tag:blogger.com,1999:blog-16514606952374861872024-03-28T20:29:55.261-07:00EQUIVOKESanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.comBlogger539125tag:blogger.com,1999:blog-1651460695237486187.post-85581493597152047062013-11-17T17:43:00.000-08:002013-11-29T04:31:25.339-08:00The Last Nail<div class="separator" style="clear: both; text-align: center;">
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Equivoke has been noticeably quiet for a while now, inconsistent at best with posts prior to recent absences. Arguably the blog is dead. I’d like to say it’s not really up to me if Equivoke kicks it because despite the fact I contribute the most here this wasn’t originally (nor solely) my blog. Sagi's gone but Inres and Regulator still hang around I think so if they want to continue it more power to that absolutely. <br />
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However if they don’t want to update the blog and continue to share music then it feels like a good time to put it to rest from my perspective. Motivation has waned recently for me - the reasons don’t matter. I’ll be doing my thing somewhat more regularly soon just not here. There’s still a core of excellent dl blogs and underground webzines/review blogs doing things consistently well so please continue supporting them. I certainly will.<br />
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So cheers and all that. It was early May 2009 when Sagi published the first post here and a few months later in August that year for me, so thats a good four and a half years of existence for Equivoke. Without being deleted once too, not bad.<br />
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For those interested I’ll be using a broader review site at some point (<a href="http://theplowbehindyou.com/">The Plow Behind You</a>). I’ll also be occasionally contributing to <a href="http://summoningspirits.net/">Summoning Spirits</a> (under either Sanakan or ‘knifemissile’ for now) and <a href="http://www.cvltnation.com/author/sanakan/">Cvlt Nation</a> too.<br />
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Thank you.<br />
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- SanakanSanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com8tag:blogger.com,1999:blog-1651460695237486187.post-58627487039662019332013-07-30T00:29:00.000-07:002013-10-13T16:28:41.799-07:00Night Heir - A Maze Of Evenings (2013)<b>Full Length</b>, Self-released /Independent<br />
July 28th, <b>2013</b><br />
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Genre: Experimental/Avant-garde Black Metal<br />
Region: USA<br />
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<em>NOTE: These hard working fellows are looking for a label of some
kind that would be interested in releasing this record in physical form,
so I'm putting the word out. If you think you could help them out I
suggest you contact them (chambermusick@gmail.com) because this is a
record I'd very much like to see on wax or tape or something. A release
very much deserving of a physical home.</em><br />
<em> </em> <br />
I’m excited! The new Night Heir album has finally appeared. It’s funny because I was wondering a few months ago if this year we’d see something new from Night Heir. Their last album <i>Wind In My Dream Mist In My House</i> is a sleeper gem of 2010, it’s impression grew on me significantly since I first heard it — so I’ve been wondering what exactly this now growing collective would come up for a follow-up. <br />
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Well, it’s quite brilliant. Overall it’s stronger and more generous than the aforementioned record. This new effort quickly ensnares you with it’s charm, unique atmosphere and bold approach which has been refined and expanded since last we encountered Night Heir.<br />
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<a href="http://nightheir.bandcamp.com/album/a-maze-of-evenings"><i> A Maze Of Evenings</i></a> brings more members (or contributors) into the circle, and with them more sounds and textures along with extended life; it hits about an hour and twelve minutes. While it was largely a one and two person project last time this record brings a swath of different vocal contributions and styles which enhance their tradition of wide scope in that arena, smoothly buttressing the swooning progressions both in the traditional guitar/bass/drums threesome, but also in the synth/keys and noise. These last two elements come to play an even bigger role than last time overall.<br />
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All of this thickens the already eerie atmosphere, new and larger amounts of varied, layered vocals add new dimensions to this records sound. The production was handled by the band rather than Colin Marston resulting in a more coarse, lo-fi quality compared to a surprisingly finer one on the previous record. This leaves the distorted and loud moments sounding grittier and the quiet valleys are a little more crisp. <br />
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It has made the drumming (snare for sure) a little more distant and thin but this hasn’t dampened the impact of those gripping bass grooves which played a prominent part on their <i>Wind In My Dream...</i> and now do so here. Especially on a lot of the clean sections, but also for instance on the the opening ritual “Inamorata”, and later on “Inner Female”, "Daymare" and “Draw Me Down The Moon” where those licks stick out and play prominently.<br />
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The journey feels more contemplative in its pace and volume this time around — even when it is being loud. Night Heir has not lost anything by doing this as their strengths buoyed further in the longer treks on the album allowing them to explore both parts equally and more fruitfully it seems; where the builds can be big and slow with just as much pay-off. <br />
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I’m talking about tracks like “Giver & Receiver” and “Inner Female”. The former is a perfect example of tricking the listener into thinking the metal has taken a back seat, crafting an alluring chorus haunting sounds; somehow incorporating twinkling pianos and not sounding annoyingly out-of-place. Quite a beautiful track. The latter is the climax of the record, possibly my favorite and very enchanting. Quiet and ghostly and ramps up to overwhelming but never coming unhinged.<br />
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Rainfall and silence. Remember that bass? Damn do the riffs on “Inner Female” kill. By the time the female vocals split through the distortion those grooves have begun their spell in full force; a few choice harmonics punctuating the heavy rhythm satisfyingly. It definitely has a very ethereal atmosphere by the end, aided greatly by those synths.<br />
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Having said that, a lean towards the rapt has not loosened the grip of metal on this project. As is made clear in tracks like “Daymare”, the change in production can allow that more fundamental ‘black’ metal quality to return with full force, scratching and galloping into some stunning territory. It's a bright track and one of my favorites and rivals “No Sympathy For Demanding Idols” off the previous record. Excellent vocals, it’s a monster by the end that whirls and roars coldly with a melancholic tone thriving in the lo-fi environment.<br />
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Yes the opener “Inamorata” shows a different side of this, the anguished cries over a looping rhythm unceasing with a final spectral push into the wicked "Daymare". So too do “Draw Me Down The Moon”, “Solar Piexus” and “The Curator” (both nearly nine minutes) which all bring the aggressive chime-like tremolo progressions, chunky rhythms, and stormy percussion as they have evolved between records.<br />
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The assault of “The Curator” accompanied by creepy, slithery singing, is only interrupted midway through for ambient/noise manipulation, and that leads into some really chunky riffing and modulated female screams to close. Some of the lead’s vocals after the gap stray into quirky Daughters territory and amongst the crushing, dragging cacophony it works to their advantage. <br />
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So by the time we’re stretching into the second half of <i>A Maze Of Evenings</i> after multiple listens things are becoming clearer. Night Heir have given themselves both the span of time between records and the overall length on this record to allow for growth and breathing room. The clean and quiet elements taking as strong a role as the louder metal infused ones, but far more concentrated and focused than in their previous effort. <br />
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The result is some contrasting and very stunning sounds on both ends of their unique spectrum. The two “Inviolate” intros, “Theme From Slowland”, “Inner Female”, and “The Wheel” all creep on you but are no less captivating and creative than the more blunt attack. Tracks like “The Wheel”, a gentle throb bursting with radiance that starts quiet and almost loses control, but never dropping the meditation while gaining in aggression. A wobbly and entrancing trip.<br />
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Even “Solar Piexus” which contains mounting craggy riffs for a time (almost in oldschool Melechesh fashion) dives deep into a dark and contemplative chasm for a time. The gulf of quiet after the shredding just over three minutes in is breath-taking, the gentle atmosphere is thick and cool with organ keys and the splashes of percussion lighting up the dark. When the return to distortion is made over mourning hymns it’s heavy as the ocean from which their bursting forth.<br />
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I think near the end of this record is where it gets more intriguing, the contrasts continuing. <br />
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First we have “The Snakewife” which I think is one of the more interesting or surprising songs here just in terms of the switch off in styles and tones from the beginning to middle, and then the slow change thereafter. At seven minutes it’s almost noise-scape-y at first with a slight creeping horror veneer: off kilter, severely slowed-down, almost twilight-circus styled tones melt through feedback which in turn builds into howling and screaming synth — really nice — and finally gives way to bleak, hypnotic riffs as the build behind gets louder. <br />
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Suddenly the style changes again into something that feels more oldschool death-thrash, and the vocals fall in line as well. It’s bizarre but enjoyable especially as the track progresses, the drumming becomes more complex and the vocals are spiked with clean howls.<br />
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Then you follow this up with “Theme From Slowland”, which is somewhat self-explanatory I suppose, and you have a decent span of music in just these two tracks that tries and succeeds at exploring new ways of combining influences. This track is simple, clean and smooth in the vein of True Widow but less groove oriented, employing some beautiful vocals from both genders as it slinks along. I’d even say it begins to develop a slight Neurosis flavor (Enemy of the Sun era perhaps) just after halfway but it recedes by the end.<br />
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A huge and memorable song for sure. Subtle effects behind the build at points really make the track powerful. There’s not confusion or haphazardness in their placement or structure either, it works quite well. Right into the more shrieking blackened gloom of “Draw Me Down The Moon” (Beherit pun?) which when combined with “Inner Female” make for a fuckin wicked climax on this record’s end.<br />
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Final verdict? Fucking home run all the way for this humble outfit and <i>A Maze Of Evenings</i>. Black metal? Maybe, how about yes just to bug people. Regardless of its label it’s a wonderful record that will probably be passed over and be relegated to lost gem status years from now much like their first. It will no doubt be on my year end list. <br />
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All things considered there’s not a lot wrong with <i>A Maze Of Evenings</i> (length is debatable, after a few listens it doesn't seem long at all) and a whole bunch right with it. The time and effort over the last few years have clearly paid off with a rewarding record that retains originality. Night Heir continue to be awesome and interesting, and hard to place.<br />
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Please go support this project by paying what you can for this record if you’re able to, of course over on bandcamp. It is up for free for now, no physical release yet but I assume (like the previous album) a cassette may be in the future so keep an eye on that. I’ll update this post once that shit’s a reality.<br />
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<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=3210054580/size=medium/bgcol=333333/linkcol=ffffff/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://nightheir.bandcamp.com/album/a-maze-of-evenings">A Maze Of Evenings by Night Heir</a></iframe><br />
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<a href="http://nightheir.bandcamp.com/album/a-maze-of-evenings">DOWNLOAD/STREAM (Bandcamp)</a>Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com5tag:blogger.com,1999:blog-1651460695237486187.post-30051282481081628282013-07-29T22:10:00.001-07:002013-07-30T13:29:08.937-07:00Ævangelist - De Masticatione Mortuorum in Tumulis (2012)<b>Full Length</b>, Debemur Morti Productions<br />
October 16th, <b>2012</b><br />
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Genre: Black/Death Metal/Industrial<br />
Region: USA<br />
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From the minds responsible for Benighted In Sodom, the duo known as Ævangelist have created <i>De Masticatione Mortuorum in Tumulis</i> a unique and sinister hallucinogenic death-cloud. I thought it would be in your interest in knowing, listening to the machinations recorded here. <br />
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Actually I’m pretty late on it myself and these guys have been busy, releasing <i>Nightmare Flesh Offering</i> a new 7” in the last few months, <i>To the Dream Plateau of Hideous Revelation</i> a new split with Esoterica soon (<a href="http://youtu.be/T4ToqQ9yK_k">their side is already available</a>), and their new LP <i>Omen Ex Simulacra</i> in the works already — evidence below:<br />
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<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=2395060255/size=medium/bgcol=333333/linkcol=ffffff/t=9/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://dmp666.bandcamp.com/album/omen-ex-simulacra">Omen Ex Simulacra by ÆVANGELIST</a></iframe> <br />
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Yes Cthulhu, yes H. P. Lovecraft, and you can bet that title and the lyrical themes revolve around the man’s work and influences to some degree. This is all a plus for those interested but it is used quite a bit, and doesn’t do a whole lot for me usually — however Ævangelist’s wear it very well and in an original way. There's more at work than just this thematic influence so let’s get to this record’s other aspects which are also fantastic. <br />
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The cover art depicts a tentacle-web of ancient horror, deformity, death, etc. and that’s pretty much what this duo have constructed here, specifically through emphasis on atmospherics: digital, symphonic, this all feeds into the foreboding quasi-angelic haze suffocating every square inch of this tomb. The production adds to the static, crunchy tone that permeates the record.<br />
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None of this is surprising to those enjoy the previous projects both members have been involved in, though this new formation is evidence that they have more intriguing insights into the void of death from these two.<br />
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Buried under the sheer weight of the terror and horror is a repugnant plume of death metal with certain black metal influences (cue the eye-rolling) that strangles the listener slowly. When those influences are strongest it more often sounds like Darkspace through Wormed (terrible analogy), and overall I would say this record leans a little more to the side of death metal than anything else even with the huge emphasis on atmosphere.<br />
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In fact their unique breed of pestilence is strewn liberally throughout this record but again never without being accompanied by negative illumination and sour flows of the dark symphonies you hear on the first track; which is the only one which indulges in stretching that atmosphere as long as it does. <br />
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Out of the box an eerie sample greets us on “Anno mortii : Gnostic Transcendental Heresy”, something I’d describe as an industrial terror-dimension themed soundscape that drifts from the rough and cybernetic, then to cathedral and ghoulishly angelic patches of undulating sound-craft. This is different than one may expect, far more tech/machine driven rather than fleshy or organic as the cover suggests. Supernatural for sure.<br />
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This purgatory extends becoming all the more cavernous and the atmosphere is certainly foreboding and rich, and it is interrupted by a death and black metal siege: malformed tremolo frenzies eventually give way to a swaying rhythm that dominates the track. A wall of distorted fear tearing through the atmosphere, a stream of psychotic and indecipherable roars, strangled and muffled growls no doubt relaying some kind of primordial curse. <br />
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Vocals are sick and varied if not very out of the ordinary and get a little muddled in the conjuring noises but that may just be the hypnosis working. They do contribute to the frightening haze though. This is a track, the longest, where all the ingredients Ævangelist deal in are at their most reactive and expansive. They opt for different combinations later as you’ll notice.<br />
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While the similarities with recent aberrations of the genre are easy to spot the structure overall are less complex in technical structure than say Mitochondrion in the guitar/drum arena, and not as amorphous as Portal’s. Ævangelist craft these and other influences into new forms unlike their peers, they have their own approach and it's effective. While there’s still there’s a strong tradition of crawling, often thicker-than-expected riffs the key is in repetition, swirling, and this builds alongside those aforementioned elements (usually slow to mid paced <br />
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This is definitely not to say this doesn’t get pretty complex and full at times, the opening track for example, but this more so to do with a convergence of well crafted industrial “noise” or symphonic atmosphere with these other aspects than more twisted riffs and fast drumming.<br />
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Look to “The Longevity of Second Death” for example of reliance on repetitive blows while simultaneously poisoning through atmosphere: we’re treated to a huge and spellbinding set of slow, swaying rhythms which saturated the majority of the track, over those fearsome snarls and floating symphonic ether that erode sanity from all angles.<br />
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Even at it’s most simple they resonate strongly, and the nightmare ethereality never parts from the earth-chewing death metal. Take the three shortest, most straightforward tracks “Pendulum”, “Funeral Monolith”, and "Blood & Darkness” where those influences are strongest.<br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F27844662" width="100%"></iframe> <br />
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“Pendulum” shows a better balance compared to the opener and an example of how well it works. As chunky and dissonant rhythms plow through the six minutes the droning cavalry wails like nuclear war sirens. These wails contaminate and adhere to everything despite the continuous and belligerent hammering from the other instruments, on a more traditional and deliberate path. There’s some pleasing moments here.<br />
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“Funeral Monolith” is similar in this respect, and more easily grasped. The passages are more well lit and decipherable, chunkier and death metal oriented — but it does not relent in its darkness, horror-drone atmospherics clouding the deluge of death beneath. <br />
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The occasional rise to the fore of eerie feedback between the both meaty rhythms and twangy sustained discord is perfect, like an orbiting entity affecting everything it comes close to. It morphs and modulated beneath as well as if it were being held under a liquid often alongside the vocals.<br />
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This track and the chaotic forerunner to it “Death Illumination”, which really flattens shit in it’s wake, are stand outs for me, though it’s a record where there’s very few weak points and all tracks stand like pillars.<br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F56434227" width="100%"></iframe><br />
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So, what could sometimes seem like a concept that could easily get messy and confused, or even boring if not approached with skill or passion Matron Thorn and Ascaris show to be a worth while exploration in horror and metal. They’ve been thorough. <i>De Masticatione Mortuorum in Tumulis</i> is organized thoughtfully and Ævangelist’s creative output on this record is impressive. Like some kind of inverted, crippled Lykathea Aflame.<br />
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There’s one instrumental, “Hierophant Disposal Facility”, and it is staggering with again a much more industrial-ethereal-horror, percussion and bass emphasis at first which entrances no less easily, and eventually bringing the guitars in for the later grooves — slowly twisting and bending over nine minutes in order to deconstructing you spiritually.<br />
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Even after being dimensionally raped over the course of this journey, the finale will still surprise you, especially on it’s immediate front with clean flanged-out progressions and bouts of instrumental reflection. “Crematorium Angelicum”fells like it was produced differently, thinner. Regardless it transforms quite a bit over these final nine minutes, going from some kind of bizarre Pantera - Planet Caravans cover to a very Darkspace-esque tone by the time we approach the middle, back again with heavier delay effects, and into a descent.<br />
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Chalk another up to the growing “awesome records that I missed last year” list. I wish I had been more attentive because <i>De Masticatione Mortuorum in Tumulis</i> displays how ugly and ferocious new breeds of this genre are becoming. It’s a creaking monster of the trans-dimensional depths. If you’ve fucked up like me and didn’t get to it last year then seriously buckle down and dedicate an hour to this. Fans of Antediluvian, Portal, Mitochondrion, Darkspace — anything like that, you should give this a glance.<br />
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Pick up a copy of it if you can. Head over to <a href="http://www.debemur-morti.com/">Debemur Morti Productions</a>' <a href="http://www.eitrin.com/">webshop</a> to do just that and<a href="https://www.facebook.com/aevangelist.official"> follow them elsewhere</a> to keep up with their progress. I’m certainly eagerly awaiting their next record and really want to hear the split and EP once I get the chance.<br />
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<a href="http://www33.zippyshare.com/v/38604976/file.html">DOWNLOAD (Zippyshare)</a><br />
<a href="https://depositfiles.com/files/qn0rwdj6f">DOWNLOAD (Depositfiles)</a>Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com0tag:blogger.com,1999:blog-1651460695237486187.post-35393013609874855462013-05-29T01:08:00.004-07:002013-05-29T01:08:50.575-07:00Antediluvian - Septentrional Theophany (2013)<b>EP,</b> Nuclear War Now! Productions<br />
May 14th, <b>2013</b><br />
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Genre: Black/Death Metal<br />
Region: Canada<br />
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A booster EP recorded during the <a href="http://nuclearwarnowproductions.bandcamp.com/album/logos"><i>λόγος</i></a> sessions, <i><a href="http://nuclearwarnowproductions.bandcamp.com/album/septentrional-theophany">Septentrional Theophany</a></i> is another rapturous astral upheaval from this now infamous Canadian group. It's been well established I'm a big fan of these guys and their related hordes so any new material will have me interested. I think the only one I haven't got to yet was their <i>Cogitating Vacuous</i> split with Temple Nightside. For shame I know.<br />
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Yes this is a 7" that was packaged with the 80 page, heavy duty <i>Haruspex Zine #1</i> (written by Jason Campbell, art and layout of Tim Grieco, in association with the label) which appeared recently along with the vinyl press of their last LP. The magazine itself is pretty fuckin beautiful in packaging and art, not to mention the content/depth of interviews and artist discussions (Denis Forkas, Tim Grieco, Marko Marov, and Manuel Tinnemans). It includes a lot of words with the Nuclear War Now! Productions cult such as: </div>
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Ares Kingdom
<br />
Sabbat
<br />
Conqueror
<br />
Martire
