Chris Smith’s blog

Out this month in California magazine, my piece on Mauritania (.pdf), possibly the single strangest place I’ve ever visited.

Outside our windows the desert is silent, malevolently hot, and virtually empty. Every so often, though, we see things: knots of camels grazing the scrubland; hulks of cars left for dead by the roadside, their skeletons filling with sand; wraithlike men engaged in the Sisyphean task of sweeping the blowing sands off the blacktop.

…

The man driving the Land Cruiser has seen it all before. Our guide is a whippetlike man of indeterminate age. His face is deeply lined; a meticulously cared for goatee frames his mouth. Like everyone else we’ve met in Mauritania, Sidi Al Moktar is taciturn to the point of caricature. He is a font of knowledge about camels–how long they can go without drinking, how far they can walk without resting. About almost everything else, he’s mum.

You can read the whole thing here, and here’s a link to some of my Mauritanian photography.

In the latest issue of San Francisco magazine, I review the new album by Kowloon Walled City, the city’s best new metal band. These guys combine the aggression of Black Flag (sans Henry Rollins’ petulant moaning) with the sludgy grandeur of the Melvins, producing the aural equivalent of a primal scream. Check it out.

A band’s name is usually a clear indicator of its sound. (Really, could Cannibal Corpse play anything but metal?) This holds true for Kowloon Walled City, though you might not realize it at first. The San Francisco metal band takes its name from a famously dangerous Hong Kong neighborhood run by killers, drug dealers, and pimps–a sort of hell, in other words–and the group sounds satisfyingly like its name. Banging out a symphony of down-tuned guitars and turned-up amps, KWC harks back to similarly heavy forebears, like the Melvins, Helmet, and Oakland legends Neurosis. The band’s brutal debut EP last year earned it a spot at the gene­rally metal averse Noise Pop Festival, and its first long-player only improves on the formula. The opening track, “Annandale,” sets the tone, with front man Scott Evans’ sandpapery croak slicing through the barrage of low-end riffs and hammer-fall drumming. A keen sense of dynamics keeps things interesting all the way through: “Paper Houses” swings like an undertaker on his way to the boneyard, and the cathartic closer, “More Like the Shit Factory,” features a chiming guitar that could almost be called pretty. But the idyll doesn’t last long–these guys have a name to live up to, after all.