an interview with Oshiego

Singapore's Oshiego have made regular appearances on this blog, being one of the few bands in the region who play death metal the way I like it - brutal and blast-centric. Since their fourth album The Book of Wisdom is about to be released by Horror Pain Gore Death, it seemed like an interview was long-overdue. The band (vocalist Umar Khan, guitarist Bryan Gan, and new drummer Jared Moran) took turns answering my questions.

Mixtape 64 - Tormentress

Here is the 64th installment of the Dreams of Consciousness podcast, featuring an interview with Singapore-based thrashers Tormentress.

Mixtape 57 - Marijannah

Here is the 57th instalment of the Dreams of Consciousness podcast, featuring an interview with Rasyid Juraimi of Singaporean stoner rockers Marijannah.

Mixtape 54 - Ratos de Porão

Here is the 54th installment of the Dreams of Consciousness podcast, featuring an interview with Boka and Jão of Brazilian hardcore legends Ratos de Porão.

Mixtape 51 - Reyerta

Here is the 51st installment of the Dreams of Consciousness podcast, featuring an interview with Singapore-based power violence group Reyerta.

Mixtape 43 - Protest (SG)

Here is the 43rd installment of the Dreams of Consciousness podcast, featuring an interview with Lan of Singapore hardcore veterans Protest.

Mixtape 42 - Wormrot

Here is the 42nd installment of the Dreams of Consciousness podcast, featuring an interview with Arif of Singapore grinders Wormrot.

Mixtape 41 - Bloodstone

Here is the 41st installment of the Dreams of Consciousness podcast, featuring an interview with my buddies Qadir and Aditya of Singapore thrashers Bloodstone.

Bandcamp Picks: Oshiego, Imperial Triumphant, Dead in the Manger, Irreversible Mechanism

Our friends from across the causeway Oshiego have returned with the best album of their career. Crossing The Bridge Of Siraat combines thrashing, blasting death metal with some groove and the occasional middle eastern melody for an album that's fairly unique and highly enjoyable. One of the best albums I've heard come out of the Lion City. [$6.66]


The hole Portal and Ulcerate ripped in the space/time continuum continues to allow otherworldly death metal bands to tear through our world; to wit, New York's Imperial Triumphant, featuring members of the similarly genre bending Pyrrhon. Abyssal Gods blasts with no regard for convention and plenty of (per the song title) "Black Psychedelia". This is the soundtrack to a holiday in R'lyeh. [€8]


I have many questions about the mysterious Dead In The Manger. Where are they from? Are they a real band, or one guy programming blastbeats on a computer? [Seriously, Metallum has nothing.] Cessation for the most part is somewhere between the churning death metal of Incantation and second wave black metal, then slows to the moody discordance of bands like Starkweather. They may "play music with the intention of leaving a feeling of unease and despondency", but albums like this leave me with hope for metal's future. [$6.66]



With their keyboards, acoustic interludes, and impeccable production, Belarusians Irreversible Mechanism probably epitomize what message board C.H.U.D.s hate about modern death metal. Their label is quick to compare Infinite Fields to Obscura, Beyond Creation and Fleshgod Apocalypse; but for what it's worth, I think this is better than all that. Brutality for the thinking hesher. The album is available as a "name your price" download, though there's a handy guide to how much the label wants you to donate based on your budget.

Mixtape 17: Ladies Night

Mixtape 17: Ladies Night by Dreams Of Consciousness on Mixcloud

Here is the 17th installment of the Dreams of Consciousness podcast, featuring an interview I did with Nenett of XRDM and "Djent" Jia of Naratu and Perimeter Breach. I conducted the interview at the end of 2014 while Chaos in Rumah Api 2 was going on, but the idea for this podcast has been germinating since I saw Exkoriator at my very first visit to Rumah Api. Since then I've seen more female-fronted bands, both local and foreign, in that space than anywhere else I've lived. It seemed like a subject worth its own episode even if some of these bands have appeared on the podcast multiple times before. [Coincidentally, an issue of Shock & Awe with the exact same theme came out the same week-end as our interview...what are you going to do?]