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Rotting Christ <i>(Interviews with Sakis Tolis, Jim Mutilator, and Magus Vampyr Daoloth)</i>
<br />
Pseudogod
<br />
Anatomia
<br />
Bone Awl <i>(Interview featuring HWCT and HWGT)
</i><br />
Bestial Raids
<br />Faustcoven</div>
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The interviews with Conqueror and Bone Awl are particularly interesting however there's generally some nice insights drawn out from diehard members and contributors of the community, with wicked presentation. If you're into digging deep with the bands above then definitely jump on this one. <a href="http://nuclearwarnowproductions.bandcamp.com/album/septentrional-theophany">The record is streaming on bandcamp. </a><br />
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<tr><td class="tr-caption" style="text-align: center;">(Bone Awl interview)</td></tr>
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Two new tracks with lyrics also by Jason Campbell. Something noticeable is that the clarity of this EP is higher even compared to <a href="http://nuclearwarnowproductions.bandcamp.com/album/logos"><i>λόγος</i></a> (at least the tape version, the vinyl/cd press is clearer). It's nowhere near as muddy as TTCOH or the material prior to that which I can see being a problem for a lot of people. Maybe taking a little away from the drumming and grit but Antediluvian are inherently ugly, scratched, and weathered. This EP does retain those characteristics, and the destruction sealed within each moment of the two tracks here is still of great creative quality, and primal with the strong current of mystic cosmology.<br />
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So the chaos is still rearing it's malignant head throughout what you'll hear here. Darkly empyrean and profanely exploring ancient (Greek/Christian) theism/deism much like <a href="http://nuclearwarnowproductions.bandcamp.com/album/logos"><i>λόγος</i></a> did but focused on a specific location or region. "North" is referred to several times, Phosphoros (morning star) and awaiting the its appearance, being guided by the destoyer's vision (Abandon), and the title references a boreal theistic awakening or worship if I'm not mistaken,<br />
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Also I don't know if there's much intended significance but stringing together the sequence of writing and tracks gets you "Being in the opus of sacrifice at the mount of the congregation... in the sides of the North". There's obviously more meaning there coupled with the lyrical content regarding astral rebirth and journey, ritual significance of the aurora borealis and morning star (perhaps), etc.<br />
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Getting to the tracks themselves more closely. "Mount of the Congregation..." begins in a strikingly ordinary (relative yes) or orthodox manner after a brief sample, maybe returning to their <i>Serpents Malignancy</i> days but chunkier. The drumming remains steady and integral, complex however. Slow rocking powerchords and then just the tom pounding, then the full force of their depravity is unleashed.<br />
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Later this opening riff snakes it's way in much faster, transforming several times and in the midst of one of these horrid screams can be heard, on a higher register than the abyssal gurgled hymns that poison the surroundings. The rapidity of their direction changes and pacing reminds me of their Revelations in Excrement EP: progressively more chaotic and complex, before cutting off at the height of intensity. <br />
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<tr><td class="tr-caption" style="text-align: center;">(Ares Kingdom)</td></tr>
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Then there's "...In the Sides of the North", a jarring spiral of archaic violence right from the beginning, the sour tremolo riffs slowly wrapping around you, the hasty sledgehammering from the percussive end slowing inky for measured tom hits between riffs. It's from the one minute mark where things start to get disorienting as the pace is picked up, particularly awesome riffs one after another. This is a song where they pull some more experimentation beyond their usual barbarous lashing, tactfully approaching something a more bleak or horror driven once the chaos subsides slightly. <br />
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Amid the howling bent and sustained notes and the tortured screams a thick atmosphere wells up at this point, the drumming becomes more tribal, steady, supporting the descent of the scraping rhythm behind it. It's a cosmic drowning that lingers only for so long, the return to bestial warfare is explosive for the final minute, shriveling like a closing portal.<br />
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Get this if you so desire, and I would guess many people desire more Antediluvian material. I wouldn't say it's essential but all of Antediluvian's releases are a treat for any fan of the ancient and filthy ceremonies they indulge in. You know I'll recommend it.<br />
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Available at <a href="http://www.nwnprod.com/shop/index.php?main_page=product_info&cPath=29&products_id=12209&zenid=857121dec273cdbfc3058bd2799a2b7c">Nuclear War Now! Productions</a> with the first issue of their Haruspex Zine.<br />
<br />
<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=2104148601/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://nuclearwarnowproductions.bandcamp.com/album/septentrional-theophany">Septentrional Theophany by Antediluvian</a></iframe><br />
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<a href="http://www.mediafire.com/download/tii6b54d4bbyuvl/ANTESEPTTHEO13(2).zip">DOWNLOAD (Mediafire)</a>Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com0tag:blogger.com,1999:blog-1651460695237486187.post-6636248623436502212013-05-27T15:03:00.001-07:002013-05-29T12:10:01.735-07:00Haapoja - Haapoja (2013)<b>Full Length</b>, Self-released / Indepenedent<br />
March 27th, <b>2013</b><br />
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Genre: Black Metal/Hardcore<br />
Region: Finland<br />
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Well this is an interesting transformation. <a href="http://www.facebook.com/haapojaband">Haapoja</a> had a demo back in 20111 titled <a href="http://haapoja.bandcamp.com/album/hallitsematonta-voimaa"><i>Hallitsematonta voimaa</i></a> that I heard on <a href="http://thelivingdoorwayii.blogspot.ca/">The Living Doorway</a> back when that dude JGD posted semi-frequently, the sounds emanating from it were stealthily riding the wave of blackened hardcore that was in full force. Except they weren't really "blackened hardcore" ala YAITW et al even on a first pass, instead like Dephosphorus the fluidity of the influences was such that it escaped complete pigeon holing. I liked it a lot and I like this even more.<br />
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So for those who don't remember Haapoja are a fairly young four piece from Finland that are play some kind of hardcore. This self-titled doesn't sound quite like the demo — the change is fairly noticable and entirely awesome. The direction is the same one they took in the EP largely, it's just the force behind it that's been supercharged.<br />
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<i>Haapoja</i> is just under a half hour so it seems they've sheared their best
material in the interim between 2011 and 2013, coming out with nine
diverse and equally engrossing, twisty songs. The grooves you heard in between the Rorschach chaos and blackened angularity is overclocked, in this record, speed and intensity is cranked the majority of the record as well. At points in tracks like "Kerosiini" it's the closest any band has come recently to touching what Dephosphorus exposed in their debut Axiom and this is very exciting.<br />
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At other points as in "Suurempi, Hallitsematon" or "<span itemprop="name">Takauma</span>" that same approach slows and the feeling the demo had returns but more enticing. The latter is a drifting labyrinthine series of rhythms that are oddly calming even when dissonant, and even with the sonic shredding of the vocalist cutting through the riffs. The drums are a bright pylon and here they toss and hurl between softer and more martial moments. It's a memorable track and one of the stand outs<br />
<br />
The rest of their time they find something different to draw out
through their style that sounds like Melechesh covered by a French black
metal act playing '90's hardcore. Especially the first half of the
record: it's not as obvious initially on the opener "<span class="title-section"><span class="title">Suuren Varjon Alla</span>" until about the halfway marker where theirs a distinct <i>Night Sky Transform</i> vibe</span> but once you hit "<span itemprop="name">Ihmisyyden raja</span>" their new tact reveals itself and it's pretty damn hyonotic. That track takes another turn later in the last quarter I wasn't expecting before circling back to the start.<br />
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The groovy and agitated riffs, enraged scratchy screams, crystal clear and fast percussion — all of it is very cohesive and easy to get hooked by. "<span itemprop="name">Elämän Vaihtokauppa</span>", which is definitely a standout for me, is another great example of this comfortable amalgamation of sounds that crushes and soothes all at once. The back end of this track has such a wicked riff, but from the beginning it's not that remarkable. Mid-paced, a little more traditionally thrashy with some proggy twang in there. A few moments where bouncy riffs and violent screams come through show where the song is heading, and once it hits about 2:15 in a truly gripping section ruptures forth and spreads to the end of the track.<br />
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They generally manage to stay away from driving something into the ground as well which can be a problem with groovy shit I suppose. For instance that last portion of that previously mentioned track doesn't stick around long despite it being hypnotic. And even in the less frantic, more slowly churning tracks like "<span itemprop="name">Kolmetoista Askelta</span>" or "<span itemprop="name">Takauma</span>" where there's less going on they don't damage them by lingering on one moment; even when particularly enjoyable.<br />
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In quicker tracks like "<span itemprop="name">360 Astetta</span>" (or again "Kerosiini", fuckin great shit) they blast through ascending discord over punk and pummeling blackened beats, then will rest momentarily to create excellent harmonious grooves with lots of string skipping. "<span itemprop="name">Ikuistettu</span>" is another example of this and closes the record nicely once showing their controlled harmonic chaos interact with the sounds of Dephosphorus, Converge and death metal.<br />
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Haapoja's potential has been given a proper exploration and outlet on this release, confidently approaching the level of excellence that Dephosphorus hold to both quickly and unexpectedly (minus the grind). Recommended. I think if you like Deathspell Omega, Rorschach, Ulcerate, Svart Crown, etc. you should at least give it a spin.<br />
<br />
It's up for <a href="http://haapoja.bandcamp.com/album/haapoja-2">pay-what-you-want on bandcamp</a> so there's no price other than your time. And lets be honest, if you're reading this you've probably already wasted more time doing something far less entertaining than listening to <i>Haapoja</i>.<br />
<br />
<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=797393052/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://haapoja.bandcamp.com/album/haapoja-2">Haapoja by Haapoja</a></iframe> <br />
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May 21st, <b>2013</b><br />
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Genre: Experimental/Electronic Doom/Noise/Industrial/Post-Punk<br />
Region: USA<br />
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I always love requests like this one because I would've put it up anyway as the band involved is killer. <a href="http://www.facebook.com/wreckandreference">Wreck And Reference</a> just happen to be on a streak with everything in their creative history since 2008 (?) being strictly different and enjoyable while also cathartic<i>. C̶o̶n̶t̶e̶n̶t̶ </i> (or<i> No Content, </i>dual meaning)<i> </i>is their most recent record and continues onward eager to explore, remaining unsurprisingly heavy and delightfully gloom ridden.<br />
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Through two short tracks this humble duo can convey quite a lot<i>. </i><i>C̶o̶n̶t̶e̶n̶t̶ </i> feels like a brief revisiting of <i>Black Cassette</i>'s themes in some ways or maybe excerpts from <i>No Youth</i> at it's most 'metal' moments if you can call them that. The material has not weakened, only furthered tempered and those behind it thirsty.<br />
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It's not as shocking as <i>No Youth</i> was to me in that their sophomore release took longer to warm up to than the debut, and the difference here is the impact with this 7" is as powerful as when I first heard <i>Black Cassette.</i> I felt it as soon as I heard the vocals on the opener "Absurdities & Echoes" which it's fair to say are haunting and pretty different from their previous experimentation.<br />
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It works so well with the lyrics and for the gloomy vibe of the song. The beginning draws in a lot of sounds slowly at first without becoming cluttered while a strong digitized chime quakes out a captivating lead, and the drumming in this intro rules. Very hypnotic, indeed continuing once the vocals float shakily in. During the core of the song hoarse spectral wails reverberate in the open making for very spacy or ethereal atmosphere.<br />
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The lyrical build in this both tranquil and jarring atmosphere is strong, leading to a climax of tremolo waves and rising cymbals— and a stunning frigidity washes over the song like various moments in The Angelic Process' work which was felt in the previous record as well, "Spectrum" and "Nausea" for instance. The louder the better.<br />
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It's the rolling, crackling, concussive pulses looping behind the church bell paced MPC and organ drone and rich percussion, becoming more pungent nearing the final quarter. It feels/sounds like somethings burning softly in the distance behind the aching and cathartic performance of Felix and Ignat. The vocals are particularly explosive by the end. That style is refreshing in general not even looking at their interesting approaches.<br />
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"Abhorrence" brings back the blackened yells, making this track fuckin' awesome instantly. Lyrically far more in step with this return while the hammering on the snare, and blaring MPC texture things nicely and then when all but the 'bass' tones drop out that subtle doom atmosphere amplifies a lot more.<br />
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It feels like you've just stepped into a funeral doom jam for ten seconds which is something they do exceedingly well without bass or guitar at this point. Proceeding from that moment the climb instrumentally is intense taking cues from the lyrics and the vociferous, shredding vocals. This comes to and end quickly with those thunderous tones again and the swirling rise in high frequencies and static giving a short does of eerie anxiousness.<br />
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Absolutely recommended if you couldn't already guess.. 2012 wasn't that long ago but even since <i>No Youth</i> they continue to mature creatively and the hooks just dig in deeper. If you've liked everything they've done before this should not disappoint you. Passionate consistency, tense and rapturous, unorthodox heaviness — <i>C̶o̶n̶t̶e̶n̶t̶ </i> continues resolutely with all of this. It feels like there's more coming soon and they've generously shared for free a glimpse at that. You shouldn't skip it and if you're new it's as good a place as any.<br />
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You can grab a digital copy from them on <a href="http://wreckandreference.bandcamp.com/album/no-content">bandcamp</a> or a physical copy from <a href="http://store.theflenser.com/product/wreck-and-reference-no-content-7inch-pre-sale">The Flenser</a>. <a href="http://theflenser.bandcamp.com/album/no-content">The Flenser also put this up</a> digitally for real cheap but everyone always appreciates "free" direct from the artists too.<br />
<br />
<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=309194006/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://wreckandreference.bandcamp.com/album/no-content">No Content by Wreck And Reference</a></iframe><br />
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June 21st, <b>2011</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixPt6gzEAmcDYvEkVmccSBphFhyJhE8UT4e0V5Xmgf2tKO2rMmib1_X3opTj8LxBnveKXj7Pvj2Ztf9zCn4sBfXN35x_D03OrnUFEfv0aQmUmXjAO-auZ_p0dBXSpLuop44mJPiXnDtG4R/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixPt6gzEAmcDYvEkVmccSBphFhyJhE8UT4e0V5Xmgf2tKO2rMmib1_X3opTj8LxBnveKXj7Pvj2Ztf9zCn4sBfXN35x_D03OrnUFEfv0aQmUmXjAO-auZ_p0dBXSpLuop44mJPiXnDtG4R/s1600/cover.jpg" /></a></div>
<br />
Genre: Sludge/Hardcore/Doom Metal<br />
Region: USA<br />
<br />
I wish I was more attentive to Cower's side of this brilliant split record with Thou when I first heard it. I mean Thou's side is just more unquestionably awe-inspiring and malice-soaked doom metal so it's hard to tear one's attention away from their side of any split; even when paired with the likes of Hell and in this case Cower.<br />
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Between the two bands and their strong, proven approaches to the niches of sludgey hardcore and callous doom it goes without saying this split has excellent variety. This is not at the expense of spellbinding song weaving whether it be furious beauty or an unbearable darkness as Cower and Thou only cull their best for each release.<br />
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When matched with Thou one might assume the younger Cower may not be up to the task of balancing the monolithic tendencies of the Baton Rogue sludge beasts, but they easily hold their own. Their use of a varied of vocal styles, the strong bass foundation throughout each track, and the creative blend of genres ensures they can stand next to such towering doom pillars like Thou.<br />
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In fact I've grown to enjoy their contribution just a bit more than the second side.<br />
<br />
Cower's side is titled "Act I: Burn The Banks" and starts with the track named after themselves, and the subject of giving up. It's heavy and between sludge and stoner rock at first, the speed is increased briefly to bring in the hardcore but after a silence the sludgy vibe returns as we barrel into "Clonorchis Sinensis. Rhythmic hardcore takes hold for a moment before the slow jog heaviness returns, it's compouded at various points through hoarse shouts and splashing cymbals over a wicked breakdown. <br />
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"Cut Down" is only 27 seconds but not necessarily in the powerviolence mindset despite being fast — it's contrasted by the acoustic interlude direcly afterward which is melancholic and somber. It brings other elements into the collection sounds like a piano and digital modulation near the end. Later on "Vise Grip" takes a similar approach There's a concerted effort to return to devestaing sludgcore with "Sixty Years", a track that trudges at first but hits the boosters at the one minute mark and scorches shit with noisy, drum blasts and scraping riffs. The return to slugging with trilled bends and stomping riffs. Lots of big grooves in that last moment alone<br />
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This leads to "Torch" which is my second favorite on the split. It starts similar to "Sixty Years" blending stoner riffs and hardcore pacing but by the time we're into the middle of the track, delay and reverb effects engulf the sparkling tremolo riff left hanging. It becomes manipulated for about a minute creating very pretty textures befire<br />
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My favorite track by far is "Rainmaker", it sounds closest to their material on <a href="http://cowerpdx.bandcamp.com/album/mind-over-matter"><i>Mind Over Matter</i></a>: bouncy and terribly catchy, considerably moreso once the great bass solo hits (these guys can punch those things through at just the right moment it seems). Bursting from that to a upbeat climb and descent through multiple noise rock attitudes, they eventually setltle on something amazing. It's probably the most memorable moment on the record, simple too, coupled with the lyrics there's a longing for release pervading this song and it's heartfelt:<br />
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<i>"So come my friends and let us share our last breath. Let me live under
the sun and remember. It's only for fun. Just remember... The tides will
go in. And the tides will go out, and the leaves will grow again. Every
beginning has to end, and every ending brings new beginnings, don't
forget to scream and shout. There is no end."</i></div>
<br />
It ends on a slightly depressive series of fuzzed out notes, and bleeds into a bonus track I don't know much about; I suspect it's a cover. Cower have done well on this split and it was a great prelude to the full length last year.<br />
<br />
<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=1138107377/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://cowerpdx.bandcamp.com/album/war-is-the-force-that-gives-us-meaning-a-two-part-analysis-of-personal-and-inter-personal-conflict">War is the Force That Gives Us Meaning: A Two Part Analysis of Personal and Inter-Personal Conflict. by Cower</a</iframe><br />
Moving on to Thou's side titled "Act II: Big City" which was released as a single EP online and kicks in with a even more sluggish interpretation of a Cower song from their first record (<a href="http://cowerpdx.bandcamp.com/album/hatred-songs"><i>Hatred Songs</i></a>) — it's fuckin ugly. Nothing but feedback, vocals and singular tom strikes for the majority of the track.<br />
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Then we get to dig into newer material with "View of a Burning City", a clouded lament to the state and industry's siege on humanity (in classic Thou fashion) starting darkly melodic and discordant much like their Hell split — and then straight into what I recognize as the down-tuned beat in Eminem's "Guilty Conscience"... it's bizarre. The song progresses away from this into more recognizably torturous swaying through low guitars and black vocals and I immediately feel quite cozy here. No one does this better than Thou or at all like them.<br />
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"How Lonely the City Sits" continues the vitriolic assault found before it calling out bred mediocrity, urban stagnation and the alienation it brings. This one has a fucking gripping groove midway through that flows so smoothly as Brian shouts "THE DEAFENING, ENDLESS, COMPLETE ISOLATION!!!". Thou show again and again why they sit on the throne of doom. The last section of the track brings scratchy dissonance back briefly as it slowly fades in feedback.<br />
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Closing with "Milestone" the desperate struggle continues unabated. Sliding warbled downtuned slaughter for the first while, with a great use of pinched harmonics interspersed in the marching. It gets a little more claustrophobic for a few seconds for the change in pace, where Brian's vocals become increasingly haggard and deformed in his bleak recitations. Near the end the vocals turn to clean slow chants while a buried lead riff distorts and drowns, however it reverts to more slogging before the abrupt close. <br />
<br />
An awesome split with two dedicated acts I love a lot. This is worth the cash if you can find a copy of the LP, even if you're just in it for Thou. <a href="https://secure.flickr.com/photos/12062610@N06/sets/72157627179695614/">The art is fantastic and high quality</a> outside of the crumbling doom and sludge imprinted on the black record. I don't know of any big labels or distros who still have copies (some smaller ones <a href="http://www.topfiverecords.se/product_info.php/products_id/733">like this</a> maybe) but they might have a few while touring still (I got mine at the Gilead Media Festival)<br />
<br />
You can grab Cower's side for free on their band camp and Thou make all of their material available on <a href="http://noladiy.org/thou.html">their official site</a>.<br />
<br />
<a href="http://www21.zippyshare.com/v/47502245/file.html">DOWNLOAD (Zippyshare)</a><br />
<a href="http://www.mediafire.com/download.php?ghshgasw1h9hgrs">DOWNLOAD (Mediafire)</a><br />
<a href="http://cowerpdx.bandcamp.com/album/war-is-the-force-that-gives-us-meaning-a-two-part-analysis-of-personal-and-inter-personal-conflict">DOWNLOAD (Bandcamp)</a> <— Cower side only!<br />
<a href="http://noladiy.org/mp3/thou/zips/Big%20City.rar">DOWNLOAD (Noladiy direct)</a> <— Thou side only!Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com1tag:blogger.com,1999:blog-1651460695237486187.post-62753794516474761672013-05-18T21:16:00.001-07:002013-05-21T00:46:39.565-07:00Baptists - Bushcraft (2013)<b>Full Length</b>, Southern Lord Records<br />
February 19th, <b>2013</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRQYA9hNxd3rzIQZjv5syWQEdeYF-Tgsbb-9fIlJIyzMV1ZsfJrpVAFm4ICzD_f8i_zdW6N28kJxYdpFrNfAdj-_2p0Qd-eNbasG70QUtXzrQYRXudJ29TUUAwTRZd33jvr7a4QmLJmWXD/s1600/BUSHCRFT0013.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRQYA9hNxd3rzIQZjv5syWQEdeYF-Tgsbb-9fIlJIyzMV1ZsfJrpVAFm4ICzD_f8i_zdW6N28kJxYdpFrNfAdj-_2p0Qd-eNbasG70QUtXzrQYRXudJ29TUUAwTRZd33jvr7a4QmLJmWXD/s1600/BUSHCRFT0013.jpg" /></a></div>
