bleeding the Blind” just roll with blistering guitar work from Bill Steer and Michael Amott. And of course, how could we forget about drummer Ken Owen’s thundering performances on “Death Certificate” and “This Mortal Coil,” either?

All in all, this is simply a terrific album, the sort of ahead-of-its-time, technique -driven metal offering that’s equal parts pounding and proficient. It may not have re-invented the wheel, so to speak, but when an album sounds this excellent from start to finish, how could I possibly discount its inherent greatness?

Number Nine:

“Pierced from Within” by Suffocation (1995)

Just pure technical brutality -- that’s how I’d describe Suffocation’s mid ‘90s masterpiece. Frank Mullen has to have one of the absolute best growls in all of death metal, and never have his guttural vocals sound as crisp and haunting as they do on “Pierced from Within.” Not only is this album the band’s undisputed magum opus, it’s easily one of the best metal releases of the entire decade.

You can really feel the Atheist and Death impact on this album, and that isn’t a negative at in the slightest. Whereas so many bands from the era felt the need to sound as “brootal” as possible, Suffocation was a rare act that placed actual technique above sonic viscosity. That unique cross-pollination of sheer impact and sheer talent is what makes Suffocation, and this album in particular, stand out from oh so many Morbid Angel and Cannibal Corpse facsimiles from the era.

With tracks like “Suspended in Tribulation” and “Thrones of Blood,” you’re getting the best of both worlds: super heavy, skull-crushing power AND unquestionable technical excellence. If you’re looking for an album that combines serious fretwork with pure intensity, you won’t do much better than this excellently produced offering.

Number Eight:

“Blasphemy Made Flesh” by Cryptopsy (1994)

It was a tough call deciding between this album and “None So Vile,” but at the end of the day, I think this one is not only the better of the two, but ultimately, the more dynamic.

Sure, sure, you could easily say that the follow up to this, the iconic Canadian band's debut album, is the more technical offering, but at the same time, I think you would also be discounting the uniqueness, and certainly the genre impact, of "Blasphemy Made Flesh." The technical death metal genre was well established when the record was originally released, but it sounded nothing at all like anything that had come before it. It was like Atheist on methamphetamine -- an incredibly skillful, well-produced album, only FAST as all hell.

Obviously, the pairing of vocalist Lord Worm and drummer virtuoso Flo Mounier is one of the greatest tandems in metal history, but I think due credit should also be reserved for Jon Levasseur, Martin Fergusson and especially Steve Thibault. With tracks like "Defenestration," "Mutant Christ" and "Pathological Frolic," this is a blistering, unexpectedly groovy offering that ramrods its way past the 40 minute mark like it was nothing; it may not be the band's most impressive overall work, but there is no denying that it's still a landmark -- and incredibly ass-kicking -- recording, worthy of all genre fans' reverence.

Number Seven:

“The Erosion of Sanity” by Gorguts (1993)

Speaking of awesome technical Canadian death metal, “The Erosion of Sanity,” note-for-note, might just be the single most impressive genre offering of the decade. While it may not have the overall impact of some of the higher-ranking albums on the countdown, there is NO denying the technical excellence on display here, which remains far and away the finest recording in the Gorguts discography.

Luc Lemay undoubtedly had one of the most possessed-sounding voices in all of death metal, and never has his trademark yelps and growls sounded so pristine and abrasive. On tracks like "With Their Flesh He'll Create" and "Orphans of Sickness," he unleashes some of the best death metal vocals you'll ever hear, an almost inimitable mixture of pure sonic power and surprising clarity. A lot of death metal frontmen could growl, no doubt about it, but very, very few had the ability to blast Cookie Monster vocals that sound as crisp, clear and shockingly decipherable as Lemay on this album.

Of course, you really can't talk about the album's inherent excellence without talking about Stephane Provencher's booming drumming and Sylvain Marcoux's skillful guitar work -- talk about two instrumentalists who really deserve more recognition when discussing the genre's heavyweights. Making the album even more impressive is the occasional drift away from traditional death metal leanings, such as the haunting piano into at the beginning of "Condemned to Obscurity" and the downright jazzy bass interludes in "A Path Beyond Premonition." Without question, this is one of the absolute finest death metals of the 1990s, and one of the best produced metal albums you'll hear from any decade.

