ACxDC / Magnum Force / Sex Prisoner - Split (2013)

Split, To Live A Lie Records
March 19th, 2013

Genre: Grindcore/Powerviolence
Region: USA

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.

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.

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.



Lets start with ACxDC. 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.

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 Casino) 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:

"Savage Christians
Men of god
On a crusade
Swallowed by fog

Convert the world
By the almighty sword
Destroy all life
In the name of the lord

Live or die

You're still just a fucking pawn"

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.

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":

"Why do you hate me?

Is it because of my sexual preference?

I refuse to change just to feel accepted.

I'll never go back in the closet.

It's been the death of me for far too long."

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.

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.

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.

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.

"Need release from the grind

Day to day, 9 to 5

Working class

Gotta cope

Cross faded"

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.

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.

And yeah if you're wondering I do enjoy some of Hatebreed's material. Kvlt cred = -500, 000 and falling.

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 To Live A Lie Records 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.

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.

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Old Soul - Tidal Lock (2013)

Full Length, IFB / Dog Knights Productions / Dingleberry Records / Listen to Aylin
April, 2013

Genre: Blackened Hardcore/Post-Rock/Post-Hardcore
Region: USA

Coming off of that recent post about Old Soul's 2012 record, 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.

Tidal Lock 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 Natures Arms Encircle All; 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").
 
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 Who Are Willing To Draw Close 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 Who Are Willing To Draw Close 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.

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 Mahria 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 Tidal Lock 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.

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.

"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.

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.

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 Who Are Willing To Draw Close 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 Tidal Lock 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.

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 Tidal Lock.

This will soon be released by IFB, Dog Knights Productions, Dingleberry Records, or Listen to Aylin Records in the very near future and will most likely be available in distros and labels like Halo of Flies and Scream//Writhe. Follow their blog and facebook for more info on that. Eventually a link will be posted too but for now you may stream it on Dog Knights Productions' bandcamp:

Black Mask - Black Mask (2012)

Demo, Very Tight Recordings / Get This Right Records
June 1st, 2012

Genre: Hardcore
Region: USA

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.

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.

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.

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.

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.

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.

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.

If you want it you can grab it for $3 on bandcamp or for a physical copy check out Get This Right Records for the 7" version. Follow them on facebook for more info on tours and upcoming material.


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Sacrificial Totem - Hurqalya (2004)

Full Length, Katabatik Metacommunications
2004

Genre: Drone/Power Electronics/Dark Ambient/Death Industrial
Region: USA

Sacrificial Totem 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.

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 2012 newsletter update:

"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."

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.

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 Hurqalya are executed exceedingly well, escaping both categories and are in fact engaging.

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.

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.

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.

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.

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.

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.

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.

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 Hurqalya 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:



The final track is certainly the most captivating part of Hurqalya 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.

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.

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.

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.

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 email them. I have no idea if there are any left.

Follow Katabatik Metacommunications and keep an eye out for info on whatever the fuck Exile is planning to do now that he's free.

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Osk - Wretched Existence//Bleak Future 2007-2010 (2012)

Compilation, To Live A Lie Records
April 9th, 2012

Genre: Grindcore
Region: Canada

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. Wretched Existence /// Bleak Future 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 Cvlt Nation gave them some attention right around the time I was still checking out records for my Canada article

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...

Tracks 1-5 From Split w/Scumbelly
Tracks 6-9 From Split w/Roskopp
Tracks 10-13 From Split w/War Hero

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.

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.

Tracks 14-16 From Split w/ The Afternoon Gentlemen

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.

(If you want to hear/download The Afternoon Gentlemen's side of this split they have it up for free on bandcamp)

Tracks 17-20 Previously Unreleased

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.

Track 21 From Intellect Comp.
Track 22 From CYCL 2 Comp. 

The final tracks are from other compilations I've never heard of, and one track here "Gobs From Reno" I heard live 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.

Again I recommend grind fans check these guys out. You can buy this from Scream//Writhe, To Live A Lie Records, and probably a few other hardcore/punk/metal distros out there so check around.