<br />
Genre: Hardcore<br />
Region: Canada<br />
<br />
Now that it's been out a little while here's the new Baptists record. Links will probably get taken down via DMCA complaint I would think but who knows... I haven't received one of those in a while.<br />
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Baptists had a nice 7" record a while back that showed great promise. I remember stumbling on it and enjoying it but never giving it too many replays honestly. <i>Bushcraft</i> is a little different obviously since I'm coming back quite often. The attitude is one of solid confidence. They know what direction they're going for and they nail it pretty damn well on record and even more so in live environments; without paying much mind to inevitable detractors. I recommend you see them if they drift by you.<br />
<br />
So people have been comparing them to Converge a whole lot. This is not without reason, I mean a cursory listen is all you need to recognize what people are recognizing. Kurt Ballou brought them over to record this, and the guys have been admitted Converge fans from the start — it's kind of hard to not find their influence somewhere at this point.<br />
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But I would argue there's a far bigger east coast Cursed style/sound cascading throughout <i>Bushcraft</i> that mixes nicely with their love of Converge (whether intentional or not). Couple that with their experience within local grind/crust acts and the west coast atmosphere there's a comfortable synthesis, creating very catchy and energetic expression of hardcore somewhere between the old and new.<br />
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By comfortable I don't mean lazy. Baptists have struck a wonderful balance between the crusty-punk discord and anger of Cursed and the twangy high-speed pummeling hardcore that Converge have helped pioneer. I think a closer comparison could be made with All Pigs Must Die maybe, certainly if you compare songs like "<a href="http://www.youtube.com/watch?v=5n234zlAuws">Sacrosanct</a>" with "<a href="http://baptistssl.bandcamp.com/track/in-droves">In Droves</a>" where both are drawing out that vehement punk energy from the past and bringing renewed vibrancy. <br />
<br />
Obviously each band there has different plans of attack. For Baptists the one they've cut works well and reminds me of the type of thing Vilipend is doing by bringing back old school metalcore, where Baptists are less on the Rorschach end of things.<br />
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Their sound is kind of an anomaly in the context of their peers and colleagues regionally. At least as far as my limited experience or knowledge tells me. While the Vancouver and Victoria areas are no stranger to filthy grind and powerviolence, most of the crusty hardcore that I've heard like FAMINE, Subsist, or Erosion does not dabble in the chaotic, Deadguy/Rorschach twang arena that is becoming more recognizable (especially in the Deathwish Inc. stable). Nor the dark rusted hatred of Cursed and it's distinct 'Toronto' aura — instead the island and mainland groups often fall along Infest and Nasum lines, while also subtly skirting the recent blackened wave too.<br />
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Baptists have embraced and tempered this selectively and injected it with a 'cascadian' ethos which casts scorn on the concrete expansion over the beauty of their west coast home. I'm not arguing that this makes their sound wholly unique but there's enough spice in there to ensure that <i>Bushcraft</i> escapes the 'copy-cat' label in my opinion.<br />
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Almost in a stealthy manner actually. Like I said if you give it only a few listen the comparisons to Converge are unavoidable, but I found that a few of the tracks like "Russian Spirits" and "Bullets" forced me to return due to their ridiculous hooks. Eventually I found myself running through this 27 minute record twice in a row every other day, it really crept up on me and I have a feeling this is the case for a lot of people. Even those who are tired of Southern Lord's grip on what some designate 'faux'-thrashcrust should look into <i>Bushcraft</i>.<br />
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As you can expect the production is rich which is great for their sound, so only gains since the 7" in that respect. The percussion is right fucking there and the guitar tone fees quite lively, bright but with some jagged edges while the bassist slickly carves a spot in the madness. Some are going to cry about the production and I understand.<br />
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Regardless, all four members are undeniably skilled in their crafts. The passion is evident as they layer on the simple and rewarding or cathartic formula of thrashcore ingrained in them. From the outset of "Betterment" we are met with a series of dark twangs and into a hissing drum surge before the track actually kicks in — switching between jerky slams and midpaced galloping, vocal chords shredding through words of regret. You get a good sample of his range from more deep death-like barks to gritty snarls/rasps. A good opener before getting to the more meaty sections.<br />
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"Think Tank Breed" is a scratchy furious tune and the shortest on the record. It makes up for it in frantic bludgeonings and later some shining injections into the rhythm and a violent chunky closing riff. On more laid back tracks like "Still Melt" my attention doesn't drift: the rhythm is hypnotic both the melodic riffs and the metaphoric, hallucinogenic lyrics together while the drumming is consistently compressing in more controlled blasts.<br />
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This aspect is always an impressive battering like axes on a felled evergreen. The intro to this track for example is real nice in that regard. "Soiled Roots" is another slow one that will bind you over it's five minute ritual, entirely groove-laden bass-filled, and as heavy as logging truck tumbling down a mountain. That weight increases ten-fold in the last minute.<br />
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On the subject of words: lyrically there's the classic punk social commentary through short and clever lines laced in venom."Mortar Head" for instance, not only blazing and awesome with a touch of that blackened vibe, but could be interpreted multiple ways. It remains interesting if it's commentary on the societal or state reliance on bureaucratic ideological power groups ("Think Tank Breed") who are disconnected from reality on the ground. Maybe I'm reading to much into it. But Baptists also tackle that raw expression of humanity's connection to the forests and biosphere blatantly as well (if the cover and title didn't tip you off).<br />
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It's not always obvious: shorter tracks like "Crutching Trails" give the impression of possible relation to the environment but deal more in carving ones own bath in terms of belief, release from moral slavery over a high-speed, slightly dissonant thrash attack which gets a little more complex during the brief chorus.<br />
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On the other end the whole title of the record and the song "Bushcraft" as well is just spelling it out plain over some wicked riffs: "I want to practice bushcraft and the leave this shit behind!" over intense snare work and feedback. I'm pretty sure anyone living in the Cascadian region (or anything like it) in the current climate has seriously considered this at one point — just it's never been expressed this well through chaotic and wailing hardcore. Normally it's a more meditative black metal approach so this is refreshing to me and the self-titled track is particularly captivating.<br />
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"Abandon", dealing with abstraction and apathy (perhaps?), is the final song and turns into an extremely boisterous
one at the end following a bass solo. In a live environment this is another
one that ignites the venue with it's bouncy cadence and groove.<br />
<br />
As I already mentioned my favorites are probably "Russian Spirits" and "Bullets" because they're sincerely excellent jams on every level. If you don't have time for the whole thing at least give those two a chance. "Bullets" might take the cake: it's is wild and flailing, whining bent strings punch through and stormy percussion overwhelms for the entirety until at two minutes in the break down comes — its a magnificent moment on the record (drummer's a beast). However slams that end "Russian Spirits" make me reconsider which is heavier.<br />
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Overall Baptists have released something awesome and different from even the local fare even if external comparisons make this seem less significant. You can tell they had fun pouring their energy into this and I think it payed off.<i> Bushcraft</i> is the kind of album I imagine blasting in a beater pickup truck (or hatchback as is often the case here) while tearing through the gravel logging roads and muddied trails of the mainland and Vancouver Island, hollering as you escape the encroaching industrial landscapes in that brief afternoon of freedom.<br />
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That is, if people around here who went bush-bombing didn't only listen to AC/DC, Lil Jon, and Steel Panther.<br />
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You can get this probably at a local record shop but if not you go to <a href="http://www.southernlord.com/store.php">Southern Lord</a> or a distro who carries their titles (there are many). Or go to <a href="http://baptistssl.bandcamp.com/album/bushcraft">bandcamp</a> because they have it up finally. You should probably <a href="https://www.facebook.com/pages/BAPTISTS/111676572202547?fref=ts">follow</a> them too.<br />
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<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=3242669383/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://baptistssl.bandcamp.com/album/bushcraft">Bushcraft by Baptists</a></iframe><br />
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<a href="http://www34.zippyshare.com/v/64535491/file.html">DOWNLOAD (Zippyshare)</a> Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com2tag:blogger.com,1999:blog-1651460695237486187.post-47100703173359707552013-05-04T17:36:00.000-07:002013-05-07T11:58:44.891-07:00Gets Worse - Gets Worse / Year of the Bastard / Negative (2013)<b>EP</b>, Hygiene Records / Evil Purple Bastard <br />
August 3rd, <b>2012</b> / January 3rd, <b>2013</b> / May 10th, <b>2013</b><br />
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<br />
Genre: Grindcore/Powerviolence<br />
Region: UK<br />
<br />
This becoming a common theme but yes, once again I went about my life oblivious to something absolutely devastating last year: Get’s Worse and their self-titled 10” grind/powerviolence masterpiece. I believe it was the curator of <a href="http://perpetualstrifemusic.blogspot.ca/">Perpetual Strife</a> or the guys at <a href="http://builttoblast-vii.blogspot.ca/">Built To Blast</a> that alerted me to Gets Worse. And these guys are not fucking around. They craft savage grind, blunt and unyielding in it’s fury. Shit that is hard to top.<br />
<br />
So while I missed that last year, you better believe I’m all over their two new EPs: Year of the Bastard which is digital only for now and Negative which was recently test-pressed in 10 copies for now. Both of these records prove Gets Worse remain stiffly at the head of the pack in vicious sonic warfare especially in the UK and are unwilling to compromise in their composition of undeniably ferocious powerviolence.<br />
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I’m going to wrap these two new EPs into one post here and also because it can’t be ignored I’m including the 10” from last year because it’s truly terrific; making this a three-in-one. Also I’m not including a link for the Negative EP that was just released right now since I don’t want to be a complete scumbag and leak shit. Besides it is a test pressing and it’ll be pressed in larger numbers and probably make it’s way onto bandcamp for free like all their other records.<br />
<br />
Some patience if you please. I'll post a link pretty damn soon.<br />
<br />
If you’re not familiar with <a href="https://www.facebook.com/getsworse">Gets Worse</a> they’re a three piece who hail from the UK and who are also pretty damn new to the scene as far as I can tell. You wouldn’t know it from listening though. Their first demo surfaced April last year and already blew shit up effectively, but it was quickly followed by the 10” which displayed powerviolence that will loosen bowels and leave massive poisonous craters; so loud and polished and tight it’s unreasonable.<br />
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Gets Worse are different from Napalm Death, Iron Lung, Water Torture, and Frightener but residing in that same realm, taking copious influence from them. Clean and filthy at the same time, the guitar and bass are thick and gritty chewing through speakers and headphones, tight drumming rattling the skull and blasting holes in windows, and vocals that will collapse lungs. Social and political themes abound, dealing in the disgust with weakness and ignorance, intolerance, all that good shit and fuck does it translate with the frontman’s pipes. The art adorning their records (by Tom is the Bastard) is pretty damn eye catching and slick too.<br />
<br />
<a href="http://getsworse.bandcamp.com/album/gets-worse">The self-titled 10”</a> I grabbed maybe two months back and along with that ACxDc/Magnum Force/Sex Prisoner and SBB/Water Torture has been in heavy rotation ever since. Packaging is beautiful and so is the colour. Thirteen tracks in sixteen minutes (their longest release, including a Charles Bronson cover) and all of them gold, with a few major stand outs even then.<br />
<br />
Three of them are within the first couple of minutes: "Tuff Guy" starts slow, an evil bass riff before the guitars join the groove— then boom, you're thrust into a squall of anger. The break down comes and then again the track accelerates savagely; the e-brake pulled one last time before the end. "Cheapass Weekend" scalds you with the blazing snare and sliding fury of powerchords before taking a very traditional punk groove and driving it into filth. It's a great thing indeed.<br />
<br />
“False Friends” is the third monolith, craving high volume — a frenzied stomping brawl with one bringing in harmonics, and then a gap with a line worthy of a smile: "GO FUCK YOURSELF, YOU FUCKING ASSHOLE!" Very cathartic and also a bit amusing, proceeded by a distant shouting chorus as the riff gains momentum to a blunt ending. <br />
<br />
Really though everything Gets Worse have recorded hear shouldn't be taken lightly. It's all written to be razor sharp and brutal. "Kill Shot" and "Armchair Activist" contain some huge grooves and nice switch-ups in pacing, easily as addictive as the former three songs. And then all of a sudden they drop "...No Fuss" on us and oh man is this ridiculously heavy. It's the first truly slow track and remains so only for a short time after a deceptive intro ramp: each blow from the guitar/bass coupled with the cymbals crashing, kicks peppering the sludge. This doesn't last however and the turn is not as predictable either: a brief grind and then into a bouncy set of rhythms. <br />
<br />
"Straight Up Schrompfin", "Beyond Words", and "Liquor Lobotomy" have some of these lethal slow moments as well but play with them differently, and without fail coming up with spellbinding material. Particularly "Beyond Words". The Charles Bronson cover is spot on and "Loner" should be mentioned specifically for it's Adventure Time sample at the end, if not for it's 30 seconds of stroke-inducing grind. The only other relatively short track is "Toothless" which quickly winds up and back down just as fast.<br />
<br />
<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=2809528207/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://getsworse.bandcamp.com/album/gets-worse">Gets Worse by Gets Worse</a></iframe><br />
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<a href="http://getsworse.bandcamp.com/album/year-of-the-bastard"><i>Year of the Bastard</i></a> continues the attitude soaking the 10” with four filthy slivers, starting with the slow crawl intro of “No Resolve” which turns into a bloodbath not long after the sludge has settled. "Daily Fail" is 22 seconds of utter obliteration with an opening riff that will sear into your brain, followed by the no less grating and livid “Tunnel of Goat!”.<br />
<br />
The self-titled track is the last one and is vrushing in it’s vitriolic agony, the vocals before a feedback-drenched sample (hilarious by the way) are some of the most pissed I’ve heard in a while — spazzing over top another deeply pleasing slow riff. There is no way you’re not enjoying this if you even remotely showed interest in the self-titled record.<br />
<br />
<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=3437974130/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://getsworse.bandcamp.com/album/year-of-the-bastard">Year of the Bastard by Gets Worse</a></iframe><br />
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Finally there’s the newest slice of material entitled <i>Negative</i>. And guess what? It’s no less terrifyingly awesome as the previous two records. Opening with a short and slow intro (“Negative PV”), Too Much Talk shows immediately Get Worse haven’t been slacking with a white hot attack, leading into a crushing break down and a frantic close. <br />
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The beast in this one though is quite obviously “Excessive Bullshit” — holy fucking shit is this aggressive and loud. This is the one that's been on repeat for me: an open that is a blistering pummel cut into by a perfect groove, which only gets more engrossing and reprehensibly enjoyable. It swings so powerfully you can't help but sway in it's gravity. The drums puncture your chest, spine-curving screams and growls shift to various styles all of which harbour great animosity in fractions of seconds. It's a track that will leave none standing.<br />
<br />
“Scabs” sees them dive back into restless tumult, managing to entrance before droping out with only the bass left, and a final crushing riff. “Neighbourhood Ninja” opens the second side in expert fashion — eroding your bones with frenetic thrashing which opens up a bit more as the blasts become more punk-paced. “Pessimist” and “Positive PV?” might be my favorites on this side, back to back monstrous forces slamming down like granite slabs in rapid succession. The last one is “Stubborn” and it takes a similar approach to the opener but a little more bulky: tribal drums at first, then a slow writhe with layer screams and growing noise/feedback.<br />
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<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=3396076063/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://getsworse.bandcamp.com/album/negative">Negative by Gets Worse</a></iframe> <br />
I suggest you do not hesitate to support these guys. I don’t know which release I like more because honestly they’re all without blemishes, equally enjoyable and jarring. This is sharp, finely tuned delicious grinding violence of the highest quality. <a href="https://www.facebook.com/getsworse">Gets Worse</a> have unleashed a series of precise strikes that will break bones if played at high enough volume.<br />
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<a href="http://getsworse.bandcamp.com/album/gets-worse">The self-titled 10” is available for free download on their bandcamp</a> while physical copies are very limited there. Same goes for over at <a href="http://evilpurplebastard.bigcartel.com/">Evil Purple Bastard</a> (a few 10"'s, red I assume) and <a href="http://hygienerecords.storenvy.com/">Hygiene Records</a> (only the CD version) as well as probably a few distros, or from the band; they’ve said they’ll be out once the tour’s done. It comes with a download code for the <a href="http://getsworse.bandcamp.com/album/year-of-the-bastard"><i>Year of the Bastard</i></a> EP which is not set to be released physically yet. <br />
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<i>Negative</i> is being pressed en mass to be released on May 10th as a co-release by <a href="https://www.facebook.com/hygienerecords?fref=ts">Hygeine Records</a> and <a href="https://www.facebook.com/evilpurplebastard">Evil Purple Bastard</a> so keep your eyes peeled for that. <a href="http://getsworse.bandcamp.com/album/negative">It is now available on bandcamp for free and in physical format.</a> And also on <a href="http://getsworse.bigcartel.com/product/gets-worse-negative-7">bigcartel</a> so there are many options guys.<br />
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Oh and as an added bonus they have their first demo up for free too if you’re into more free shit.<br />
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<a href="http://getsworse.bandcamp.com/">DOWNLOAD (Bandcamp)</a> <b>— FULL DISCOGRAPHY! INCLUDING NEGATIVE (07/05/2013) </b>Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com1tag:blogger.com,1999:blog-1651460695237486187.post-68926998201657718622013-05-04T12:46:00.000-07:002013-05-04T12:46:11.484-07:00Oxtongue - Where The Light Is Mute (2013)<b>Full Length</b>, Self-released / Holy Mountain Printing<br />
January 15th, <b>2013</b><br />
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<br />
Genre: Sludge/Doom Metal<br />
Region: Canada<br />
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Brooding and fomenting in Ontario for years amongst different projects apparently, three young gentlemen come together and former Oxtongue in 2012, finally releasing this slab of doom to the public at the beginning of this year. I think fans of doom will find something to enjoy in these friends heaping their sounds into the fray, and you can thank <a href="http://severedheadsopenminds.blogspot.ca/">Severed Heads Open Minds</a> for illuminating <i>Where The Light Is Mute</i>.<br />
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<a href="http://www.oxtongue.ca/">Oxtongue</a> are new to the game but there's no denying <i>Where The Light Is Mute</i> is a half hour choleric ache, down-tuned and pavement splitting in three songs mired in darkness. There seems to be a theme flowing through the tracks but I do not have lyrics so I can't confirm; just going by the song titles. There's definitely some classic sludge influence that goes alone with the desolate semi-funeral doom acts like Atriarch and Bell Witch (you can hear it in the ending progressions of several tracks here), and for a self release the production is pretty damn good. The material is even better: keeping shit simple with dour sludge tonnage that sounds like it comes from veterans.<br />
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"Humanity: Born In The Way Of Eternal Greif" is the longest clocking in at just under 15 minutes. It's a clean chord driven procession of gloom for its entirety. The thundering, trudging drums for the entire opening three minutes are like sledgehammers wedging iron into stone, later taking a more measured pace once the bass guitar demolishes the build ambiance wonderfully. The only vocals are first heard as a faint whisper in the edge of an oceanic rift of silence between tom strikes and thick plucks — then a titanic upheaval is ushered in as the callous roars flood with the distortion, a return that crumbles all walls in its wake.<br />
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At this point it's a merciless steamrolling and it's getting clearer that while supposedly young, all three members are well versed in expressing sinister energies through foul trudging. After that plowing over the second half transitions to a sludgy build, aided at first with low, clean ceremonious chants but when the explosion comes the growls do too, along with another pancaking passage.<br />
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Actually following this the final legs of this song give me feelings of familiarity. My guess is it's close to the sound of the long defunct UK sludge band Capricorns' self-titled demo (a favorite gem of mine). The rhythm is totally reminiscent of that, but slowed and aided by modulated effects, a second lead of drowned tremolo harmony is also supporting it. That is not the end however: there's one final jaunt through the sludge with a tremendous groove, wallowing in crashing cymbals and heavy fuzz. Fucking heavy man and a promising start to the record.<br />
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Then we have "Anguish: Abide With Suffering" which takes that kind of structure heard at the tail end of the first track and runs with it for a bit before returning to a agonizing slither, circling a dark pit and slowly but surly returning to a midpaced sludge ritual. Oxtongue then bring shit back up to catastrophic heaviness, adding breaks in their slams to plam mute and moan chants into the gloomy air; a great section. There's a return to the drag for the down ramp of this track that gets progressively louder on the percussive end onyl to spike back up suddenly for the final two minutes back into that deadly groove.<br />
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The feedback and cymbal frenzy that leads from the last track into the last one, "Cessastion: The Shade Rapes Nativity", settles into a bassy, ebbying feedback with only cymbals and snare/kicks keeping the rumble company; distant shouting can be heard. The kick-in comes abruptly again and we're swept into a series of slow but powerful dirges. And one evolves into an even more evil section that grinds the listener into a pulp — it drops out again like the intro for just drums and vocals, a frightening and desolate moment before the hammer blows return in earnest. Again in the last few minutes a fantastic sludge groove bursts forth through a bass solo that kills. This climax is fucking captivating.<br />
