CHILD BITE, “Negative Noise”
From one of the more interesting bands going these days (and
going very hard I might add), Detroit’s Child Bite have thrown another twist
into their ever-evolving sound on this new LP. Like many others, I did not catch on to this band until
their “Strange Waste” EP from a couple years back. But they have slowly been cultivating a swarm of mutant
followers for around 10 years now and their work is finally paying off. While the songwriting on “Negative
noise” isn’t too terribly far removed from “Strange Waste”s wild mish-mash of influences it’s the
overall sound on this record that really got me. The band continues their sonic path of head-fuckery, culling
from Jesus Lizard’s bombastic bass, Black Flag’s sense of dissonant guitar
skronk, and a vocalist who sounds like Neil Fallon of Clutch doing his best
Jello Biafra imitation. Still, the
previous record had a production value that sat firmly in modern heavy music
styles. It was pretty heavy while
still doing what it is this band does so uniquely their own. “Negative Noise”, to me, has this more
analog approach. There’s no
emphasis on making the guitars sound crushing, the shit is heavy enough just by
the odd choice of riffs and chords assembled here. The bass is ever-present, like some massive pillow of sound
smothering you with low-end. On occasion, a few of the songs throw in a few too
many parts, which make them just a bit tough to follow. The band excels at writing gnarled,
knotty punk riffs in short bursts like on “Euphoria Saturation Point”, but also
does well in the significantly longer (yet heavily repetitive) raga “Beyond the
Dirt”, which I think may also be my favorite song here. In all, it’s an excellent step ahead for
an already exceptional band doing some really cool things. (Housecore)
GREYS, “Outer Heaven”
It took awhile to latch on to this new record from
Greys. Their last LP, “If
Anything” was a non-stop furious blast of post-hardcore/noise rock/ punk rock
fun. While it was clear that the
songs on that record tackled some weighty subjects it was easy to get lost in
the burly catchiness of it all.
“Outer Heaven”, on many of its songs, is emphatically shouting, “I’VE
GOT SOMETHING TO SAY, EH!” (the
“eh” added because they’re Canadian, of course) as the music takes a less
boisterous approach and shifts towards some Sonic Youth-inspired melodies
(“Erosion”), spacey interludes (“Complaint Rock”), and some experimental roar
(“Strange World”). The vocals
share equal space with the music, but come to center as the lyrics tackle
racial profiling, depression, and self-image amongst other things. It’s not to say this record is one big
experiment, as there are some chaotic rockers on here like “In For a Penny” and
“Blown Out”. Overall, it doesn’t
have that same heft and catchiness of their last record, which I loved so
much. But it’s a good record. It takes some time to warm up to so I’m
glad I gave it a few more listens to fully appreciate it. (Carpark/ Buzz Records)
HELLS, “Paradise” EP
Just to get it out of the way, this band has a song called
“1-800-SHITFIT”, which might be one of the better song titles I’ve heard in
quite some time. That being said,
Philadelphia’s Hells makes some noise that may cause those faint of heart to
consider dialing that number. They
definitely lift a couple parts from Converge and Cursed and that’s alright
because they’re good parts that need more use, and it’s also a pretty good
indicator of where this band is at with their sound in general. The aforementioned “SHITFIT” takes a
riff straight from “Hell Comes Home” by Cursed, while “Tribute” borrows a bit
of Converge’s “Black Cloud” chorus.