Number Six: 

“Anthems to the Welkin at Dusk” by Emperor (1997)

Yeah, yeah, you could argue that this is more of a black metal offering than a death metal release, but what the hell ever. The important thing to note is that “Anthems” is one of the best-sounding, best-polished, best-produced recordings not only of the 1990s, but quite possibly throughout the history of extreme metal. It’s one thing for an album to sound brutal and symphonic, but for an album to sound as crisply brutal and symphonic as this release is a true feat of sound mixing and engineering greatness.

As soon as "Alsvartr" starts up, you just know you're in for anything but your typical black metal offering. As the super atmospheric intro track bleeds into high-speed ass-kicker "Ye Entrancemperium," the true glory of "Anthems" makes itself known: not only is this a aurally mesmerizing album, it's indeed one of the best track-by-track metal albums of any subcategory produced over the decade.

With standout tracks like "Thus Spake the Nightspirit," "Ensorcelled by Khaos," and "With Strength I Burn," there's nary a squandered second on the album, which to this day, remains more or less the blueprint for all modern black metal releases. Part symphonic power metal opus and part blistering technical death metal clinic, Ihsahn and the boys have never sounded as savage -- or as beautiful -- as they do on this unquestionable masterpiece.

Number Five: 

“Symbolic” by Death (1995)

Death may not have invented death metal music, per se, but they certainly reinvented it in the 1990s. The group released five full length albums in the decade, and each one represented not only a major evolutionary step for the band, but in many ways, the entire death metal genre.

With the trifecta of Chuck S, Gene Hoglan and Steve DiGiorgio, this is an album that sounds heavy beyond words. Each track rolls forward with the sonic equivalent of monster truck force and the graceful speed of a suicidal roller pigeon. And Schulinder's unbelievable fretwork on tracks like "Symbolic" and "Crystal Mountain" just begs the question of why this dude isn't routinely ranked alongside titans like Mustaine and Dimebag Darrell when it comes to talking about the absolute best metal guitarists of the Clinton and Bush One Years.

With haunting tracks like "Empty Words" and lighting-fast virtuoso showcases like "Without Judgement," this album is yet another reason why Death is remembered as pretty much the definitive technical death metal band of the 1990s. While this album may not have been as influential or innovative as some of the group's previous releases, it's sheer technical excellence and incredible production values more than makes up for it. This is just outstanding metal, at its purest, most uncomplicated best -- if this one isn't a prized piece in your collection, I have serious doubts regarding your sincerity as a death metal enthusiast.

Number Four:

“Individual Thought Patterns” by Death (1993)

I fought with myself for what seemed like hours to pick between “Symbolic” and this album, and at the end of the day, I decided both albums were awesome and innovative enough to earn spots on the countdown.

Following up "Human" is about as unenviable a task as I can imagine any band staring down, but somehow, the fearsome foursome of Schulinder, Hoglan, DiGiorgio and LaRocque managed to craft an album that not only lived up to its vaunted predecessor standards, but actually managed to improve upon the pioneering jazz fusion implementations that made the landmark 1991 release so revolutionary.

This is a thinking metal fan's album, through and through. Tracks like "Overactive Imagination," "Destiny" and "The Philosopher" are not only technical achievements (featuring some of the best basslines and dueling guitars you'll ever hear), but contain lyrics that are actually intellectually stimulating, to boot. Death was never a band to dumb itself down for the masses, and "Individual Thought Patterns" is, arguably, the band at its absolute creative zenith. From "Mentally Blind" to "Trapped in a Corner," the band's fifth album is an absolute maelstrom of lyrical intellectualism, musical dexterity and sheer virtuosity. The fact that this album, and the band as a whole, isn't recognized as a decades-defining cultural institution is simply beyond me, folks.

Number Three: 

“Elements” by Atheist (1993)

In many ways, Atheist is sort of the great grandfather of the technical death metal genre. While pale Death and Possessed imitators were busy singing about entrails and doing their best Dave Lombardo double bass stomp impersonations, the boys in Atheist were more or less molding the subgenre together with their bare hands, crafting 1989's landmark "Piece of Time" when most extreme metal acts still sounded like Mercyful Fate and Slayer cover bands.

While the band's 1991 release "Unquestionable Presence" is probably Atheist's most celebrated work, I would actually call "Elements" the better overall album, as it featured more experimental recording techniques and time signatures. Even more amazing is just how great the album sounds from start to finish despite the fact that the band was more or less forced to record the album due to contractual obligations and their lead guitarist was sidelined with carpal tunnel syndrome throughout the production process.

