Night Heir - A Maze Of Evenings (2013)

Full Length, Self-released /Independent
July 28th, 2013

Genre: Experimental/Avant-garde Black Metal
Region: USA

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.
 
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 Wind In My Dream Mist In My House 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.

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.


A Maze Of Evenings 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.

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.

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 Wind In My Dream... 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.

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.

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.

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.

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.

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.

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.

So by the time we’re stretching into the second half of A Maze Of Evenings 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.

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.

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.

I think near the end of this record is where it gets more intriguing, the contrasts continuing.

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.

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.

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.

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.

Final verdict? Fucking home run all the way for this humble outfit and A Maze Of Evenings. 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.

All things considered there’s not a lot wrong with A Maze Of Evenings (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.

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.



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Antediluvian - Septentrional Theophany (2013)

EP, Nuclear War Now! Productions
May 14th, 2013

Genre: Black/Death Metal
Region: Canada

A booster EP recorded during the λόγος sessions, Septentrional Theophany 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 Cogitating Vacuous split with Temple Nightside. For shame I know.

Yes this is a 7" that was packaged with the 80 page, heavy duty Haruspex Zine #1 (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: 

Ares Kingdom
Sabbat
Conqueror
Martire
Rotting Christ (Interviews with Sakis Tolis, Jim Mutilator, and Magus Vampyr Daoloth)
Pseudogod
Anatomia
Bone Awl (Interview featuring HWCT and HWGT)
Bestial Raids
Faustcoven

 

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. The record is streaming on bandcamp.

(Bone Awl interview)

Two new tracks with lyrics also by Jason Campbell. Something noticeable is that the clarity of this EP is higher even compared to λόγος (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.

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 λόγος 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,

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.

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 Serpents Malignancy 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.

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.

(Ares Kingdom)

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.

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.

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.

Available at Nuclear War Now! Productions with the first issue of their Haruspex Zine.


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Haapoja - Haapoja (2013)

Full Length, Self-released / Indepenedent
March 27th, 2013

Genre: Black Metal/Hardcore
Region: Finland

Well this is an interesting transformation. Haapoja had a demo back in 20111 titled Hallitsematonta voimaa that I heard on The Living Doorway 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.

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.

Haapoja 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.

At other points as in "Suurempi, Hallitsematon" or "Takauma" 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

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 "Suuren Varjon Alla" until about the halfway marker where theirs a distinct Night Sky Transform vibe but once you hit "Ihmisyyden raja" 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.

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. "Elämän Vaihtokauppa", 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.

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 "Kolmetoista Askelta" or "Takauma" where there's less going on they don't damage them by lingering on one moment; even when particularly enjoyable.

In quicker tracks like "360 Astetta" (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. "Ikuistettu" 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.

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.

It's up for pay-what-you-want on bandcamp 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 Haapoja.


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Wreck And Reference - C̶o̶n̶t̶e̶n̶t̶ (2013)

EP, The Flenser
May 21st, 2013

Genre: Experimental/Electronic Doom/Noise/Industrial/Post-Punk
Region: USA

I always love requests like this one because I would've put it up anyway as the band involved is killer. Wreck And Reference just happen to be on a streak with everything in their creative history since 2008 (?) being strictly different and enjoyable while also cathartic. C̶o̶n̶t̶e̶n̶t̶  (or No Content, dual meaning) is their most recent record and continues onward eager to explore, remaining unsurprisingly heavy and delightfully gloom ridden.

Through two short tracks this humble duo can convey quite a lot. C̶o̶n̶t̶e̶n̶t̶  feels like a brief revisiting of Black Cassette's themes in some ways or maybe excerpts from No Youth 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.

It's not as shocking as No Youth 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 Black Cassette. 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.

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.

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.

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.

"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.

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.

Absolutely recommended if you couldn't already guess.. 2012 wasn't that long ago but even since No Youth 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 — C̶o̶n̶t̶e̶n̶t̶  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.

You can grab a digital copy from them on bandcamp or a physical copy from The Flenser. The Flenser also put this up digitally for real cheap but everyone always appreciates "free" direct from the artists too.


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Baptists - Bushcraft (2013)

Full Length, Southern Lord Records
February 19th, 2013

Genre: Hardcore
Region: Canada

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.

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. Bushcraft 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.

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.

But I would argue there's a far bigger east coast Cursed style/sound cascading throughout Bushcraft 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.

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 "Sacrosanct" with "In Droves" where both are drawing out that vehement punk energy from the past and bringing renewed vibrancy.

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.

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.

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 Bushcraft escapes the 'copy-cat' label in my opinion.

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 Bushcraft.

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.

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.

"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.

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.

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).

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.

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.

"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.

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.

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. Bushcraft 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.

That is, if people around here who went bush-bombing didn't only listen to AC/DC, Lil Jon, and Steel Panther.
 
You can get this probably at a local record shop but if not you go to Southern Lord or a distro who carries their titles (there are many). Or go to bandcamp because they have it up finally. You should probably follow them too.



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Gets Worse - Gets Worse / Year of the Bastard / Negative (2013)

EP, Hygiene Records / Evil Purple Bastard
August 3rd, 2012 / January 3rd, 2013 / May 10th, 2013

Genre: Grindcore/Powerviolence
Region: UK

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 Perpetual Strife or the guys at Built To Blast 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.

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.

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.

Some patience if you please. I'll post a link pretty damn soon.

If you’re not familiar with Gets Worse 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.

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.

The self-titled 10” 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.

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.

“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.

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.

"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.