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Another excellent doom act from the east. If you like shit like Bell Witch, Sound Asleep, Capricorns, Batillus, Haggatha, or good sludge and doom in general then I suspect you'll want to check this record out. Outside of not being heart-stoppingly innovative (which isn't a real complaint in most contexts) there's really nothing to complain about. Just turn the lights down and the volume up, and prepare to be compressed in 31 minutes.<br />
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<i>Where The Light Is Mute</i> will soon be available via <a href="http://www.holymountainprinting.com/">Holy Mountain Printing</a> on limited vinyl (only 300 pressed) but was just recently pressed and sold in test-press form of which I was lucky enough to procure one of the five available (of 11 pressed). You can also stream it on <a href="http://oxtongue.bandcamp.com/">bandcamp</a> and they've made it available as a mediafire link in the sidebar there as well. <a href="http://www.oxtongue.ca/">Updates over yonder</a> if you're into that.<br />
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<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=3943380350/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://oxtongue.bandcamp.com/album/where-the-light-is-mute">Where The Light Is Mute by Oxtongue</a></iframe><br />
<a href="http://www.mediafire.com/?ogox4ursxs7z19h">DOWNLOAD (Mediafire)</a>Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com2tag:blogger.com,1999:blog-1651460695237486187.post-73369977647449856892013-05-03T20:36:00.002-07:002013-05-03T20:37:31.747-07:00Svartidauði - Flesh Cathedral (2012)<div style="text-align: left;">
<b>Full Length</b>, Daemon Worship Productions</div>
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December 3rd, <b>2012</b></div>
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<br />
Genre: Black Metal<br />
Region: Iceland<br />
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With the imminent release of one highly anticipated Icelandic black metal record (<a href="http://wrmlst.bandcamp.com/">Wormlust's 'The Feral Wisdom"</a>) now would be a good time to shine the light on another hidden scourge emanating from that isolated and beautiful land. <a href="https://www.facebook.com/svartidaudi?fref=ts">Svartidauði</a> slowly and quietly honed their sound over ten years of selective
demos and EPs, all their work thus far culminating with their first
full record <i>Flesh Cathedral </i>and it is undoubtedly impressive and
harrowing.<br />
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I admittedly only just caught on to the enigmatic one-piece Wormlust (for shame, yes) and this is the same for Svartidauði. Both of these bands are dabbling in the more dissonant, eerie sides of black metal via Deathspell Omega, or much like Thantifaxath likes to deal in but theirs is a little more distinct and jarring. Svartidauði have found another avenue to explore and they do it well.<br />
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<i>Flesh Cathedral</i> commences with "<a href="http://www.youtube.com/watch?v=EARa4Rg4aPI">Sterile Seeds</a>", a song that makes it clear from the outset that Svartidaudi have something unique brewing, crafting a swirling riff that begins as a muffled, crunchy pulse, chimes and chasmic barks incanting around it. Once the transformation through cycling noise is made you get a clearer picture of the beast surrounding and it's humbling to be sure.<br />
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These guys have taken great care in their writing, each song progressively gets more complex and spidering outward, mixing atmosphere with unnerving cacophony. Another big transition occurs around six minutes in, a pillar like jagged riff surfaces and will surface again. Infact the selftitled track here also has a similar evil riff that infects the rest of that track. Svartidauði cast a spell of monolithic proportions from the start and I easily fell under their spell.<br />
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Very much like Necrite in tone I would argue but with a different focus, which is being sick and warped and dragging in acrid fog, the structures are corroded and fluid: the riffs sound tense and severely malformed, between the blasts of cold tremolo attacks, the vocals coarse and shrouded. The approach is much different. Also the record feels clean in that the instruments don't get muddled but retains that wonderful murk so it's still organic sounding, not sterile. In the wide open tracks they present there's a lot of room for the drummer to be creative and you see great examples of that in the particularly long final track.<br />
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Occasionally like in the opener they strategically place sampling or noisey moments, in this case almost sounding like a looped passing train, or the final fifteen seconds of "The Perpetual Nothing" where there's spine tingling metal scraping, like rusted gates swinging and steam valves being released.<br />
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By the time you're introduced to Svartidauði in this current incarnation on the first track they've shown that their dedication over all that time has amounted to something worthy of being put along side their peers. Certainly something of a milestone for them I would imagine.<br />
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"<a href="http://www.youtube.com/watch?v=_I5PcOr4a40">The Perpetual Nothing</a>" leads with it's dissonant side but devolves momentarily into frantic classic blackened turmoil, blasting and occasional slower fills; showing their cabilties to thrash with the best between their experimentation. This cycle repeats to the point of a percussive cascade, directly into a mesmerizing modulating string skipping passage, bass pounding it's own path, peppered with wails and switch ups on the drum front. I enjoy these moments a shit ton and not only does Svartidaudi's technique employ a decent amount, they manage to further alter it in it's course several times in this song alone to make the groove unending and refreshing.<br />
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One of the best moments on the record and it ruptures into a very Deathspell Omega-esque chaotic brawl, in fact several very interesting tumultuous sections close out this song. The tight, technical yet atmospheric approach is hard not to love.<br />
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It's impressive at this point already but the Icelandic witchdoctors have another nearly thirty minutes of conjuring to perform, and the selftitled track continues their established path. "<a href="http://www.youtube.com/watch?v=DrEtodj0Fxg">Flesh Cathedral</a>" actually feels a little more bassist friendly as the growl is far more present here than previously, particularly at one moment a quarter in where it's rumbling strongly alongside the guitars discord and then in the final fade where its isolated before a tribal build.<br />
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At the halfway mark there is this mind rending build, it's completely intoxicating as it fades between background noise, upfront sharp gouging, and slow sustains where the bass is left to ponder over feedback. But the melody is still there, twisted and lingering for a time before going back to that ugly scraping over plunging bass lines one last time.<br />
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Out of a tribal drum build from the previous song, a squall erupts in the form of "<a href="http://youtu.be/EJhvGAtglQY">Psychoactive Sacraments</a>", the eighteen minute leviathan closer. It's longer as it indulges in more slower writhes at various points which remain creative and chilling, but the start is far more in step with DSO again. One of those slower sections comes pretty early though and you get a sense as to how oppressive they will continue to get, in one instance the bassist pulls some Forest-like fret work.<br />
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The decay, the suddenness with which it stops and morphs to a blackened blitz — this pattern sucks you under ocassionally breaking back upwards for one of those twangy, strained slow downs. Once or twice like in the first track the silence returns and the riff is muffled for instance in the middle here, though its far more brief, buttressed by aching screams that sometimes waver close to clean territory. A pretty big groove evolves from one of those dirges and leads to a solo on what sounds like a flute to me (probably melded some with a lead guitar, or an effect), soaring above the dissonant rhythm and contrasting well.<br />
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Oh and those last few minutes after the collapsing chords where the riff sounds isolated, stuck repeating and pitch shifting as it's wound and unwound, it almost sounds like a twisted reinterpretation of the last few seconds of Pantera's "Floods". Nice and eerie way to end the record.<br />
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If you didn't already know I really recommend fans of crawling black metal get on this one. Enormous, complex, maybe a little psychedelic, pretty damn vile and captivating. I myself am ashamed I had not heard of these guys before last year but I'll certainly be watching them eagerly now. In the top twenty of 2012 no doubt and in my top ten, I gotta recommend this for those in love with the twisted and heavy like Deathspell Omega, Necrite, and Nightbringer. <i>Flesh Cathedral</i> is a wicked black metal gem that should not go unnoticed.<br />
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So far this is pressed on cds from Daemon Worship Productions but every copy has been sold out for a while which sucks cause I would love to get a copy. Follow these guys on<a href="https://www.facebook.com/svartidaudi?fref=ts"> facebook</a> for more info on future pressings and their plans.<br />
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<a href="http://www2.zippyshare.com/v/46863997/file.html">DOWNLOAD (Zippyshare)</a><br />
<a href="http://www.mediafire.com/download.php?pk67pk40d4t36ef">DOWNLOAD (Mediafire)</a>Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com1tag:blogger.com,1999:blog-1651460695237486187.post-38511549565629479022013-05-03T16:48:00.000-07:002013-05-03T16:48:03.011-07:00Braveyoung - Will The Dust Praise You (2013)<b>EP,</b> Self-released / Independent<br />
May 3rd, <b>2013</b><br />
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<br />
Genre: Post-Rock<br />
Region: USA<br />
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<a href="http://braveyoung.com/">Braveyoung</a> are definitely something ever more beautiful then originally imagined. Floating like they've cut ties to an anchor since leaving their moniker Giant as a widening, quietus plane has been formed between. A space where minimalism and tragic, sombre ethereality bloom, and that is fully realized on this haunting EP <i>Will The Dust Praise You</i>.<br />
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This has been streaming on their <a href="https://soundcloud.com/braveyoung">soundcloud page</a> since late 2012 I believe, I heard it then but wanted to wait for official news. Where as the recent single was more of a heavenly siren call and breathed something supernatural into some of the uplifting aspects of their sound, <i>Will The Dust Praise You</i> takes the most melancholic moments of <i>We Are Lonely Animals </i>and expands them, enriching the already soul wrenching isolation in four movements. <br />
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I only labeled this post-rock because <i>WALA</i> at least resembled it, it's clear they're now a little outside of that. At this point for the time being they've embraced forms of minimalism, cold strings delicate piano, haunting and deep ambiance — as you've noticed in the brilliant single as well no doubt, same with their collaboration with The Body last year. That is the soul focus here: encase you in atmosphere through ethereal hymns flowing so smoothly, gently lifting you sometimes to terrifying heights only to cushion your slow, dark descent.<br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F66392827" width="100%"></iframe><br />
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Only four steps in this journey but they're rich and consuming, albeit quiet and measured with the finale taking the emotional cake no question. Expect cellos and violin "Inquietud" serves as a telling welcome as moaning violin and other strings meet you, telling a sad tale and leaving the path dimly lit to "No Cure". A tranquil rise and the lonely plinks set in while the whirring continues, faint clicks of pedals, a second ascent is triggered as fingers press down progressively harder on those keys. The switch there brings a muffled blossoming of beauty only for the piano to cement things one more time. <br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F66398586" width="100%"></iframe> <br />
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"I Felt Even Then How Monstrously A Man May Get Used To Things" is the third passage, reminding me the most of material from WALA with it's cautious, fragile keys which grow in confidence as the song unwinds, soft drone gaining weight with each bass pluck beneath — never trouncing the piano until the very tip of the track. It's the simplicity and minimal complexity used so well to channel some deep moving sentiment within all members, drawing it out from all of them as one cold melody. I would say they've accomplished translating it just fine. A very touching moment on this EP.<br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F66400705" width="100%"></iframe> <br />
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But it is "Relief Is Near In Four Parts", an eight minute trek, that as I said is my favorite here. The whine through the reverb fog that you find in the first minutes strikes deep within, slowly constructing itself as you're brought to the darkest, abandoned reaches of the sky over snowy tundra. Once the piano enters a whole new mass is given. The removal and sudden injection of the swells and ebbs, recombining at various volumes makes this all the more crushing,<br />
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Layered cello and violins with very subtle bass over an incredible hum, all of this reaches a climax and in the last two minutes a very Godspeed You Black Emperor approach is felt in the aural deterioration of the drone afterwards. It's hard not to draw comparisons at this point. Their sound is their own though and the wavering, diminishing drone is still gripping as it leaves.<br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F66403443" width="100%"></iframe><br />
Braveyoung do this well and you see it throughout their work. Growing sounds like flowers from the ground over time, and suddenly you're in the middle of this field of colour being overtaken by the thickest of mists. That's how it should be done and they do it effortlessly without pretense, and without padding or stretching. Just good, passionate writing.<br />
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<i>Will The Dust Praise You</i> is huge , lonely and graceful. Once again Braveyoung continue to set themselves apart from the bloated herd and cut through the wilderness of their own dense, haunting world emerging all the more impressive. You can <a href="http://braveyoung.bigcartel.com/">preorder this directly from the band</a> if you're in the US (two different versions, one containing <a href="http://i1.sndcdn.com/artworks-000033733732-hn4h43-original.jpg?ca77017">individual art</a> for songs) and if you're international like me send them an email about it. Or if you want <a href="http://braveyoungofficial.bandcamp.com/album/will-the-dust-praise-you">go to bandcamp</a> and pick it up for $5 and stream it.<br />
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<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=3475354409/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://braveyoungofficial.bandcamp.com/album/will-the-dust-praise-you">Will The Dust Praise You by Braveyoung</a></iframe>
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<a href="http://braveyoungofficial.bandcamp.com/album/will-the-dust-praise-you">DOWNLOAD (Bandcamp)</a>Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com0tag:blogger.com,1999:blog-1651460695237486187.post-40108061537396882422013-04-30T00:46:00.002-07:002013-05-02T05:10:56.684-07:00Svart Crown - Profane (2013)<b>Full Length</b>, Listenable Records<br />
Aprill 22nd, <b>2013</b><br />
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<br />
Genre: Black/Death Metal<br />
Region: France<br />
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Since you're all probably pretty tired of the grind and -core I'm putting up, I'm gonna pump in some more black and death metal for a few posts. A warning though you can count on plenty more of that regardless so have fun. Speaking of: if you're waiting on the new Immolation, Ulcerate, or Inquisition then I think you're gonna want to give this a few spins as well. Might be a bit of a sleeper gem for 2013 or just something really solid. And yes I will be getting to those <a href="http://abyssal-home.bandcamp.com/">Abyssal albums</a> sometime soon.<br />
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I posted <i>Witnessing The Fall</i> last year not long after I saw Svart Crown support Ulcerate on their first North American tour and was very impressed by both their tight performance and quick, dissonant sonic seige. This french horde has obviously been taking their writing even more seriously in the past three years, fleshing out their influences and strengthening their skills to invoke a distorted vision of dissonant blackened death metal entitled <i>Profane</i> that would make Immolation proud. It's a surprise and crept out of nowhere a few days back and may end up on my year end list. <br />
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<i>Profane</i> is a far more absorbing venture through vigorous, bendy American sounding dissonant black/death metal compared to their more tame (or less colorful maybe, while enjoyable) 2010 record. I say American because instead of feeling more creepy-chaotic like French/European acts Deathspell Omega, Hectic Patterns, Dodecahedron, etc. Svart Crown use <i>Profane</i> to channel the fiery, blasphemeous, and weighty sound of Immolation with a wild, open-stringed blackened discord and pacing of Inquisition. That's not to say the US doesn't have it's share of torrential death chaos (Ævangelist for instance, holy hell) but the other brand is far more recognizable obviously.<br />
<br />
When I saw them I definitely experienced a few of the tracks on this record. After hearing <i>Profane</i> not only is it recognizable from that show there's a much more obvious connection to their pairing with Ulcerate outside of just general friendship. Their previous work contained elements of this yes but here it's far more
developed and infused with the old Morbid Angel era influence — and it's not without their own semi-modern sour taint gracing the
worship which makes it more their own. <br />
<br />
Once again it's a pretty clean record, all the instruments breath comfortably while playing an integral and energetic part in the jagged sorcery on <i>Profane</i>. Loud too. Vile death roars spout cosmic heresies, standard fair but not lacking passion. Guitars are rich, dishing out merciless amounts of scratchy, blazing tremolos and gallops, spectral open dissonance, and bright bends. One channel working the artificial harmonics, chunky rhythms while the other ruptures with ghostly dissonance coupled with a never ending cannon barrage from the new drummer alongside it all, lending a heap of energy to the record. Overall the four of them definitely were working harder towards something on <i>Profane</i>. And from start to finish it doesn't dip in quality, the 40 or so minutes of twisted death hits just the right spot I think.<br />
<br />
There are really only two tracks which slow things down: "Until The Last Breath" which has Inquisition inscribed in it, an intoxicated waltz for three-quarters of it's run that is pretty groovy, and "The Therapy of Flesh" which starts off like a burst dam, tearing into you with quick, technical blows before settling into a more relaxed, ominous groove. The intro being one of two instrumentals — they're not wasted on ambient samples though. The opener is a brief glimpse into the cosmic destruction you're about to walk in to, and "Venomous Ritual" is more of an interlude or prelude to the final chapter of <i>Profane</i>: ceremonial and adding more tribal atmosphere without reliance on woodwind instruments and the like. Everything else is a tight, molten assault quite a few leaps forward from <i>Witnessing The Fall</i>.<br />
<br />
The various twists and changes in pacing while keeping with satisfying,
off-kilter and jerky thoughtful writing and structuring with strong roots allows shit to continue to flow forcefully despite the ingedients
being the same and not necessarily new. The arrangements and
execution are gripping all over <i>Profane</i> and translate with exponential passion live. "In Utero: A Place of Hatred and Threat" shows off a more black metal focus for a long while, bursting into occasional frenzied gallops of death. The title track (which is <a href="http://svartcrown.bandcamp.com/">streaming on bandcamp</a>) definitely has a more old-school vibe in the opening seconds of jittery slides but the jump to nervous bends and eventually hanging chords brings it back to the bizarre. Especially that latter sustained high string section, very cold and leads to to nice bridge before the pace builds back up.<br />
<br />
<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=2125014704/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://svartcrown.bandcamp.com/album/profane">PROFANE by SVART CROWN</a></iframe> <br />
While the material is solid across the board here ("Genesis Architect" eases you in nicely) a few songs are particularly awesome.
"Intern. Virus. Human" is definitely one of them and it comes early. A
track that needs to be turned up without a doubt. The first few moments
do not feel remarkable but once you hit like 20 seconds in wow does it
become much more. By the time the song is in full swing it sounds like
something taken directly off of Immolation's last record, that huge chunky, stomping hook and that breaks into an ugly thrash
morphed from the opening; this whole time the erupting percussion is
just burying you, just a vicious hammering from all angles. The pause a few moments later leads to some severely addicting crushing bends that make a return before the end; which is great all by itself.<br />
<br />
Then coming up on the tail end we have "Ascetic Purification" (the shortest track) and it throws you for a loop a little on the outset. To me the first thirty seconds almost sound like it's on the brink of turning into a blackened hardcore tune what with it's semi-punk pacing
but the remainder of it is more merciless distorted savagery, with some
tasty pinched harmonics and frantic screams right at the end. I would even say in the final quarter is a moment of brutal death metal slam barbarity amongst the already awesome lashing.<br />
<br />
"Revelation: Down Here Stillborn" is the other one that stands out, bleeding directly from "Ascetic Purification", and it seals the album well. It's a fucking monster with a lot of memorability. A very grand haze is draped over this song, building and building, dipping from Immolation howling solos and bends and back into more melancholic grooves found in the slower tracks before it. Within the first two minutes there's a ton of crippling grooves lathered in icy harmonized twangs and it only gets heavier from there. A good and final example of their skill and creativity coming together so well, jumping back and forth in it's style just enough to not be messy and feel complex without being wanky or boring. <br />
<br />
<i>Profane</i> is a surging, polished, far more solidified and interesting effort from Svart Crown combining some of the greatest elements of Inquisition and Immolation (even the earliest Ulcerate) with pretty epic energy. It surprised me a great deal honestly. It'll hook you but it's not revolutionary, just very enjoyable for those who love that malshapen sound. And I happen to fall into that category so I'm loving this a ton.<br />
<br />
You can stream this <a href="http://www.vs-webzine.com/InfoVS-Streaming+SVART+CROWNVS+webzine+et+Listenable+recrods+sont+heu-62344.html">over here</a>, and buy it from <a href="http://shop.listenable.net/product.php?id_product=3878">Listenable Records</a> in Europe, <a href="http://e-shop.season-of-mist.com/en/items/svart-crown/profane/cd-slipcase/34257">Season of Mist</a> if you're in North America (or iTunes apparently); and I would assume eventually <a href="http://www.svartcrown.bigcartel.com/">direct from the bands store</a>. I highly recommend you do so and follow their updates on tours and shit on <a href="https://www.facebook.com/pages/SVART-CROWN/141662170999?fref=ts">facebook</a> as usual.<br />
<br />
<a href="http://www47.zippyshare.com/v/49734145/file.html">DOWNLOAD (Zippyshare)</a><br />
<a href="https://mega.co.nz/#!1lMykS5J!HocFpGU7KFYfEO_tR6ukXGuVGlw5jwEVJ3BTFmRwb8Q">DOWNLOAD (Mega)</a>Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com2tag:blogger.com,1999:blog-1651460695237486187.post-60921476926041723542013-04-27T11:04:00.001-07:002013-04-30T03:47:12.973-07:00Shit Luck - Slow Death (2013)<b>Demo / EP</b>, Self-released / Independent<br />
April 11th, <b>2013</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw3I8SFZvQ6DNacIL2ppLJ4u1WicHqCJBjFKiryJ_wVCoLnhKNtolU3ZW8i_4WG1u8oqsnzZqXlU_Z3Hy_IZl1ITsyLCY6QMunha0s-jXrd2fuBowjGBnPnMZVmhnuSlKWzFvATwpGbaCE/s1600/SHTLCK.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw3I8SFZvQ6DNacIL2ppLJ4u1WicHqCJBjFKiryJ_wVCoLnhKNtolU3ZW8i_4WG1u8oqsnzZqXlU_Z3Hy_IZl1ITsyLCY6QMunha0s-jXrd2fuBowjGBnPnMZVmhnuSlKWzFvATwpGbaCE/s640/SHTLCK.png" width="491" /></a></div>
<br />
Genre: Blackened Hardcore/Crust/Grindcore<br />
Region: USA<br />
<br />
