Top Ten:
COMMUNION OF THIEVES-live
PROTESTANT-In Thy Name-LP
MOTH-LP/NERVOUS TREND-12”
INFEKZIOA-EP
SKAVEN-LP
QLOAQA LETAL-LP
CIORAN-12”
CODE BMUS-LP/ZEX-45
MAAILIMANLOPPU/APOCALYPSE NOW/KUUDES SILMÄ-live
VATS/DEZ YUSUF/DAISY WORLD-live/DEADFEST-fest
GREAT SABATINI – "Dog Years" LP
Uptempo "sludge" by way of the noise-rock, GREAT SABATINI mine the
latter-day MELVINS catalog to produce a fairly generic, occasionally
punky take on the genre. It's not as proggy or catchy as King Buzzo
and co., of course, and the 'verbed-out vocals read more bizarro than
kvlt, but there's a couple of moments that I could see on a WEEDEATER
record (intended as a compliment). For what it's worth, the fuzzy
monster on the cover looks like a leftover from Gabba Gabba Hey or
Seasame Street, and I hate it. If you're someone who misses the glory
days of Ipecac Records and the like, this might be just what the
doctor ordered. For the rest of us, extremely skippable. (WB)
(Solar Flare)
NO FUN/LUBE – split EP
A nice little slab by two bands that share members in addition to
sonic tendencies, as illustrated in a cute little Venn diagram at the
center of the insert. Both NO FUN and LUBE split the difference
between high-energy garage rock and hardcore, with LUBE getting maybe
a bit more ambitious when they decide to solo. Vocals are pretty much
interchangeable between the two bands, channeling the primal scream of
the SONICS via MUDHONEY. Spite-filled nihilism is the lyrical order of
the day, but that's what we all came here for, right? I'm glad we had
this talk. (WB)
(WWTA)
PROTESTANT – "In Thy Name" LP
Hoooooly shit! I've always loved me some PROTESTANT, but this new
record is something else entirely, departing from their well-honed
dark hardcore attack to embrace the hateful, raw filth of black metal.
Cory's unmistakable vocals (and the occasional massive breakdown)
provide a link to the band's previous discography, and the
throat-ripping fury of metalpunk is definitely there, but they've
rebuild their sound from the ground up with some deliciously lo-fi
production. The whole thing is overflowing with jaw-dropping riffs,
played with the passion and precision of a band a decade into their
existence. Easily one of the top black metal/crust crossovers I've
heard—and believe me, I've heard far too many in the last several
years—I would have to say that this is also PROTESTANT's best, most
consistent full-length to date. Trends come and go, but In Thy Name is
the real deal. An instant classic. (WB)
(Halo of Flies)
REAGAN'S POLYP – "Deadenator" CD
A reissue of 1998's supposed "noise-rock classic" by these Arkansas
master trollers, I have to say that I'm pretty unimpressed. First
things first, the whole racist/sexist/un-PC shock rock thing is just
so beyond played out; I know you're trying to ape ZAPPA, but instead
of satirical and biting y'all just sound ignorant as fuck, not to
mention bo-o-o-oring. The opener "Bridges of Asses" encapsulates the
whole disjointed mess rather well, starting off with some truly awful
PAUL SIMON-esque crooning before awkwardly segueing into spastic
art-punk fuckery and then back into terrible "parody" pop that
honestly takes my mind back to MOXY FRÜVOUS. Ouch. The sheer breadth
of styles and sound they pull off over the course an hour is certainly
nothing to sneeze at, and there's a definite DEVO-ish ear for oddball
hooks, but one gets the feeling that REAGAN'S POLYP made it to the
thirty album mark (!) with the help of some not-so-judicious editing.
There are moments here worth exploring, such as the synth warfare on
"Hello Alien", but few will have the energy to pan for gold in this
sea of mediocrity. (WB)
(Vetoxa)
SKAVEN – "Discography" LP
Compiling their self-titled 7" along with material from splits with
DYSTOPIA and STORMCROW, this LP gives us the entire recorded output of
the short-lived SKAVEN, who managed to leave a lasting impression on
the East Bay (and worldwide) crust scene in just a couple of years.
For those of you who are unfamiliar, SKAVEN did a fairly upbeat take
on the legacy of classic UK crust like HELLBASTARD and AXEGRINDER, but
with the decidedly 90’s vibe of contemporaries such as ELDOPA. Along
with a undeniable skill for writing catchy fucking songs, their two
bass/one guitar setup yielded a fairly idiosyncratic sound; just
listen to those bass leads at the end of "Reflective Skin" and you'll
know what I mean. A truly gorgeous lyric booklet collects some of the
most depressing sentiments you'll ever find in a punk record, but what
else would you expect from a band that shares members with ASUNDER?