Year of the Bastard 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!”.

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.

Finally there’s the newest slice of material entitled Negative. 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.

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.

“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.


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. Gets Worse have unleashed a series of precise strikes that will break bones if played at high enough volume.

The self-titled 10” is available for free download on their bandcamp while physical copies are very limited there. Same goes for over at Evil Purple Bastard (a few 10"'s, red I assume) and Hygiene Records (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 Year of the Bastard EP which is not set to be released physically yet.

Negative is being pressed en mass to be released on May 10th as a co-release by Hygeine Records and Evil Purple Bastard so keep your eyes peeled for that. It is now available on bandcamp for free and in physical format. And also on bigcartel so there are many options guys.

Oh and as an added bonus they have their first demo up for free too if you’re into more free shit.

DOWNLOAD (Bandcamp) — FULL DISCOGRAPHY! INCLUDING NEGATIVE (07/05/2013)

Oxtongue - Where The Light Is Mute (2013)

Full Length, Self-released / Holy Mountain Printing
January 15th, 2013

Genre: Sludge/Doom Metal
Region: Canada

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 Severed Heads Open Minds for illuminating Where The Light Is Mute.

Oxtongue are new to the game but there's no denying Where The Light Is Mute 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.

"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.

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.

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.

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.

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.

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.

Where The Light Is Mute will soon be available via Holy Mountain Printing 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 bandcamp and they've made it available as a mediafire link in the sidebar there as well. Updates over yonder if you're into that.


DOWNLOAD (Mediafire)

Braveyoung - Will The Dust Praise You (2013)

EP, Self-released / Independent
May 3rd, 2013

Genre: Post-Rock
Region: USA

Braveyoung 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 Will The Dust Praise You.

This has been streaming on their soundcloud page 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, Will The Dust Praise You takes the most melancholic moments of We Are Lonely Animals and expands them, enriching the already soul wrenching isolation in four movements.

I only labeled this post-rock because WALA 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.



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.



"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.

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,

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.


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.

Will The Dust Praise You 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 preorder this directly from the band if you're in the US (two different versions, one containing individual art for songs) and if you're international like me send them an email about it. Or if you want go to bandcamp and pick it up for $5 and stream it.


DOWNLOAD (Bandcamp)

Svart Crown - Profane (2013)

Full Length, Listenable Records
Aprill 22nd, 2013

Genre: Black/Death Metal
Region: France

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 Abyssal albums sometime soon.

I posted Witnessing The Fall 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 Profane 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.

Profane 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 Profane 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.

When I saw them I definitely experienced a few of the tracks on this record. After hearing Profane 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.

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 Profane. 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 Profane. 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.

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 Profane: 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 Witnessing The Fall.

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 Profane 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 streaming on bandcamp) 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.


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.

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.

"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.

Profane 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.

You can stream this over here, and buy it from Listenable Records in Europe, Season of Mist if you're in North America (or iTunes apparently); and I would assume eventually direct from the bands store. I highly recommend you do so and follow their updates on tours and shit on facebook as usual.

DOWNLOAD (Zippyshare)
DOWNLOAD (Mega)

Shit Luck - Slow Death (2013)

Demo / EP, Self-released / Independent
April 11th, 2013

Genre: Blackened Hardcore/Crust/Grindcore
Region: USA

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 Shit Luck 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.

Creatively this is a couple of big steps up from their 2012 release Expired 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.

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.

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.

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.

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.

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. Shit Luck 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.



DOWNLOAD (Bandcamp)

SIXBREWBANTHA / Water Torture + SIXBREWBANTHA / Agitate - Splits (2013)

Split, Nice Dreams Records / Witch Bukake Records
April 3rd, 2013

Genre: Grindcore/Powerviolence
Region: USA/Canada

Just in time for their soon-to-commence partial US tour and send-off show we have two new and quite fantastic splits involving Six Brew Bantha: 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.

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 Phobia and MASSGRAVE which I'll get to soon enough in a similar style post.

First up is the split with Water Torture. 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.

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.

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:

"RECOGNIZE THE TRUTH
LIE TO YOURSELF
FOR A POSITION OF SELF COMFORT?
FRIGHTENED
ALONE
ALWAYS
[NO]"

"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.

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

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 their full length 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.

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

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.

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.

The packaging on this split is pretty nice too so I suggest spending the cash to get it while you can, especially if you catch them on their tour. 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 Nice Dreams Records. Or you can get Six Brew Bantha's side as a name-your-price download.


DOWNLOAD (Zippyshare)
DOWNLOAD (Mediafire)
DOWNLOAD (Bandcamp) Six Brew Bantha

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.


Agitate 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.


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 Nice Dreams Records or hold on and soon it'll be pressed on 7" wax by Witch Bukkake Records; or get both. The cassette is a nice green if you're into that.

DOWNLOAD (Bandcamp) AGITATE
DOWNLOAD (Bandcamp) SIXBREWBANTHA
DOWNLOAD (Mediafire) Full split with Agitate's side cut up for those who care.

Antediluvian - Λόγος (2013)

Full Length / Demo, Nuclear War Now! Productions
2013

Genre: Black/Death Metal
Region: Canada

As some of you might be aware of, the Cassette rip of the limited demo (?) version of the upcoming Antediluvian record Λόγος 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.

Pronounced "logos", 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.

At first Λόγος seems like it 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.

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.

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 Λόγος 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.

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.

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.

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.

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.

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.

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 Nuclear War Now! Productions so watch that closely. For now enjoy the cassette rip.



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