Wednesday, September 20, 2017
Tons of stuff up in the store- LPs for $5-8, CDs 10 for $10, LP package deals, 7" package deals, cheap shirts, some old tapes/cassette lots, selling off a few test presses (someone will get a free one in their order too!), and I even managed to dig up some copies of zines I did back in '95 before Hex even began. Cringe worthy. This is running from 9/20-9/30, so get to it. * most of these deals I can only afford to ship within the U.S. so sorry to internationals.
Tuesday, August 1, 2017
In preparation for this gargantuan release they are offering up the first single from this new LP over at New Noise Magazine. Go check out the song, "Too Many People" over HERE.
Once you've done that you can continue the misanthropic feelings by ordering the new record either through the Hex webstore HERE, or via our bandcamp page.
"Destructoid" is a 29 minute glimpse into the reality that is GRIZZLOR, spewed out through a barrage of sharp angular riffs, aggressively pummeled rhythms and vocals spit through a wall of misanthropic fuzz. Just when you think things can't get any worse, GRIZZLOR returns to remind you that it always can. "Destructoid" is the center point where THE JESUS LIZARD, MELVINS and DRUNKS WITH GUNS meet with finality.
Pressed onto 300 copies, split evenly between the following colors:
150- clear yellow
State your preference if you like.
* international orders are better off rolling with www.mvdshop.com for better international shipping rates*
Thursday, July 27, 2017
I am compulsively going through all my seven inches, of which there is likely about 500, trying to see what I want to siphon off from my life, and in the process I have listened to most of them to assure myself if I want to keep them or not. Is that obsessive? Well, somewhere in that mess I managed to listen to and read a bunch of new stuff too. So here it is.
FOTOCRIME, “Always Hell” 7”
After Coliseum quietly called it a day after over 10 years together Ryan Patterson really wasted no time in organizing a new project where he is essentially the sole songwriter and musician. However, this is far from a solo lonely guy with a guitar type project. This follows a steady path that one could see as a logical evolution of what Coliseum was doing towards the end. Just as each Coliseum record moved slowly in a post-punk type direction this new project, Fotocrime, seems to fully realize it and gives heavy nods to those Killing Joke and goth-y vibes you kind of figured Patterson would eventually roll with anyway. On this 7” his playing and vocal style are still present (along with stark socio-political lyrics), but a little more use of background textured synth is utilized, along with a drum machine in place of a person. It presents a different air of presentation and a new direction in terms of production and recording style. As with nearly everything Patterson has done in the last few years it’s a bit of a grower, but once it gets in my head a bit I tend to really enjoy it. Apparently the live version of this band is pretty damn exciting, so not only am I happy to see the man still in the game, but also taking a chance on something he is passionate about that might be a tough sell to old school fans. It’s a good start. (self-released)
GREEN SLIME, s/t
This duo is comprised of Eric and Blake Ellman, who have played both individually and together in every Buffalo band ever. Their rap sheet on past bands is nothing short of prolific. So, naturally, aside from being brothers, they have a pretty instinctual feel for playing together. This little project of theirs combines a monster dose of thick-as-molasses rock that fits somewhere between the non-shitty Weezer stuff, Torche, and Sugar (or at least the songwriting style of Bob Mould and his various projects). I’m quite into it because it’s really easy to get into and exceptionally catchy while still keeping it pretty chunky and riffy. (Ruby Disc)
GT/ NULL split live LP
I’ve spoken at length about Null. On this they have four live songs culled from their already known releases (plus one new song), and they’re almost indistinguishable from the studio recordings. They play slow, heavy, but melodic (mostly in the vocals) songs that bring to mind bands like True Widow, Floor, and Cloakroom. However, instead of bass they use synth, but it sounds so deep and heavy you really wouldn’t know the difference. I’ll pretty much consume whatever this band releases. GT are, from what I can gather, a regional Alabama band that is kind of bluesy rock, but with a slight punk vibe and a dark swagger. Think maybe Vincas, but less noise rock, Hot Snakes minus as much personality. Their tracks are also live, and again, they play real tight and get a good recording so you really can’t tell. This was a Record Store Day release (meh), but focused more regionally as benefit for a local charity (Girls Rock Birmingham), which is awesome. It made it more fun tracking this one down. (Seasick Records)
INTEGRITY, “Howling, For the Nightmare Shall Consume”