Great liner notes too, including the story of how "a member of a
well-known Bay Area band" bit someone's ear off in a massive
crusty-versus-skinhead brawl. A top-notch remaster by Brad Boatright
and a whole slew of posters and inserts complete the package, making
this hands-down the definitive SKAVEN release, a must-grab for any
scumfuck worth their own filth. (WB)
(Skuld)
Showing posts with label blackened crust. Show all posts
Showing posts with label blackened crust. Show all posts
Wednesday, April 29, 2015
Wednesday, November 20, 2013
October 2013 – #365
Top Ten:
BASTARD-Wind of Pain-LP
KUUDES SILMÄ-LP
VIOLENT PARTY-Poison Mixers-LP
HERO DISHONEST-LP/DEFEKTNO EFEKTNI-EP
KATA SARKA/BODDICKER-split
CONTRAST ATTITUDE-You’re Not Free !!!-EP
RULE OF THIRDS-EP/YADOKAI-EP
CRIMINAL DAMAGE-Call of Death-LP
E.A.T.E.R.-all EPs/SELFISH-LP
BITTER FRUIT/ALTAR DE FEY-live
KATA SARKA/BODDICKER – split EP
A recently report from the Ministry of Information shows that ironic corpsepaint is at an all-time high in the past couple years, so I must admit that my eyebrows were raised before putting this on—I shit you not, this is named the The David Lee Gorgoroth EP. Lucky for everyone, what's within is beyond legit, hands-down one of the finest splits I've heard in a long, long time. Indianapolis’ KATA SARKA take an uptempo crust approach and shred it with aggressive-yet-heady black metal from the same infernal depths as ASHDAUTAS and DIAMETREGON…in other words, I need to get my hands on everything they've recorded. There's more blackened d-beat to be had on BODDICKER’s side, but the pace is more deliberate, and the ‘core factor is turned way the fuck up. Two words: ritual moshing. More than worthy of your limited time on this foul earth. (WB)
(Reality is a Cult)
WE LIVE IN TRENCHES– "Out of the Dark" 45
Dark-but-not-too-dark stylings from Gothenburg, Sweden, WE LIVE IN TRENCHES fit in somewhere between hi-fi modern punk and the lurching noise-rock of MOUNT SHASTA. "Swagger" is definitely not something I look for in punk made after, say, 1981, and that's a big part of why this doesn't really work for me: even with some cool atmospherics, the guitars have a rockin' edge that I can't forgive, and the gruff vocals feel, well, kind of forced. The flip is a SAMHAIN cover ("In My Grip"), and I'm sad to say it's a lot better than the song they wrote, bringing out a gnarly post-punk influence only hinted at on the A-side. (WB)
(La Familia)
FATUM – "Time Passes to the Dark" CD
Some ultra-brief research tells me that there are at least three active bands in Russia named FATUM. This FATUM is from Moscow and stand proudly within the stenchcore tradition, stomping their way through a chuggy tribute to 80s UK crust. There's a lot of filler here, largely due to the extreme length of most of the songs here—the first two alone are almost fourteen minutes long—but they convey the spirit of the style well enough to please the heads who favor it. When they aim for some melody it's pretty fucking awesome, adding some dynamics to an otherwise flat journey through the wasteland. This could have been edited down to a pretty killer 7", but I just don't have the patience to sit through the whole thing at once. (WB)
(Drunk With Power)
SWELLS – "Refraction//Incarnation" LP
Come on, guys! As someone who finds myself defending screamo on a semi-regular basis, you're really not making it easier for any of us. Replete with lyrics that mash up the cutesy with some goofball metaphysical pondering—the first song is titled "If A Toucan You Can!" and involves wormholes, ugh—SWELLS offer a mathish take on what passes for post-hardcore in the year 2013. Even setting aside a couple of parts that could easily find a home on an alt rock album, most of what's here comes off as riff salad, and the playing is pretty damn loose for my taste. Comes inside some fucking stellar artwork—I love dodecahedrons and tessellation as much as the next hXc hippie—but looks can be deceiving. Yep, I'm done here. (WB)
(self-released)
D.I.S. – "Becoming Wrath" LP
Took me a while to unravel this but this band's full name is DESTROYED IN SECONDS, not sure if they changed it or what but it's D.I.S. all over this release. The computer-demon cover art had me expecting either NWOBHM revival or some kind of terrible IN FLAMES worship, but the touchstone here is the metallic end of late 90s/early 2000s Scandi d-beat/crust, paired with vocals that bridge the gap between WOLFBRIGADE and anthemic US bands like AUS ROTTEN. All in all, this is a pretty mixed bag: the moshy tough vibes that pop up occasionally were a pretty big turnoff for me, and a lot of it feels by the numbers even while it sprawls across a few different styles. When they get locked into their groove, though, D.I.S. are more than capable of dialing the sounds of some of the greats, even if they're not bringing much innovation to the table. If I had one piece of advice for this band it would be to develop more of the gloomy forays into metal, which were definitely the best part of this album. (WB)
(Deep Six)
VIOLENT PARTY – "Poison Mixers" LP
Completely blistering from top to bottom, this is A++ noize made by and for maladjusted punk miscreants. Occupying a space not too far from the toompa dementia that is LIFEFORM, VIOLENT PARTY have really outdone themselves with this one, not least in the creepy, paranoid lyrics and artwork. In a microgenre fundamentally based around celebrating stupidity, they manage to write a ton of memorable material that stands out from lately-oversatured cult of wannabe raw dudes. This refusal to bow to lazy songwriting is what makes Poison Mixers a record I'll come back to over and over, the slow pogo equivalent of what D-CLONE does for sheer chaotic speed, and the dark, seedy aura they conjure here is one of the best I've heard in a while. The record ends with a deliciously ominous drawn-out dirge, and I'm left wishing I did more drugs. Between this, the CONTRAST ATTITUDE EP and their label omnibus, Konton Crasher hit a trifecta this month. Props. (WB)
(Konton Crasher/Imminent Destruction)
MEN AS WITCHES – "Wheel" EP
Twisted nightmare noises conjured with a bass and some drums, this is where good feelings go to die. While MEN AS WITCHES use the skeleton of power violence as a jump-off, there's a cavernous atonality to the proceedings that puts them in the same league as ultrableak latter-day revisionists like Buffalo's WATER TORTURE. These are the sounds of a generation for whom noise-not-music refers to KHANATE as much as it does to bands like DESPITE YOU and NO COMMENT, and that genealogical alchemy yields some truly powerful results. Doomy beardos who got over hardcore five years ago would probably dig it; for me, it's a complete no-brainer: this rules. (WB)
(Self-released)
BASTARD-Wind of Pain-LP
KUUDES SILMÄ-LP
VIOLENT PARTY-Poison Mixers-LP