If you're looking for complex, cerebral metal, you're not going to find many genre recordings as nuanced and impressive as this one. From the dizzying opener "Green" to the album's concluding title track, this is just a technically mesmerizing album that feels worlds apart from its death metal contemporaries. Songs like "Samba Briza" and "Earth" are the kinds of counter-intuitive, genre-deconstructing tracks that were a good thirty years ahead of their time, and sound just as fresh and cutting edge now as they did back in the heyday of Pepsi Crystal and "Jurassic Park." If you ever wondered where bands like Strapping Young Lad and In Flames culled their stylistic leanings, this album is more or less the two-decades-old Rosetta Stone from which practically all progressive-death metal bands since have stemmed.

Number Two:

“Focus” by Cynic (1993)

Very few albums, within any genre, had the kind of widespread impact that “Focus” had. The release completely reinvented what we thought was possible with the death metal genre, paring back the ostentatious aggression for a more nuanced, cerebral, and stylistically diverse sound that’s STILL being imitated by metal up-starts the world over.

"Focus" did so many things new with the death metal genre that it might as well get full credit for kick-starting the prog-metal revolution that more or less is responsible for bands like At the Gates, Opeth and Meshuggah even existing at all. Production-wise, the stuff Cynic did on this album truly was a good decade ahead of its time, incorporating digital voice box manipulation, clean female vocals and abstruse instrumentals (at one point, even breaking out the Chapman stick) at a time when death metal, as a genre, was still synonymous with Cannibal Corpse and Morbid Angel. From "Veil of Maya" to "How Could I," the record is a half-hour whirlwind that genuinely feels like an audio adventure -- you have no idea where the album is going to take you next, but wherever that place is, you know it's going to be awesome.

At times sounding like the bastard fusion of Atheist, Obituary, Tool and Black Sabbath, "Focus" is one of those watershed releases that completely changed an entire genre's trajectory. Needless to say, Cynic's grand experiment paid off big time, becoming one of the most beloved (and imitated) genre releases of the last 25 years. In fact, it might just be the single most important death metal release of the 1990s; barring one extremely noteworthy exception, of course....

Number One:

“Human” by Death

Simply put, “Human” is the single most important death metal album of all-time, and in my personal opinion, the single best ever pressed to vinyl, cassette or compact disc. Even before the release of this 1991 masterpiece, Death were already genre titans, having released undeniable classics “Scream Bloody Gore” and “Leprosy” in the late 1980s. However, “Human” absolutely shattered the group’s own hand-sculpted mold, eschewing the horror dressings and on-the-nose political symbolism for an experimental musical undertaking that instead sought to peer inside the until-then-untapped cerebral elements of the genre. Instead of being fast, heavy and vicious for the sake of being fast, heavy and vicious, “Human” instead focuses on technical proficiency, complex song structures and introspective lyrics, representing a gargantuan step forward in the maturation process of death metal.

Sean Reinert's fade-in drumming on "Flattening of Emotions" might as well be the death metal equivalent of the "Smells Like Teen Spirit" opening bass line; an instantly iconic introductory salvo that represented an overnight pole shift in genre style. With Chuck Schulinder, Steve DiGiorgio and Paul Masvidal rounding out the quartet, "Human" has arguably the greatest line-up for any death metal album released in the 1990s, and every single song on the album has a unique sound of its own. "Suicide Machine" has a certain power that is wholly different than the force of "Lack of Comprehension," and the sonic pull of "Cosmic Sea" is something altogether different from the aural assault of "Vacant Planets." As technically amazing and pioneering as the album is, I still think even the most hardcore of death metal enthusiasts have a tendency to discount just how versatile "Human" is as a record.

At a little under 40 minutes, "Human" is a tour de force that, to me at least, comes to symbolize everything that was great about death metal in the 1990s. It was rich, and well-produced, and powerful, and experimental and technically marvelous. It had raw force and sheer power, but it also had an underlying beauty and grace to its structure that was largely lost on all of those snobby music critics who are unable to hear past Schulinder's beastly growls. While "Human," Death and the extreme metal genre as a whole will likely never receive the accolades and acclaim that they individually deserve, the true believers require little convincing at this point: not only is this revolutionary 1991 offering the definitive death metal album of the decade, it's easily one of the greatest recordings ever...regardless of genre, and regardless of the timeframe.

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