I'm still working back through my (and others') 2012 list so those posts will get more regular between newer records, but for now another new and quick one. Florida's <a href="https://www.facebook.com/shitluckfl">Shit Luck</a> just released a pretty damn enjoyable eight minutes with this demo and I think some people here will enjoy it. I definitely am despite this subgenre becoming a little watterlogged.<br />
<br />
Creatively this is a couple of big steps up from their 2012 release <a href="http://shitluck.bandcamp.com/album/expired-2"><i>Expired</i></a> which, upon checking it out, showed promise but did not hint at the fairly intriguing mash-up that we find in the five songs here. Just on a base level this is louder, grittier, far more aggressive and full sounding, tighter with a more interesting approach to the whole YAITW blackened crust style.<br />
<br />
They're not breaking conventions but this four piece do push something refreshing to various degrees and I'm interested in where they're going to take it. You can expect lots of feedback between tracks and raspy hoarse vocals, though here the vocalist is slightly outside the mold while spitting themes of alienation, apathy, bitterness. The down-tuned ashen riffs whirling onward through thick, muffled distortion creating a pretty bleak atmosphere. On the other end the drumming is
competent, pretty tight snare and keeps shit together well but the kicks are pretty weak. <br />
<br />
However like Dephosphorus they find a comfortable and rewarding zone where grind, crust, and black metal influences break apart and reform in energetic, satisfying and very heavy ways. Definitely more on the grind side of things but the brief excursions involving larger doses crust/blackened-etc. work in both the slower closes ("Slow Death") and the galloping rhythms ("Maniputlate") and compliment the furious attack found everywhere else.<br />
<br />
You're met with this immediately on the opener "Into The Chasm", the opening riff and percussion taking after Dephosphorus to some degree before spilling into a series of blurred, crackling hardcore rhythms. It's the title track and "Manipulate" that are the stand outs for sure though and are easily the best formulations of their sound — filth permeating the riffs and vocals and both ending with phenomenal, simple slowed sections. "Slow Death"'s first half is grind ridden assault with hints of crust, and once you cross into the second half shit gets crushing as a torturous, dark section consumes you. "Manipulate" is the second boulder of this demo though where the formula found in the title track is repeated without losing steam and with a devastating effect.<br />
<br />
This contrasts pretty starkly with "Waste" which follows, as it is nothing but a 28 second grind wildfire that drops all other masks. And to a large degree this is the case with "Timeless Grief" but this does not make them any less interesting. That latter track has some vicious chunks in it, the interruption in the final breakdown for a frightening roar combined with feedback beats you down bluntly. Overall the filthy storm of genres here is very effective and refreshing enough to set them apart from the pack.<br />
<br />
So yes this is a fuckin' wicked little demo cassette that is definitely worth a listen. Especially for those who are into the crusty black hardcore out there like Young And In The Way or Dephosphorus, or even Votnut, Hexis, Unsacred, etc. <a href="https://www.facebook.com/shitluckfl">Shit Luck </a>are probably ones to keep an eye on. The physical version of this is limited to 35 copies and only a few were sold online — only two are left on bandcamp so if you want to throw them $4 get on it. Otherwise it's free.<br />
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<br />
<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=413259998/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://shitluck.bandcamp.com/album/slow-death">SLOW DEATH by Shit Luck</a</iframe><br />
<a href="http://shitluck.bandcamp.com/album/slow-death">DOWNLOAD (Bandcamp)</a>Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com0tag:blogger.com,1999:blog-1651460695237486187.post-34845206458756054602013-04-17T04:11:00.001-07:002013-05-01T01:47:01.833-07:00Crawl - Mine Maille Shone Not The Light of Death (2012)<div style="text-align: left;">
<b>Demo / Live</b>, Self-released /Independent</div>
August 1st, <b>2012</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMaDVh9IiyOt1lsuBjQqV88ZiXCDZ_2Qxf25M0fLg1JccwsNuL-SKlQcHKO5IkBKt9B4QLwClHr4T-F-6OMjXi8dv9qZCKgIRqzb3R1upoydwY7yhAgolJcmdY0hVuXom0mWi7Rsg6inKE/s1600/CRAWL_MINE+MAILE.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMaDVh9IiyOt1lsuBjQqV88ZiXCDZ_2Qxf25M0fLg1JccwsNuL-SKlQcHKO5IkBKt9B4QLwClHr4T-F-6OMjXi8dv9qZCKgIRqzb3R1upoydwY7yhAgolJcmdY0hVuXom0mWi7Rsg6inKE/s1600/CRAWL_MINE+MAILE.jpg" /></a></div>
<br />
Genre: Sludge/Doom Metal<br />
Region: USA<br />
<br />
Not long after I listened to <a href="http://equivoke-mdl.blogspot.ca/2013/02/crawl-demo-2011.html">Crawl's demo</a> I purchased the cassette release that follows it titled <a href="http://crawl.bandcamp.com/album/mine-maille-shone-not-the-light-of-death-2"><i>Mine Maille Shone Not The Light of Death</i></a>. As I mentioned in that previous post this Texas experiment in tortured ambient doom has found a more unique avenue to express the weight of defeat and uncaring isolation through a simple ceremonial set up of drums, bass and vocals (and here a didgeridoo), and with <i>Mine Maile...</i> Crawl capture this desolate expression more intensely live.<br />
<br />
<div style="text-align: center;">
<b><i>"The recordings herein serve as an interpretation of failure. They are
not intended as a gift to the spiritual inner, but merely as a gateway
to the tunnels of depression brought unto the underwhelmed. </i></b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<b><i>These tracks have been released onto tape in order to properly express the beaten and downtrodden aspects of aural imprisonment."</i></b></div>
<br />
This is how the author wishes to express this records goal and perspective. The three tracks here do a good job at instilling those feelings of swirling around a frigid and dark drain, droning agony filling your consciousness. Instead of shorter dissonant doom spells, on <i>Mine Maille...</i> Crawl is reveling in a slow, blunt bludgeoning from the out set, swamped in rust and archaic ritual odours. However the change is a shift away from the heavily distorted machine-like pace and sound in order to find other paths to grow from.<br />
<br />
That is not to say this element is completely gone, but this tape seems more focused elsewhere. The first blow comes in the form of "Breath of the Dying", a ten minute descent marking the start of that different approach for Crawl. This kind of sonic force does well this way if tailored properly — again it's not funeral doom but it's also not the dual bass stoner rockfall of Horse Latitudes either. Crawl desires to meddle in more chilling, martial horrors. After a quiet build that brings the anxiety up with tribal thumps, feeback announces the journey has commenced. With this track it is the closest the record sounds to anything on the <a href="http://crawl.bandcamp.com/album/demo">first demo</a> (track two would be a good example).<br />
<br />
You'll get an intoxicating dose of tone all the way through the opening song from the thick humming and growling that takes heavy swings in the pitch black atmosphere. A solid and slow groove is carved out in the tolls of a girthy bass tone and enormous, hammering percussion in harmony with one another. The way the track flows gives more insight into the title. It progresses to a point of feedback resembling a flat-line and kick/snare drops, and then becomes cold with only the beat that slows drastically like a dying heart in the cold of night.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPwc3416MvWX54gl-iXSXATH8H64LkQHYTim1eu2b5_F_jrYs3RW6D1dcfC8bQ7T_CSg0iwBlBiYG22AbYp5gUtKiaW0p-58FzFt9fbRu7XafdDXfndK-Fj2v7IklXzeJ8mQn6Dn1G6zTt/s1600/unmarked_crawl_sm.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPwc3416MvWX54gl-iXSXATH8H64LkQHYTim1eu2b5_F_jrYs3RW6D1dcfC8bQ7T_CSg0iwBlBiYG22AbYp5gUtKiaW0p-58FzFt9fbRu7XafdDXfndK-Fj2v7IklXzeJ8mQn6Dn1G6zTt/s400/unmarked_crawl_sm.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>(Unmarked black cassette)</i></td></tr>
</tbody></table>
"Summon Greater Bonespirit" is a pretty substantial track despite what it might sound like. This is where the didgeridoo is utilized to surprisingly great effect, much like a siren in the middle of a either a raging fire or torrential downpour as thunder rolls ominously above. The combination works well, drawing you into Crawls hex from a different position. Those blasts oscillate occasionally as if off kilter sometimes (foreshadowing), the atmosphere only disturbed by eerie whispers in the right channel at around the four minute mark — and suddenly you're shocked from this fade by an augmented howl from the didgeridoo. Digitized, industrialized. Much more 'noise' oriented for that brief section, a very clever use of that instrument in my opinion especially for doom — blending a little death industrial in there.<br />
<br />
By now it's easier to recognize that this heap of sludge has been experimenting more even within it's own forming niche, in "Frozen Horror" the ambient side comes out for four minutes but does not expand much. It consists of a chime or bell that has been distorted and morphed, and flexes over the course of the track sounding like something out of a horror film. The dragging samples are the final sounds on the tape.<br />
<br />
As a live recording it sounds fucking crisp: bass and drums while pounded ferociously are not distorted or muddy, sharp cymbals, though the vocals are a little too far back. The style though may lend to being a little more buried: frenzied screaming like the angered caws of a raven fighting over a cadaver. It's a cryptic release and feels more like an interlude or teaser of what is to come than a proper or thirst-quenching record but what is hear is not replicated elsewhere too often, if at all.<br />
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If you're into the heavy and obscure there's no reason not to check this 19 minute live ritual out, it's free and crushing so I recommend you do. The changes do nothing but make the project more intriguing. Below you can get a taste of Crawl's recent pulverizing ceremony.<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/oxQReIxlkF0?rel=0" width="560"></iframe><br /></div>
<br />
Also if you like what you hear you can grab a copy of the limited cassette over at <a href="http://blindlycrawl.bigcartel.com/">Crawl's big cartel store</a> in both regular and limited edition, and at <a href="http://mvrdersvicide.storenvy.com/">Murder/Suicide Incidents</a>, or a digital copy on their <a href="http://crawl.bandcamp.com/album/mine-maille-shone-not-the-light-of-death-2">bandcamp page</a>. I was informed he was going to update the store with more merch in the near future so check back if later if shit's not up. <a href="https://www.facebook.com/BlindlyCrawl?fref=ts">Follow on facebook</a> for show and future release information.<br />
<br />
<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=2256237117/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://crawl.bandcamp.com/album/mine-maille-shone-not-the-light-of-death-2">Mine Maille Shone Not The Light of Death by Crawl</a></iframe><br />
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<a href="http://crawl.bandcamp.com/album/mine-maille-shone-not-the-light-of-death-2">DOWNLOAD (Bandcamp) </a>Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com1tag:blogger.com,1999:blog-1651460695237486187.post-5836828903876465382013-04-15T01:59:00.001-07:002013-05-03T03:57:58.214-07:00SIXBREWBANTHA / Water Torture + SIXBREWBANTHA / Agitate - Splits (2013)<b>Split</b>, Nice Dreams Records / Witch Bukake Records<br />
April 3rd, <b>2013</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz1aAgsqDFq-qrq7W1iU9fY2RScwddEffhwVcNTx95Rz4mCNwE_QTyVN64dggDAHhgvfDues3P2U85uJSgNuG49yUhSsGq3sMY4NYZGZqS2N7Ygqdu2-dymvBPe4L63e92lweLe8OSJs29/s1600/SBB:WTSPLIT.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz1aAgsqDFq-qrq7W1iU9fY2RScwddEffhwVcNTx95Rz4mCNwE_QTyVN64dggDAHhgvfDues3P2U85uJSgNuG49yUhSsGq3sMY4NYZGZqS2N7Ygqdu2-dymvBPe4L63e92lweLe8OSJs29/s1600/SBB:WTSPLIT.jpg" /></a></div>
<br />
Genre: Grindcore/Powerviolence<br />
Region: USA/Canada<br />
<br />
Just in time for their soon-to-commence <a href="https://www.facebook.com/events/461911743882088/?ref=22">partial US tour</a> and send-off show we have two new and quite fantastic splits involving <a href="http://www.facebook.com/pages/Agitate-Mince-Grind/239126389451350">Six Brew Bantha</a>: one with Buffalo legends Water Torture and the other with Minneapolis's Agitate. Both are out right now and I managed to get a copy of each while at Six Brew Bantha's send off show the other day, and because they great I figured I squish them into one post to make it easier. And it just makes sense of course.<br />
<br />
This also the second of two pairs of great grind splits with a wicked leading band, the other being the recent Suffering Mind splits with <a href="http://behindthemountain.bandcamp.com/album/split">Phobia</a> and <a href="http://behindthemountain.bandcamp.com/album/split-2">MASSGRAVE</a> which I'll get to soon enough in a similar style post.<br />
<br />
First up is the split with <a href="https://www.facebook.com/pages/Water-Torture/219300708125368?fref=ts">Water Torture</a>. Because I only recently submerged myself in the genre I'm not entirely familiar with this two piece but I have certainly heard of them for the past couple years. They're a rising powerhouse of bass/drum powerviolence and they seem to indulge in some experimentation outside of the punishing speeds, and here they employ a guitar with David Pacheco behind that end. So they end up sounding less like Thrones doing grind as they have at some points like on their self titled and the Shellfire EP but are no less capable of snapping necks with their brutality.<br />
<br />
Six tracks to match Six Brew Bantha's five and contrast nicely with the more pure grind on that side. I went back and checked out previous records to get a taste of their sound minus the guitar as it seems to worry some people, I've heard its temporary but even so it sounds pretty fucking sweet to me. Of course it's always hard to make something sound heavier than the bass and drums combo they've molded (unless you add a second bass) but here the writing and execution are still crushing.<br />
<br />
The first two tracks exemplify this and mesh together so closely they might as well be one track, starting off bouncy before the chaos seeps in; strained yelling underneath the grooves and blasts; both filled with a relentless hammering from all angles and very addictive. You're gonna return for a beating for sure especially for "No trophy", my favorite on this side, because that palm-muted break down is ugly combined with the hate-filled strained yells. This and "Alone Always" are the best here, with the latter consisting of literally two riffs: one blazing and then one lumbering giant which makes the blunt lyrics exponentially more weighty:<br />
<br />
<div style="text-align: center;">
<i>"RECOGNIZE THE TRUTH<br />LIE TO YOURSELF<br />FOR A POSITION OF SELF COMFORT?<br />FRIGHTENED<br />ALONE<br />ALWAYS<br />[NO]"</i></div>
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"No Trophy" eventually seaps into the relatively thrashy "Home/Sick", whipping you back and forth wrecklessly. "Black Blood" brings back the tumbling slabs in between spazz sessions which Water Torture do so well and I can imagine these would be even heavier with just the bass tearing shit down.<br />
<br />
Their contribution sticks with the always gloriously simple formula they've strengthened up until now, and it is guaranteed to crack pavement even when returning to more punky roots like in the closer. From my limited perspective I'd say they strike a good balance on this release with their experimentation and bring some truly jaw-dropping writing here<br />
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<iframe allowfullscreen="" frameborder="0" height="360" src="http://www.youtube.com/embed/zniO-g0TnfY?rel=0" width="480"></iframe><br /></div>
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Six Brew Bantha played a few of these at the last show and that was the first time I had heard them despite their bandcamp having their side up for download since early in the new year. There will be video of that soon. I was still digesting <a href="http://sixbrewbantha.bandcamp.com/album/s-t-lp">their full length</a> which is something grind finds ought to check out if they haven't, and now I've gotten through their side on this 7" and can't get enough. They continue slinging creative one minute mincing sessions unlike any of their peers with one of the tightest snares I've heard, continuing a socio-political theme lyrically.<br />
<br />
The first track "Struggle to Exist" was one of the closing songs the other night and boy is killer, there's a strong undercurrent of death metal in the middle chunk and buttressing that is blazing grind. I love the seamless blend. Other's like "Bred Into Enslavement" return to the core of there thrashing and just rip your face off before a wicked breakdown. A really groovy track and tied a little bit of dissonance is spliced in the last third during a break downand the pummeling does not decreas <br />
<br />
Everything here is engineered to stomp you and I would argue that goes twice as much for the drumming, the snare is just ricocheting inside your skull; unlike the original mix of Adversarial's debut the snare's pang here does not overpower shit. Listen to "Manipulated Public" or "Bred Into Enslavement" because the fills on those are pretty evil. "Opposition" is another good example. What's up front more so are the riffs and vocals, the latter filled with vitriol and unhindered bestial energy; the perfect style for the fury you hear around it. <br />
<br />
It's hard to say which side is better. One boils shit down and bulldozes you while the other ensnares you throws you against the wall without losing grip so it'll depend on what you're in the mood for. It's a great collaboration anyway you look at it and I recommended it for sure.<br />
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The packaging on this split is pretty nice too so I suggest spending the cash to get it while you can, <a href="https://www.facebook.com/events/461911743882088/?ref=22">especially if you catch them on their tour</a>. There was only a few pressed for the band on tour (200 in blue and clear) and even fewer for those who preordered (purple), and you can get the black press over at <a href="http://nicedreamsrecords.storenvy.com/">Nice Dreams Records</a>. Or you can get<a href="http://sixbrewbantha.bandcamp.com/album/split-7-w-water-torture"> Six Brew Bantha's side</a> as a name-your-price download.<br />
<br />
<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=4083812471/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://sixbrewbantha.bandcamp.com/album/split-7-w-water-torture">Split 7'' w/ Water Torture by Six Brew Bantha</a></iframe><br />
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<a href="http://sixbrewbantha.bandcamp.com/album/split-7-w-water-torture">DOWNLOAD (Bandcamp)</a> Six Brew Bantha<br />
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The second of the two splits does not disappoint either, though I suspect more people were awaiting the Water Torture split. Six Brew Bantha destroy shit right out of the gate with "Outcome of Ignorance", a 34 second ripper that leads to a 4 second track and straight into the nicely dissonant "Mandatory Termination". This one is the longest of their side, they played at their kick off show and the was even more amazing, specifically the blasts beats and the transforming tremolo breakdowns near the middle. "Product of Your Environment" sounds like something Discordance Axis might have made in their earlier records; technical and discordant, ending with like a Dangers slam to cleanse you of the writhing prior to it and end their side.<br />
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<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=3469161705/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://sixbrewbantha.bandcamp.com/album/split-7-w-agitate-2">Split 7'' w/ Agitate by Six Brew Bantha</</iframe><br />
<a href="https://www.facebook.com/pages/Agitate-Mince-Grind/239126389451350">Agitate</a> are a two piece I haven't heard of until now, described as "no-frills mincing grind" withe the addition of "FUCK PORNO-GRIND!" I can go with both those statements I suppose, I can also get on board with the opening sample which is amusing.. It leads to the meat of everything of course: Agitate provide us with a glimpse storm trapped in cassette form as they completely shred the first half of their side in just over two minutes, or two of the three tracks. Occassionally I do get more oldschool punk and crust vibes mostly in the final track which slows shit down (much like Bridgeburner would), keeping it nice and lumbering for almost the entire length before stepping it up to a more crusty level.<br />
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<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=3266250633/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://agitate.bandcamp.com/album/six-brew-bantha-split">SIX BREW BANTHA split by AGITATE</a></iframe><br />
Both contribute some nice stuff here but I'm gonna give it to Six Brew Bantha for now, they just don't cease to make memorable grind. Definitely grab the cassette if you can't wait from <a href="http://nicedreamsrecords.storenvy.com/">Nice Dreams Records</a> or hold on and soon it'll be pressed on 7" wax by <a href="https://www.facebook.com/pages/WITCH-BUKKAKE-RECORDS/242362575805802">Witch Bukkake Records</a>; or get both. The cassette is a nice green if you're into that.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsFFv3l8QjDJwc5sCO2Z0pHnA56X8fSiLpzBTMPR-ja2R9v0dIWe8hJwupoQnLhTXdlrWGpEr95olTV-59t_4A1JREg2EDs3YzKkVtTlTGGr50gaUcC4JPPDHVqITWYiDv6i3z2xI_ZIHD/s1600/SBB:AGITATEGREEN.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsFFv3l8QjDJwc5sCO2Z0pHnA56X8fSiLpzBTMPR-ja2R9v0dIWe8hJwupoQnLhTXdlrWGpEr95olTV-59t_4A1JREg2EDs3YzKkVtTlTGGr50gaUcC4JPPDHVqITWYiDv6i3z2xI_ZIHD/s400/SBB:AGITATEGREEN.png" width="400" /></a></div>
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<a href="http://agitate.bandcamp.com/album/six-brew-bantha-split">DOWNLOAD (Bandcamp)</a> AGITATE<br />
<a href="http://sixbrewbantha.bandcamp.com/album/split-7-w-agitate-2">DOWNLOAD (Bandcamp)</a> SIXBREWBANTHA<br />
<a href="http://www.mediafire.com/download.php?97f9kw3s7o2o23u">DOWNLOAD (Mediafire)</a> Full split with Agitate's side cut up for those who care.Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com2tag:blogger.com,1999:blog-1651460695237486187.post-265024616440825502013-04-13T11:50:00.003-07:002013-04-30T01:26:26.911-07:00Antediluvian - Λόγος (2013)<b>Full Length / Demo</b>, Nuclear War Now! Productions<br />
<b>2013</b><br />
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Genre: Black/Death Metal<br />
Region: Canada<br />
<br />
As some of you might be aware of, the Cassette rip of the limited demo (?) version of the upcoming Antediluvian record <i>Λόγος</i> has finally been circling the outer rungs of the web. I really wanted to hear this at the end of 2012 but only heard about it weeks after it was stealthily released. Anyway here we have it.<br />
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Pronounced "<span class="IPA" lang="">logos", </span>a cursory Google search suggests it's ancient Greek for "I say" or "that which is said" (or possibly "reason" but I am both lazy and out of my element here), lending to the ancient biblical and cryptic tone the band has shouldered thus far even more so. The art is once again very eerie. I know that it's a little hard to believe but even in demo form (and depending on the future, even more so here) its blatantly obvious this material represents the greatest channeling of archaic global turmoil Antediluvian have achieved.<br />
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At first<i> Λόγος </i>seems like it<i> </i>is far more formless and fluid in structure than all their past recordings, and in reality their bizarre conjurations are definitely far more entangled than ever before. They once again manage to keep vigilant and cull only the best 34 minutes it seems. Riffs which are constantly mutating through copious dissonant bends and decrepit time signatures is what makes Antediluvian and their brethren so violating and captivating, and yes they continue to wallow in this filth here.<br />
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Something that also continues is the wrecking ball drumming, putting a lot of guys to shame as she coordinates with the frightening guitar work Haasiophis dredges up. "Beyond Diurnal Winds" for example, this chick is a fucking beast. The bass however is fairly lost underneath everything else, I can hear it but it needs either more growl or bounce; this was not a problem on the last few records. <br />
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The crooked paths of the songs and their unpredictability forces you to pay attention as there's so much buried in each track you have no choice, lest you get lost and write it off as poor writing (a hard sell no doubt). On the first listen as it progresses <i>Λόγος</i> grasps a firmer foundation, probably around "The Ash and the Stars" (which is huge and complex) you've begun to just get hold of this writhing serpent; a song which is the first time I would argue that the Portal comparisons are actually accurate. Everything before this was almost overwhelming in it's reveling in chaos, where you only get glimpses as you adjust once again to their craft.<br />