HERO DISHONEST-LP/DEFEKTNO EFEKTNI-EP
KATA SARKA/BODDICKER-split
CONTRAST ATTITUDE-You’re Not Free !!!-EP
RULE OF THIRDS-EP/YADOKAI-EP
CRIMINAL DAMAGE-Call of Death-LP
E.A.T.E.R.-all EPs/SELFISH-LP
BITTER FRUIT/ALTAR DE FEY-live
KATA SARKA/BODDICKER – split EP
A recently report from the Ministry of Information shows that ironic corpsepaint is at an all-time high in the past couple years, so I must admit that my eyebrows were raised before putting this on—I shit you not, this is named the The David Lee Gorgoroth EP. Lucky for everyone, what's within is beyond legit, hands-down one of the finest splits I've heard in a long, long time. Indianapolis’ KATA SARKA take an uptempo crust approach and shred it with aggressive-yet-heady black metal from the same infernal depths as ASHDAUTAS and DIAMETREGON…in other words, I need to get my hands on everything they've recorded. There's more blackened d-beat to be had on BODDICKER’s side, but the pace is more deliberate, and the ‘core factor is turned way the fuck up. Two words: ritual moshing. More than worthy of your limited time on this foul earth. (WB)
(Reality is a Cult)
WE LIVE IN TRENCHES– "Out of the Dark" 45
Dark-but-not-too-dark stylings from Gothenburg, Sweden, WE LIVE IN TRENCHES fit in somewhere between hi-fi modern punk and the lurching noise-rock of MOUNT SHASTA. "Swagger" is definitely not something I look for in punk made after, say, 1981, and that's a big part of why this doesn't really work for me: even with some cool atmospherics, the guitars have a rockin' edge that I can't forgive, and the gruff vocals feel, well, kind of forced. The flip is a SAMHAIN cover ("In My Grip"), and I'm sad to say it's a lot better than the song they wrote, bringing out a gnarly post-punk influence only hinted at on the A-side. (WB)
(La Familia)
FATUM – "Time Passes to the Dark" CD
Some ultra-brief research tells me that there are at least three active bands in Russia named FATUM. This FATUM is from Moscow and stand proudly within the stenchcore tradition, stomping their way through a chuggy tribute to 80s UK crust. There's a lot of filler here, largely due to the extreme length of most of the songs here—the first two alone are almost fourteen minutes long—but they convey the spirit of the style well enough to please the heads who favor it. When they aim for some melody it's pretty fucking awesome, adding some dynamics to an otherwise flat journey through the wasteland. This could have been edited down to a pretty killer 7", but I just don't have the patience to sit through the whole thing at once. (WB)
(Drunk With Power)
SWELLS – "Refraction//Incarnation" LP
Come on, guys! As someone who finds myself defending screamo on a semi-regular basis, you're really not making it easier for any of us. Replete with lyrics that mash up the cutesy with some goofball metaphysical pondering—the first song is titled "If A Toucan You Can!" and involves wormholes, ugh—SWELLS offer a mathish take on what passes for post-hardcore in the year 2013. Even setting aside a couple of parts that could easily find a home on an alt rock album, most of what's here comes off as riff salad, and the playing is pretty damn loose for my taste. Comes inside some fucking stellar artwork—I love dodecahedrons and tessellation as much as the next hXc hippie—but looks can be deceiving. Yep, I'm done here. (WB)
(self-released)
D.I.S. – "Becoming Wrath" LP
Took me a while to unravel this but this band's full name is DESTROYED IN SECONDS, not sure if they changed it or what but it's D.I.S. all over this release. The computer-demon cover art had me expecting either NWOBHM revival or some kind of terrible IN FLAMES worship, but the touchstone here is the metallic end of late 90s/early 2000s Scandi d-beat/crust, paired with vocals that bridge the gap between WOLFBRIGADE and anthemic US bands like AUS ROTTEN. All in all, this is a pretty mixed bag: the moshy tough vibes that pop up occasionally were a pretty big turnoff for me, and a lot of it feels by the numbers even while it sprawls across a few different styles. When they get locked into their groove, though, D.I.S. are more than capable of dialing the sounds of some of the greats, even if they're not bringing much innovation to the table. If I had one piece of advice for this band it would be to develop more of the gloomy forays into metal, which were definitely the best part of this album. (WB)
(Deep Six)
VIOLENT PARTY – "Poison Mixers" LP
Completely blistering from top to bottom, this is A++ noize made by and for maladjusted punk miscreants. Occupying a space not too far from the toompa dementia that is LIFEFORM, VIOLENT PARTY have really outdone themselves with this one, not least in the creepy, paranoid lyrics and artwork. In a microgenre fundamentally based around celebrating stupidity, they manage to write a ton of memorable material that stands out from lately-oversatured cult of wannabe raw dudes. This refusal to bow to lazy songwriting is what makes Poison Mixers a record I'll come back to over and over, the slow pogo equivalent of what D-CLONE does for sheer chaotic speed, and the dark, seedy aura they conjure here is one of the best I've heard in a while. The record ends with a deliciously ominous drawn-out dirge, and I'm left wishing I did more drugs. Between this, the CONTRAST ATTITUDE EP and their label omnibus, Konton Crasher hit a trifecta this month. Props. (WB)
(Konton Crasher/Imminent Destruction)
MEN AS WITCHES – "Wheel" EP
Twisted nightmare noises conjured with a bass and some drums, this is where good feelings go to die. While MEN AS WITCHES use the skeleton of power violence as a jump-off, there's a cavernous atonality to the proceedings that puts them in the same league as ultrableak latter-day revisionists like Buffalo's WATER TORTURE. These are the sounds of a generation for whom noise-not-music refers to KHANATE as much as it does to bands like DESPITE YOU and NO COMMENT, and that genealogical alchemy yields some truly powerful results. Doomy beardos who got over hardcore five years ago would probably dig it; for me, it's a complete no-brainer: this rules. (WB)
(Self-released)
Tuesday, November 19, 2013
Year-End Top Ten for 2012
MAUSER – "Isolation" EP (La Vida Es Un Mus / Vinyl Rites)
MAUSER are one of those bands where every release manages to outshine the one that came before it, and the latest 12" only cements their spot at the top of the current U.S. raw punk dogpile. Crossed paths with these dudes on tour in New Orleans, where they tore the roof off the tiny cafe space we were playing, and they had hands-down one of the best sets at Chaos in Tejas. Their drummer is a fucking beast (Hi Mike!), and "Deterioration" is a serious contender for my favorite mid-tempo hardcore song ever. That upcoming tour with FOLKEIIS and MUNDO MUERTO is definitely one of the more exciting things I'm looking forward to in 2013.