Mixtape 15: South East Asian Metal Attack II

Mixtape 15: South East Asian Metal Attack II by Dreams Of Consciousness on Mixcloud

Here is the 15th installment of the Dreams of Consciousness podcast, featuring an interview with Tom Banks of the Vietnamese death metal band Disgusted. I met Tom in 2012 when Disgusted played Kuala Lumpur; having been in a band and lived in South East Asia for roughly the same period I've been writing about it for this blog, I wanted to get his perspective on the scene, and what it means to be a metal fan here. Especially important to me were his experiences in Vietnam, a scene that's little known and much overlooked, even in this region.

Extreme Noise Terror @Home Club, Singapore

The buzz behind Extreme Noise Terror's first jaunt to South East Asia had been building for almost a year; the band was expected to play Singapore as well as Johor Bahru, the southernmost city in Malaysia that lies across the bridge from SG. Normally I would have been happy to skip the Singapore show (and the immigration hassle that came with it) to see the band in JB, but there was a significant difference between the Singapore and JB gigs for me - my buddies Bloodstone were playing the former. I hadn't seen Bloodstone in almost a year, when they kicked off an epic show that also featured Japanese thrash lunatics Hell and Hell and local legends Demisor and Wormrot. One mediocre metalcore act aside, that gig stands as one of my fondest memories of my stay in South East Asia. Also, I haven't seen any gigs in JB, and Malaysia being Malaysia, there was always the possibility that it could've been complete malarkey.

Bandcamp Picks: Impaled, Corrupt Moral Altar, Oshiego, The Dead Goats

One of the best death/grind albums of the last decade has been given a new lease on life. Impaled's legendary debut has been re-recorded and re-released as The Dead Still Dead Remain, with Leon Del Muerte even returning to do vocals. Scrubbed clean of the grime, it becomes clear that Impaled were more simpatico with Dismember and Amott-era Carcass than they ever were with Reek of Putrefaction. I'm sure there are long time fans who'll find the updated album too clean...but I for one enjoy not having to strain to hear the riffs. $8.99.


Corrupt Moral Altar come highly recommended by Napalm Death themselves - what more do you need to know? Their Whiskey Sierra 7" sounds like Scum got the Wolverine Blues, so no wonder the Napalm guys love it. The EP is available as a "name your price" download.


If the new album by Singapore's Oshiego is any indication, there's a whole lotta evil going on across the causeway. The Great Architect of Nothing is an entertaining slab of blackened death metal, with the occasional early Bathory-esque rock flourish. The album is fast and technical enough for snobs like me who are particular about those things, but the raw production should appeal to anyone whose tastes go in the opposite direction. A hint that great things may be happening in Singapore. $6.66.


Just like in the 90's, the oversaturation of the Sunlight Studios style is working against all the bands that latched on to it; with new releases from Entrails, Demonical and Facebreaker all sinking without a trace, it's questionable who if anyone still suffers from "Stockholm syndrome" these days. Last year I facetiously wrote that The Dead Goats could do well by integrating some Vader into their Entombed/Dismember worship. Doubt those guys actually saw my comment, but their new 6 song EP Children of the Fungus does have a little bit of that straight-ahead death/thrash abandon that we've come to know and expect from Polish death metal, plus a classic Napalm Death song added for good measure. But for the most part these Goats are the best Swedish band to come out of Białystok. €2.

Mixtape 5: Screamapore

Mixtape 5: Screamapore by Dreams Of Consciousness on Mixcloud

Here's the fifth Dreams of Consciousness "mixtape", featuring our friends from across the causeway in Singapore. This podcast features an interview with my buddies Bloodstone, which I recorded in March when I saw them play the Home Club in Singapore with Wormrot, Hell and Hell, and Demisor. Bloodstone are all really smart and funny guys, and the interview was one of the most fun I've ever done. I meant to transcribe the recording as soon as I got home, but kept putting it off... half a year later, here it finally is.

Grave in Singapore, 3.26.2013

With festival season gearing up in Australia, we're getting more and more American and European bands stopping off in South East Asia on their way back home. Earlier in March, Sick of it All tore up the Black Box something fierce; and at the end of the same month Grave stopped by Singapore on a rare South East Asian tour (the band actually played Singapore once before back in 2008, as numerous tour shirts from that night attested).

Wormrot, Hell & Hell, WIDB, Graves of Demise, Demisor, and Bloodstone @Home Club, SG 3.02.2013

When I saw Demisor at Beatnik last month, their drummer Jali hipped me to a show he was organizing in Singapore. Hell and Hell from Japan were looking to play in the region; with Wormrot and my buddies Bloodstone also on the bill, a bus down to the Lion City became a foregone conclusion. Going to Singapore also afforded me another opportunity to return to KL with a gym bag full of bagels and vegan ice cream. [I'm not going to lie: Bagels and Vegan Ice Cream would have been my co-headliners.]

