Label: Relapse Records Band: Trappist Origin: United States
Trappist is maybe one of the coolest bands to come out of the woodwork in recent times with their beer-inspired thrash-core-metal. The group has embraced the moniker (pun intended) of the famous brewing monks you mostly find in Belgium, and plays fast and loud on their debut album ‘Ancient Brewing Tactics’.
Having earned their name and fame in Spazz, Infest, Despise You, Crom, Killed in Action and probably tons more, its a group of musicians who work on auto-pilot and I guess also on beer. The guys also had a joined podcast, named ‘Hour of the Barbarian’, which sparked their collaboration for this project of beer-infused thrashing, which is actually pretty damn good when you check it out and get into it.
Much of the tunes are fast-paced, straight-ahead thrashy d-beaty metalpunk, with a lot of fun, tongue-in-cheek and energy. ‘No Soldier Left Behind’ is instant screaming mayhem, with a fast pace and some intense guitar torturing. Meaty riffs, chunky drums and a burly, brawling set of vocals combine for an excellent, fun-packed pile of beer-soaked songs. Titles like ‘This means Wort’ or ‘Giving the Boot To Rheinheitsgebot’ are simply hilarious. The last is actually a strangely mellow song, allowing you to just roar along while raising a pint.
There’s something profoundly visceral about the music, much like a night of intense beer drinking it leaves you wondering what’s what with the almost uncontrolled ramblings on ‘Frank The Tank’. Then it launches into some classic metal riffing, deliciously! Following is the new anthem for hardcore craft beer drinkers ‘No Corporate Beer’, a tune for the masses. Yet, lets not forget ’99 Problems (But a Beer Ain’t One)’, as the perennial classic or ‘Wolves in the Taproom’, an obvious reference to Wolves in the Throne Room.
There are two great things about bands from Iceland. One is their incessant hunger to create and innovate, the second is their refusal to be confined in narrow-cast genres. I am hardly surprised, therefore, that straight edge hardcore wreckers xGADDAVÍRx team up with electronics artist AAIIEENN.
AAIIEENN hails from Grundarfjörður and produces electronics that are raw and straight-forward, yet weirdly captivating. Cooperating Akranes band xGADDAVÍRx is a fascinating clash of two styles that still works pretty well since, I quite dig this release and am eager to share it with you here.
xGADDAVÍRx is a violent eruption of Icelandic proportions. Bottled up rage and fury is what they deliver after the distorted, electro-intro of ‘Freki Karlinn’. Simmering riffing brings the song on, after which a galloping pace takes over as the band races onward to oblivion with a catchy tune and energetic pace. Vocals are furiously spat out. Man, this grips me. That actually makes the follow-up ambient grooves of AAIIEENN so weird. One minute of flowing water and tranquility, following directly on the violence has a particular contradictory effect on the listener.
We switch back to the Icelandic hardcore punkers, with ‘Kominn með Nóg’. This song sounds like they’re chopping wood, with constant strikes of a hatched. The rattling base is a prominent element in the grooving sound, but it’s that drum that keeps knocking you to the head with force. Some high-intensity riffing comes in as well, to add a taste of fire to the whole expression on a galloping pace. After a brief break, we go to the real beatdown part. This band is so hard, you got to love it. We close the split with another AAIIEENN track, namely ‘Hypersurface’, which is a Nintendo-beat dance tune, featuring hardcore vocals roaring over it. A bit like EnterShikari when they were at their must awesome. Sweet beat too.
Label: Edgewood Records, Farewell Records Band: Trail of Lies Origin: United States
Hardcore bands come and go at a rapid pace. It’s one of those things you can count on it seems. Trail of Lies has been kicking about for a while now and seem to stay their course in the landscape of tough sounding, breakdown filled tunes. High-strung hardcore music provided on their new record ‘W.A.R.’.
The band hails from Syracuse and is considered a straight edge act. Featuring members from Naysayer, Forfeit, and Warhound, they’re something of a hardcore-powerhouse, influenced by 90’s hardcore from the east coast of the States. This is definitely the sound that inspired me in the early days of my music quest and stumbling upon them definitely was a joy for the ear.