PERMANENT RUIN – Demo (Self-Released) + "Hell is Real" EP (Adelante Discos)
There's no question in my mind, PERMANENT RUIN was the Bay Area hardcore band of 2012, playing about a million shows and blowing away every single crowd with their blistering, faster-than-thou anthems of smash. What's not to love? All three of their releases from last year (a bulk of the demo was released as a flexi by Radical Punks Never Die) are shining examples of what DIY can aspire to, with brillantly searing artwork and lyrics and absolutely killer recordings. Some of the best noise not music made by some of the raddest people in punk. Never sleep.
RØSENKØPF – LP (Weird)
Far and away the most-played new record in my house last year. The eau d'goth was certainly in the air in 2012, but no one can accuse RØSENKØPF of being trend-followers or retro knockoffs, if for no other reason than there's simply no one else making sounds out there quite like this (if you put a gun to my head I guess I'd describe it as psychedelic anarcho-industrial darkwave?). Their live set was something else, employing a whole mess of fun toys to realize those throbbing, trance-inducing beats by any and all means necessary. We played with them on a show in El Paso (watching Soren discover his first night out that he'd accidentally bought a four-foot-long kids sleeping bag was definitely up there for most adorable moment of tour) and when I caught them two weeks later at Oakland's Terminal they were even more mind-bogglingly seamless.
CLOUD RAT – splits with REPUBLIC OF DREAMS (IFB / Moment Of Collapse / React With Protest / 50 Year Storm) and XTRA VOMIT (IFB)
CLOUD RAT have been around for a few years, but like many folks I came across them only recently, having been instantly converted upon hearing their split with XTRA VOMIT a few months ago. CLOUD RAT are indeed a grind band, but one whose lineage has as much to with (fucking great) screamo and the dreamy, esoteric margins of black metal as it does with ASSÜCK (don't worry, these kids probably totally love ASSÜCK too). "Emotive" is a descriptor that would make a lot of trve grind fans gag, but fuck 'em, because CLOUD RAT are putting out some of the best loudfastshit in the world right now. Their LP "Moksha" is coming out any day now and I will be shocked if it's not one of the best records of 2013.
ZYANOSE – "Noise Philia 2005-2011" LP (540 / Todo Destruido) + "Isolation" EP (Distort Reality)
Japan's most glorious crasher crust disaster, ZYANOSE have recognized that bringing the chaos is a practice best informed by being totally wasted, and this is an ethos which obviously permeates everything that they do as a band. There were so many memorable sets at Chaos in Tejas (still can't get over how good WINTER was) but ZYANOSE was easily the most boisterous and fun, and their ability to produce absolutely paint-peeling noize punk shriek with two basses and no guitars still has me scratching my head six months later. The discography roundup is totally essential for anyone who recognizes that inner ear canals are extremely overrated, while the new EP shows off a band at the top of their game, doing what they do best and clearly having way too much fun. "Aaaaaaaaaargh" never sounded so sweet.
ALARIC/ATRIARCH – split LP (20 Buck Spin)
Another record that I know I'll be listening to for many years to come, this split was the logical conclusion of a long-time affinity between the two bands, who have toured together more than once and who I've personally seen play together more times than I can count. ALARIC are one of the few modern acts whose effects-laden sound I'd consider worthy of comparison to THE CHAMELEONS (my favorite post-punk band), and I continue to be amazed by their ability to stay true to their early 80s source material within an utterly modern recording aesthetic. "So Far Down" is one of most memorable tracks in their repertoire but the closer "Weep" is the real standout here, an absolutely devastating riff that builds out into an wistful, expansive dirge; I'm not exaggerating when I say ranks up there as one of my favorite goth/post-punk songs of all time. ATRIARCH continue to refine their CHRISTIAN DEATH-meets-blackened doom approach to great effect, and I think the material here is their finest, most coherent to date.
WATER TORTURE – "Shellfire!" EP (Diseased Audio) + splits w/ SEA OF SHIT (Diseased Audio) and THEDOWNGOING (Nerve Altar)
We have seen the future and it is fucking horrid. Mutants of all stripes will find refuge in the demented sounds of WATER TORTURE, where fist-crushing powerviolence merges with all manner of bleep-blorping electronic goodness to bring the MAN IS THE BASTARD trajectory into the 24th century. Splits with some of the best punky blasters out there right now only seal the deal: WATER TORTURE are one of the most exciting bands I got into last year, and probably the most fun I've had listening to a grind record since that crazy PSUDOKU rewired my consciousness in late 2011.
