Monday, July 24, 2017

GRIZZLOR, "Destructoid" COMING SOON!

The new GRIZZLOR record is fast approaching.  Tune in soon for a new track and pre-order info.  In the meantime, here's a little teaser.


Wednesday, June 28, 2017

DIALYSIS "PRETTY MEN" OUT NOW!


Oh, did we not make it clear as of yet?  This is probably the last place you will find out about this snack-tacular record from the weird grind-noise-punk shredders in Syracuse's DIALYSIS.
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.

Enjoy!

Monday, May 22, 2017

HERE'S SOME REVIEWS FOR MAY!

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

PSYCHIC TEENS, 'Hex" FROM RECORD RELEASE SHOW WEEKEND.

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!

video

Friday, May 5, 2017

PSYCHIC TEENS RECORD RELEASE SHOWS THIS WEEKEND!

PSYCHIC TEENS, "HEX" has been out for a couple weeks, officially, now.  So what better way to experience the awesomeness of these jams than to go see them play a bunch of that stuff live.  And why not go see them live anyway?  They rule.
That being said, see the above image for the shows.
Here's the event page links in case that info isn't enough for you:
Phillyhttps://www.facebook.com/events/628113777386243/
Syracusehttps://www.facebook.com/events/197955484025307/

Wednesday, March 29, 2017

PSYCHIC TEENS RELEASE "HEX"!

Yeah, it's not just a clever ode to the badass putting this thing out.



Written during a flurry of creativity immediately following the completion of their last LP, PSYCHIC TEENS return with HEX: a five song EP that showcases their unique blend of post-punk, goth, shoegaze, and noise rock. With HEX, PSYCHIC TEENS set to capture the sensory overload of their live show -- colossal guitars and ear-piercing volume --and combine it with the gloomy mood they have brought on their previous three LPs. 

"There is an overreaching theme of overcoming despair and disillusionment ," Larry (Ragone, Guitar/Vocals) says of HEX. "Everyone copes with it in some way or another whether its due to the fucked political climate, personal relationships, an existential crisis, or whatever. You can either deal with it head on or just try to escape and try to ignore it." 

Sonically speaking, Psychic Teens deliberately created two very distinct sides to HEX; choosing to place three abrasive noise rock songs together at the start of the record and two of their more sparse melodic songs at the end. "I think HEX Is a good representation of the PSYCHIC TEENS through the six years we've been together. There are moments of overblown screeching guitar as well as some of the more melodic song-structured pieces from that would at home on our last LP." 

The album was recorded in October of 2016 by Joe Smiley at Red Planet in Clifton Heights PA and mastered for vinyl and CD by James Plotkin (Mondo, Horseback). 

Wanna hear a new song from the record?  Check it out over at Invisible Oranges

Wanna go and buy the record?  YES, YOU DO!  SO DO THAT HERE.

If you live outside the U.S. and want that fucker best bet is to order HERE for a good deal.

Sunday, March 26, 2017

IT'S 2017 AND THERE'S FINALLY SOME NEW REVIEWS

I'll admit, I've been laying low, planning and scheming so far this year, so I haven't really put any time towards even thinking of writing record reviews.  Actually, there hasn't really been all that much new music so far this year that has blown my hair back.  But now that winter is drawing to a close and people are actually coming out of hiding and doing things I'm starting to catch wind of some exceptional stuff making it's way into the world.  So yeah, here's some stuff to investigate.  Make it so.

FALL SILENT, “Cart Return” 7”
Reno’s Fall Silent are a band that have sort of been lost within the cracks of hardcore-metal history, even though their contribution to metallic hardcore is massive.  Bands such as Every Time I Die and Ed Gein owe a large debt to their fine-tuned thrash metallic assault.  Their second full length, “Superstructure” is one of the heaviest records ever, replete with all sorts of interesting technical twists and turns, huge plodding layers of heaviness, that were able to blast and groove all at once with vocalist Levi Watson’s screaming socio-political lyrics backing it all up.  After that they simplified their sound a little, opting for speed and a little less technicality.  And then, they vanished.  It’s been something like 15 years and all of a sudden the band just ups and decides to record a new 4 song 7”.  So naturally, I’m curious.  The lead-off track is straight up what one might expect (who is familiar anyway) from Fall Silent- super fast thrashy parts, followed by a technical groove and chunky riffing, and those Rorschach-styled vocals.  The first song on the B-side is in a similar vein.  But the other two tracks on here are more of the “Drunken Violence” style of keeping things a little simpler riff-wise and just going for quickness.  It’s certainly a worthwhile effort from this group who may have let their instruments collect dust over the last decade.  But will people take notice?  (Revelation)