Demisor @ Beatnik 2.02.2013

Malaysia's busy grindcore scene has both its merits and drawbacks. The last all-night grindfest I went to left me exhausted halfway through - and not in a good way. There's only so many 30 second songs I can take in a four hour period. Luckily, the organizers of this gig at Beatnik were able to keep things varied and interesting.

The top floor of a tower block is the last place one would expect to find a gig, much less a regular performance space. But at the top of a seemingly abandoned office building past a corridor of empty rooms is where Beatnik finds itself. This was my first time to the space; more often than not I've skipped seeing shows there because I had no idea how to find it (or get home). The sound was surprisingly good despite its sparse set up; this may have been the first time I saw a show in KL where there wasn't some kind of equipment failure (give or take one unruly bass strap - more on that later). In a city with few regular venues for heavy music, the fact that this space exists is appreciated.

Compulsion to Kill were one of the highlights of that last grindfest, even if they were playing without their full (dual vocal) line-up. This time, with all four members present, they were firing on all cylinders. Their set started off with Napalm's "Unchallenged Hate" - never a bad thing. In addition to beefing up their line-up, their lead vocalist also functioned as a human bowling ball, leaping from the tiny stage into whoever was standing in front of him. I learned pretty quickly to get out of his way.

This was Tools of the Trade's first gig in KL since September, and their first with their new drummer after a one-off show in Kuantan at the beginning of the year (which I tagged along with them to see - post forthcoming). All that and a new seven inch split with CTK made this a pretty exciting set for them - even more exciting when bassist Emi's strap came undone, and it looked like he might have to do the whole gig sitting down, singer-songwriter style. But thanks to some quick work with a roll of tape (it's my belief everyone should keep a roll of duct tape handy - just in case), the band proceeded through their set unhampered. With songs culled from their the new split as well as the previous one with Busuk (including "Suffocate," the best Tools song ever)  it was a stellar exercise in their brand of barely controlled chaos. A good welcome back party, and one no one had to sit down for. 

Appäratus fit in better with this line-up than they did at the Vaz show when I first saw them. It sometimes feels like there are more bands playing Swedish hardcore in Malaysia than in Sweden; though solidly in the d-beat style, Appäratus distinguish themselves with jangly garage rock overtones - think Joe Strummer jamming with Anti-cimex. They weren't the fastest or the tightest band that night, but they might have been the rockingest.

Kah Roe Shi, led by Tools' Tiong, play in the heavy jagged style of crust titans His Hero is Gone. I've been hearing about them for the last few months, and they definitely lived up to their reputation. In keeping with the theme of their band name (a Japanese phrase meaning "death from overwork"), they decorated the stage with several props, including a button down shirt and tie hanging from the ceiling. [Your guess is as good as mine how the disco ball fits into their theme.]

The release party for WHHIRR's first cassette EP had taken place the night before; apparently I wasn't the only one who missed it, so their last minute addition to the line-up made more than a few people happy. I've seen the band a few times, and am still impressed by how much they're able to get out of just a bass guitar. Kudos to them for attempting something that no one else in the region is doing; even if the mix of their heavy, minimalist power violence and flashing strobe light may end up causing a few seizures. 

If you asked any metal fan to name a Singaporean grindcore band, the answer would probably be Wormrot; but Demisor are local scene OGs, having formed in 1987 and been active since then (or as active as work and family commitments allow). This was their first show in Malaysia in over a year, and the audience's excitement was palpable. Frankly, kids were going crazy, something Demisor's vocalist commented on several times. Maybe it's because of their veteran status, or maybe it's just a function of being ahead of the curve for so long, but Demisor trump almost all the other grind bands in the region by having actual songs rather than just atonal chord progressions over blastbeats [Riffs, FTW] as well as a drummer who the more tired he looked, the faster he played. Adding a Nasum cover to their set was nice, but unnecessary; Demisor's music and stature alone were enough for them to stand on (well, that and the gnarliest feet in grind).

Dreams of Consciousness has never been proven to cause seizures. See for yourself.