And while riff lifting might not fare well with some discerning
listeners I just have to say that Cursed sure as heck isn’t using that part
anymore so someone ought to put it to good use. The last couple songs here move at a slower pace and offer
some added variety that just adds to this bands awesomeness. If it matters to anyone, this band
features dudes from Psychic Teens, Orchid, and Transistor Transistor. (Seeing Red Records)
METZ/ MISSION OF BURMA split 7”
METZ/ SWAMI JOHN REIS 7”
Metz have been busy beavers lately. After releasing the exceptionally
ass-kicking “II” last year they dropped a two-song seven inch of new stuff,
followed by this pair of Record Store Day releases (pretty much the only stuff
worth getting this year out of that ever-expanding cash grab trash heap). First off, they pair up with the
legendary Mission Of Burma on what has to be the fanciest packaging for an incredibly
short record. How they got M.O.B.
to cover one of their songs is beyond me, but it shows Clint Conley at his
raspiest and snarliest (yeah, I made that word up), and it’s hard to believe
it’s him on the mic. They pretty
much cover the song directly, save for a Burma trademark of letting the song
crash and burn in a flurry of chaos at the songs end. Metz go for a deep cut off the oft-overlooked (but quite
brilliant) “Obliterati” album for their side and it’s actually a quite fitting
choice. It’s now easy to tell that
Metz has a lot of Mission Of Burma in their sound, in a sped up, hyperactive,
and chaotic sort of way.
And then we get to their collaboration with the one and only
John Reis (of RFTC, Jehu, Hot Snakes…
why am I explaining this?
If you keep up with my review stuff at all you should be scholar on this
guy by now) where one song definitely feels like Reis had a heavy hand in the
writing process, as it basically sounds like a Night Marchers song but faster. The other side is way more Metz-oriented,
as it shows off their highly repetitive quick riff attack and a dose of Reis’
contributing vocals and semi-Jehu style guitar chirp in the beginning. Again, a collaboration the Metz guys
probably dreamed about, but never thought would actually materialize in real
life. These guys must be stoked
beyond belief at the company they’re keeping these days. I would be too. (Sub Pop/ Swami)
NOTHING, “Tired Of Tomorrow”
I can’t really hang with this. I kind of liked what Nothing was doing on “Guilty Of
Everything” because they seemed like a band that was still sort of feeling out
just what it was they were doing, and the result was a collection of songs that
had some variety to them, and far from uniform in presentation. “Tired Of Tomorrow” sounds like one big
long breezy pop song for 40 minutes.
It lacks variety. Each song
sounds the same as the last. It’s
not a bad song, mind you, but I’m not entirely sold on it. It’s also fair to mention that people
probably have pretty high expectations for this album, seeing as this group has
quite the spotlight on them, and I’m trying not to let that affect my judgment. They have lightened up considerably on
this record, ditching a good deal of distortion and going for clean guitar
parts, and the occasional piano bit. It’s somewhat fitting for a band that seems to have
their heads permanently in the clouds, so maybe the chillness is where they
ought to be at? For me, though,
I’m not really feeling it. (Relapse)
PSYCHIC TEENS, “Nerve” + 7”
On what has to be one of the more elaborate release schemes
for a small time band Psychic Teens have returned on their newest LP, which
comes in this really beautiful gatefold package and is also accompanied by not
one, but two, seven inches. The
seven inches each contain a song from the LP as well as a B-side not on the
LP. So yeah, now that that is out
of the way, please feel free to buy this because it’s one of the better records
to be released this year. Psychic
Teens have put a lot of time and thought towards crafting this record, which
furthers their particularly unique sound of taking plenty of post-punk and
goth-y cues through brooding bass lines, deep spoken vocals, and sparse,
angular guitar. Yet on top of that
are the massive swaths of guitar fuzz and distortion, and more upbeat punk fury
amidst all their gloominess.
“Winter Grey” brings some riffy fury to the mix, while songs like “Fear”
and “Hang” keep it minimal and focus on the vocals. In fact, the overall vibe of this record is considerably
more sparse and polished than their last LP “Come”, which had no qualms about
throwing in plenty of feedback and the loudest guitar effects possible whenever
they damn well felt like it. It’s
only on LP closer “End” where those massive guitar squalls really come into
play throughout most of the song.
It’s a big, epic tearjerker of a song and without a doubt one of my
favorite songs of the year. So I’m
not going to lie- my preference is when the band is letting loose and getting
all feedback-y and noisy. And yet I’m
loving the heck out of this record too.