At this point I’m going to say that Integrity is kind of Dom Romeo. He pretty much went from being their #1 fan, to playing in several bands that heavily sounded like Integrity, to being in Integrity. And he has written a pretty solid Integrity record. Honestly, I have not kept up with all the various Integrity stuff since “Humanity Is the Devil”. This record weighs in heavily with more galloping thrash and speed metal type stuff, and a little less on the meat-y breakdowns of old material (save for “I Am the Spell”). Of course, there are solos everywhere, almost non-stop. “String Up My Teeth” is a strong departure and will likely throw off long time fans with it’s kooky backing vocals, but hey, after 20 plus years you gotta try something new, right? The thing that has always kind of bothered me about Integrity though is the adulation thrown at their frontman, as if he is some sort of great visionary. And instead of being upfront about admitting that, “hey, I’m just the singer” the dude seems to bask in the glory. He’s the singer. He’s not writing the music. The Melniks laid the groundwork and a backing band has worshipped that style ever since. Dwid basically has to just give the OK to other people writing music that sounds like Integrity. That’s it. So if you liked Integrity before you will enjoy this. Dom Romeo put together a good band that wrote some solid jams for the dude from Integrity to sing on. (Relapse)
OUT OF BODY, “Voiceless”
Feel good record of the year? It’s quite possible. I’ve been jamming on this album since probably late last year, awaiting its eventual release into the wild, and it surely delivers. Out Of Body are the little secret from Austin, TX that isn’t so secret anymore now that they’re on the road a lot more and getting some deserved attention. Their take on 90’s-era post-hardcore is informed as much by standard bearers like Quicksand and Shift as it is by more alternative-rock champions like Failure, Far, and Smashing Pumpkins. There’s as much emphasis on groove and riffs as there is on spacey melody and uplifting vocals. And I know I’m a predictable sort, so since it has the best qualities of the aforementioned groups of reference I’m all over this like your weird aunt getting a tarot reading at a psychic fair. The only small downside is that all four of the songs that appeared on their demo from last year are also on this and I was hoping for some additional new material. Still, you get a total of 10 jams to rock your socks off for the rest of this year. After that they better deliver some new stuff, so help me. (Coin Toss Records)
POST/BOREDOM, “Casual Friday” demo
Pacific Northwest homies invoke spirits of their regional brethren in the form of Harkonen’s more chunky smashiness and These Arms Are Snakes more caustic/less artsy (less snarky?) moments, with a good dash of all out noise rockin’ drive. Naturally, there is a good sense of humor going on, what with song titles such as “Chef Goldblum” and “Buttmans Bathole” to keep things in check and the pretty cover painting of the band. Give ‘em a chance, let them be your friend. (ConditionsRecords)
RIOT STARES, “Let the Phase Speak” 7”
Here is another band that is taking many cues from 90’s hardcore in a great way. They totally nail the sound Snapcase was coming out with on “Progression Through Unlearning”, which, at the time, was a great combination of their chunky, pinch-harmonic mosh-y hardcore, and something a little more upbeat and rocking. To be honest, I’m surprised there aren’t more bands out these days that do stuff like this. Snapcase was fucking huge when that record dropped. I guess these South Carolina cats picked up on that in a big way and I suppose they’re getting in on the ground floor of that particular revival niche. The two new songs on this seven inch progress the style they started with on their debut 7” last year and it’s pretty damn good. They blow the roof off things with the B-side, which is a cover of Cast Iron Hike’s, “Boxed”, an absolute crusher from an very overlooked band who dropped one amazing record almost 20 years ago and then called it quits. I’m exceptionally happy to see a new band draw some attention to that and hopefully people will explore more for themselves. Here’s to more from this new-ish exciting band who obviously have good taste. (Bitter Melody/ Speedowax)
SCRAPS COMIX, Paul Rentler
An art zine full of off the wall pop culture mash-up’s with photocopy hell, melting faces, and the arcane. Paul Rentler has an exciting style where random ephemera from every niche of popular culture collides in strange collages pairing everything from my childhood (and before) to create fantastic new spontaneously combusting monsters. Bart Simpson’s aura exploding with the original X-Men, a stock image of a 50’s housewife fainting and the equally terrified specter of Slimer rising from her soul while the Hamburgler makes off with a skull, Orko the ghost (floating dwarf wizard?) being exorcised of actual ghosts, Garfield bursting out of Alice in Wonderland’s face petrified like he is boggled by the terror inside, Mayor McCheese rescues a buxom beach babe from snakes while dreaming of Robocop. It’s a freaky head trip of roughly photocopied madness, cobbled together to form collages that are like all the random reference material of Craphound in a cross-dimensional rift with every back page comic book ad from the last five decades. Give me more. (paulrentler.com)
