BIG HUSH, “Spirit/ Wholes”
People from Pygmy Lush go for broke with a variety of songs
that collects two separate EPs onto one record. The first half evokes heavy-duty shoegaze vibes with wispy
male/female vocals, like Swervedriver meets the Breeders. “Cold Shoulder” sounds like the whole
song is going in reverse, and sounds more like an experiment in writing a cool
song and trying out bizarre effects pedals. “Cough”, strangely enough rips the first riff from “Iron
Man” and then turns it into a lackadaisical jam that could have been a B-side
on “Last Splash”. Opener “Soft
Eyes” is the standout song on the whole record with it’s more upbeat tempo and
catchy lead, and it goes right into another very upbeat song (“Pay To Play”)
that keeps things moving along.
However, once you move into the second half of the album (or, second
EP), “Wholes”, it’s a far more restrained affair, considerably mellower, but
almost as enjoyable. There’s a bit
more of a twangy element to it and focused a bit more on the vocal
interplay… almost, dare I say,
alt-country (yuck, what a weird-sounding term). Still, I really like it. So I definitely think people who like Pygmy Lush will really
love this as well, even though it is a bit different than that. (Robotic Empire)
BURN, “Do Or Die”
I heard that first single from this record and was pretty
turned off. It was not very
good. Luckily, that’s the one
clunker on this record. It’s not
that it’s even a terrible song; it just has a few too many parts that don’t work
all that well together. But for
those looking for “Shall Be Judged” over and over again look elsewhere. It’s been over 25 years, if these guys
didn’t change somewhat in that time than I’d say they haven’t grown much as
humans, which is kind of sad. Yet
what remains the same is the fact that Chaka has the energy of a teenager,
Gavin Van Vleck continues to write some of the most forward-thinking
hardcore/noise/inventive riffs around, and that new rhythm section is still as
tight as anyone the group have had in their ranks in the past. For those who truly pine for times past
I’d say a good half of the record retains some of that faster, strangely
melodic, and weirdly aggressive hardcore that the band is known for… just recorded much better and bigger. Two old songs have been re-recorded, but
they feel really unnecessary since they both sound fine in their original
forms. And then you get a few
songs that work in a new and different way, and a couple that don’t work all
that well. All in all, for a band
that has, in a way, re-invented themselves two decades later (despite the
handful of reunions over the years) they’re pulling it off pretty good I’d
say. Heck, the packaging on this
sucker is worth the price alone.
If you end up not enjoying this you can just stare at it for hours with
how ridiculously awesome it looks.
(Deathwish)
CLOAKROOM, “Time Well”
I’ve really been looking forward to this one and I have to
say I’m pretty pleased. It’s kind
of a grower because it’s lacking some of that instant gratification (which is a
relative term considering the rather glacial pace this band’s songs tend to
flow) that was present on songs like “Moon Funeral” and “Starchild Skull” from
their last LP, “Further Out”.
Still, those tones remain ridiculously awesome and sludgy as all get out
while the shoegaze-y melodies throw an atmospheric haze over the whole
thing. Additionally, this record plays
around a little more with some otherworldly psychedelic songs that have an
almost Pink Floyd-ish aura to them (“Hymnal” and “Sickle Moon Blues”). The entire first half of the record
stays a little closer to what people sort of expect, at this point, from
Cloakroom and they do so quite fantastically. “Big World” and “Concrete Gallery” tend to be the best
examples of this and contain some of the slowest, heaviest, riff-iest moments
on the entire record. Plus, unlike
“Further Out” where it didn’t quite feel like a full length exactly due to some
interludes passing for full songs, “Time Well” is almost a whole hour of music
with not a single dud on the whole record. So, hat’s off to them.
I think I personally may be a little more partial to a couple of my
favorite songs from the last LP, but this is certainly a worthwhile follow-up.
(Relapse)
METZ, “Strange Peace”
Heck yeah, Metz.
I’d like to think they have matured in a sense, or tried some new things
on this record. Aside from it not
being named “III”, that’s not really the case. It’s just another pile of amazing, total
hearing-devastating, non-stop crazy noise rock gems. They rolled with Albini to record this one and most would
say he’s a master at capturing a band’s live sound. Well, this record sounds fucking amazing, huge, and dirgy,
like there’s some studio magic going on.