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Old Soul - Who Are Willing To Draw Close (2012)

 Full Length, Dingleberry Records / IFB Records / East Train Records
 2012

Genre: Blackened Hardcore/Post-Rock/Black Metal/Post-Hardcore
Region: USA

Apparently I missed this last year as well. Who Are Willing To Draw Close 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.

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 Celeste 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.

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.


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.

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).

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.

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 soundcloud page, and if you like it there's a couple of places you can get it from like Halo of Flies, Scream//Writhe, etc. or directly from them over at their blog where they have a download link to both records (here's a direct link to the store). They have bandcamp as well so you can download shit for free there as well.

The new record called "Tidal Lock" is coming soon as are shows I believe so check their facebook for updates on that stuff.

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Mudlark - Mudlark / A.D.H.D. + 7" (2009)

Full Length + EP, Schizophrenic Records

June 1st, 2009

  

Genre: Grindcore/Sludge
Region: Canada

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.

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 Mudlark / A.D.H.D. — 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.

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. There's some footage of them playing out there too if you're interested.

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.

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.

Overall the resulting sound is arguably similar to Black Arrows of Filth And Impurity 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.

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.

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.

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.

The discernible grind influences they play with range from Norwegian Gadget style with very clear North American Insect Warfare 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.

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.

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. Dephosphorus and A Scanner Darkly come close as do Crowpath sometimes. Mudlark flip the switch cleanly and churn out gold on both fronts.

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 Schizophrenic Records and ask if they have copies available, or Give Praise Records 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 GridLink and Discordance Axis will enjoy the hell out of this.

(also let me know how dropcanvas and the new Mega work)

LP + 7" :

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Three Nights of Rain & Grind In Vancouver

(Erosion)

Well technically two-ish of grind, powerviolence and rain followed by one of vagrants, cold wind and punk. It's a very uncreative title.

I recently got back from Vancouver and a few nights of local live shows: Baptists’ Album Release show at the Biltmore Cabaret, followed by Iron Lung/Column of Heaven/Osk/Koszmar/Cooked And Eaten in the back of Zoo Shop records, and then a kick of show in a photo gallery in a bad part of town for White Lung’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.

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 New Amsterdam Cafe 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.

Cower - Mind Over Matter (2012)

Full Length, Howling Mine / Vendtta / Television Records
December 21st, 2012

Genre: Sludge/Hardcore
Region: USA


I've become obsessed with Cower over the past few months, this record in particular but even more their split with Thou (who's members really dig this as well). I'll be putting up the rest of their catalog eventually but Mind Over Matter deserves a little more time first. I said it pretty concisely in my list so lets see if I can mess it up here.

Cower are definitely flying under the radar despite their odd accessibility, putting out four records so far all of which are really good as I found out. This one is at the top with their split. Their grand, usually upbeat style of stoner-sludge hardcore is difficult to not enjoy and has mad staying power.

I think they're sometimes a four piece but usually a three piece, drummer Logan and bassist Jakob providing both clean and scratchy punk shouts. The important thing about the cleans is that they're melodic without becoming cheesy or overdone. That doesn't mean everyone will like tit of course. Tons of thick riffs sometimes filtered through tremolo and flang effects bringing a little stoner psychedelia into the mix but never oversaturating the riffs; it remains fuzzy and loud. Cower also offer a lot of aggressive punk energy that can quickly part the dope cloud and stir shit up nicely.

Mind Over Matter has a lot of variation even if you want to boil it down to just sludgecore. Listen to "Skylids" which is loud and anthem-like and also quiet and bluesy., it's ridiculously catchy from every angle and one of my favorites on this. "The Secret Garden" has similar qualities but it's arranged a little differently so as to make shit fresh, ending up with another hypnotizing song with a sick build from the beginning. Those bass lines are engrained into my mind.

Then check out something like "Fungus Summer": a pretty acoustic balad that turns into something much more once the drums and bass creep in. Even from "The Secret Garden" you leap into something much different directly afterwards. It changes over to a bouncy almost southern rock near the end before slipping into the pure hardcore "404" which only progresses into a more sludgy Converge section at the end. This is the mark for the next track "A Rocket Man's Reality" which falls right in line with the first two mentioned as it carries that Converge-twang for only a few quiet moments, yet again morphing into a swampy sway.