FUCK YOU PAY ME, “Dumbed Down”
The band with easily the best name in hardcore returns for 10 more songs (well, one is a cover) of absolutely zero bullshit, fast and ruthless punk fury.  And they do it all in under 18 minutes.  There is really not much that needs to be said about this.  If you get off to hardcore that’s really fast and really fucking angry, with lyrics that are snarky and to the point, then you will enjoy this.  Otherwise, go shit in your hat.  The title track is my favorite (with a line like ‘if you got that PMA then stay the fuck away from me’ gives an indication of where they’re coming from), but, I gotta say, “Douche Chills” might take a close second.  Despite the apparent lack of any empathy whatsoever, there are a few topical songs that clearly hit close to home for the band- “Dark Side Of the Spoon” deals with friends and acquaintances lost to hard drugs and “Steubenville City Limits” is a rally against suburban jocks that get a free pass on rape, as long as they know the right people.  If you don’t have a chip on your shoulder about something after listening to this you probably don’t go outdoors much.  (Tankcrimes)

GRIZZLOR/ GODSTOPPER split 7”
OK, I’m obviously super partial to both these bands since I released material from each.  So, ya know, the fact they have teamed up for a 7” makes my groin area just a little bit moist.  Is that too much information?  Well, try to visualize it while you’re at it.  That thought might be just as ugly as the filthy, riff-laden noise rock of Grizzlor.  Or, if you’re some sort of pervert, it might be just as sweet as the soothing sounds of Godstopper that ultimately crash down on you like the weight of age (aging moist groins at that).  No, really, I can keep going here.  Anyway, Grizzlor, with a handful of singles already under their belts toss out a couple more of their weird grooving noise rock with those wretched, reverb-y ‘man in a tinfoil hat yelling about reptoids’ vocals, and quick to-the-point sludge riffs.  Godstopper return with pop songs disguised as Disembodied.  Down-tuned monster riffs and Queen-level choruses on the first song.  The second song, “Cellophane”, could be a deep cut from an early 80’s Genesis record (and I mean that in a good way) as it weirdly meanders through a creepy-quiet sung bit, bereft of distortion save for all of about five seconds.  My description does it little justice.  To know the band’s M.O. you gotta understand they just like catchy and clever hooks and often bury that love under piles of distortion.  But sometimes they just bare all and let that love show minus heavy guitars.  A great, if not a little weird, pairing.  (Corpse Flower)

HAWKS, “No Cash Value”
I feel like this long-running Atlanta band never quite got their just due.  Maybe it’s because they have a very bland name?  I don’t really know how much they toured.  This is their final LP and in their time they were quite prolific, releasing 5 LPs and several 7” records.  My own interest in them involves tracking down their various releases (some of which were only released on European labels) and having an incomplete collection of their material.  So I might be off with their progression, but on this last LP it feels the most restrained of their releases.  Earlier material was awash in tons of feedback, plenty of drunken howling and growling, and a total love of Jesus Lizard’s rock-your-fucking-face-off mentality.  “No Cash Value” reins in the feedback a bit, has learned to pace their drinking, but still loves the Jesus Lizard.  And the singer still sounds like he’s reciting his death wish from underneath a barstool.  So there’s that.  “Wash and repeat”.  (Learning Curve Records)

MUMS, “Land Of Giants”
OK, I’ll admit, this actually was released in October of last year and I’m just getting obsessed with it now.  So it’s not exactly new, but I really wanted to gush about this a little bit so deal.  This is a UK trio that has dropped some kind of sonic bomb in the form of incredibly fuzzed-out muddy riffing in the vein of Floor (for the dual down-tuned guitar attack, no bass), KARP (for the thunder and sense of absurdity), and fellow UK noiseniks Todd (in the nihilistic over-the-top sludge and feedback).  So ya know, it’s right up my alley.  Still, they manage to toss in some of these ultra-quiet restrained parts to the mountains of heavy to make for some very accentuated dynamics.  It certainly adds a bit more variety to the music than their last outing (under the moniker Aeroplane Flies High), an EP, that had cleaner production, catchier Torche-inspired riffing, and moved along at a pretty steady pace.  A noteworthy release, for sure.  But this is just kind of next level good.  I like that it’s mixed up a bit more, it sounds a littler slimier, more fuzzy and crazy, but somehow manages to be quite catchy, no matter how much they might slow it down.  It’s generally kind of tough to keep up with international bands and generate interest on this side of the pond, but I’d strongly suggest giving this band a try if you dig your sludgy noise rock with lots of catchiness and weirdness.  (Super Star Destroyer)