HEXIS – "Seputus/Fatum" 45 (Black Lake / Skaven / Monotonstudio / Enjoyment / Gardens / Braincrushing) + "X" EP (IFB/Maximum Douglas/Orchid Scent/Parade of Spectres/Panda Banda)
Nightmare music of the highest order. In a year that saw so many mediocre (not to mention sketchy) fusions of black metal and dark hardcore, HEXIS from Copenhagen were one of the few that did it right, integrating European heaviness a la BLACK FREIGHTER into a deliciously nauseating mindfuck that bears an avant-garde kinship with bands like PORTAL and EHNAHRE. No matter how many times I listen to these songs, HEXIS always seems to trigger the same sense of anxiety and impending doom. Then again, I keep putting it back on…
BELGRADO – "Panopticon/Vicious Circle" 45 (La Vida Es Un Mus)
It would have been easy for BELGRADO to stumble or stall after releasing their landmark self-titled LP, but if their newest material is any indication, the creative well has far from run dry. Lucky for the rest of us! As we all know by now, it's easy enough to throw on some reverb and recreate that sound, but BELGRADO set themselves apart from so many post-punk revivalists by writing great fucking songs, and the two at hand are no exception. The vocals—and oh, that guitar tone!—retain an instant familiarity, but with a strangely timeless quality, and there's no denying their mastery when it comes to painting paranoid landscapes with an almost cinematic precision. I don't want to say that their set at 1-2-3-4 Go! was a revelation—that's way too corny—but I think I just did.
COMMUNION OF THIEVES – "To Serve Man" Demo (Self-Released)
At the risk of gushing, COMMUNION OF THIEVES are basically in 'dream band' territory for me, tempering their epic d-beat crust foundation with a dose of gorgeously atmospheric black metal to produce some of the most incredible songs I've heard in the decade or so that I've been listening to punk. Lyrics in Spanish and English explore feminism, religion and the soul-crushing realities of industrial civilization with a first-hand focus on the experiences of immigrants on the U.S./Mexico border, and Alison's perfectly caustic vocals add a whole other dimension to the music. The first time I came through El Paso on tour COMMUNION OF THIEVES was supposed to play but had to drop at the last minute, being replaced by their awesome death metal/crust side project NUCLEAR SCORN. Needless to say, I was thrilled when we got booked with COMMUNION and RØSENKØPF this time around, and it would be an understatement to say they exceeded all of my expectations; seriously, some of the most inspired drum work I've ever had the pleasure of seeing live. Real talk, there is no band in the world right now whose first full-length I want to hear more.
Reissues
DISCHARGE – All EPs (Havoc)
WARRIOR KIDS – "Les Enfants De L'Espoir" LP (Katorga Works)
KNOTS – "Action/Heartbreaker" 45 (Last Laugh)
VARUKERS – "Another Religion, Another War" LP (Havoc)
CURRICULUM MORTIS – "Sentencia de Muerte" LP (Ultra Sonido)
PICTURE FRAME SEDUCTION – "Hand of the Rider" LP (Queer Pills)
THE DICKS – "Hate The Police" EP (1-2-3-4 Go!)
MAN IS THE BASTARD / AUNT MARY – split (Six Weeks)
ABUSE – "Manifest: 1994-2004 Discography" CD (Haunted Hotel)
ABADDON – "Wet Za Wet" LP (Warsaw Pact)
More records that ruled it: D-CLONE LP, PUTREFACTION LP, REIVERS LP, PASSIV DÖDSHJÄLP EP, NO STATIK EPs + LP, HAMMERS 10", CONDITION EP, NEW FLESH DEMO, DAWN OF HUMANS EP, CRIMINAL CODE LP + EPs, AGE OF COLLAPSE LP, HUNTING PARTY EP, LOTUS FUCKER LP, SYSTEMATIK DEMO, FORWARD LP, SICK/TIRED EP, TEMPEST EP, TRAGEDY LP, T.A.D.R.O.E.V. DEMO, VACCINE/COKE BUST SPLIT, RAPE REVENGE EP, VUEVE S.S. EP + SPLIT, HUMANXWASTE DEMO, HOST EP, NEON PISS LP, DNF EP, JUNGBLUTH DEMO, KROMOSOM EP, TO THE POINT EP, ORDSTRO DEMO, CRIMSON SCARLET 45, YADOKAI EP, SIX BREW BANTHA LP, ANASAZI DEMO, ARCHAGATHUS/PIZZA HI-FIVE SPLIT, YADOKAI EP, REPLICA DEMO, GHASTLY SPATS EP
MAUSER are one of those bands where every release manages to outshine the one that came before it, and the latest 12" only cements their spot at the top of the current U.S. raw punk dogpile. Crossed paths with these dudes on tour in New Orleans, where they tore the roof off the tiny cafe space we were playing, and they had hands-down one of the best sets at Chaos in Tejas. Their drummer is a fucking beast (Hi Mike!), and "Deterioration" is a serious contender for my favorite mid-tempo hardcore song ever. That upcoming tour with FOLKEIIS and MUNDO MUERTO is definitely one of the more exciting things I'm looking forward to in 2013.
PERMANENT RUIN – Demo (Self-Released) + "Hell is Real" EP (Adelante Discos)
There's no question in my mind, PERMANENT RUIN was the Bay Area hardcore band of 2012, playing about a million shows and blowing away every single crowd with their blistering, faster-than-thou anthems of smash. What's not to love? All three of their releases from last year (a bulk of the demo was released as a flexi by Radical Punks Never Die) are shining examples of what DIY can aspire to, with brillantly searing artwork and lyrics and absolutely killer recordings. Some of the best noise not music made by some of the raddest people in punk. Never sleep.