We kick off with the tune ‘Master of My Destiny’, which is a balled-fists power anthem for the self-empowerment so typical to hardcore music. Pounding rhythms and vocals that rip apart the vocal chords. This heavy hitting, battle-ready trajectory flows forwards through the rest of the record. Always full of fire and passion, driving for a mosh-worthy sound.
Lyrically, the songs fuel the fire with the hardcore staples of breaking stuff, breaking free, brotherhood and self-reliance. Add to that the straight edge lifestyle and you have a true sound of dissent in a society that more and more edges towards hedonism and herd mentality. If there ever was a time, where hardcore was needed, it is this one. Straight up hardcore, with a message and some balls, that’s what you get here.
Label: Life Lair Regret Records Band; Unravel Origin: Australia
Australian youngsters Unravel are ready to storm the world with their debut album ‘Eras of Forfeit’. The group set forth with a fresh sound in 2015 and has made a few releases since then. However, this is their first full record out on Life Lair Regret Records.
Blending a sound that contains death metal, grindcore and the vibrancy of hardcore, there’s a vitality to the sound of Unravel. Having played with bands like The Black Dahlia Murder to ParkwayDrive, these guys clearly have a sound that resonate with whats going on today.
This record just grips me instantly, from the very first rumblings of ‘Arbitrator’. The pace and vibe of the record is much more that of a hardcore record, with its violent breaks and tormented screams. Yet, the ingredients are screeching death metal solo’s, guttural vocals that crack through the surface and an overall catchy groove. Not metalcore, it lacks the slickness to my ear at least. Relentless, the band barrels onward at that energetic, high pace, with ‘No Validation for Violation’. Sheer brutality and muscular riffing.
By the time you hit ‘Mortal’s Thrist’, you are pretty much black and blue from the continuous beatings by Unravel, who never really let down. Every mellower passage only serves to warm up the pit for the next unbridled clash with perfect paced rhythms and guitars that shoot from ominous to an almost jagged, prodding sound that makes you want to smash and destroy. Lyrically the band mostly deals with the fucked up state of the world around us. Fitting, because that should fuel any furnace of anger. This is a record, you shouldn’t play in traffic.
Label: Metal Blade Band: Bloodclot Origin: United States
This is a bit of a special little thing for me because Bloodclot is not a new band. It’s old as fuck and it revives a sound that is very dear to me. Raw, straight up hardcore with a metallic tang in its delivery. Bloodclot originates somewhere in 1981 and revolves around hardcore royalty, Iron Man athlete, vegan activist and Cro-Mags frontman John Joseph.
Joseph rekindled the fire of this band due to a chance situation, where AJ Novello was unable to play and Todd Youth (AgnosticFront, Danzig) was called in to fill in on guitar. Nick Oliveri and Joey Castillo (Queens of the Stone Age) joined up and here we have an all star band. In the previous incarnation in the noughties (2008) the band featured members from Bad Brains, Cro-Mags, Biohazard, Sick of it All, Dead Kennedy‘s and Monster Magnet.
So this is a band full of people that have seen it all but are still keen to play snotty, in your face hardcore music. They do it so well on ‘Up in Arms’, which is a whole record of fun, fury, and groove. Clocking in just under 30 minutes, from the opening riff of the title track on, you’re hooked. Joseph sounds clear and venomous. The energy and drive in the music are frightening. Blistering guitar work, high paced drumming and lyrics that actually have something to say race by.
Sure, this record lacks that ratty vibe of early hardcore. These are musicians who lay down solid tracks, but that also means that they channel their frustration in much more effective and to the point ways. That’s exactly where this record shines brightest. It’s where Joseph lets his voice go in overdrive on ‘Manic’. When the guitars just leave you on edge, waiting for the explosion.
Bloodclot sounds fresh, it sounds like hardcore sounded when it was good and meaningful. There’s no room for any ego’s, just for great and powerful music.
