BULLS, “Then We Die”
This Texas band self-released this effort digitally back in
January, but Reptilian Records is doing a vinyl version that has just been
unleashed. Label honcho Chris X
described this group as having Unwound vibes, and while I can certainly tell
that the trio probably has all their records in their personal collections they
set out on their own path of musical noisemongering. Sure, those rubbery basslines snake in and out and a sort of
otherworldly weirdness butts heads against a grimy heaviness much like the
Pacific Northwest legends. But
Bulls brings that sound into a current context that evokes it’s own regional
weirdness (that being Ft. Worth) and gives the record it’s own shimmer. “Odessa” might be the best example of
that source of influence (which might not be completely out of place on a
record like “Challenge For a Civilized Society”) coming together with their own
panic-y tension and rhythmic crashing at the songs close. (Reptilian Records)
ESCUELA GRIND, “Indoctrination”
I feel a little biased talking about Escuela Grind (formerly
just Escuela) because my band has played with them plenty and they have helped
organize a number of shows that we have played. And I’m going to give away the ending right now- this is
pretty fucking good. But if I may,
I’d like to introduce a little historical perspective that leads to my opinion
being a positive one based on merit, rather than influenced by personal bias. The band has, from the get-go, been
anchored by vocalist Katarina Economou and drummer Jesse Fuentes who got things
rolling after they moved from Texas to Ithaca, NY. They initially began as just a guitar-drums-vocals trio and
as they began writing and playing out they all contributed significantly with
pushing the metal-punk-grind scene more throughout the upstate NY region by
booking and putting together wild shows.
They released a couple of split tapes that I didn’t really get too into,
primarily because I thought the recordings were pretty hodgepodge and didn’t do
justice to their live set. Lineups
rotated several times before the core of the group moved out to Western
Massachusetts and reassembled there. They finally got a touring and solid
recording lineup finalized with the addition of Ithaca/Syracuse guitarist Jason
Balthazar Eldridge (who has played in a bunch of awesome regional bands over
the years) and bassist Kris Morash, who I am unfamiliar with. So the band has endured a number of
changes and worked hard on their craft, and now they finally have a solid full
length with the type of recording that does them justice. So, what do I think of the record? There’s a couple points- I never
realized Katerina’s vocals got that low and mean, so that was a surprise, very
Despise You/Infest influenced. The
music fucking rips. Mashing
together excellent elements of grind, powerviolence, and a guitar tone
influenced by Swedish death metal the whole thing comes off as a love letter to
the Slap-a-Ham school with a much better recording, and goofy samples replaced
with otherworldly soundscapes popping up here and there (as well as mostly
dominating the 10 minute outro track).
If you love fast blasts and ripping powerviolence I’d give this a
shot. (To Live a Lie/AarmageddonLabel)
FOTOCRIME, “South Of Heaven”
Fotocrime is a rather big leap, for me, musically to
digest. And it’s not because it’s
some avant-garde, experimental think piece; or terrible music. I just don’t listen to all that much in
the way of post-punk, goth-y music.
I mean, Ryan Patterson (AKA Fotocrime) really goes all in here and his
reference points are outside my realm of nerdery. I’ve always had a great respect for his musical output and
the leaps he is willing to make to satisfy an itch, rather than just play to
what others know and/or expect from him.
Each Coliseum record was an evolutionary jump into new territory, but
you could always tell who was playing the guitar and singing. Fotocrime really abandons that
familiarity almost entirely to the point where it’s almost like a completely
different person behind the music, and I think that is very exciting. Musically this is out of my lane, but I
do find certain songs on here to be really interesting, using various live
percussion (courtesy of guest drummer Hayden Menzies of Metz on a few tracks)
and a drum machine, lots of different synths and effects that are used in
tasteful ways, and haunting melodies throughout. I was definitely intrigued by the variety of guests who show
up (but do not expect their signature playing styles) including Janet Morgan
singing on several tracks, Erik Denno, J. Robbins, and Nick Thineman all
contributing parts, and, of course, Patterson who brings it all together. Songs very from the relatively
straightforward (“Love Is a Devil”), to a more grating thud (“Foto On Wire”),
syncopated industrial machinery (“Never Fall Out Of Love”), and a vibe on “Hold
Me In the Night” which I can only compare to a more quiet and subdued Peter
Gabriel song between the distorted vocals and emotional heft. It’s a truly wonderful song. So yeah, this is a record a bit out of
my wheelhouse in regards to coming up with astute descriptives, but I’m glad to
give it a try and experience it for the creative and unique vision to puts
forth. It shakes my brain up a bit
and is overall quite enjoyable. (Profound Lore Records)
GOUGE AWAY, “Consider” 7”
Gouge Away are one of the most exciting bands these days
straddling that line between hardcore-punk and something else altogether and
I’m so happy to see they have some new stuff after their exceptionally excellent
last full length. Sure, we’re only
getting one new song here, as well as a Pixies cover (yeah, we already know
they’re named after a Pixies song but anyone who does a cover of “Wave Of
Mutilation”- easily in my top 5 Pixies songs ever- gets a nod of approval from
me), but it’s a damn good new song.