Not A Fest Vol. II, with Snaggletooth, Last Chaos, Osmantikos, Nuclear Summer and more 11.25.2012

The first Not A Fest back in September had the unlikely distinction of being a local show that actually started on time. Not only did I get to hesh out like there was no tomorrow to bands from Indonesia and Japan, I didn't have to rush to catch the last train and arrived back home before midnight. It was one of life's little victories. Would it happen again this time?

....not a chance. Malaysian Time trumps all. I heard the delay this time around was because one of the opening bands didn't wake up on time. I wish I was making this shit up. If anyone else at Rumah Api was perturbed by this, it wasn't apparent. Most looked content to hang out and kill time with cheap alcohol from the nearby liquor shop. Several distros set up in the duration, and soon the little foyer space had turned into a bustling DIY pasar malam.

The event also served as the release party for the 5th issue of the Shock and Awe zine, the centrepiece of which is an article about the history of KL's punk scene, written by Carburetor Dung's Joe Kidd. I was probably more excited about this than any of the bands. I'd seen little previews of it on Facebook, and it seemed essential to my understanding of this place and its history. Packaged along with the zine was a 4-way split 7" featuring local fixtures Pusher, Sarjan Hassan, Garrison and xCrimescenex. All in all, a recommended purchase for anyone who wants to know more about the Malaysian DIY scene.

When the gig finally did start, it was up to local guys Skitsofrenia to kick it off, which they did by playing D-Beat hardcore in that glorious Swedish style. It's notable that while recent releases from ground zero Göteborg seem intent on subverting the crust punk paradigm (Disfear, Martyrdöd, and Eskatologia), bands in South East Asia still take an almost dogmatic approach to the style. Skitsofrenia's passion and vitriol are commendable; but a little risk taking never hurt anyone.

Singaporeans Vaarallinen are similarly reverent of Scandinavian hardcore, but add an interesting/amusing gimmick that separates them from the rest of the scene: all their lyrics and song titles are in Finnish (as is their name, which translates to "unsafe/dangerous"). Other than that, their crust punk is business as usual, for die hard fans of fast songs and umlauts (though maybe not Umlaut).

The last time I saw xCrimescenex, their set was waylaid by mic problems. This time, with no technical difficulties to hamper them, they were able to build a momentum through slow, sludgy doom before erupting into bursts of manic power violence. With a line-up comprised of Rumah Api regulars (Man and Manusia from Sarjan Hassan among them), it was given that the audience would treat them like local heroes. I did my best to stay off to the side and avoid the carnage as the bodies started flying through the air.

Garrison, as DIY punks playing reggae, were an oddity in the line-up (and possibly the entire scene). I appreciated the change of pace, but even the Bad Brains couldn't sell me on reggae-influenced punk; punk-influenced reggae, it turns out, holds my attention even less. After a few songs I took my leave to try get some writing done outside the venue. I was scribbling down some notes when a young (and very drunk) fan sat next to me to see what I was doing. He made his way up from the southern state of Johor just for Not A Fest. I tried prodding him for his thoughts on the gig, to record what he had to say for posterity's sake; what he did say, unfortunately, was garbled and lost into the ether (which may have been what he was drinking, for all I know).

If nothing else, Garrison's chilled reggae served as the perfect segue between the crusty earlier acts and Nuclear Summer's off-beat post-hardcore. You can see why they were selected as an opening act for Refused's recent Australian tour, as these guys embody everything that's progressive and cerebral about heavy rock right now. Transitioning from upbeat sections, to slow ethereal parts reminiscent of Rosetta (also a recent touring partner), to guitar noodling straight out of Steven Brodsky's playbook, there was a sense of both history and inventiveness to their music that, frankly, is missing from a lot of the local scene. Hope I wasn't the only one paying attention. A perfect set, except maybe they should have headlined.

Looking like three guys who wandered into a punk show on the way back from a fishing trip, Osman Tikos were the most pleasant surprise of the evening. Crust bands aren't in short supply in Malaysia (and certainly not around Rumah Api), but these guys take the style to a new low - I mean that in the best possible way. This aging hesher doesn't know much about punk, but he does know a lot about heavy; and Osman Tikos are fucking heavy. Fast and bass-driven to the brink of incoherence, Osman Tikos sound like Doom and early Bolt Thrower in a duel to see who can wreck your sub-woofers the fastest. Even with my earplugs in, I thought my brain was going to melt.