But I’m guessing that this is just what all these songs sound exactly
like live. There’s still plenty of
weird guitar effects (the opening riff on “Drained Lake” being a good example),
catchy garage rock on speed (lead single “Cellophane”), some strange
interlude-like creepy melodic songs (like “Sink” and “Caterpillar”), and
absolute rippers (“Dig a Hole”, “Mr. Plague”). I think my favorite song here, though, is the mid-way point
“Lost In the Blank City”- it’s relatively slow, massive heave and gigantic
riffs just lure you right in for 4 and a half minutes of bliss. Metz have just really nailed it. Not only are they one of the most
electrifying live bands in the world right now but they manage to pull the
grungy aesthetic of Nirvana, the strange inventiveness of Drive Like Jehu, a
metric ton of nervous tension/anxiety, and a wild catchiness that goes
unmatched. (Sub Pop)
MODERN PSYCHICS, "Paid Vacation Time" demo
After the split of Albany’s weirdo crunchy post-hardcore
band Throat Culture a couple of the members have re-emerged as Modern Psychics,
who have a decidedly far less hardcore sound to them. However, there are tidbits of their writing style present,
such as vocalist Seth Eggleston’s raspy shout. But the music takes a turn for faster beats and catchier
riffs. The band certainly pines
for some Wipers-style garage punk, yet I think they lean a little dirtier,
slightly heavier. Regardless, it’s
a fun debut and I feel like they’re onto something cool with this so hopefully
they keep it up. (Modern Psychics)
THOUGHTS OF IONESCO, “Skar Cymbals”
Reunions abound everywhere. I tend to be interested when bands that were absolutely
crushing, but severely underrated in their time come back years later when no
one outside of their immediate hometown remember them because they really have
nothing to prove by making a return.
There’s really no pressure.
Thoughts Of Ionesco are one of those bands. Hailing from Detroit they released a handful of records
between the late 90’s and early ought’s before totally imploding from their own
insanity. I saw them once and it
was one of the most visceral and threatening things ever, how these three
individuals could so outright hate the world and themselves while still ripping
some weird, ugly melding of hardcore, noise rock, prog and jazz improvisations… like if “Hard Volume”-era Rollins Band
did cheap drugs and worshipped both Miles Davis and Dazzling Killmen. It hurts to listen to, like in a good
way. And then you wonder how the
fuck they pulled off that drum fill and Voivod-esque fret run while screaming
like someone’s shoving forks in their eyes. So yeah, a dozen years or so pass and they just up and
decide to record a few more songs and play a single show. That’s the way to do it. And I gotta say, the three tracks on
the A-side of this slab do a pretty good job of reminding you all why Ionesco
was nothing to fuck with. This
material fits in perfectly with anything from “And Then There Was Motion” to
“For Detroit, From Addiction”. The
B-side, on the other hand, is the band getting weirder than ever. It’s a single 13 minute track that is
kind of broken into 4 parts that range from an improv jam, to a sort of
spaghetti Western sort of dusty, bluesy thing, to shoehorning a re-recording of
“… And None Were Human” (arguably their most well-known song) randomly in
there, and back to some strange noise experiment. I don’t really get why that was done in that way, or why
they re-recorded that one song, but it’s not my place to attempt to understand. All I know is this is a seriously weird
and violent, yet astoundingly talented band that deserves your attention. (Corpse Flower)
UNSANE, “Sterilize”
It’s an Unsane record, what do you think I’m going to
say? My love for this band is
about as predictable as the guarantee that this will be louder and meaner than
just about anything else you hear this year. Unsane have never relented in their mission to be violent,
grimy, and unpleasant to your eardrums.
They may take several years between albums and tours, but they always
eventually come back to do more damage and their consistency in delivering
quality records never ceases to amaze me.
Now what I say next may sound disparaging, but I mean it in the most
sincere way- you could take any of the last four Unsane albums and make a mix
and you would swear it was all the same album. That’s really not a bad thing because every one of the songs
on this, and those previous albums, are great. Unsane kind of write the same song over and over but it’s a
really good song, so I have no complaints. Their earlier material, especially from “Total Destruction”
to the landmark “Scattered, Smothered, and Covered”, and onto “Occupational
Hazard” showed true evolution of the band where you could hear how they slowly
honed in on recording and production techniques to truly capture their sound
adequately. They also played with
different tempos more on those records with some glacially slow pummeling songs
(“Get Off My Back”), as well as upbeat, faster songs (“Committed”). But once they got to albums like “Blood
Run” they tended to settle into a tempo that has worked for them and a
recording style that captured them perfectly and they have rode that wave ever
since. And it’s damn good. “Sterilize” continues this tradition,
particularly on lead single “Aberration”, the slow and violent swing of “Lung”,
and the crawling swell-and-crush of closer “Avail”. Drummer Vinny Signorelli never overcomplicates things,
making sure the beat is steady and the bludgeoning is precise. Dave Curran has a better bass tone than
just about anyone and uses it to drag his sludgy riffs through muck and through
your dang face. Chris Spencer is
the serrated knife, chopping through the guts with bluesy riffs, stabbing
jolts, and gigantic gouges across the songs; his voice a static howl blasting
spit and sweat at anyone in the front three rows. They know what the fuck they’re doing and have been doing it
better than anyone for close to 30 years at this point. Unsane never fail to
disappoint and that’s why they are the forever undisputed kings of noise rock. Bow down, so your head doesn’t get
blown clean off. (Southern Lord)
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