“Consider” begs the simple question, ‘why be some nationalistic dick
when people who aren’t like you are just looking for basic human needs?’ In this case, consider helping those
who don’t have it good for the sake of just being a decent person. Yes, the song is grungy, melodic,
fierce, catchy, and all that good stuff that has me very interested in what
comes next for the band.
(Deathwish Inc)
KINGHORN, “Short Stories” EP
You know I’m a sucker for stuff like this. Ex-Prize Country come together to toss
out five songs that sound a lot like Prize Country. I’m definitely not mad. Kinghorn got a way of hitting you with the post-hardcore
heavy rock somewhere between the school of Quicksand and stuff like early
Kowloon Walled City with massive riffs and huge, expansive choruses that come
down like a godamn sledgehammer.
You really can’t go wrong with checking this out if you enjoy big,
heavy, loud rock. It’s just three
dudes making all this racket. If you
regularly read my review stuff and err towards a similar interest in bands that
I have than it’s probably a guarantee that you will enjoy this too. (self-released)
LACITTADOLENTE, “Salespeople”
Here we got an Italian band, who are named after (insofar as
my 30-second google search was able to produce) a silent Italian film of the
same name, which translates to ‘city of woe’. If this is accurate then the irony is that this band is
anything but silent. And if the
translation is to be believed I can only assume that if Lacittadolente were
released upon some happy-go-lucky prosperous town they would not be happy
afterwards. Cueing other European
math-y metal bands such as Knut, Breach, or even Ananda would not be out of
line, as all these bands share elements of that sort of math-noise-metal
hardcore thing. I’d say
Lacittadolente lean a bit more on the metal end of things, but nothing feels
overdone to the point of being indecipherable. So it’s a decent effort. Relentless, but not so technical that it loses sight of the
song. (this isn't out yet so I'm including a link to their previous release)
SLOW MASS, “Music For Ears II” 7”
I was introduced to this band last year when they opened up
for Super Unison. Since that time
it’s been tough to pin down their style as they slip in and out of
post-hardcore, revved-up catchy Superchunk-ish indie rock, and expansive/some
times experimental slow burners.
It’s a varied, but always interesting, experience listening to
them. If you haven’t guessed, this
is part two of a seven inch series they have called “Music For Ears”. This is the most recent one (released
in January) and it includes one upbeat ripper that’s right where I really dig
this band, alternating between different singers, and just plowing through a
great song. The B-side is a cover
of Pygmy Lush’s “I’ll Wait With You”.
It’s an odd selection, but again, given Slow Mass’ eclectic vibe, it
works for them. This is being released on the impressive Landland Colportage
label, who always go above and beyond with a great sense of design style and
fancy packaging, which is an added bonus.
(Landland Colportage)
THE WHIP, discography LP
Finally! After
years of rumors that the ‘lost’ (you could find most of this stuff with a
cursory internet search prior to this release) Whip recordings would be
unearthed, remastered, and given a proper release it has happened. Oh, who are The Whip? Let me back you up a bit. When Olympia-based noise rock gods KARP
called it a day after what was easily their crowning achievement (the
“Self-Titled LP”) sadness prevailed.
But a bit later, bassist/vocalist Jared Warren and drummer Scott
Jernigan teamed up with like-minded sonic guru Joe Preston (Melvins, Thrones,
High On Fire) to start anew as The Whip.
It was essentially the second coming of KARP and sounded very
similar. They released a 2-song 7”
that was a beacon of sonic hope of things to come. The band began to play out and recorded some more material
before the group was sadly cut short when Jernigan tragically passed away in a
boating accident. The group
disbanded and the material that they had laid down was shelved. Jared Warren eventually started Big
Business, where he continues to slay on bass and vocals to this day. The material The Whip recorded sat for
around 15 years with bits showing up around the corners of the internet here
and there. But now you get
everything they recorded- the 7”, another 5 studio recorded songs (one of which
is a cover), as well as a live set with an additional couple unheard songs (and
a couple aforementioned live versions of studio songs). I wish it could have been more, but I
am completely satisfied to have this gem of material unearthed from a very
short-lived band that had a huge amount of potential. One of the greatest bass tones in music meets thunderous
rock, big choruses, and sludgy punk.
Riffs for days. (WantageUSA)