Some heavy stuff from the underground this time with Vails, Merlin, Wilt and Plebeian Grandstand. There’s so much stuff coming out of the woodwork that simply sounds amazing, how to keep up?
Well, I particularly liked these four.
Vails – Fuckpuncher When Planets Collide
If you name your album ‘Fuckpuncher’, you probably don’t play music full of gentle and soft elements. You probably do something that feels fucking hard and punching. That pretty much would sum up the sound of Vails. The band hails from London and is a two piece, that produces a punked up, bristling version of sludge without much further decoration. Owen Street batters his bass and provides the singing and Matthew Ham is slaughtering his drum kit to provide a rumbling backdrop for the whole experience. The necessary effects do the rest.
The sound is one full of grit, distorted and with barely contained violence. It’s not the creeping kind of sludge, but the battering, angry sort that propels itself forward on its rhythm based barrage. ‘Fuckpuncher’ is a raw record that reminds me a bit of Crowbar meats Eyehategod with the intensity of Whores. It definitely has some swagger in its bass riffing, for example on opener ‘Klabautermann’. The sound is sleazy and full of biting, heavy distortion, which only adds to the ferocious charm of this duo. This is one to play in your car for sure. On the title track there’s even a feeling of grandeur in the build-up. Great stuff by these Britons.
Merlin – Electric Children PRC Music
No wizardry on this crackling bit of doom, but clear voiced heavy wah wah doom that speaks of death, doom and gloom. The band from Wrinngarth takes doom from the 70’s and merges it with current day heavy psych. Their intent? To melt minds and enslave people… oh well, that last might not be part of it, but they really want to bring back the epic riffing. Their influences therefor range from Uncle Acid & The Deadbeats to Hawkind and Sabbath. Oh and there’s a lot of fuzz going on there as well. Enjoy the ride into the darkness.
Listening ot ‘Electric Children’, you are overwhelmed by the towering vocals that are more akin to the early doom greats than you’d imagine possible. Even the timbre of the recording feels dusty and canned, but also that fuzzy guitar play feels like its Blue Cheer at work underneath it all. The Americans keep the sound light, accesible, but oh so much fun to listen to. The languid vocals, the eerie buzzing guitars, the primitive sound. It all seems a bit much calculated, but the band from Kansas pulls it off with flair. Lots of solo’s, lots of messy sounding bluesy grooves, it’s all good with these electric children.
To say that the Canadian group Wilt makes music that is monolithic in its slow, brimming reverie is an understatement to the art of the band. Their sound is considered to be atmospheric black metal, but traces of the most mind-melting doom (bordering on the funeral kind) is definitely present on their record. It’s the first full lenght for the Manitoba five piece. The record came out in november 2015, but I feel that I have to share its brilliance here.
Slow, drudging music soars around, filling the wide void that the band embraces. The slow is combinated with a blistering drummer, that creates an underlying tension in the shimmering sound of the Canadians. The lurching vocals are cracking, heaving with frustration and grief in a profound and convincing manner. Though that is mainly what describes the title track and opener ‘Illusion of Hope’, on ‘The Elder’ the drums take over and a much faster, pummeling vibe overtakes the whole song. Sure, this record does get a bit monotonous at some point for sure, but let it embrace you and it’s a great experience.
Plebeian Grandstand – False Highs, True Lows Throatruiner Records
There are still those that push the black metal genre forwards and Frenchies Plebeian Grandstand do just that. You might link them to the Deathspell Omega’s of this world, but the band is not related. Thematically the band is taking a totally different approach to the genre, creating something much more tangible and realistic. It’s also interesting to know that the band has been around for 11 years and therefor I’m amazed to not have noticed them before. Alas, it’s the way the world works and now I have and have been blown away by their record.