The 7” songs are pretty great as well. So just go and get this. (SRA Records)
WRONG, s/t
Look, I tried to tell you all this was going to be pretty
much the best record in, like, forever.
It’s as if clairvoyant riff powers came to me and foresaw Wrong just
physically annihilating faces and necks everywhere with this record. You had your chance to be ready for it
and now you’re going to have to probably get your vertebrae fused, or at least
a serious neck brace from the non-stop headbanging this will lead to (note to
self: approach Relapse about selling Wrong brand neck braces as a promotional
item to go with this record). So
yeah, the heir apparent to the Helmet sound, done as it was intended to, is on
full display. I’m pretty sure most
of this stuff was probably recorded right around the same time as their EP/demo
from last year, but somehow that record sounds a little more grimey. This is slightly more polished and
really pulls from various eras of the Helmet canon. The faster-paced, semi-melodic tracks like “Entourage” have
a bit of a “Born Annoying” feel to them, while “Stasis” and “Mucilage” lean
towards an “Aftertaste” influence.
Heck, the last track “High Chair” is where you wish Helmet moved on towards
after “Aftertaste” (in a slightly shoegaze sort of way) instead of “Size
Matters” or whatever unfortunate turn they took when Page Hamilton decided to
hire a scab band. But I tell ya,
if the opening bulldozer of “More Like” doesn’t sell you in 1:17 minutes than
there’s really no hope for you. If
it helps, they sound a bit like Stompbox too…. (Relapse)
Bonus Round:
ANGELHAIR, “Pregnant With the Senior Class”
Man, I remember going through the Very catalog when I was a
teenager and basically whatever description made a band sound utterly batshit
crazy I was game to check out. I’d
just stuff money into an envelope and hope for the best. And from taking those chances I came
across some truly wonderful records, one of which being Angelhair. As a little band from Denver, Colorado
(no, not San Diego as everyone thought) they were what I considered to be the
epitome of the Gravity Records/ San Diego sound popularized by groups like
Crimson Curse, Locust, Heroin, Spanakorzo, and Swing Kids. Their lone LP, “Insect Mortality”
started out with some odd outer space sounds before off-kilter guitar noise
clanged around as if the band were already falling apart before they even
began. And then the chaos starts-
a pile of guitars getting abused and stabbed, a clunky bass hitting strings at
random while the drummer just tries to hit as many things as they can as fast
as they can. And the utterly
menacing screams of frontman Sonny Kay going on about this and that, senseless
lyrics that somehow get a weird, abstract, yet grand, point (“You can make
blood out of paper, oil byproduct, euthanasia”). I have, at times, personally used his writing style as a
framework for stuff I’ve written in various bands because it’s so weird and
badass. As the record progresses
they get it together a little more, as Kay adds skittish howls to his
screaming, the guitars always producing tense and nervous melodies to the
chaos. It’s only when they get to
their cover of Bauhaus “Stigmata Martyr” that they start to slow down and let
the bass lay the groundwork. “The
Wax Museum” continues the slowness, but in a completely sludgy dirge sort of
way. “Space Ape” also goes slow
and weird before exploding into an ugly mess of chunky rage. Their seven inches are included in this
collection as well, and show the band in a little less crash and burn/destroy
everything mode, but almost as chaotic.
In fact, my all time favorite Angelhair song comes from their excellent
split with the even more incredible Kerosene 454, “Kisses”- a bouncy and fucked
up burner complete with an extended bout of lone feedback in the middle of the
song before bursting forth once again with unbridled chaos. I never got to see this band. But them, along with other contemporaries
of the era, made some real fucked up and chaotic music that opened my eyes (and
ears) to something Nation Of Ulysses really got off the ground in DC and a
horde of bands out West carried on to the next spastic level. Members of this band went on to form
the VSS, Year Future, Pleasure Forever, and Rabbits. (Gravity)
No comments:
Post a Comment