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However on successive listens, much like with earlier works, the material becomes clearer and you gain a great appreciation for the meticulous discord it's wrapped in. I almost forgot it was supposed to be a rough cut as it started sounding far crisper at this point "Homunculus Daimon-eon (Awakening)" shreds wildly in descending spirals and later opens up, stretching the 7/4 and never dropping it's pace. And if it weren't for the quick silence you'd mistake "Consumate Spellbound Synapses" for a continuation of the opener. It's ever more pungent with horror sustained wails behind this wall of hypnotizing, lopsided rhythm and hailing blasts, both combine to level you and the weight just increases as you listen. <br />
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There's some debate over whether some of the intro vocals are pitch
shifted, not that it matters much. The intros are already cavernous enough. The rest of the time Haasiophis
gurgles and froths abhorrently the spells of antiquity as he obliterates
his instrument in the darkest ceremonies they've crafted yet. Sometimes
on tracks like "On the Tree of Life and Death" there's more hoarse
screams at one or two points and I'm not sure if that's him as well (I
believe they were a four piece at the time), same with the spoken
passage ending the final song. That song opens with a particularly intoxicating intro before erupting into misshapen and uncontrolled masses, decaying midway through to a crawl.<br />
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Tracks like "Tower of Silence" and "Nuclear Crucifixion (Turning the Spear Inward)" are even more ugly and tumultuous, if you haven't been overwhelmed by the time you've hit the former then the latter will be all the more tasty. Definitely my picks right now along with "The Ash and the Stars". "Transept of Limbs" opens with a very angelic intro before the blasphemous avalanche breaks. Later an enthralling pinched harmonic lead is woven through the corrosive static and punishing percussion, it's unexpected and fits well.<br />
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They always know how to close with a boom and with "Death Meta" Antediluvian manage to do it again, slowing it down and returning to "Under Wing of Asael" briefly. It's another example of how twisted they make everything, the almost slow-down like whammy effect Haasiophis achieves alongside the monolithic kit work from Mars brings this one to a close and leaves a deep scar in all those who make it through.<br />
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I didn't have much time to get properly excited for this, and I was pretty surprised that they were already working on/had released a new record so soon after their last success. That made me unduly wary but even considering this I'm coming away extremely pleased with everything they're doing on this rough cut, so when the official version is out I can only imagine it'll be as good if not more relentless and savage. Certainly top ten material even as an unfinished monstrosity.<br />
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A must for fans of this genre. Antediluvian have definitely brought something more challenging in this current version of their style. Further corruption by the cassette quality along with a continued standard of great writing takes their sound to more obscure subterranean depths. The only band that competes with them on the "holy fuck" chaos level would be Impetuous Ritual in my humble opinion; I guess you could include Grave Upheaval too. You probably can't find this anywhere unless someones got it on ebay but I hear a more complete/official release is in the works over at <a href="http://www.nwnprod.com/shop/index.php?main_page=product_info&cPath=28&products_id=12067&zenid=120a9e6949ba87b9a5dfd19c0f89ecff">Nuclear War Now! Productions</a> so watch that closely. For now enjoy the cassette rip.<br />
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<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=2872284920/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://nuclearwarnowproductions.bandcamp.com/album/logos">Logos by Antediluvian</a></iframe> <br />
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<a href="https://mega.co.nz/#!0htSRRpS!RcobQ0T_hQ2LYyl0oTy1IE8Ef1ceFLAu_yQ5vfuZ-Z4">DOWNLOAD (Mega)</a>Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com1tag:blogger.com,1999:blog-1651460695237486187.post-28396877030561178432013-04-12T14:10:00.002-07:002013-04-12T15:20:37.187-07:00ACxDC / Magnum Force / Sex Prisoner - Split (2013)<b>Split</b>, To Live A Lie Records<br />
March 19th, <b>2013</b><br />
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Genre: Grindcore/Powerviolence<br />
Region: USA<br />
<br />
So this might be the best thing I've heard so far this year by a long shot. It's not even close at this point and because I live under a rock it was made even more jaw dropping since, to me, it came out of nowhere. Three uncompromising grind/powerviolence bands contributing what is undeniably not only their best material thus far, but some of the most skull crushing -core packed into a ten minute slice of 10" wax that I've heard in recent memory.<br />
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I've had this on repeat every day since I discovered it, racking up a minimum of ten spins each time I place it on the turn table and it has not worn out it's appeal yet. To the point where it's gotten in the way of me checking out new records from Wormed, Defeated Sanity, Portal, Fell Voices, etc. This three way split is addictive in the most strict sense, each band dealing out barbarous, refined, and calculated assaults that will adhere themselves like a parasitic membrane to your skull.<br />
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The three pronged siege is headed up by ACxDC (aka Antichrist Demoncore) from L.A. who have been making waves unbeknownst to me with their two previous 7" EPs. Magnum Force follows them and apparently they've been working quiet hard prior to this split with multiple demos and EPs, and then we have Sex Prisoner who also have been quietly honing their shredding abilities for the past four years; both from Arizona.<br />
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<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=1786772256/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://acxdc.bandcamp.com/album/10-split-with-magnum-force-and-sex-prisoner-2">10" Split with Magnum Force and Sex Prisoner by ACxDC</a></iframe><br />
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Lets start with <a href="https://www.facebook.com/ACxDC?fref=ts">ACxDC</a>. Wow. I need these guys and Magrudergrind to make a split. That's basically what this sounds like, that phenomenal 2009 self-titled record stripped of technicalities and boiled to three and a half minutes of purity. Fantastic catchy riffs with pacing that straddles regular hardcore and powerviolence with a truly biting tone (which the bassist shares to great effect), wretched vocals spewing some simple but effective and absolute words, and furious blasts. All this clashes with the blown-out production but I've become so accustom to it that it doesn't put a damper on shit; when I crank moments like the gallop in "Crux" it makes no difference. It's a series of severe and assiduous 30-50 second soil-scorchings, controlled chaos that is phenomenally catchy and gritty.<br />
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The chunk ACxDC have cut out of their repertoire and put on display here will linger with you. Every song has a spell-binding groove, it's embarrassing how good some of these are. The entirety of "Loathe" for example: the cacophonous blast opening, the bass solo, then the groove slightly altered comes staying just long enough. Right off the bat "Eye In The Sky" (a song revolving around the events of the truly awesome movie <i>Casino</i>) is like a savage beating, and then it grinds to a halt reminding me so much of Magrudergrind before spiraling into another excellent rhythm. "Crux" will catch everyone's attention if the opener didn't — that climax, lyrics and all, will hypnotize you with its inescapable heaviness:<br />
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<div style="text-align: center;">
<i>"Savage Christians<br />
Men of god<br />
On a crusade<br />
Swallowed by fog </i></div>
<div style="text-align: center;">
<i>
</i></div>
<div style="text-align: center;">
<i>Convert the world<br />
By the almighty sword<br />
Destroy all life<br />
In the name of the lord </i></div>
<div style="text-align: center;">
<i>
</i></div>
<div style="text-align: center;">
<i>Live or die</i></div>
<div style="text-align: center;">
<i>You're still just a fucking pawn"</i></div>
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Original? Hell no, but within the context of the song holy shit is it great. I couldn't pick a favorite track as even now having heard their previous stuff, this steps up so much higher, but "Crux" (best lyrics) and "Worthless" I return to immediately upon finishing their portion of the record. The slams and rhythms here speak for themselves, burst-firing sonic contempt from every single second. You can buy their section of the split for a buck on bandcamp.<br />
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Magnum Force seem to have been at it for a while now but this is my first encounter, and the impression they left was nothing but pleasing. Whats fairly unique about the subject matter lyrically here is it's focused on gay rights, or more accurately the struggle and bullshit homosexuals have to go through. Clearly Magnum Force are passionate and sincere about this, the simple lyrics get right to the point and are obviously both personal and relateable for those who've gone through it. From "Boxed In":<br />
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<div style="text-align: center;">
<i>"Why do you hate me?</i></div>
<div style="text-align: center;">
<i>Is it because of my sexual preference?</i></div>
<div style="text-align: center;">
<i>I refuse to change just to feel accepted.</i></div>
<div style="text-align: center;">
<i>I'll never go back in the closet.</i></div>
<div style="text-align: center;">
<i>It's been the death of me for far too long."</i></div>
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Simple and says it all, and it has a wicked slowdown at the end; driving you into the bloodied ground with a sledgehammer after a ruthless 30 second thrashing. Maybe this is just another indicator of my obliviousness but for all that the -core scene focuses on in terms of a humanitarian-progressivist bent the issue of gays and their plight is one I do not see that often come up in lyrical form. Again maybe there's a shit ton of bands who write about it and I'm very clueless, either way it's a bit refreshing.<br />
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None of that matters too much anyway if the music is horrid but thankfully Magnum Force drop three columns of slightly dissonant grind that form a single and secondary pillar of excellence structuring this split. While their contribution is smaller the quality remains, the production a bit dirtier than both their colleagues. Anguished screams permeate the tracks, driving home the anger within the words. Slower by a light incriment in some senses in terms of rhythms, however the blasting on the kit here may exceed either other group here (just listen to "Out of Time"). Their section provides a very slight breather from the two sandblasting sessions that box Magnum force in, powerful and no less groovy but a notch quieter in comparison.<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/uSJ6b1J5BLs?rel=0" width="420"></iframe><br /></div>
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And now we come to my favorite segment of this 10": Sex Prisoner. These guys look to be an unstoppable force in powerviolence. Just between their self-titled 7" and this you can hear enormous growth and a tightening out their style, applying it sickeningly well in the five songs they offered up here. Sex Prisoner are a little more than powerviolence and that is immediately clear. Obviously influenced by the old guard of Infest/Charles Bronson/SPAZZ they're also incorporating the best elements of the whole Entombed-chainsaw-crustcore sound, speeding that shit up while cut out all the horseshit in favor of pure, distilled quality.<br />
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They pack each song so full of excellence and yet I still feel my thirst unquenched no matter how many times I return, the battering is so brutal and I return again and again. Bathed in feedback, they're all equally absurdly catchy and brief but the shortest song on the whole split ("Crossfaded") is the one I'm captivated by. It's 20 seconds but it feels so fucking complete and definitive.<br />
<br />
<div style="text-align: center;">
<i>"Need release from the grind</i></div>
<div style="text-align: center;">
<i>Day to day, 9 to 5</i></div>
<div style="text-align: center;">
<i>Working class</i></div>
<div style="text-align: center;">
<i>Gotta cope</i></div>
<div style="text-align: center;">
<i>Cross faded"</i></div>
<br />
The lyrics swing perfectly to the rhythm of those pulverizing riffs and blasts. What makes the words even more of a focus for me is that everyone in Sex Prisoner seems to contribute vocally while they still have one dedicated vocalist. So the mix in styles/inflections/tones is refreshing and certain words (like "gotta cope" or in the final track on "no sympathy") punctuate the noise, causing my attention to tighten a little more. I like the variety regardless of it all being coarse yelling, there's more life when I literally hear cracks and the spittle flying from their mouths as the roar about deception and frustration.<br />
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There's a particularly obliterating breakdown midway through "Whatever You Say" that is a neck snapper. Speaking of that there are a few moments where it's like if Hatebreed wasn't so loathefully 'bro-core" and faux-tough guy and didn't begin to stagnate by their second release; moments like in "I'm Proud of You" during the breakdown under "...SCORCHED TO A DUST - TRAPPED IN THE PAST...". They do it far better and do not linger, without the phony posturing. Actually their 7" is far similar to that direction than the rest of the split, more simple and bouncy.<br />
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And yeah if you're wondering I do enjoy some of Hatebreed's material. Kvlt cred = -500, 000 and falling.<br />
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I only want these three bands to make splits together from now on. I'm pretty sure you're out of luck if you want to own a physical copy of this at this point, though its entirely possibly that due to demand a second pressing will be announced at some point. Check out <a href="http://www.tolivealie.com/index2.html">To Live A Lie Records</a> for any information on that, go to their bandcamps, and if you're lucky check your favorite record distro to see if they have one of the 600 copies pressed; you can get it on iTunes and Amazon if you're desperate.<br />
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Either way there is absolutely no reason a fan of fast and heavy shit should pass on this. I'm gonna be a douche and say this is closing in on potentially "essential" much like the Adversarial/Antediluvian split last year. And similarly it may end up at the very top of my year end list.<br />
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<a href="https://mega.co.nz/#!8wcxCC6b!NioLFTOh8pNg7n9IOyfoJVZECas8yZPvIUiEnEu4TA4">DOWNLOAD (Mega)</a>Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com6tag:blogger.com,1999:blog-1651460695237486187.post-56154489850574888382013-04-11T23:49:00.001-07:002013-06-06T17:06:39.912-07:00Old Soul - Tidal Lock (2013)<b>Full Length</b>, IFB / Dog Knights Productions / Dingleberry Records / Listen to Aylin<br />
April, <b>2013</b><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzKaPxyKqOIxcIHAJQ8URUn58rIB-4rp0hDYl-v_7bphOSpomsnpnwlflWdpFaXEm4okzG_XnrCLXhobCEhA_EOAk0tSL37YiGOf7NbOUhVmf09xqzBr7qw6KS2WCY7WrVRIkmpeFijq6p/s1600/oldsoulstidallock.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzKaPxyKqOIxcIHAJQ8URUn58rIB-4rp0hDYl-v_7bphOSpomsnpnwlflWdpFaXEm4okzG_XnrCLXhobCEhA_EOAk0tSL37YiGOf7NbOUhVmf09xqzBr7qw6KS2WCY7WrVRIkmpeFijq6p/s1600/oldsoulstidallock.jpg" /></a></div>
<br />
Genre: Blackened Hardcore/Post-Rock/Post-Hardcore<br />
Region: USA<br />
<br />
Coming off of that recent post about <a href="http://equivoke-mdl.blogspot.ca/2013/03/old-soul-who-are-willing-to-draw-close.html">Old Soul's 2012 record</a>, I've been given the pleasure of hearing and reviewing the new Old Soul record a few weeks prior to official release and all that. Took a little longer to write up due to other priorities getting in the way but here it is. There's no download link right now, however like their prior releases this will have a physical release and be made a free download to the public at some point soon. So hold on for now if you're eager.<br />
<br />
<i>Tidal Lock</i> sees Old Soul further shaping their sound and progressing quite a bit from their previous record, while bringing back some elements that were stronger in their debut <i>Natures Arms Encircle All</i>; mainly the tranquil post-rock atmospherics which grasp this release firmly and made a bigger appearance in that record. Lots of reverb and delay among other effects in those long passages sometimes like near the close of the opener "Ghost/Incomplete" they're sustained and take on a shamanistic luster as notes are carefully placed around the whirring loops. Outside of these glimmering passages the scratchy swollen tone of the guitar is a big contrast once again carrying over from their sophomore, varied drumming keeping up with the wide swings in style, and a great bass presence especially when those quiet stretches start to ramp up ("Watermouth/Mirage").<br />
<br />
All four tracks here (which flow as one long song in reality) reach
between eight and ten minutes in length, a huge contrast to the four and six
minute jaunts in <i>Who Are Willing To Draw Close</i> and further proof of a commitment to change at least in structure on first observation. The production is smooth, clear, warm; feeling much bulkier than <i>Who Are Willing To Draw Close</i> and lending a little juice to the all it's qualities. Only complaint here is for instance in the secong track around six minutes in, where there's a transition from quiet to loud the guitars feel a little dampened initially; this could just be me as I only notice it in that spot. Lyrically as one would expect this record does have a temporal focus, metaphoric, taking a reflective or introspective approach but largely up for individual interpretation; sometimes these are spoken ("Ethereal/Faultless") while usually in all other moments the blackened rasps dominate. <br />
<br />
When listening the blackened post-hardcore/screamo characteristics still reside in their formula but are less bursts and more Krallice-esque in execution: long blazing passages blurring post-hardcore June Paik aggression with uneasy/anxious black metal melodies interspersed conservatively. Between these lies moments that resemble traditional screamo like <a href="http://consume.forgediniron.ca/album/mahria">Mahria</a> but the twinkling nostalgia doesn't last long. You can hear this from the outset. These are enclosed in the vibrant ambient and post-rock drifting, both clean and acoustic, sometimes minimalistic but usually energetic builds. These moments have <i>Tidal Lock</i> coming very close to the eclectic style of Irepress even moreso than I thought, and yet every time they do rub up close they make a drastic shift, usually launching the song into an aggressive fit.<br />
<br />
While they effortlessly float between each other each of the four tracks. "Ghost/Incomplete" and "Watermouth/Mirage", while separated, flow as one track linked by a gleaming clean section and provide a great example of the above. Broken up by flurries of proggy black metal mixed with screamo but far less densely packed than in their previous records. The former track is evenly broken up between their black skramz attack and meditative while the latter dabbles more in Irepress-esque quietus with only brief, more laid back post-hardcore blinks; rhythms more restrained but still strong, leading the track out of the haze nicely. <br />
<br />
"Paradigm/Pendulum" picks up and quickly descends into progressive black metal territory only to melt into a pretty clean section which gets increasingly proggy and loud and busy before diving into a tranquility. For the first four or so minutes I would swear this is a less complex Irepress track. The build on this track has both channels evolving sounds gradually. The return to distortion is very stealthy only occuring near the end and giving way to a wobbly ethereal section.<br />
<br />
Interestingly enough this leads into the aptly titled final track "Ethereal/Faultless" — arguably the slowest on the record Old Soul close with a more depressive or reflective tone, even when they embrace the distortion it's very mournful. The screams come back in full force by around the eight minute mark and while still less chaotic the blackened brew here opening up to a spoken word passage with some nice bass work and percussion which fades, leaving only the words.<br />
<br />
Old Soul's newest record is more grand and less dirty than previous material, a relatively refined and different experience from them. I think I like <i>Who Are Willing To Draw Close</i> a bit more at this point mainly due to the length and blend of sounds. I'm definitely finding on repeat listens I'm enjoying <i>Tidal Lock</i> more than I originally did,
it's only the shift of emphasis away from more chaotic blackened
aggression that I enjoy more on the former. For instance the closing riffs and rhythms on
"Crater" (and it's atmosphere in the close) or the explosive climaxes after silence in "Forest" which ascend impressively. For
whatever reason those moments trigger a more visceral nostalgia-tinged
satisfaction within me.<br />
<br />
Having said that I am enjoying what these guys have done with their sound since then and their continued willingness to break from comfort. It's something to commend. I recommend those of you who like their blackened post-whatever-core to be a little more exploratory, perhaps those of you who enjoy June Paik, Irepress, and Tesa should get into <i>Tidal Lock</i>. <br />
<br />
This will soon be released by <a href="http://www.ifbrecords.com/">IFB</a>, <a href="http://www.dogknightsproductions.com/DK/enter.html">Dog Knights Productions</a>, <a href="https://www.facebook.com/pages/Dingleberry-records-and-distribution/118743564850504">Dingleberry Records</a>, or <a href="http://listentoaylin.com/">Listen to Aylin Records</a> in the very near future and will most likely be available in distros and labels like Halo of Flies and Scream//Writhe. Follow their <a href="http://oldsouloldsoul.blogspot.ca/">blog</a> and <a href="https://www.facebook.com/OldSoulband">facebook</a> for more info on that. Eventually a link will be posted too but for now you may stream it on <a href="http://dogknightsproductions.bandcamp.com/album/dk041-old-soul-tidal-lock-12-lp">Dog Knights Productions' bandcamp</a>:<br />
<br />
<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=712421/size=venti/bgcol=FFFFFF/linkcol=0687f5/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://dogknightsproductions.bandcamp.com/album/dk041-old-soul-tidal-lock-12-lp">DK041: Old Soul - Tidal Lock 12" LP by Old Soul</a></iframe> Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com0tag:blogger.com,1999:blog-1651460695237486187.post-41209417812394604262013-03-22T16:25:00.004-07:002013-04-11T17:17:38.589-07:00Black Mask - Black Mask (2012)<b>Demo</b>, Very Tight Recordings / Get This Right Records<br />
June 1st, <b>2012</b><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXu429WyvdKvfI5eqKIOJuh1l2-M-vg9tUp-243mQI53HcN4rwfgv6VoFv-BBjTbx_WxkVV0-yMZXgq_udbexHgXo6aHqN6MjqhvltESb6JUNtCAeqd85g_ps7moJy0gpfY1m4Pjm_P4Fc/s1600/BLKMSK.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXu429WyvdKvfI5eqKIOJuh1l2-M-vg9tUp-243mQI53HcN4rwfgv6VoFv-BBjTbx_WxkVV0-yMZXgq_udbexHgXo6aHqN6MjqhvltESb6JUNtCAeqd85g_ps7moJy0gpfY1m4Pjm_P4Fc/s1600/BLKMSK.jpg" /></a></div>
<br />
Genre: Hardcore<br />
Region: USA<br />
<br />
Just another record request that got buried and I unfortunately just never got to it. It's stupid because a few months back I came across them on bandcamp journey and that's when I caught Black Mask's demo. Then I checked my inbox on a hunch and bam — my inattentiveness laid bare. Anyway I've been spinning it pretty regularly since then. Black Mask are a four piece hardcore unit from Pennsylvania with just this six song demo to their name, but I suspect that they'll be pretty busy in the next little while if their sound here is any indicator.<br />
<br />
First thing that has to be said is that I am under no illusions about Black Mask's sound, they're not exactly breaking convention or pushing the innovation envelope. It's very feedbacky Entombed/Converge/Catheter influenced crusty-thrashy-core much like a lot of the recent Southern Lord catalog so if you're tired of that you're probably considering a pass on this one. I suggest you give this a shot despite your warranted cynicism. For me all that doesn't kill something as long as the material does what it should do and these guys can manifest some vicious hardcore that resides a bit on the dark and crusty side. I keep coming back to it.<br />
<br />
The guitar tone is that thick chainsaw growl that Vorum, Magrudergrind, Black Breath, and early New Lows have adopted and it definitely amps up the simple break downs and hardcore rhythms to have greater impact. All of them strike with a lot of force. Lots of sharp feedback between songs and in fills and the vocals are what you might expect: pissed, rasped, and loud. Very much like YAITW which is hard not to love. Drums feel a little weak in the mix at times with all the noise (not the performance), while the bass is clear but not as chunky/weighty as say on a Protestant or Converge record; some minor shit that doesn't lessen my enjoyment overall.<br />
<br />