Touring Aussies Last Chaos, as their name suggests, play blistering anarcho-core (heavily influenced by Finnish/Japanese hardcore, the internet has just informed me), with the occasional rock and roll moment. [In a bizarre coincidence, I saw some of the members last year in Brooklyn when their other band Teargas played there. These dudes get around.] Rumah Api loved it, and crowd and band were in sweaty, crusty heaven ....until a well-meaning attempt by the audience to carry around the vocalist ended with him crashing unceremoniously to the floor. Ouch. [My malaysian friends - if you're going to pick up visiting bands, please DON'T drop them on their heads.] Noticeably irritated, and with his mic chord snapped, he attempted to clear the stage, to little avail. [The tree of anarchy must be refreshed from time to time with broken mics and bruised scalps, as Thomas Jefferson never said.] Kind of a down note for the band to end on, but credit to them for giving the crowd one last song to rage to, even if they couldn't exactly sing along.

I was tempted to call it a night after that, but on the recommendation of Pat from Atomicdeath (a man who clearly knows good metal), I made it a point to stick around for Singapore's Snäggletooth. There's tremendous buzz around them due to a cassette EP that was cleverly promoted, limited to 50 copies and then sold out immediately. I'm happy to say that for once the hype is justified. With Vaarallinen's drummer on deck, their crust-fueled mix of Motörhead (natch) and Venom held few surprises, except for how much I enjoyed it. Their take on black 'n' roll is one of the more straight forward ones I've heard, but also one of the more bludgeoning. They may have ended up headlining this month's Not A Fest more out of happenstance than intent, but they closed out the proceedings in style.

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South East Asian Metal Attack Mixtape #1

Singapore Deathfest: 9.01.2012

This is part two of a three day live show binge, between Friday, August 31st, and Sunday, September 2nd. Three shows in two countries in three days... how much metal is too much metal? Can this old hesher still bang his head without having a senior moment? We're about to find out...

I got back home from the Disgusted show late, and decided that sleep was for the weak. And pretty pointless, because after showering, eating dinner, and packing my backpack, I'd only be able to shut my eyes for an hour before I needed to get up and catch my bus. And so I made my way to Singapore Deathfest without any real rest, hoping that the bands would be enough to stave off exhaustion.

The event was held at the Singaporean Chinese Chambers of Commerce, close to Fort Canning Park (where both the Opeth and Judas Priest shows were held earlier in the year). The auditorium's huge stage dwarfed everything in it: the amps, the bands, and the audience. It may be the perfect venue for Immortal if the Blashyrkh ever goes to Singapore, but most of the bands that night looked like they were struggling with its enormity. The marble floors, combined with the size, were also not ideal, causing everything ten feet past the stage to echo into an indiscernible cacophony of blastbeats and guitar noise.

Those issues aside, the hall is in the perfect location for a music festival. It's walking distance from Clarke Quay, where there are least a dozen backpacker inns, and just around the corner from the Peninsula Plaza mall, home of Hell's Labyrinth, one of the best extreme metal music stores in the whole region. Singapore's reliable mass transit system means easy travelling to and from the venue, and the preponderance of shopping centres in the area means that there's always some way to kill time between sets.

Killing time was exactly what I needed after I arrived, as the fest was running a few hours late - ironic, since Singaporeans have such a reputation for organization. It would appear Rumah Api Time had followed me south of the causeway; if I'd known that, I would have asked for a few extra body scans at customs. We can never be too safe.

I decided to head to a nearby Indian restaurant and take my time with the Kashmiri pulau; as a result I missed Penang's Butcher Bastard completely, and arrived to see the similarly named Whore House Butchery were already on stage. Their jokey gore/grind wasn't an ideal way to start my Deathfest afternoon, and their masks left me believing that at heart they really just wanted to be Slipknot or Mushroomhead. After a few songs, without much holding my interest on stage, I decided to sit the rest of their set out.

While waiting for the next band, I ran into Mikey Thunder, the singer/bassist of the excellent Singaporean thrash band Bloodstone. I hadn't seen him since Bloodstone played Rumah Api back in April, and he filled me in on the Singaporean scene.