Ever been hit in the head at a show, when everything suddenly seems to go faster, while you go slower? It’s sort of like that when Plebeian Grandstand launches into their savage, lo-fi bursts of fury. Short assaults are followed by brief, uncouth moments that feel like there’s something wrong or perverse about the music. That unsettling effect is tangible from the first track onwards, but stays with you the whole album. The hooky, mesmerizing sound of these guys remins you that not every band labelling themselves as avantgarde (or being labeled as, potato and all) has seen a modernist novel once, some actually are unfathomably complex and strange. So, don’t take my word for it, but listen to the blistering assault of their record yourself. It’s free, treat yourself.
This time from that deep underground, I’ve got Turnstile, Forgotten Tomb, Moloch and Anfinnsaas for you to indulge in. Enjoy listening to some cool music.
Turnstile – Nonstop Feeling
Oh shit! Did I just get pulled back into listening to hardcore with a cool nineties vibe, remniscent of Shelter and Cro-Mags both. There’s also a tinge of some of the groove metal stuff going on in the day, but surprisingly, this band is super young. In fact this is their debut. The Baltimorians (is that the word?) have been around since 2010 and now delivered an awesome debut record. The album is out on Reaper Records, known for acts like Terror and Trapped Under Ice.
Turnstile has no problem putting back some emo in the core, without becoming whiney. There’s less of the tough guy bullshit, which is too often part of the New York sound they embrace. That gives way more freedom for music, since the songs don’t need to be laced with breakdowns and circle pit frenzy. There’s a lot of that going on, creating that catchy vibe of the more ideological laden hardcore bands of the nineties, specially with the vocals feeling a lot like those of Ray Cappo. Some effects, like on ‘Can’t Deny It’ empasize this fact. Looking forward to seeing these guys play in my town.
Anfinnsaas – Anfinnsaas
There are records, that you put on and just gradually enter your consciousnes. They fit the patterns you expect to hear and just kinda mellow into your hearing. This is not one of those records. This record is a hectic, frantic, noisy and chaotic amalgation of different styles and genres into a product that feels loose and uncontrolled. That would be quite far from the truth though, this band seems to absolutely know what they are doing on this debut. The group exists since 2013 and the name is funnily enough a combination of the last names of both members; Knut Finsaas and Geir Anfinn Halland Johansen.
The record is out on Autumnsong Records and it has six songs on it. These are strongly percussionist songs, even the strings appear to be hammered in some songs, which brings a bit of a djent feeling forwards. No, it’s not like that. The loose sound makes sure that there’s a continuous flurry of twanging and clanging guitar strings, making this feel like an overdriven machine. It’s quite an atmospheric and enjoyable record with a lot of exciting elements to it. Just not for easy listening.
Forgotten Tomb – Hurt Yourself And The Ones You Love
Forgotten Tomb is one of the bands pioneering the genre of DSBM. Often controversial, always provoking and in a way brilliant, this is their latest album which immediately betrays some interesting influences in the arwork, atleas the music seems to take a bit more of an industrial/heavy metal approach. Not that the group around Ferdinando Marchisio (Herr Morbid) ever relents in their misanthropic views, but the sound is more accesible.
Tracks like ‘King of Undesirables’ carry a certain Satyricon-like groove and rhythm, which could be a crowd pleaser live. Take that with a big pill of Celtic Frost heavy and slow, and you’ve got yourself a winner. The theme remains very far removed from that greater audience, expressing a true disdain for humanity and life itself. Specially the title track expresses these feelings without any symbolism. The production is done very smoothly by Brad Boatright (known from Nails, Beastmilk and such), which works with the sound of this band. It is probably not their most extreme record, but it sounds pretty awesome.
Moloch – Abstrakter Wald
The idea of recording your album in the Carpathian mountains with an open tape is kind of bespelling, specially considering it was done in a winter night by the Ukranian project Moloch. So imagine that, in the forest and in a part where myth and reality are not that far apart. Where the night holds terrors that have no names. This is very much what sound you can expect from this black metal project. True, there is little metla going on, but that is not diminishing the atmosphere of the recordings one bit.