OAK, “It’s Your Mess As Much As Mine”
Not to be confused with the metallic drone-sludge band that released stuff with A389 Records, this band opts instead for hardcore dudes trying to get a bit noisey and weird, but ultimately end up sounding more hardcore than Botch-y, if you get my drift.  There’s a large dose of that sort of Indecision style of keeping the music simple, heavy, yet meaningful.  However, the second half of this record (it’s only 5 songs) tries some different things and veers off into some more interesting territory, particularly on “Elsewhere”, probably the best offering here.  If you dig your hardcore just a bit off the beaten path, as well as emotionally cathartic this would be a decent record to check out.  (State Of Mind)

OPEN CITY,  s/t
A couple years back Dan Yemin (of Paint It Black, Lifetime, etc) had mentioned to me that he was working on a new project that he described as sounding like Torches To Rome.  Always a good thing.  He mentioned the pieces weren’t all in place yet, but it was getting there.  So, if this is the same project, it appears that it took a bit of a turn because it doesn’t really sound like any Mike/Sarah Kirsch project.  It sounds like a band that Dan Yemin plays guitar for.  Which he does.  The guy has a fairly distinct style to his playing that certainly gives nods to 80’s/early 90’s Dischord melodic hardcore, catchy punk, and shades of early emo.  Along for the ride is Chris Wilson, who drummed for Ted Leo for years, Andy Nelson (also of Paint It Black) and Rachel Rubino (of Bridge and Tunnel) handling vocals.  When I first heard about this band I thought maybe Yemin was on vocals and I secretly hoped Rubino was on guitar because she might be one of the shreddin’-est guitarists I’ve ever seen.  But her strained and gruff vocals do the job nicely here.  Musically, it is along the lines of what I might expect from all these people making music together.  The overall feel has a bit more of the melodic bent that was present on “Paradise” (Paint It Black’s second LP) that, again, evokes shades of Dischord luminaries (distinctly, the Swiz-like momentum of “Brother, I’m Getting Nowhere”, and the J. Robbins style of playing on “Sofa Drugs”).  However, it’s the almost-midway point on the noticeably slower “Black Veils” in which Rubino really shows that she has some serious pipes, and lays the emotion on thick.  Heck, it even kind of sounds like it could have been on a Bridge and Tunnel album.  I know its kind of an easy out to compare this music to the members other outfits, but the combination of all those parts makes for something truly special and this is one heck of a debut.  (self-released)

PISSED JEANS, “Why Love Now?”
Pissed Jeans has obviously carved their niche within the punk/noise rock scene over the course of four LPs.  Finally, on their fifth outing something feels different.  They’re trying some other weird shit, messing around with song structures and production values that are not quite what one might expect from the suburban Philly grown-up’s who throw around guitars and convulse on stage on the weekends.  I can’t really nail what feels out of place about this record as compared to others.  Songs like “Ignorecam” are right up there with the best of the band’s canon of ‘take one lumbering riff and repeat ad nauseum’, and “Waiting On My Horrible Warning” lines right up with awkward and excellent opening songs where a first time listener might have second thoughts about what they’ve gotten themselves into.  But maybe it’s that Pissed Jeans is in better control of their chaos these days.  Whereas in the past they wrote great songs that were completely unhinged at every angle (despite all being good musicians), tracks such as “Love Without Emotion”, “The Bar Is Low” (which, if you haven’t seen the video for yet stop reading this and check that immediately), and “It’s Your Knees” are of the fast/heavy sort, but executed with slick precision (as much as a band that is often filed under ‘noise rock’ can get away with).  Perhaps it’s the lyrics?  Past efforts have managed to describe the mundane details of adult life that were chock full of deadpan humor, the intentionality of which was ambiguous.  On this record I can’t really tell most of the time if vocalist Matt Korvette is attempting to be serious?  Maybe?  Regardless of all this, my first listen of the record was a bit on the reserved side of appreciation.  After a couple more spins now I’m enjoying it almost as much as their past efforts.  (Sub Pop)