Monday, July 24, 2017
Wednesday, June 28, 2017
So just get a load of the fancy picture above and gaze upon how nice the whole thing looks! It sounds almost-sorta as good even!
It's available on LP/CD/digital.
You can stream the entire record at this location HERE (as well as purchase the digital version)
Or, you can order the LP or CD, or a bundle deal with previous 7" records HERE
Finally, if you are a curious international person I would highly recommend ordering from MVD because they have good international shipping rates.
Monday, May 22, 2017
It's that Spring time thing where I'm out traveling all the time whether for adventure, leisure, shows, or a combination of all of the above. So it does not afford me a great deal of time to be writing about music. I also doubt any one reading this is fervently looking forward to every time I post one of these things up (well, there's like maybe 2 people who do), so I don't feel much pressure to go at it. Anyway, here's some stuff that came out recently that I think is just aces. Enjoy.
BLOOD SUN CIRCLE, “Distorted Forms”
I didn’t release this so I get to gush about it as much as I want, so it’s not like I’m biased or anything. There is so much tension on this record. Every song sounds tense and anxious, yet sullen, heavy, and moody at the same time. The band has been working on this record for a couple years now, perfecting the parts, getting a recording that does justice to the big sounds they produce, and it pays off. I know they probably hate comparisons, but a lot of this reminds me of Young Widows, “In and Out Of Youth and Lightness” in a way. That record showed YW stripped down, extending simple parts into big ideas that worked really well because they had the best tones in the world. BSC mine a similar vibe. Songs like “Mercy Kill” are essentially one part played a slightly different ways for a couple minutes, but it sounds amazing. “Hideous Twin” (probably my favorite song on the record) works in a very similar fashion with a monstrous bass line dominating over a repetitive jangly and grating guitar part that only breaks for a melodic chorus. I can’t recommend this enough. If you’re a fan of stuff that is really heavy, but super exacting about the minute detail of crafting songs and getting super nerdy about gear this is a pretty good place to get that fix. (Drops Of Us)
BUMMER/ PINKO split 12”
This may be one of the best splits to come out this year. Both bands are very much on my own personal sort of ‘up and coming’ list of bands that I think are really doing some cool stuff. Bummer has started making the rounds with not only a really cool name, but they make some of the best riff-heavy grooving noise rock around. Lots of rolling thump and smash to their songs, which is great. Fuck it, they got a song called “Freedom Cobra”. PINKO made this amazing demo last year (I think it was last year anyway) that I greatly enjoyed and they bring more of that same style here with a handful of songs recalling the more chaotic moments of At the Drive In, mixed with some old Botch and Refused bits. I know, all big names, but think of them all sort of mashing up in a really spazzy sort of way and you get the wildness of PINKO. Both bands totally deliver the goods. So investigate people. (High Dive Records)
CLOAK DAGGER, “I Want Everything”
I was pretty certain this band was all finished. I guess they have laid dormant for several years while they thought up their next thing and now they strike back with a self-released LP of hyperactive Hot Snakes-inspired garage punk that may be my favorite thing I’ve heard from them in their fairly long on-and-off existence. They move between quick slash-and-burn heaters (like on “13 Everything”) and some more melodic, emotionally charged rippers (“Black Rose”). It makes me wish they got out a little more because while I was fairly lukewarm to their previous material this particular record smokes. (Quit Life Records)
CLOUD RAT/ MOLOCH split 12”
Cloud Rat is quickly becoming one of my favorite aggressive type bands out there. I’m not sure why I slept on them for so long, but having played with them (seriously, go see them live, it’s insane) and kept their most recent full-length “Qliphoth” in steady rotation it’s pretty exciting to see what’s next. So on this split 12” they release a handful of new songs that have a more chunky metallic/bigger sort of production that also tend to be a bit more complex in their arrangement overall. It definitely works well. It’s interesting to see them work within their known framework while attempting a number of different things (check the last track for something very out of the norm from them), and remain prolific as well (they’ve already released three splits this year and it’s not even June, an even more recent split- with Disrotted- is their most challenging and unique contribution so far).