Eerie, slow rising synth sounds are reverberating gentle in the air. There’s a sense of peacefulnes to the sound, but always there is also a threat. A gentle drone is constantly there, humming, growling but just out of reach. I used black metal project earlier, since its in the description of the band on bandcamp. Obviously, this recording is much closer leaning to ambient and experimental music, even taking a bit of postrock into it. The titles are all the same, except for numbering. That’s why ‘In Dem Gewaltigen Wald Wo Das Echo Sich Selbst Verlier’ stands out, also due to its cold synths and fuller, more open sound, leaving the drone a bit behind for a short moment. A bemused experience, this record is all that.
Some underground music to fit in with the failed summer days with Self Defense Family, Hope Drone, Dope Smoker and Lluvia.
Self Defense Family – Heaven is Earth
I’ve found out about Self Defense Family about two years ago, through my relentless interest in the works of the Deathwish Inc. label. This strange band was in the middle of the new releases with a bunch of 7″s. I guess this album number two from this experimental group under this moniker, where they previously listened to the name End Of A Year. The group consists of a large amount of members, spread out over the USA and the UK, who compile music together, which leads to an intriguing product.
The sound is different, playing with styles and influnces to create an eclectic different feel to punkrock with a political flavor to it. The rhythm can be tribal (‘Ditko’) or mellow (‘Everyone wants a prize for Feeling’), it’s never the traditional punk but applies the raw, edgy elements in vocals and drive. The melancholic, weary sound is catchy and emotionally laden. Musically the band can go either way they want within their concept, which allows a lot of creative freedom. That makes this album so much more than just a punk album, this is good stuff!
Dope Smoker – Dope Smoker Vol. 4
Where the other Dope Smokers are all about sand, processions and stonerrock, these take on a slightly different approach. The herb remains the same though for these guys from South-Wales. Yes, thats the one in the UK. These guys are inspired by that herb and surfing, which can be deduced from the water-filled album covers of the band over their last four volumes. Slightly more wet, but still as sleazy, slow and heavy as its supposed to be.
Buzzing bass lines cracklen and chafe down your earholes the whole records, while high vocals rip through this continuous cascade of bass sounds. The band approaches their stoner sound from a more surflike origin, sounding soft and warm, almost grungy at times. The vocals are one moment like Ozzy, the next more like the Beach Boys. It’s that interesting tension that keeps these guys sounding a lot like the character of the sea itself. Always strong, but sometimes oddly calm. It can break up any minute though. Good record for those whol love heavy and fuzzy.
Hope Drone – Cloak Of Ash
There’s the black metal album to blow away all others for 2015, that’s atleast what I experience while listening to this new Hope Drone record for the first time. It’s the third full lenght from these Australians, on which they combine black metal with hardcore and sludge into a feisty mixture of pitch black tar and ashes. The sound truly envelops you with bleak, droning guitar buzzing and eerie electronics, creating that despair you were hoping for.
The vocals are almost howled, a mad barking at the heavens filled with fury and remorse. The tremolo guitar play surges and creates a feeling of utmost urgency, that has a compelling beauty to it as well. The continuous, throbbing layer of rhythm is always present, harrowing and beckoning the listener. It’s like a lake, misty and muddled in your vision that lures you in, like spirits of fairy tales and myths. The lyrics deal with the intensity of these surroundings, the glaring sunlight, the deep emotions with a ferocious intensity. The band also plays the long game, with slowly reverberating guitar riffs, echoing and gripping, building tension by creating a feeling of stasis. This band is amazing.
Lluvia – Eternidad Solemne
Mexico, not the country that springs to mind when you hear black metal, but that would be missing out on things. Lluvia hails from León in the southern country, filled with more than enough of its own mysticism to create a particular black metal sound. The band describes their sound as Ritual ambient black metal and that feels very correct. The name means ‘rain’ in Spanish, a theme that comes back in the samples used on the album, pouring down grief and hatred in a metaphoric sense.
The sound is slow, droning black metal, that sounds ceremonial and melancholic. The venomous attacks of the guitar and vocals get blunted by this languid, streaming sound. The racked screams get smothered in this eerie stream. Now and then this ebbs away, leaving room for folk instruments, that add more lugubrious elements to the songs, with the slight echo to the recording. After the climactic track ‘Divinidad’, we return to an outro with trisful classic parts and the rain. The eternally flowing rain is still there.