Flesh Disgorged play death/grind with plenty of catchy parts and fake blood, and at least one of those things got the audience's attention. Their drummer (who used to be in Bloodstone, go figure) is clearly the MVP, navigating the band's mix of blast and groove with ease. I tried to predict the mosh parts based on when the singer jumped in the air; I don't know if I was alone in doing that, but I was at least 60% successful. Other than that, FD's style isn't really my thing, but they do it as well as anyone else.

From their set the night before, I knew Disgusted would deliver the goods. But the assembly hall was noticeably sparse while they played. What's up, Singapore? Asian brothers can't get no love? Undaunted, the band tore it up, and the crowd swelled as the set went on, eventually earning them a decent reaction. Not bad, but for the distance they traveled to be there, Disgusted deserved better.

Truth Be Known describe themselves as "rojak," a Malay word meaning "mixed" - which could refer either to the mixed ethnicities of its lineup, or the way their songs mix death metal, hardcore, and stadium rock. They're the first (and only) band that night to really set the crowd off, with girls windmilling their hair and boys taking off their shirts (first time I've seen that particular combination of those things). Things get slightly dodgy mid-set with a Beastie Boys cover that's more well-intentioned than it is sound; but by that point, it didn't really matter. From their between song fistbump trains, to their constant wandering off-stage and into the crowd, to their finishing move of trading places with the audience (who headbanged in unison on stage while the band played in front of it), Truth Be Known stole everyone's hearts, and goddamn if they didn't steal the whole show.

[Truth Be Known postscript: sometime after their set, I approached the band to buy a shirt, deciding that there'd be no way I'd get on a bus back to Malaysia without one... only to be told by their singer Subash that they had tossed all the shirts they brought with them into the crowd. I then asked if he had any CDs for sale, which prompted him to yell gleefully, "It's online! Just download it!" People, I implore you: We need to band together and stop Truth Be Known before they crack the planet in half with the sheer weight of their awesomeness.]

After TBK's set, I walked to the ritzy Raffles City Shopping Centre to try and find a reasonably priced beverage, and returned to find Rust Phantom struggling with the audience's attention. I don't know if it was because their style was too techy, or if it was just the misfortune of having to follow Truth Be Known. Maybe everyone was just burned out. Whatever the issue, it wasn't Rust Phantom's night. Which is a pity, because their music is commendable, especially considering their pared down lineup of guitar/drums/vocals. It just didn't move many people that night (a notable exception being one little girl who ran around the auditorium like a one-person circle pit - that's gotta be worth something).

How does a band get booked at SG Deathfest?  Well if you're Asilent, I'm sure it helps that your bassist is also the show's organizer. And considering Asilent's very capable take on thrashy death metal, I'm sure no one minded. Other questions still linger, however:
1) Who hates silence more, Asilent or Malaysia's Break the Silence? (I guess since Break the Silence have broken up, Asilent wins by default)
2) How did their Swedish singer end up speaking English like a Singaporean?
3) Why was the bassist so high in the mix? Oh right... [ha ha, I kid, I kid...]
4) What is it about guitarists wearing shades on stage these days? Is this another metal fad that slipped by me, like djent or hummus?

Headlining SG Deathfest must have seemed like a cakewalk for Tools of the Trade, since it wasn't that long ago that they were sharing a bill with the likes of Exhumed, Nasum, and Suffocation. For three guys who are constantly smiling and friendly offstage, their transformation into a raging grind monster is somewhat startling (are they secretly always angry?). It's clear to me that their recent European tour pushed them to a new level, as this was the best Tools of the Trade I'd seen (and I've seen them a whole bunch in the last six months). It's a shame that more people weren't there: For a headlining band at an event that has the word "fest" in the title, the turnout sure wasn't what I'd expected.

While Tools of the Trade conducted a post-show interview, I spoke with Disgusted's bassist Hoàng and singer Tom. Tom, with his hand heavily bandaged, explained the roughhousing he does with the audience is to get them engaged and amped up. Considering the tepid reaction that day compared with the boisterous Rumah Api crowd the night before, I had to concede he had a point. Hoàng spoke at length about how in Vietnam, the audience supports every band, regardless of who they came to see; it left me wondering if the amount of big acts that pass through Singapore have the metaheads there spoiled for choice. There were some great bands at SG Deathfest, and kudos to everyone involved for making it happen. But for a scene to succeed, the fans have to do their part too. Hopefully next year, they will.

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Next: Hey kids, tell your mom to sew some patches to your jacket, because we're going to Kuala Lumpur Thrashed 2012!