As on previous releases each song shows that Cower does these genres extremely well separately and fused, with passion and making them just internally enjoyable. Another example of this is in "The Lonely Road" which is a bit dark but clear cut hardcore while "Fifteen" sounds like something out of the fastcore punk '90's or maybe Touche Amore these days; high speed, frantic with a bit of a screamo vibe by the end without the vocal style. The final track might be my pick though. "Moving Day" is just so heavy and hypnotizing, from the scratchy punk intro to the  heavy rhythms and cadence of as he shouts along jerkily, it really couldn't get much better you'd think until the slow fade and build at the end.

Admittedly you might get a different impression from the first track "Cops" as it is deceptive for the first half of the song, more obtuse and angular hardcore then most of what Mind Over Matter sounds like; though these elements are certainly incorporated. The switch is made and like that the stoner-sludge influence takes over at the same pace. Its even more palpable from "Cowboys Pt. 2" (appropriately titled) onward. They do some of this mid song flips in other tracks like "Thieves of the Night" which becomes very melodic and chilled, grooves pulsing and vocals turning clean, as well as in "A Rocket Man's Reality".

Cower on each release have brought this accessibility to a manageable/tasteful level, as with the experimentation, so there's no way you can't enjoy it even if you're on a strict diet of kvlt. A sludgy Cave In is what I would describe it as except I'm getting far more consistency and enjoyment out of Cower than Cave In.

This doesn't have a physical release yet but considering the fact that all their previous records made it on to wax and cds you can bet this will, and probably from Television Records too. Possibly Howling Mine or Vendetta in Europe if I had to guess. For now it's up on bandcamp as a pay-what-you-want download along with the rest of their discography (which I will also be posting in the future) so please give these guys what you can if you like what you hear.




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Crawl - Demo (2011)

Demo, Self-released / Unsigned
July 11th, 2011

Genre: Noise/Sludge/Doom Metal
Region: USA

The album cover is simple, the moniker evoking some kind of Nails copycat riding on the blackened sludge wave. Don't be fooled though. Crawl is very deserving of the title, a new Khanate-esque mutant that fans of patient, surgical heaviness will want to take note of. Crawl is one guy with a bass and drums making bone-scraping sludge in Texas unlike much out there right now. I don't remember how I came across this whether by random search or through email request but I found the link today and popped this demo on, resulting in me being surprised and subsequently squashed.

This demo is only 15 minute long over five tracks but these four minute chunks of cold sludge drag in the best way possible. Each untitled song is like a glacier collapsing on top of you, suffocating and biting with every lead-weighted strike of the bass strings, distorted and sterile almost taking on an industrial feel — the breaths of silence adding an abrupt ambiance and heightening the creepy atmosphere. All this makes four minutes feel like it's swollen to ten from the raw stomping Crawl dish out.

Very loud, machine-like rhythms through fuzz and feedback, the percussion blending with the slams of the bass into a blurry and menacing bombardment; in the slower moments its more martial. The most straight forward track is probably the first one, which breaks into a more normal gait in the middle but is book-ended by savage eruptions. 'II" and the following tracks make use of silence more before delving into the down-tuned churn that I'm very much loving. It gets really blown out sometimes which embellishes the heaviness sometimes.

Both that and "III" are songs that bend slow, plodding riffs and the rising static distortion while shaking bass lines are left to grow and rattle the soundscape apart. "IV" takes the approach of oldschool swans on "Coward" with gravel bass jerks to a halt with the drums, eventually becoming far noisier than those early influences.

Crawl have some unreal industrial heaviness on very simple terms and I suggest you give this demo a listen. They kind of give off a power-electronics/death industrial feeling but in a different context.

Crawl offers this frigid record for free on bandcamp so throw him a few dollars if you want and you can check their store for physical copies. A second record Mine Maille Shone Not The Light of Death (a live recording) is pressed on limited tapes over at Murder/Suicide Incidents, which I'm sure I'll be reviewing soon. Follow the blog. Big recommendation especially for lovers of harsh heaviness like Swans, Khanate, and Whitehorse and shit.


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