Compete, compete, do it for the boys
Empty barrels make the most noise
You’re always on the move
You’ve always got something to prove
– Minor Threat, ‘Small man, big mouth’
I’ve written a bit about music on my blog this far, mainly discussing metal and a bit of hiphop. For years my thing was hardcore though, and its a genre I love profoundly. I’m particularly into the old stuff, from the early days and the nineties, which was laden with ideas, philosophies and views. It’s all about making a difference.
I loved that stuff, because it opened my mind to so many other ways to live life. I think it sparked my interest in buddhism, my love for a healthy life and I even dabbled witht he straight edge idea. What I also loved, and you need to read books about this to find it out, is that hardcore has always been about opening doors, not closing them. Equality, freedom of opinions, anti-discrimination etc. Later this scene became a bit more stale and hermetic, but I guess that might get reinvigorated at some point.
What I’ve noticed over the last years is a change though, to the meaning of the word hardcore. For me it contains the PMA (positive mental attitude), respect and a certain decorum which you take through life. Don’t be that which is wrong in the world already, don’t be a racist, women degrading asshole. Show respect to others. That’s what I’ve tried to take from it. Now, I was never deep in the scene, just at the edges and taking my individual lessons from it. I got disillusioned by bands like Deez Nuts, Your Demise and the likes of Asking Alexandria. This was all pertaining to be hardcore, I don’t know if they were doing that themselves or the media. I liked Deez Nuts at first, they sounded crude and confronting, but seeing them live it also felt so hollow, so empty and devoid of meaning. Sure, Deez Nuts are staying true, but true to what? It seems to just be the music.
Don’t get it twisted its still fuckin hardcore,
stage dives, high 5s that’s what I’m in this for.
I ain’t in this for money or fame
but if I stack a little change fuck it I won’t complain.
– Deez Nuts, ‘Stay True’
I’m not trying to put these band in a bad light though. There’s always been room for bands that created the image for the scene and being a bit about the posturing and being tough guys. Tough guy hardcore was definitely a thing. What these bands seem to have opened the door for is a subgenre, which is just as much about the outside, the looks and the posing. That’s where the beef starts.
I tried some of the Deathcore bands as well, but found the same void there. It’s all about looks and not about the message. T-shirts got to shocking instead of inspirational and empowering, but have reached a point where it actually has nothing to do with the movement it claims to be part of. So do the lyrics and the off stage presentation fo certain bandmembers. Apart from the switch from meaning and teaching the crowd to posure and gangster attitudes, some bands have taken a dive deeper into giving hardcore a bad name….
For girls, hardcore and metal is still a rather new place. Back in the late nineties, when I guess I started listening to music, it was still rare to find female musicians. I was well impressed with Brody Halle from The Distillers or Angela Gossow from Arch Enemy, but theyw ere still rarities. In hardcore even more so, maybe that’s why I always felt sympathy for bands that did have female vocalists. Not necessarily because they were good, but because they were necessary. Their acceptance would create more equality for guys and gals alike and you will get good girl fronted bands. At some point, it wont matter what gender the person fronting it has. Then we got to deathcore and bands like Emmure, Attila and I Declare War take a whole leap backwards with their offensive as hell t-shirts.
This has nothing to do with hardcore anymore, this is everything the scene riled against from its inception. You have to imagine, what it does to the listeners of this music now. All the good vibes you may have gotten from hardcore, when you were that age, they just get this stuff. Gangster posing, calling girls bitches and being as rude as possible. Sure, that sounds old and boring, but ittouches upon that very thing that gives this music meaning.
Let me get to a close on my rant on this topic. I was not there, when hardcore was a thing. I only know the music and I’ve seen the bands. Let me mention an H2O, that band gave me more stuff to work with than all the deathcore crap combined. I’ve seen entire festival line-ups, with less heart than Terror, Boysetsfire, Madball or Ignite. This is what it ment, this is why its worth protecting. This is why these guys are douche bags and have no place in hardcore.