RØSENKØPF – LP (Weird)
Far and away the most-played new record in my house last year. The eau d'goth was certainly in the air in 2012, but no one can accuse RØSENKØPF of being trend-followers or retro knockoffs, if for no other reason than there's simply no one else making sounds out there quite like this (if you put a gun to my head I guess I'd describe it as psychedelic anarcho-industrial darkwave?). Their live set was something else, employing a whole mess of fun toys to realize those throbbing, trance-inducing beats by any and all means necessary. We played with them on a show in El Paso (watching Soren discover his first night out that he'd accidentally bought a four-foot-long kids sleeping bag was definitely up there for most adorable moment of tour) and when I caught them two weeks later at Oakland's Terminal they were even more mind-bogglingly seamless.
CLOUD RAT – splits with REPUBLIC OF DREAMS (IFB / Moment Of Collapse / React With Protest / 50 Year Storm) and XTRA VOMIT (IFB)
CLOUD RAT have been around for a few years, but like many folks I came across them only recently, having been instantly converted upon hearing their split with XTRA VOMIT a few months ago. CLOUD RAT are indeed a grind band, but one whose lineage has as much to with (fucking great) screamo and the dreamy, esoteric margins of black metal as it does with ASSÜCK (don't worry, these kids probably totally love ASSÜCK too). "Emotive" is a descriptor that would make a lot of trve grind fans gag, but fuck 'em, because CLOUD RAT are putting out some of the best loudfastshit in the world right now. Their LP "Moksha" is coming out any day now and I will be shocked if it's not one of the best records of 2013.
ZYANOSE – "Noise Philia 2005-2011" LP (540 / Todo Destruido) + "Isolation" EP (Distort Reality)
Japan's most glorious crasher crust disaster, ZYANOSE have recognized that bringing the chaos is a practice best informed by being totally wasted, and this is an ethos which obviously permeates everything that they do as a band. There were so many memorable sets at Chaos in Tejas (still can't get over how good WINTER was) but ZYANOSE was easily the most boisterous and fun, and their ability to produce absolutely paint-peeling noize punk shriek with two basses and no guitars still has me scratching my head six months later. The discography roundup is totally essential for anyone who recognizes that inner ear canals are extremely overrated, while the new EP shows off a band at the top of their game, doing what they do best and clearly having way too much fun. "Aaaaaaaaaargh" never sounded so sweet.
ALARIC/ATRIARCH – split LP (20 Buck Spin)
Another record that I know I'll be listening to for many years to come, this split was the logical conclusion of a long-time affinity between the two bands, who have toured together more than once and who I've personally seen play together more times than I can count. ALARIC are one of the few modern acts whose effects-laden sound I'd consider worthy of comparison to THE CHAMELEONS (my favorite post-punk band), and I continue to be amazed by their ability to stay true to their early 80s source material within an utterly modern recording aesthetic. "So Far Down" is one of most memorable tracks in their repertoire but the closer "Weep" is the real standout here, an absolutely devastating riff that builds out into an wistful, expansive dirge; I'm not exaggerating when I say ranks up there as one of my favorite goth/post-punk songs of all time. ATRIARCH continue to refine their CHRISTIAN DEATH-meets-blackened doom approach to great effect, and I think the material here is their finest, most coherent to date.
WATER TORTURE – "Shellfire!" EP (Diseased Audio) + splits w/ SEA OF SHIT (Diseased Audio) and THEDOWNGOING (Nerve Altar)
We have seen the future and it is fucking horrid. Mutants of all stripes will find refuge in the demented sounds of WATER TORTURE, where fist-crushing powerviolence merges with all manner of bleep-blorping electronic goodness to bring the MAN IS THE BASTARD trajectory into the 24th century. Splits with some of the best punky blasters out there right now only seal the deal: WATER TORTURE are one of the most exciting bands I got into last year, and probably the most fun I've had listening to a grind record since that crazy PSUDOKU rewired my consciousness in late 2011.
HEXIS – "Seputus/Fatum" 45 (Black Lake / Skaven / Monotonstudio / Enjoyment / Gardens / Braincrushing) + "X" EP (IFB/Maximum Douglas/Orchid Scent/Parade of Spectres/Panda Banda)
Nightmare music of the highest order. In a year that saw so many mediocre (not to mention sketchy) fusions of black metal and dark hardcore, HEXIS from Copenhagen were one of the few that did it right, integrating European heaviness a la BLACK FREIGHTER into a deliciously nauseating mindfuck that bears an avant-garde kinship with bands like PORTAL and EHNAHRE. No matter how many times I listen to these songs, HEXIS always seems to trigger the same sense of anxiety and impending doom. Then again, I keep putting it back on…
BELGRADO – "Panopticon/Vicious Circle" 45 (La Vida Es Un Mus)
It would have been easy for BELGRADO to stumble or stall after releasing their landmark self-titled LP, but if their newest material is any indication, the creative well has far from run dry. Lucky for the rest of us! As we all know by now, it's easy enough to throw on some reverb and recreate that sound, but BELGRADO set themselves apart from so many post-punk revivalists by writing great fucking songs, and the two at hand are no exception. The vocals—and oh, that guitar tone!—retain an instant familiarity, but with a strangely timeless quality, and there's no denying their mastery when it comes to painting paranoid landscapes with an almost cinematic precision. I don't want to say that their set at 1-2-3-4 Go! was a revelation—that's way too corny—but I think I just did.