Stand out tracks? Honestly they're all really good. "Bottom Feeder" and "Serpent" probably if I had to say followed by "Agony". The first one there is hugely memorable and catchy (like something ACxDC or Osk would do but a notch or two slower) with a giant final riff, the whole this is very tight and should be played loud. The opener "Serpent" has a similar finale that just cracks concrete, leading into "The Greys" which is fast and gnarled.<br />
<br />
We get a slight change of pace in two songs: the closer "Loner" which is shaped slightly different then the rest of the tracks, littered with bends and a thick oldschool groove. And then the only break in the hardcore gallop in the form of "Death
Unfolds", a static and feedback-laden semi-doomy instrumental flowing through a
lone, crawling bass line for the first minute only to evolve into a nice
slow buzzing procession.<br />
<br />
This is one of those records that is just simply enjoyable, something that if you cranked your tubes and started jamming to you would get a great deal of enjoyment out of; I've done that few times. No real weak spots as the focus is clearly on aggressive, short, noisy, and catchy blasts and while it's hard to fuck that up it's also hard to make it interesting anymore. Black Mask do it for me an laugh in the face of a saturated scene.<br />
<br />
Brutal, loud, jagged hardcore that I slept on. Recommended to those of you who like Converge, All Pigs Must Die, Young And In The Way, Baptists, Magrudergrind, Black Breath, etc. you'll appreciate this. I guess if you are the cynical type you can at least rest easy knowing black metal is left out of the mix. Plus it's less than 10 minutes long so they won't wast much of your time.<br />
<br />
If you want it you can grab it for $3 on bandcamp or for a physical copy check out <a href="http://getthisrightrecords.stereokiller.com/">Get This Right Records</a> for the 7" version. Follow them on <a href="https://www.facebook.com/blackmaskpa?ref=ts&fref=ts">facebook</a> for more info on tours and upcoming material.<br />
<br />
<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=366969729/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://blackmaskpa.bandcamp.com/album/black-mask">Black Mask by Black Mask</a</iframe><br />
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<a href="http://www65.zippyshare.com/v/60294124/file.html">DOWNLOAD (Zippyshare)</a>Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com0tag:blogger.com,1999:blog-1651460695237486187.post-72329882115231884132013-03-22T01:14:00.000-07:002013-04-02T01:09:58.926-07:00Sacrificial Totem - Hurqalya (2004)<b>Full Length</b>, Katabatik Metacommunications<br />
<b>2004</b><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoD9bl7WODiF36fX1MwDPGGOHcaUt1Jy4LWpgbAWU345ph_ZfP4elm5sbZ41l250vn4x3GQHX5wGAx0s2YGTuD5xfixjVAH5Kux3HJEjSFhVwUdnW6F1y2kpevff3wqt2njrpMTz9eXMol/s1600/SACRIFICIAL+TOTEM+-+HURQALYA.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoD9bl7WODiF36fX1MwDPGGOHcaUt1Jy4LWpgbAWU345ph_ZfP4elm5sbZ41l250vn4x3GQHX5wGAx0s2YGTuD5xfixjVAH5Kux3HJEjSFhVwUdnW6F1y2kpevff3wqt2njrpMTz9eXMol/s1600/SACRIFICIAL+TOTEM+-+HURQALYA.png" /></a></div>
<br />
Genre: Drone/Power Electronics/Dark Ambient/Death Industrial<br />
Region: USA<br />
<br />
<a href="http://www.katabatik.org/sacrificial_totem/">Sacrificial Totem</a> is or was a project that I've been aware of for a few years now but was never able to find a link or physical copies to any of his releases, so I just gave up looking for a while. There's a few reasons for the lack of availability: one being that they were limited runs under 100 hand made (often under 50) and most of the rare links that were up were torched in the whole shutdown waves a little while back.<br />
<br />
Another reason has to do with the activities the sole member "Exile" was involved in. Apparently the ethic and ideology of atavistic environmentalism shrouding Sacrificial Totem was no gimmick, from the label's <a href="http://www.umbusiness.co.uk/?p=1747">2012 newsletter update</a>:<br />
<br />
<div style="text-align: center;">
<i>"The project ceased to exist in early 2006 when the sole creator behind Sacrificial Totem, Exile, was arrested, having been betrayed by former co-conspirators, as part of the FBI's "Operation Backfire" for his involvement in eco-sabotage arsons attributed to the "ELF". After serving over six years in federal prison, he was released earlier this year."</i></div>
<br />
So yeah, I don't know how much is true but it appears the guy was serious. The update explains that the already limited presses of all Sacrificial Totem albums became even more rare after most were lost, stolen or destroyed in the aftermath of a studio raid. It wasn't until recently I stumbled upon a few obscure links to the records as well as some tracks up on soundcloud which renewed my interest in this hidden creature of the cascadian sprawl.<br />
<br />
On to the actual music already! Sacrificial Totem is entirely instrumental and 95% electronic. Their sound is described by other reviewers (and the one label it was a part of) as shamanic/atavist ritual dark ambient or "dark ritual eletronics", but you'd be safe calling it cascadian-themed dark ambient/drone with some industrial or noise clouding the two. With this kind of description you'd expect it could be either an unlistenable clusterfuck or a monotonous and boring sulk but I'm quite happy to argue that the rituals on <i>Hurqalya</i> are executed exceedingly well, escaping both categories and are in fact engaging.<br />
<br />
I'd describe the sound and structure as Fauna if injected with death industrial attitude, some horror atmospherics and creeping grit. The ceremonial cascadian ethos and atmosphere however is preserved and remains a subtle thread running throughout each track but distinguished from the north american black metal interpretation of this style; always refreshing and welcome thing I say.<br />
<br />
Despite the nature of the tools in use the soundscape woven over this record does take on a very organic, somber, earthen tone only mired in a ancient horror. As if you were trespassing deeper into a tangled and ancient forest, the sounds on Hurqalyya to me seem more like vibes from hostile and feral wilderness on the cusp of dusk. It never becomes too loud while remaining intimidating and very clear.<br />
<br />
Repeating, cycling whirring noise, synths (or more likely an MPC), metallic instruments, pedals and samples — oscillating humming, declining then erupting only to decay and be repurposed. The huge orbit of the builds here and their raw, undulating nature make the ritual part of all this is very clear. Each track bleeds into the next forming a massive and oppressive series of ceremonial waves or chapters, reinforcing the spellbinding quality of Sacrificial Totem exponentially.<br />
<br />
Simply marked in roman numerals each 'ritual' while connected is distinct, relying on repetition and growth within those cycles to reach enormous peaks. The first one from the outset is a warbled moan that has a very ominous presence. The deviations from this come halfway through, interruptions in the form of hazy, digitized bell-like notes that send the bends into the background temporarily. Eventually this transforms into an entirely different entity, more horrific, a clear revolving hum regulating the trance beset upon you by the shifting static and pitches; a wall of synth gathering behind everything. The descent is so gradual you barely realize it's happening as the tone becomes subdued and contemplative.<br />
<br />
This first ritual is far more of a shamanic or transcendental atmosphere then some later rituals which bare a heavier cascadian tone. Other moments continue that meditative, very dreamy feeling such as the rising pulses halfway through "II" where the flow and static state of this section reminds me of The Angelic Process or Wreck And Reference when at rest, just following a track. The second ritual is far more placid compared to the previous one,
disturbed at first only by looped samples of what sounds like a heavily
delay/reverb swamped clean riff, chimes, clacking metal and wood.<br />
<br />
Tones rise coloured by sharp echoes and the pulses build in the cavernous atmosphere coming together once again extraordinarily well. Everything begins to fall into it's place and not long after that there's a change. Actually this track has a good section where you get a feel for the type of evolution the sounds and rhythms go through on some of Exile's work. At around the 11 minute mark this build begins amongst ringing clanging bells (like a warning) and distant industrial quakes, and eventually ruptures with a very mid-east flavored tribal bass beat; it's soft and works well in the ritualistic haze that has been constructed thus far.<br />
<br />
Sacrificial Totem does this well, almost bordering on some kind of Clams
Casino-esque "cloud rap" atmospherics but never reaching a crossover that drastic. It melts away before "III" begins and wipes the slate, a track that uses the first 10 minutes to construct a rising wall of spectral static. It is oceanic and as the build hits its first incline we again hear the
use of cold Wreck And Reference MPC tones, sustained and rising with the
rumble and skips in the background. A satisfying example of their sound's beastial progression. Eventually the sound is twisted to a breaking point and then dropped to near silence, only to be brought back but stripped bare as a bleating hum. Like a horn being blasted intermittently. as soft keys drift around each wail. This is a great section of the track and leaves you ready "IV", it's serious and eerie and a little relaxing at the same time.<br />
<br />
Now I haven't sat through all his records yet so I don't have a grasp on how much his sound changes between records, but <i>Hurqalya</i> has that strange property of residing in a very inaccessible genre yet producing material that I find easy to be immersed in. The final track "IV" is the first material I heard from Sacrificial Totem and the one ritual that drew me in much quicker than I thought possible with this genre. Have a listen:<br />
<br />
<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F47022872&color=ff6600&auto_play=false&show_artwork=true" width="100%"></iframe><br />
<br />
The final track is certainly the most captivating part of <i>Hurqalya</i> for me ("III" is quite close I must say). It's much like a shamanic ritual being performed in an increasingly violent electrical storm, weathering it through ceremonial worship. It's pretty much split in almost four equal segments of which all are crushing: the first half leads in with mesmerizing electrical pulses and an occilating hum that sets the rhythm into hypnosis mode (much like a section found in track two). It's gripping. <br />
<br />
Just as ingredients are added and things are becoming crowded this gives way to a calm like passing into the eye, as you near the edges the raging calamity can be heard in the periphery. The rhythm left by the last section carries on but through a different filter, punctuated with piercing industrial shocks and a build in pulses of drowned shamanic chant-like harmonies. Any of you remember the fire temple in LOZ:OOT, the whole banned islamic chant deal? That's kind of the tone this sample gives off but more ominous, far slower and buried. By the 12 minute mark it is an all consuming trance of collapsing distortion and looping darkness, pulling you under over and over.<br />
<br />
It is a gradual decay from there as we enter a third phase. The ritual synth morphs and the crackling, muffled throbs grow slower and more erratic as it's choked right to the end of the track, grinding painfully with each rotation like a boulder being ground into a mountainside. It becomes more cohesive by that point, spiking and groaning loudly before fading into a final dark acoustic melody over minor percussion which abruptly ends.<br />
<br />
Sacrificial Totem bring something interesting and worthy of listening to for those who are adventurous, or enjoy something deeply ritualistic with a serious ideology behind it that manages to break a few crutches. It's a steep one to work up to what with the track lengths and comparative minimalistic approach to what I usually post. Don't let the pretentious sounding eco-centric, ritual dark ambient dominant nature of this project foul your impression of it before hearing it. The amalgamation of genres here obviously creates a decent bar for entry immediately but the intoxicating ancient whirl buttressed by old growth rot should be given a chance. Sacrificial Totem steers this intense instrumental vortex expertly.<br />
<br />
Those of you who enjoy power electronics like Blue Sabbath Black Cheer, strange heavy stuff like the Body or Terra Tenabrosa, ambient shit like Final or Lustmord, or blackened ambience like Fauna might want to check this out. If you like what you hear then I dunno. These are virtually impossible to find in physical form, however the newsletter Katabatik sent out mentioned having found a few copies of the first and last record in storage. The price is pretty steep and if you want to inquire <a href="mailto:sacrificialtotem.arktaion@gmail.com">email them</a>. I have no idea if there are any left.<br />
<br />
Follow <a href="http://katabatik.org/">Katabatik Metacommunications</a> and keep an eye out for info on whatever the fuck Exile is planning to do now that he's free.<br />
<br />
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<a href="http://dropcanvas.com/cry87">DOWNLOAD (Dropcanvas)</a>Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com0tag:blogger.com,1999:blog-1651460695237486187.post-60540046634332268142013-03-21T17:13:00.000-07:002013-04-02T01:10:32.776-07:00Osk - Wretched Existence//Bleak Future 2007-2010 (2012)<b>Compilation</b>, To Live A Lie Records<br />
April 9th, <b>2012</b><br />
<br />
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<br />
Genre: Grindcore<br />
Region: Canada<br />
<br />
Finally got a hold of this: compilation of all Osks' material up to 2010, including the spits I have. It's a wicked collection that represents the band as well any full length would. <i>Wretched Existence /// Bleak Future</i> should have made it onto my year end list in at least the underrated section if not on the main list even if it isn't new material. Actually I just recently realized that <a href="http://www.cvltnation.com/cvlt-nationstop-six-power-violence-grind-core-releases-of-2012/">Cvlt Nation</a> gave them some attention right around the time I was still checking out records for my Canada article <br />
<br />
What's great is it is absolutely about trampling you but the shifts in pace and ideas is very frequent and swift which keeps things very fresh without leaving the fundamentals. All of it is smart and very much worth your time, in this case just over 20 minutes. You can spare it for Osk especially if you're as late on this as I am. This is well worth the small amount of cash and they sell it cheaper live too. This mangled patch of grind is laid out as follows... <br />
<br />
<u><b>Tracks 1-5 From Split w/Scumbelly<br />Tracks 6-9 From Split w/Roskopp<br />Tracks 10-13 From Split w/War Hero
</b></u><br />
<br />
The first 13 tracks are all from their early Canadian grind-powerviolence colaborations which I've mentioned before. This is where two of my original favorites reside ("Endless Repent" and "Arm Yourself") though really Osk are not a grind band that mess with filler as far as I can tell, and manage to keep their grind chops varied. For example "It All Means Nothing" reeks of Mudlark with the slow swing of the rhythms, or "Empty White Box" which starts out sounding like something Adversarial might cook up but then shifts back into the grind ebb ("Blank Page" does this too), and "Giving Up" which has a GridLink/Sleep Terror quality to it in terms of it's urgency and intensity of the abrupt riffs/blasts.<br />
<br />
This leads into the deadly line up of "Endless Repent", "Knowingly Ignorant", "Arm Yourself", and "Beyond Control" which are some of the more memorable tracks they've put out. "Assume" is an addictive 40 second thrash attack with a minute amount of dissonance. You get the idea: everything on these splits is loud and finely tuned for scorching earth. A few I heard a few weeks back when they opened for Iron Lung.<br />
<br />
<u><b>Tracks 14-16 From Split w/ The Afternoon Gentlemen</b></u><br />
<br />
One of the tracks from this split I had heard ("Mouth Pollution") but the rest I couldn't find. Now that I have WE/BF that's been remedied, and the three tracks here continue to show Osk's merciless grind assault in a very good light. "Stranded At Sea" stands out the most for me because like "Empty White Box" (but even more pronounced and focused) the specter of death metal grabs hold for a few seconds to great effect. It's really cool to hear some of that influence surface more purely before being mixed into the grind chaos, it's impressive and something that I really like. "Stranded At Sea" is quickly moving up my list of favorites from them, the mixture and positioning of the styles and the strength of the material that filters through them is tremendous; all in one minute. "Walking Asleep" is also worthy of a mention: the aggression will erode your skull like an eraser on paper and then the grooves that follow make it all the more sweet.<br />
<br />
<i>(If you want to hear/download The Afternoon Gentlemen's side of this split they have it up <a href="http://theafternoongentlemen.bandcamp.com/album/the-afternoon-gentlemen-osk-split-7">for free on bandcamp</a>)</i><br />
<br />
<u><b>Tracks 17-20 Previously Unreleased</b></u><br />
<br />
Several of these (17 and 18) I had heard prior to this but I suppose they are officially the unreleased songs. Not overly remarkable compared to some other tracks here, but the ruthless approach has not lessened and there are a few excellent moments in the long tracks. "Lie Thru Yer Teeth" is one example especially from the mid-point onward where it turns into stoner sludge almost, and "Creeper" slows things down a way further. Osk certainly can shred 30 seconds in pro fashion but they can do an equal amount of damage in longer stretches without fighting to hold your attention.<br />
<br />
<u><b>Track 21 From Intellect Comp.
</b></u><br />
<u><b>Track 22 From CYCL 2 Comp. </b></u><br />
<br />
The final tracks are from other compilations I've never heard of, and one track here "Gobs From Reno" <a href="http://youtu.be/AU0VK3srfwU">I heard live</a> when they closed their set with it. It's a real nice song hampered a little by the production here. "Earwig" is another exercise in compression in under 30 seconds, slashing through powerviolence territory with razor riffs and a small amount of chunk.<br />
<br />
Again I recommend grind fans check these guys out. You can buy this from <a href="http://www.screamandwrithe.com/osk-wretched-existence-bleak-future-cd.html">Scream//Writhe</a>, <a href="http://tolivealie.com/webstore/index.php?main_page=product_info&cPath=1&products_id=1153&zenid=5ecf81793313fca302fd72b13f5c625b">To Live A Lie Records</a>, and probably a few other hardcore/punk/metal distros out there so check around.<br />
<br />
<a href="http://www2.zippyshare.com/v/36937342/file.html">DOWNLOAD (Zippyshare)</a><br />
<a href="http://www.mediafire.com/?cfbewh30i0by1jz">DOWNLOAD (Mediafire)</a><br />
<a href="https://mega.co.nz/#!RpkUmAyR!cUmJVVAtm1-FE-ha9RtwalLjp3JqG6OWrHPf56sRpLM">DOWNLOAD (Mega)</a><br />
<a href="http://dropcanvas.com/w61o5">DOWNLOAD (Dropcanvas)</a>Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com1tag:blogger.com,1999:blog-1651460695237486187.post-37313724974760504132013-03-09T00:53:00.003-08:002013-05-07T02:06:18.747-07:00Old Soul - Who Are Willing To Draw Close (2012)<b> Full Length</b>, Dingleberry Records / IFB Records / East Train Records<br />
<b>2012</b><br />
<br />
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<br />
Genre: Blackened Hardcore/Post-Rock/Black Metal/Post-Hardcore<br />
Region: USA<br />
<br />
Apparently I missed this last year as well. <i>Who Are Willing To Draw Close</i> is something I came across by accident and I think it's pretty sweet. I'm sure the combination of genres will pissoff a few people out there and normally I'm a little wary of such mixtures these days, but like I said this turns out to be very enjoyable. Containing only four tracks Old Soul's second album should have got a little more attention.<br />
<br />
Five guys from Mount Pleasant that are experimenting and coming up with some sounds worthy of your time. Both of Old Soul's present releases are short and sweet, realistically EPs but the content is pretty sweet. I would describe their compelling style as <a href="http://celestes.bandcamp.com/album/morte-s-nee-s">Celeste</a> channeling Darkest Hour through a haze of post-rock and black metal; maybe Alcest, Krallice or Wildernessking. Actually Dweller On The Threshold are doing a similar thing but in a more folk Do Make Say Think kind of direction. <br />
<br />
Right from the opener "Crater" you know this is as least going to be a little different. The clean bends in the beginning of this track remind me of a few moments from Skagos' "Colossal Spell" or Godspeed You! Black Emperor's work. It takes a almost mid-east tone before erupting into chaotic blackened distortion, swirling and slowly breaking down and tangling with Celese-like dark hardcore until the finally volley — mellifluous and aggressive, suddenly post-hardcore is thick in the air. It combines with the black metal to make an almost Alcest beauty flowing in the twinkling black haze. They don't rest on this for long though and break into the next track quickly.<br />
<br />
<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=3246680171/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://oldsoulband.bandcamp.com/album/who-are-willing-to-draw-close">Who Are Willing To Draw Close by Old Soul</a></iframe><br />
This is the pattern that gets put through some creative paces within
the next three tracks, feeling legitimate and never staying longer than
wanted in its experimentation. 'Twin" goes from wailing black tones to a
more playful progressive chord section and back again. Amongst this strange mixture organs and children spoken word samples
("Forest" and "Tundra") weave their way comfortably enough into some
tracks. avoiding cheese nicely. "Forest" is the one track that feels very much on the post-hardcore side of the tracks for the first two minutes
before the climax which is a massive but quick blackened explosion,
repeating only once near the end after a particularly melodic clean
build.<br />
<br />
All the tracks have this undercurrent of placid sadness that works its way out in the clean moments, "Tundra"'s intro
for example. That track is another where the screamo/post-rock
influences reign, and the bass is far more showcased (though the
production doesn't cover it up elsewhere).<br />
<br />
I think the record could be a
little louder and maybe longer but not by much on that last part. Song
lengths here are perfect and offer great variation without stumbling. The spoken samples don't feel necessary but they really don't derail the music either. The vocalist hits perfect shredding rasps and at times lets them bleed
into anguished cries, percussion and bass/guitar work is complex and
with purpose — there's no wankery or needless busyness and that goes for
the ambient/post-rock elements too. If anything there's more to be explored here and hopefully they push it further with the following record.<br />
<br />
Recommended especially if you like Celeste or some of what Dweller On The Threshold was fucking around with. If you want a taste go to their <a href="https://soundcloud.com/brightblackearth/sets/old-soul-wawtdc">soundcloud page</a>, and if you like it there's a couple of places you can get it from like <a href="http://www.halooffliesrecords.com/distro-releases/old-soul-who-are-willing-to-draw-close-lp/">Halo of Flies</a>, <a href="http://www.screamandwrithe.com/old-soul-who-are-willing-to-draw-close-lp.html">Scream//Writhe</a>, etc. or directly from them over at their <a href="http://oldsouloldsoul.blogspot.ca/">blog</a> where they have a download link to both records (here's a <a href="http://kunaki.com/MSales.asp?PublisherId=129222&PP=1">direct link to the store</a>). They have <a href="http://oldsoulband.bandcamp.com/album/who-are-willing-to-draw-close">bandcamp</a> as well so you can download shit for free there as well.<br />
<br />
The new record called "Tidal Lock" is coming soon as are shows I believe so check their <a href="https://www.facebook.com/OldSoulband">facebook</a> for updates on that stuff.<br />
<br />
<a href="http://www.mediafire.com/?wanzkonorq747gq">DOWNLOAD (Mediafire)</a><br />
<a href="http://www33.zippyshare.com/v/21439781/file.html">DOWNLOAD (Zippyshare)</a>Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com3tag:blogger.com,1999:blog-1651460695237486187.post-87033041757903122432013-03-08T21:23:00.004-08:002013-05-10T12:58:13.880-07:00Mudlark - Mudlark / A.D.H.D. + 7" (2009)<div style="text-align: left;">
<b>Full Length + EP</b>, Schizophrenic Records</div>
<div style="text-align: left;">
June 1st, <b>2009</b></div>
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Genre: Grindcore/Sludge<br />
Region: Canada<br />
<br />
It's safe to assume you're all probably tired of the core being touted around here by now, especially if it's branded with a maple leaf, but bear with me for one more post before I try to diversify a little.<br />
<br />
One of the reasons for me posting this, outside this being really good, is that there's virtually no digital presence of this great sludge infused grindcore act and thus it's hard to get a taste of what they're dealing out. That's a shame because I managed to get a copy of this compilation recently, a rare and dusty version of their record release edition of <i>Mudlark / A.D.H.D. </i>— and I'm really enjoying it. I guess those dedicated and in the know of local grindcore scenes have been aware of these guys since 2006 but it's time I try to untuck Mudlark from the grime and write some words about what they've concocted.<br />
<br />
I'm a little confused as to if this is a compilation or a full length and EP actually but for now it's the only material I've been able to get my hands on physically or digitally. I'm calling it a full record and a bonus 7" which may or may not be self-titled. <a href="http://www.youtube.com/watch?v=HlaLLUThfeY">There's some footage of them playing out there too if you're interested</a>.<br />