This is the second sound of the Underground of 2015, with bands like Inquisitor, Odota, An Autumn For Crippled Children and Baptists. So much good stuff left over from last year.
Inquisitor – Clinamen | Episteme
The Lithuanian scene is a truly hidden gem and the band Inquisitor was recommended to me for listening. The band has been around for 12 years already and makes a dense combination of hard riffing and passionate melodies in what can be perceived as an organic whole. Funky, hectic grooves lace the song ‘Hearken, Memmius!’ that opens their new record. Soaring guitars. That playful weird sound is apparently their schtick, also the semi-clean vocals offer a new persective. ‘Hence The Mouthful of Time’ is full of progressive piano elements and peculiar elements.
Though progressive and embracing avant-garde, there is nothing tame about the groups sound. The album shows much variation, but also sheer brutality and grim atmospheres to the listener. The strenght however, is the detailed extremes the band seems to play with in their music, going from typical black metal to a form of jazz or funk and back again. The sound is always bleak and all you would expect from a band that labels as black metal. The intelligent sound of these guys is definitely worth the attention of the avid metal fan though and I cannot wait to hear more from them.
An Autumn For Crippled Children – try not to love everything you destroy EP
With probably the must fucked-up bandname in a long time of fucked-up bandnames, this group does make an extremely beautiful sort of post-black metal. Soaring film score elements accompany a layered, atmospheric barrage of guitar and sonic effects on the titletrack. There’s a warmth in the sound of this mysterious group from the Netherlands that has no equal. It’s the warmth of embracing a certain fatalism. Fun fact is the reference of the title to previous full lenght ‘Try Not to Destroy Everything You Love’.
The second song is ‘post war’, which has fierce guitar structures that even with their smooth effects sound like typical black metal riffing. The sound is rich and reminds the listener of obvious names like Deafheaven and Liturgy, but with a weird twist of their own. This is a band that has done amazing work this far and is worth recommending to anyone who is into this music, but also those outside of it.
Baptists – Bloodmines
Luckily, there are still good hardcore records coming out now and then and this new one by Vancouver residents Baptists is a true blistering masterpiece of what hardcore should be. A lot of squeeking guitar work and gritty rhythm combinations makes the sound of the Canadians agressive and controlled. Their aesthetic is something with man versus nature, which is displayed in the beautiful cover that expresses a dark perspective on this struggle. That darkness is taken into the sound of songs like ‘Vistas’ and ‘Harm Introduction’.
Grinding guitars and hectic breaks form the base of the raging songs the band keeps chugging out. The furious vocals are spat out at break-neck speed, furious at the world and followed by pounding drums. The sound is coherent and organic though, there is little artfical about this band and I guess that is one of their main charms. Hopefully they cross the ocean soon, so we can admire their live antics as well.
Odota – Fever Marshall
Jarmo Nuutre is a peculiar dude, who does fantastic tattoo’s and used to make mammoth-stomping sludge with Talbot. This is his new project and it is filled with a lot of awesome. Slow creeping sound, filled with strange atmospheric effects accompany the searing guitarwork. Black metal inspired, industrial tinged noise on a slow, doomy pace is what best captures the sound on this first release. The heavy distorted vocals and rest of the sound offer a sound that envelopes the listener. Tracks like ‘Bad Medicine’ stand out due to their dark and frightening atmosphere.
Strangely, a song like ‘Half Eagle’ feels more like a video game soundtrack mixed with an evil EBM song that you have to dance to in the intro. The sound samples Nuutre choses, betray an eclectic sound and a creative mind that is free of boundaries. Closer ‘Rattlesnakes Unfold’ is a tidal wave that keeps pushing you under in a dense rattling, drumming sound, waves of distorted guitar wafting over you, while vocals seem to just scream at the sky. This debut of Odota is an unholy experience of awesome and for those who like a little bit of experiment and doom in their blackened noise metal. Did I capture it there?