COMMUNION OF THIEVES – "To Serve Man" Demo (Self-Released)
At the risk of gushing, COMMUNION OF THIEVES are basically in 'dream band' territory for me, tempering their epic d-beat crust foundation with a dose of gorgeously atmospheric black metal to produce some of the most incredible songs I've heard in the decade or so that I've been listening to punk. Lyrics in Spanish and English explore feminism, religion and the soul-crushing realities of industrial civilization with a first-hand focus on the experiences of immigrants on the U.S./Mexico border, and Alison's perfectly caustic vocals add a whole other dimension to the music. The first time I came through El Paso on tour COMMUNION OF THIEVES was supposed to play but had to drop at the last minute, being replaced by their awesome death metal/crust side project NUCLEAR SCORN. Needless to say, I was thrilled when we got booked with COMMUNION and RØSENKØPF this time around, and it would be an understatement to say they exceeded all of my expectations; seriously, some of the most inspired drum work I've ever had the pleasure of seeing live. Real talk, there is no band in the world right now whose first full-length I want to hear more.
Reissues
DISCHARGE – All EPs (Havoc)
WARRIOR KIDS – "Les Enfants De L'Espoir" LP (Katorga Works)
KNOTS – "Action/Heartbreaker" 45 (Last Laugh)
VARUKERS – "Another Religion, Another War" LP (Havoc)
CURRICULUM MORTIS – "Sentencia de Muerte" LP (Ultra Sonido)
PICTURE FRAME SEDUCTION – "Hand of the Rider" LP (Queer Pills)
THE DICKS – "Hate The Police" EP (1-2-3-4 Go!)
MAN IS THE BASTARD / AUNT MARY – split (Six Weeks)
ABUSE – "Manifest: 1994-2004 Discography" CD (Haunted Hotel)
ABADDON – "Wet Za Wet" LP (Warsaw Pact)
More records that ruled it: D-CLONE LP, PUTREFACTION LP, REIVERS LP, PASSIV DÖDSHJÄLP EP, NO STATIK EPs + LP, HAMMERS 10", CONDITION EP, NEW FLESH DEMO, DAWN OF HUMANS EP, CRIMINAL CODE LP + EPs, AGE OF COLLAPSE LP, HUNTING PARTY EP, LOTUS FUCKER LP, SYSTEMATIK DEMO, FORWARD LP, SICK/TIRED EP, TEMPEST EP, TRAGEDY LP, T.A.D.R.O.E.V. DEMO, VACCINE/COKE BUST SPLIT, RAPE REVENGE EP, VUEVE S.S. EP + SPLIT, HUMANXWASTE DEMO, HOST EP, NEON PISS LP, DNF EP, JUNGBLUTH DEMO, KROMOSOM EP, TO THE POINT EP, ORDSTRO DEMO, CRIMSON SCARLET 45, YADOKAI EP, SIX BREW BANTHA LP, ANASAZI DEMO, ARCHAGATHUS/PIZZA HI-FIVE SPLIT, YADOKAI EP, REPLICA DEMO, GHASTLY SPATS EP
Monday, November 18, 2013
May 2012 – #348
UNHOLY MAJESTY – “Age of Affliction” EP
With a distinct INTEGRITY/"Holy Terror" influence reflected in
chugging guitars and over-the-top lyrical posturing, UNHOLY MAJESTY
from the UK provide yet another entry in the hopelessly oversaturated
world of dark-ish hardcore that's really blown up in the last few
years. Unfortunately, good mixing and solid musicianship don't amount
to squat when the riffs amount to rehashed 80s thrash metal, only way
slower, like if you got too stoned and accidentally listened to a
MEGADETH 45 at 33 RPM. This is the kind of band that credits which
member performed each guitar solo, and yes, those solos are fucking
atrocious: predictable, noodling wankfests that sound like they were
lifted from every bad classic rock song you could possibly think of.
You almost have to love a band that could produce such cheezy shlock
while maintaining such a level of pretense as to self-identify in
their liner notes as “a psychological projection of your own
identity”…almost. (WB)
(A389)
HOST – “There’s Nothing Up There But Heavy Clouds” EP
New Hampshire's HOST offer up a short but brilliant dose of crushing,
pissed-off hardcore here, touching on the brutal, off-time fast/slow
of powerviolence without ever really getting blasty with it. Throwing
together fun-as-fuck mosh parts, galloping crust beats, and the
occasional gang vocal for good measure, HOST take their rightful place
alongside bands like DRAIZE, OILTANKER and VACCINE as part of the
vibrant New England hardcore scene currently destroying all posers.
Each song is wisely kept under under the two-minute mark, presumably
to keep the members from having a rage-induced aneurysm. (WB)
(Cricket Cemetery)
YOUNG AND IN THE WAY – “Amen/I Am Not What I Am” 2xLP
Baroque, harsh, and unabashedly esoteric shit, whoa. YAITW are from
North Carolina and produce black metal-laced crust with a solid
grounding in angry East Coast hardcore. This release is a compilation
of two albums, one on vinyl for the first time and the other
previously self-released by the band. First, 2010's Amen, which
oscillates between bludgeoning hardcore and slow, claustrophobic
breakdowns; the far-slower B-side of Amen, which plays out like an
extended dirge worthy of THOU, was actually my favorite part of the
record. Fast forward a year later to I Am Not What I Am and we find
YAITW upping both the speed and majesty factor exponentially, the
latter to the point of opening the album with several minutes of opera
singing sampled over creeping tremolo riffs, somewhat like a filthier
MORNE. The black metal influence goes beyond mere blast beats, with
horror movie keyboards and dreamy, symphonic passages constantly
cropping up to give the whole thing a delightfully demented feel. No
doubt, this is a project that aims high, but there's nothing better
than seeing something like this that's actual able to deliver on its
promises. Yeah, this is totally great. (WB)
(A389)
LE DEAD PROJET – “Keep on Living” LP
Epic screamo/neocrust by way of Paris, LE DEAD PROJET play an
atmospheric brand of hardcore that instantly reminded me of the German
powerhouse ZORN, with a focus on melody and vocal leads that's
decidedly post-something. Wailing guitars and a dynamic, at times
chaotic approach to songwriting puts this in the realm of Euro-crust
torchbearers ALPINIST, but with a slower, more deliberate feel that
fits the raw, heartfelt lyrical delivery well. There are times when
this record drags – an inevitability for me since the band never
really makes it out of mid-tempo – but LE DEAD PROJET manage to cover
a wide range of sonic territory while maintaining an overall coherence
that keeps things engaging. When the band does hit its mark, they
achieve some of the more compelling moments I've heard in this style.