<br />
<div style="text-align: left;">
Anyway Mudlark were a four piece once but the majority of their existence has been as a three piece, the members over the years being involved with Massgrave, Osk, and Scumbelly which makes a lot sense when you hear some of their tracks. The slower moments easily make the jump from this to some of Osk's slow-downs. I'm still uncertain as to their current status because I've heard they have splits that are in the works and also that they broke up a few years back (which would be a major shame). There's footage of them in 2010 but not much else in the 3 years since. <br />
<br />
This elusive Vancouver mutant is draped in kaleidoscopic imagery of mines abandoned and collapsing, enclosing a sound that is one part grindcore or powerviolence and the other is vaguely sludge and doom. And when I was absorbing the music while admiring the art (both the above version, plus the original artwork much like the 7" below) it was easier to see some of the links in imagery, concept, and the sound/style: the quickness and finality of a mine shaft collapse, wood splintering and rock grinding on rock crushing bodies in an instant. An explosion that rips through metal tracks and bodies. The grind they make is very much on this side. Other times the mine traps you and slowly starves you of light and oxygen in cold, rough abyss. The sludge is here, calculated and crawling. The only problem is there are no lyrics but I have some suspicions based on the above.</div>
<div style="text-align: left;">
<br /></div>
Overall the resulting sound is arguably similar to <a href="http://gileadmedia.bandcamp.com/album/1984-eternal">Black Arrows of Filth And Impurity</a> if the sludgey aspects were emphasized more. And Mudlark do enter comparable atmospheres, once or twice in shorter tracks like the wonderfully brutal "Old Black Wood" but two more surprising tracks experiment in this direction. First the six minute "Blood Movement" which grows slowly with intoxicating, meandering slams simultaneously from the cymbals and
guitar, mushrooming sporadically, climbing and falling — finally setting into a very comfortable rhythm. Hypnotic and heavy as fuck.<br />
<br />
Then there's eight minute closer "Swamp College" is where you really hear the doom influence. It stretches with noise between trudging guitar blows, an entire section that sounds similar to a section in either a Weakling or Dispirit song; picking up and becoming more martial with some added angularity by the end. It's enormous and hard not to enjoy if you love weighty riffs. As it progresses Mudlark create a very enjoyable drone I think. Both of these longer songs are similar to the chaotic final tracks on "1984 (Eternal)" but with more structure, and leading to a more recognizable place.<br />
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<br />
Unlike the previously mentioned monsters of this record which come clean with the slowness up front, sometimes Mudlark disguise the beginning of a track as chaotic which leads one to believe more mincing will be the focus — when suddenly the e-brake is pulled and you're suffocating again. So just when you're into the mincing groove they will snap you back
with a huge dirge.<br />
<br />
They're very good at doing this. "A.D.H.D" is a great opener and shows the above formula off perfectly. It might be one of my favorites and it blends smoothly with the following track "Napalm" which is gripping too, thrashing for a good portion of
the track before slowing to a drag. "Face Your Hate" and "Lie To Speak" take the opposite approach and are no less intense or absorbing and "Frank Slide" is a crusher with real ugly vocals. "Gross Shitty Mess" (all slow) and "Agravated Brain" mix the flailing fury with the drudgery similarly in a very short span of time. They make it a varied experience without lessening the ferocity at all. "Agravated Brain" is a memorable track too for being a particularly harsh bludgeoning.<br />
<br />
The discernible grind influences they play with range from Norwegian
<i>Gadget</i> style with very clear North American <i>Insect Warfare</i>
contamination making for a very gritty and thick sandblasting when
they're at full speed. Tracks like "Crematorium
Grinder", "Klunk", "Rapid Mangulation" (frantic and amazing song that borders on death metal), and "Kunumdrum" (a burst of "Swamp College") which all stand alone as malicious
whirlwind grind without contamination from the slower styles. Blazing riff conniptions ending with feedback usually.<br />
<br />
And then we have the self-titled 7" record hat came with the main LP. It has four extra tracks to add to the pile of disorienting grind though not necessarily anything to go bat-shit about: "Told How To Live" and track three are minute long hammerings while "High" and "Carolyn's Catalog" take a more slow and groovy approach. I prefer the longer tracks on this one but nothing here is bad by any means.<br />
<br />
The production is damn nice across both records for a small band, the bass and vocals stand out between the chaos of the percussion and guitars. No plastic feel, there's still plenty of grit and rawness and weight behind each jagged sound. Speaking of vocals they' re as you would expect: raspy, sometimes pained screams and disgusted roars from multiple members. Nothing feels out of place there. Overall what I really like about Mudlark (outside of the local bias) is they seem to be lurking and altering the dark and ugly path that defunct Black Arrows of Filth And Impurity took, and I'm always looking for bands that do this. <a href="http://dephosphorus.bandcamp.com/album/axiom">Dephosphorus</a> and <a href="http://gileadmedia.bandcamp.com/album/a-scanner-darkly">A Scanner Darkly</a> come close as do <a href="http://willowtip.bandcamp.com/album/son-of-sulphur">Crowpath</a> sometimes. Mudlark flip the switch cleanly and churn out gold on both fronts.<br />
<br />
So you're lucky if you've been searching for this and manage to catch the link before it gets taken down because I took the time to rip both the LP and the 7". If you like it I encourage you to head over to <a href="http://schizophrenicrex.com/mudlark-lp-7-ep/">Schizophrenic Records</a> and ask if they have copies available, or <a href="http://givepraiserecords.com/fastshop/index.php?main_page=product_info&cPath=44_4&products_id=742">Give Praise Records</a> who have a few copies I believe (also having a massive LP sale). Or if you're in Vancouver the Zoo Shop has the standard version of the record release edition for $40 I believe. Fans of the above mentioned bands plus stuff like <a href="http://gridlink.bandcamp.com/album/orphan">GridLink</a> and <a href="http://discordanceaxis.bandcamp.com/album/the-inalienable-dreamless">Discordance Axis</a> will enjoy the hell out of this.<br />
<br />
<i>(also let me know how dropcanvas and the new Mega work) </i><br />
<br />
LP + 7" :<br />
<br />
<a href="http://www63.zippyshare.com/v/88976641/file.html">DOWNLOAD (Zippyshare)</a><br />
<a href="http://www.mediafire.com/download.php?z8s07vdudxz77jm">DOWNLOAD (Mediafire)</a><br />
<a href="https://mega.co.nz/#!dslwnTaa!MEhbvgUIdadSeDE2gBuU7QngujQQo7HEEFWgWaICqH8">DOWNLOAD (Mega)</a><br />
<a href="http://dropcanvas.com/ve3w5">DOWNLOAD (Dropecanvas)</a>Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com3tag:blogger.com,1999:blog-1651460695237486187.post-35407720792761552362013-03-06T17:30:00.000-08:002013-03-09T01:25:08.122-08:00Three Nights of Rain & Grind In Vancouver<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr align="center"><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB6v_r2SD_xKzpXuCg6o4A0tLMdykX5l_D10kQMUNP1mlfjO9_G52FiQVSKI-1pJBoTk0OHdP6h7RFWebr3y6-Gcrs6b4zpUg3flEqTvj4e9-jO9fJz4gGd9n0_6jxHsvjsSLTay6he2wt/s1600/EROSION_BC_BILT_005.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB6v_r2SD_xKzpXuCg6o4A0tLMdykX5l_D10kQMUNP1mlfjO9_G52FiQVSKI-1pJBoTk0OHdP6h7RFWebr3y6-Gcrs6b4zpUg3flEqTvj4e9-jO9fJz4gGd9n0_6jxHsvjsSLTay6he2wt/s640/EROSION_BC_BILT_005.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>(Erosion)</i></td></tr>
</tbody></table>
Well technically two-ish of grind, powerviolence and rain followed by one of vagrants, cold wind and punk. It's a very uncreative title.<br />
<br />
I recently got back from Vancouver and a few nights of local live shows: <a href="https://www.facebook.com/pages/BAPTISTS/111676572202547">Baptists</a>’ Album Release show at the Biltmore Cabaret, followed by <a href="http://lifeironlungdeath.blogspot.ca/">Iron Lung</a>/<a href="http://columnofheaven.tumblr.com/">Column of Heaven</a>/<a href="http://www.myspace.com/oskvan">Osk</a>/Koszmar/<a href="http://www.myspace.com/561145618">Cooked And Eaten</a> in the back of <a href="https://www.facebook.com/zoozhop">Zoo Shop records</a>, and then a kick of show in a photo gallery in a bad part of town for <a href="http://whitelung.tumblr.com/">White Lung</a>’s tour. This will be a quick one followed by a few posts with actual substance and content so don’t fret as I have plans.<br />
<br />
It’s been a while since I’ve been in Vancouver longer than a transfer between flights so I did take a chance to try the <a href="http://newamsterdamcafe.com/">New Amsterdam Cafe</a> finally and I also was re-acclimated to the notorious presence of the underclass on west Hastings. Both of these things were interesting as was checking out venues I had not been to. All of this was amidst the pineapple express (awful term, sorry) we were going through on the coast so constant mild rain made everything a little more uncomfortably damp than you'd like.<br />
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<br />
<b>////// <u>BAPTISTS - BUSHCRAFT ALBUM RELEASE SHOW W/ HAGGATHA AND EROSION @ THE BILTMORE CABARET, VANCOUVER CANADA (28/02/2013)</u> //////</b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhydGKrHHLaU80-iY3yvbR9eHcbFN1BIWQIx7m01YJ1euhrUFlqS-iB6kxM8b5YsCo9V3ZmY7Zximnzpwjw3RGgrQn0j8okaA-ReqrksNsDrmI9Ci4FvE_yisjR0eKTf2cDk-q7shJvVzJ0/s1600/bapeq1.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhydGKrHHLaU80-iY3yvbR9eHcbFN1BIWQIx7m01YJ1euhrUFlqS-iB6kxM8b5YsCo9V3ZmY7Zximnzpwjw3RGgrQn0j8okaA-ReqrksNsDrmI9Ci4FvE_yisjR0eKTf2cDk-q7shJvVzJ0/s640/bapeq1.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>(Baptists)</i></td></tr>
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The Biltmore Cabaret for instance, a bar/club venue underneath and in the rear of a redone hotel Mount Pleasant. The stage and space inside is great though, lots of room, low and open with a good amount of seating. The neighborhood isn’t bad either unlike a lot of others and there was some cruelty free baked goods for sale as well inside. I’ll be posting a separate review for the new Baptist record which if you haven't already heard it yet is very good, and their throw down show where they played the entire record and one encore track did a great job of showcasing “Bushcraft”, their maturing sound and dynamic energy.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM5mEeA8ywxgC1DEF3xvWYCZSHz4_5W5X6Wy8WR3yzjrNC3VYFKGWzSV_Wvy1HE8pNoi4QD3EjMAegzFPgvcdqt2ScDLGmK8Hn9o39rjjv2Ep5IpUw5TJq1AY7p5AqTVycRfL5jKesvHJ5/s1600/erosion_bassgui.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM5mEeA8ywxgC1DEF3xvWYCZSHz4_5W5X6Wy8WR3yzjrNC3VYFKGWzSV_Wvy1HE8pNoi4QD3EjMAegzFPgvcdqt2ScDLGmK8Hn9o39rjjv2Ep5IpUw5TJq1AY7p5AqTVycRfL5jKesvHJ5/s640/erosion_bassgui.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>(Erosion)</i></td></tr>
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And apparently the dudes in Baptists (specifically the drummer Nick) have their hands in a few projects in this article, namely the opener Erosion which was the surprise of the night for me. Four guys with the two members of Baptists (Nick on guitar, Danny on drums I think), the bassist I think is in <a href="http://www.myspace.com/561145618">Cooked And Eaten</a>, and it wouldn’t surprise me if the vocalist wase in other projects. <a href="http://erosion.bandcamp.com/">Erosion</a> is far more abrasive and at points sludgy than Baptists while keeping to the fundamentals of crusty hardcore, and live their play their blistering hymns very very loud in a short span of time; the violent riffs, the inhuman shouts over unending blasts all captivating. Both Nick and the member of Cooked And Eaten seem to bee very proficient on either instrument. I picked up their tape and I’ll get something up on that soon as it’s a shredder.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>(Haggatha)</i></td></tr>
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<a href="http://haggatha.bandcamp.com/">Haggatha</a> I’ve known about for not too long, sludgy doom that keeps it simple and smoldering, flaring up at just the right moments. Live they executed material from their 2012 and 2010 records very well, the set list was well chosen and I still am not entirely familiar with their older stuff. But their performance left a bigger impression on me than the brief listens I’ve had in the past; maybe it was the mix of material. More on these lumbering locals in some other future post.<br />
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So as I said <a href="https://www.facebook.com/pages/BAPTISTS/111676572202547?ref=ts&fref=ts">Baptists</a> took us to the early hours by showing off their brand new record “Bushcraft” one song at a time, closing with one from their now sold out self-titled 7” (someone got a copy of it that night by being the first to stage dive during their set). I had only just heard the new material maybe twice before this show but it was already really growing on my by the second spin, and if there was any doubt they can pull it off with power and energy live (much like their biggest influence, Converge, do on stage) I can definitely say they do a great job, and I recommend you see them once they hit the road.<br />
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Baptists can get a crowd going. It was damn hectic by the end of the night, tons of stage diving and pits and moshing. I had a great spot up front for the whole set except the encore which was when I went for my coat. "Russian Spirits" and "Bullets" were the highlights as those two are really well crafted for a live setting, packing a hammering finale that leaves you wanting more. The slower grooves of Still Melt and Soiled Roots came across awesome and Nick's drumming live stands out even more on stage too.<br />
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Aside from the boring shots and video I took myself, I ran into someone from Cvlt Nation covering the night as well and <a href="http://www.cvltnation.com/baptists-bushcraft-record-release-w-haggatha-and-erosion-ted-reckoning-video-essay/">he wrote a nice piece with better photos</a> recently on this great show.<br />
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<b>////// <u>IRON LUNG/COLUMN OF HEAVEN TOUR W/ OSK, KOSZMAR, AND COOKED AND EATEN @ THE ZOO SHOP, VANCOUVER CANADA (01/03/2013)</u> //////</b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-sr0abkLL0O1Qz_f2kj0mGYJH3h2vYMcN8sejcXrHjm-caAwBP4SHA_UDAraJXD824qivOzfDdb_3OCcJQZU80KZKkKrcDvBfovcUY9WgAPgQkO7r3GxjNIvVYfD16Iw8sUlwGnsf-Es0/s1600/osk_sha2013.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-sr0abkLL0O1Qz_f2kj0mGYJH3h2vYMcN8sejcXrHjm-caAwBP4SHA_UDAraJXD824qivOzfDdb_3OCcJQZU80KZKkKrcDvBfovcUY9WgAPgQkO7r3GxjNIvVYfD16Iw8sUlwGnsf-Es0/s640/osk_sha2013.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>(Osk)</i></td></tr>
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Now this one was the following night, a little earlier and in a little more seedy part of town, just north of Hastings tucked inside Zoo Shop records; a dusty (new) space with a small but good selection in the short amount of time I browsed. And as soon as I walked in I heard "Insect Warfare - World Extermination" playing all the way through which is usually a pretty good indicator of
the beginning of a good night. There were a few local and international rarities on the wall. It was an angular spot to work a line into, and the back was big enough maybe for 50 people to fit comfortably, let alone moshing, drinking and going to and fro. By the time Iron Lung played their had well more than double that and the thing had supposedly sold out.<br />
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This was a show where those people who shun openers (especially local openers) were missing out on some ruthless grindcore. Another project involving Nick from Baptists (returning to his original role) known as <a href="http://www.myspace.com/561145618">Cooked And Eaten</a> opened the night. No physical or official releases behind them but man do I hope that changes. Much like Osk these guys display an affinity for Insect Warfare grind with a pinch of sludge, and it works much to my liking of course. Check out some of their set above. I started recording after two particular doozies.<br />
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They also have a <a href="http://cookedandeaten.bandcamp.com/">bandcamp</a>
with a few single tracks, some of which I recognize on the song list on
stage. I'll put up any official release that comes my way in the
future. <br />
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<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/track=3024406743/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://cookedandeaten.bandcamp.com/track/charlie-dont-surf">Charlie Don't Surf by cooked and eaten</a></iframe><br />
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<tr><td class="tr-caption" style="text-align: center;"><i>(Koszmar)</i></td></tr>
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The second opener was another local grind/powerviolence group Koszmar, again laying down some fine and dirty destruction, busting open the fresh drywall on the lead guitarist’s side. Both of these bands only played for about 10 minutes each and it was reckless with such an amped crowd with such a small space. It felt quite good actually.<br />
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The middle act as you might call it was the one I had been anticipating most, the Vancouver locals <a href="http://www.myspace.com/oskvan">Osk</a> who I had mentioned in a previous local round up and before leaving for Vancouver I had just received copies of their splits. They played again only for about 12 minutes but the selection of songs suggests to me these guys don’t have many weakness in their discography, much like the few tracks I had gathered up to then hinted as well. All three grinders blasted on max with both their instruments and their throats, with members of other local bands like <a href="http://ahna.bandcamp.com/">Ahna</a> (pretty sure I saw Anju talking with the Osk/Column of heaven dudes), <a href="http://bridgeburner.bandcamp.com/">Bridgeburner</a>, and <a href="http://sixbrewbantha.bandcamp.com/album/s-t-lp">Six Brew Bantha</a> in the crowd by now as things grew more involuntarily intimate/cramped. I recognized a few tracks and the mix of searing shred and hypnotic slams was satisfying to say the least. I really want a full record at some point from these guys.<br />
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You can watch a portion of their set above, and I’ll have a few reviews of their records up later because grind fans should be more exposed to Osk if you ask me.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>(Column of Heaven)</i></td></tr>
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Finally the headliners. I’ve seen both <a href="http://columnofheaven.tumblr.com/">Column of Heaven</a> and Iron Lung before just this past fall actually on a show Magrudergrind had to drop. It doesn’t matter though because even if a wicked band like that drops you have to see the force these two bands carry on stage, it’s certainly worth multiple attendances. Column of Heaven got a lot of attention last year and with members involved in pioneering act The Endless Blockade there’s some immediately perceived credibility. I still have yet to give their records a full spin yet (catchin up on that) but their shows put the material across well enough, angular and aggressive. Like last time they put on a great show playing a good mix of old and new shit in very good spirits, the vocalist was very involved with the crowd and opened their set with a series of ridiculous and very long, crackly shrieks — again in a very ‘fuck around for fun’ mood which was great.<br />
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In between the end of Column of Heaven's set and <a href="http://lifeironlungdeath.blogspot.ca/">Iron Lung</a> setting up I went outside and then browsed a bit, and it had gotten pretty packed. So I was at the back and coudn’t see shit for most of their short set. They played some new ones though right off the bat (I picked up that new record and you can too over here) and proceeded to turn that tiny box and back hallway into a churning mass of bodies; crowd surfing and all. They didn't play "Cancer" which they closed with last time I think but their catalog is full of excellent bursts of violence so it's never a let down really.<br />
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I stayed until the last song and possible encore and then I went outside near the end of their set to get some air, and ended up sitting with a few others including Shawn of Osk — who I later talked to briefly while picking up one of their split with Scumbelly. After Iron Lung finished I unexpectedly spent a little time talking with Mark of Six Brew Bantha too about local music stuff and upcoming shows. Both real nice guys by the way and a great way to end that night.<br />
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<b>////// <u>WHITE LUNG & NU SENSAE TOUR KICK OFF PARTY W/ PEACE AND THE HIGH DROPS @ THE INTERURBAN GALLERY, VANCOUVER CANADA (02/03/2013)</u> //////</b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmzrqXo3T8x4xKcaQAMor-o9MkQErvlnWcjU5KMS-FL84LNCI5JGZWkMg2A4heq9dWaxnveOsgd3NiNPZ26zLXM2bV4vnCKRIZCv3GSy76p3Le3a7KQ0KtwmRNHKTeHVeqDR1PqoN-vF4S/s1600/WHTLNG_INTERURB_010.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmzrqXo3T8x4xKcaQAMor-o9MkQErvlnWcjU5KMS-FL84LNCI5JGZWkMg2A4heq9dWaxnveOsgd3NiNPZ26zLXM2bV4vnCKRIZCv3GSy76p3Le3a7KQ0KtwmRNHKTeHVeqDR1PqoN-vF4S/s640/WHTLNG_INTERURB_010.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>(Anne -Marie and Mish of White Lung, concerned about the tom being used as a kick drum)</i></td></tr>
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The Interurban is in a part of Vancouver that can get pretty sketchy the later it is and the further west you go. It’s not like Harlem, or Compton, or some Baltimore or Chicago neighborhood but Hastings is notorious for its poverty and drugs in Canada. I never spent much time down there but because I wanted to see <a href="http://whitelung.ca/">White Lung</a> and I didn’t want to miss out on the small amount of door tickets (like the last time I went to see Converge in Toronto and missed out) I got there like a half hour before doors opened, and it was interesting to say the least.<br />
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Inside however it was a fairly tame photo/art gallery with a added stage, a lot of big windows and high ceilings. Punks mixed with quite a few different scenes in the crowd which grew a lot more by the time the headliners went on. Honestly, <a href="http://peacevancouver.bandcamp.com/">Peace</a> and <a href="http://thehighdrops.bandcamp.com/">The High Drops</a> were a little too mellow for my liking especially anticipating the energy of White Lung. They weren’t bad — both composed of skilled musicians — the style and pacing just wasn’t for me. Judge for yourself.<br />
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<a href="https://www.facebook.com/nusensae">Nu Sensae</a> was much more enjoyable, a three piece punk/noise-rock group with very abrasive female vocals and a wildly energetic drummer. White Lung were what I was waiting for of course and the chick dominated group put on an excellent show, sounding as good if not better than on record as they began by playing a few from “Sorry”. However apparently Anne-Marie was really punishing the kick drum because the skin was destroyed midway through “Bunny”, leading to an almost definite end to the show since it was the only drum set in the venue. Like soldiers though Anne-Marie buckled down and powered through the whole rest of the set using a tom as the kick drum with Grady using her foot to keep the cinderblock in place. Video will be posted here later including the track "Glue" compete with blown out audio from bass.<br />
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Anne Marie was definitely a trooper in a not so ideal situation, playing well regardless. Mish’s vocals, smothered in reverb, come through nicely live, and outside of the skin breaking there were no fuck ups; all four members calm and played solid. Ken's guitar work was as twinkly as you'd expect with a nice set up. And of course Mish, Anne, and Grady are pretty damn cute; Grady has a little Vanessa Ferlito in <i>Death Proof</i> about her I think. Anyway it sounded awesome in spite of the tom-kicker and had a nice atmosphere. The crowd was so hyped for this tour send off that apparently they were a little disrespectful of the gallery space. Hardcore and punk shows are messy of course.<br />
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The walk back to my room went smoothly by the way.<br />
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Alright so that's one more somewhat informative show review done. I was going to write something on Messe des Morts II but I put it off to long I think. As I said at the start something more fruitful will come of this considering all the bands I mentioned — plus more from my year end list and other shit I didn’t hear until now! <br />
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The next show I might write about is the <a href="http://www.kickstarter.com/projects/1539874556/eternal-warfare-records-festival-2013">Enternal Warfare Festival</a> or if I decide to go Stella Natura 2013. Until then I don’t think single shows will warrant a write up unless Amenra decides to tour with Thou and Daughters and happens to pas through Vancouver, so it’s all records for a while.Sanakanhttp://www.blogger.com/profile/05197357143375934990noreply@blogger.com0