Moloch is some straight depressing, super nihilistic sludgy doom that moves at a hateful glacial pace. Think Noothgrush, think Grief, but from England. Their two songs take up almost 20 minutes if that gives you an idea. (Halo Of Flies)
INFORMATION DOMINANCE zine #1
I have known Jonah Livingston for a very long time I am happy to say. He is one of the most hard-partying people I have ever encountered and not in that annoying ‘calm down fella’ sort of way. It’s like the man is a never-ending well of positivity, even in the face of absolute crumminess, a top of mountain of crushed beer cans and Motorhead records. So I have to say it’s a little strange that he has committed some very well put together scribblings in a polished paper zine format. There is a great deal of political/social ruminations mixed with some varied and thoughtful interviews with Matt Harvey of Exhumed, Swedish thrashers Fredagden 13:e, Richmond metalheads Left Cross, and Gwar prosthetics creator Margaret Rolicki. It’s a nice mix of cool shit all curated with Jonah’s thoughtful and knowledgeable insight. Party on Wayne. (Information Dominance)
MUTANT SCUM, “Field Recordings” tape
I don’t have much to go on here except the music on this thing and some live pictures of this band. Personally, the music isn’t re-inventing the wheel by any means. It’s kind of dirty hardcore/thrash all about slime monsters from the sewer from dudes I can only imagine smoke a good deal of dope. However, live it appears that they all have elaborate Swamp Thing- meets-Bigfoot-meets skull monster costumes they wear so I kind of want to see them based on that alone. (Handstand Records)
PILE, “A Hairshirt Of Purpose”
This feels like Pile’s most reserved and calm (for lack of a better word) record to date. When I first listened to it I wasn’t sure if I was going to like it. But like all their other releases it takes a few listens before all the genius of it unravels and becomes more apparent. Opener “Worms” is evident of this- a very lackadaisical and breezy affair that contains some serious depth within the lyrics and thoughtful arrangement. “Leaning On a Wheel” moves very slow and sullen before it opens up into one of the most beautiful songs they have ever crafted. Pile’s signature has always been a combination of the strange arrangements of the constantly shifting rhythms of their music that twist and turn as if lost in a maze, yet still incredibly catchy, and Rick McGuire’s off-kilter croon that soothes, breaks, yells, and instructs. While their odd sense of melody envelopes their music they are no stranger to aggression and that is on display as well with the title track rumbling along, directly following the clatter and shouting of the B-side opener “Texas”. They are, if nothing, a band that remains consistently good, continually crafting music that veers further into less expected structure yet still these perfectly crafted songs. (Exploding In Sound)
Tuesday, May 9, 2017
Hey there! Here's a video of PSYCHIC TEENS playing "Hex", from their new record "Hex" from one of the record release shows they played over the weekend! The quality is not amazing, but I never claimed to be some sort of Spike Jonez or Marvin Sclorsezzy!