(WB)
(Dingleberry)
HEXIS – “X" EP
Relentless, maddeningly bleak stuff. This mysterious outfit from
Copenhagen specializes in an incredibly dense form of black metal that
displays both avant-garde leanings and a decided hardcore/crust
influence. Like similarly-minded contemporaries ELITIST and THE
SECRET, HEXIS masterfully strike a balance between memorable riffs and
sheer sonic intensity, with jaw-dropping, almost industrial drum
blasts that blur together to create a massive, pummeling drone. The
one-sided seven-inch is quite possibly the most annoying (vinyl)
format in existence, but this band manages to pack more mood and
compositional wizardry into a few minutes than a lot of bands achieve
in entire LPs, so perhaps that can be forgiven here. The perfect
soundtrack for an anxiety attack, I fucking love this. (WB)
(IFB/Maximum Douglas/Orchid Scent/Parade of Spectres/Panda Banda)
With a distinct INTEGRITY/"Holy Terror" influence reflected in
chugging guitars and over-the-top lyrical posturing, UNHOLY MAJESTY
from the UK provide yet another entry in the hopelessly oversaturated
world of dark-ish hardcore that's really blown up in the last few
years. Unfortunately, good mixing and solid musicianship don't amount
to squat when the riffs amount to rehashed 80s thrash metal, only way
slower, like if you got too stoned and accidentally listened to a
MEGADETH 45 at 33 RPM. This is the kind of band that credits which
member performed each guitar solo, and yes, those solos are fucking
atrocious: predictable, noodling wankfests that sound like they were
lifted from every bad classic rock song you could possibly think of.
You almost have to love a band that could produce such cheezy shlock
while maintaining such a level of pretense as to self-identify in
their liner notes as “a psychological projection of your own
identity”…almost. (WB)
(A389)
HOST – “There’s Nothing Up There But Heavy Clouds” EP
New Hampshire's HOST offer up a short but brilliant dose of crushing,
pissed-off hardcore here, touching on the brutal, off-time fast/slow
of powerviolence without ever really getting blasty with it. Throwing
together fun-as-fuck mosh parts, galloping crust beats, and the
occasional gang vocal for good measure, HOST take their rightful place
alongside bands like DRAIZE, OILTANKER and VACCINE as part of the
vibrant New England hardcore scene currently destroying all posers.
Each song is wisely kept under under the two-minute mark, presumably
to keep the members from having a rage-induced aneurysm. (WB)
(Cricket Cemetery)
YOUNG AND IN THE WAY – “Amen/I Am Not What I Am” 2xLP
Baroque, harsh, and unabashedly esoteric shit, whoa. YAITW are from
North Carolina and produce black metal-laced crust with a solid
grounding in angry East Coast hardcore. This release is a compilation
of two albums, one on vinyl for the first time and the other
previously self-released by the band. First, 2010's Amen, which
oscillates between bludgeoning hardcore and slow, claustrophobic
breakdowns; the far-slower B-side of Amen, which plays out like an
extended dirge worthy of THOU, was actually my favorite part of the
record. Fast forward a year later to I Am Not What I Am and we find
YAITW upping both the speed and majesty factor exponentially, the
latter to the point of opening the album with several minutes of opera
singing sampled over creeping tremolo riffs, somewhat like a filthier
MORNE. The black metal influence goes beyond mere blast beats, with
horror movie keyboards and dreamy, symphonic passages constantly
cropping up to give the whole thing a delightfully demented feel. No
doubt, this is a project that aims high, but there's nothing better
than seeing something like this that's actual able to deliver on its
promises. Yeah, this is totally great. (WB)
(A389)
LE DEAD PROJET – “Keep on Living” LP
Epic screamo/neocrust by way of Paris, LE DEAD PROJET play an
atmospheric brand of hardcore that instantly reminded me of the German
powerhouse ZORN, with a focus on melody and vocal leads that's
decidedly post-something. Wailing guitars and a dynamic, at times
chaotic approach to songwriting puts this in the realm of Euro-crust
torchbearers ALPINIST, but with a slower, more deliberate feel that
fits the raw, heartfelt lyrical delivery well. There are times when
this record drags – an inevitability for me since the band never
really makes it out of mid-tempo – but LE DEAD PROJET manage to cover
a wide range of sonic territory while maintaining an overall coherence
that keeps things engaging. When the band does hit its mark, they
achieve some of the more compelling moments I've heard in this style.
(WB)
(Dingleberry)
HEXIS – “X" EP
Relentless, maddeningly bleak stuff. This mysterious outfit from
Copenhagen specializes in an incredibly dense form of black metal that
displays both avant-garde leanings and a decided hardcore/crust
influence. Like similarly-minded contemporaries ELITIST and THE
SECRET, HEXIS masterfully strike a balance between memorable riffs and
sheer sonic intensity, with jaw-dropping, almost industrial drum
blasts that blur together to create a massive, pummeling drone. The
one-sided seven-inch is quite possibly the most annoying (vinyl)
format in existence, but this band manages to pack more mood and
compositional wizardry into a few minutes than a lot of bands achieve
in entire LPs, so perhaps that can be forgiven here. The perfect
soundtrack for an anxiety attack, I fucking love this. (WB)
(IFB/Maximum Douglas/Orchid Scent/Parade of Spectres/Panda Banda)
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