Monday, December 20, 2021

HEX TO RELEASE DEBUT FULL LENGTH FROM STILL/FORM

 

Still / Form is a 3 piece band that emerged in the midst of the
stagnation of 2020, as people shuttered themselves in and thought of
ways to pass the time.

Guitarist/vocalist Robert Comitz’s previous band, Marriage + Cancer,
had recently dissolved and he was thinking of what was to come next.
After trading out some gear, messing around with new sounds and tones,
and coming across bassist Kirk Evans (Dark Numbers) and drummer Ryan
Losli (Almost Is Nothing/Ireshrine), Still / Form took shape.

They spent the better part of a year crafting songs in Comitz’s
recording studio, which made it easy to demo material as it came
together. As they got the songs to where they wanted them to be, Still
/ Form recorded an album’s worth of material.

By the summer of 2021, they came out of their recording cave and
played their first show. Things started moving along quickly after
that as the record went through several mixes, eventually being put
into the capable hands of Scott Evans (Kowloon Walled City) to work
his magic on it. The result is, “From the Rot Is a Gift”

Retaining some of the disturbing and jarring guitar work reminiscent
of Marriage + Cancer, but with a much more sludgy heft, Still / Form
plods and trudges through a gauntlet of experimental sounds, driving
bass, and sharp attack. Comitz’ raspy vocals provide an unsettling
disposition against the music that can’t simply be categorized as
‘metal’, or ‘noise rock’, but certainly can be filed into much broader
and less definable terms, such as ‘weird’ and ‘heavy’.

Hex Records will be releasing Still / Form’s debut full length, and in
the meantime the band will be out and about playing more shows.

For now, take a peek at some recent live footage of the band here:

Monday, December 13, 2021

IT'S THE END OF THE YEAR LIST YOU ALL KNEW IT WAS COMING.

 

I don't know about you, but this was the year for amazing EPs, singles, demos...  basically short records.  While a few LPs completely dominated (see the first two entries) there were so many good EPs that I was loving.  Don't know why.  That's just how my personal list played out.  Anyway, here's what was good for me this year, as well as some stuff I'm looking forward to next year.



 

TURNSTILE, “Glow On”

I’d say getting songs stuck in your head for multiple months is probably reason enough to add this to a year end list.  This an incredibly fun, engaging, and surprisingly very thoughtful record (well, minus “Dance Off”) and if you don’t want to bounce around and sing-along to this you might actually be dead inside.

 

QUICKSAND, “Distant Populations”

My favorite band ever has legit made some of their best songs.  I’m totally biased, but the band has really gotten their groove back of writing incredible songs together.  I couldn’t be more pleased.  This one has consistently gotten tons of play since it was released.

 

DRIP-FED, “Kill the Buzz”

Some of the most fun and ripping hardcore I’ve heard in quite awhile.  Super fun and melodic like the best Polar Bear Club jams paired up with the wild punk/hardcore energy of groups like Hour Of the Wolf to make this wonderful second LP from the Austin group.

 

BUMMER, “Dead Horse”

Total ass-beating music from this KC trio.  They make more noise between the three of them than a symphony of monster trucks tearing ass through a junkyard.  Riffs upon riffs upon riffs, heaped atop of pulverizing groove and a relentless drive to make some of the best new noise rock one could possibly ask for.

 

FIDDLEHEAD, “Between the Richness”

I was a bit biased against this group for no good reason previously.  I never really got into Have Heart and I got a bit uppity about hardcore kids acting like this band was re-inventing the wheel or something when countless emotional HC/indie bands from Rites Of Spring to Braid have pulled it off successfully over the years.  But I got over myself and realized this is just a really fucking good band who made a really fucking good record.  Super melodic, super driving, great vocals, and great songs.

 

 

Favorite EPs

 

PORCUPINE, “The Sybil”

Yes, bring on completely unhinged hardcore mayhem.  A band that covers Deadguy just as easily as they attempt a Suicide cover gets a nod in my book.  To me they sound like Rorschach for today’s world- making crazy music firmly rooted in fast hardcore, but completely open to taking chances on the unknown.  They did an excellent job with this ripping EP that comes in a really cool package and I hope they continue to make amazing new recordings at their seemingly furious pace.

 

CHERUBS, “Slo Blo 4 Frnz & Sxy”

You know I love weird and heavy and Cherubs are about as weird and heavy as it gets.  I don’t do drugs but Cherubs makes me think I do.  Can you break edge to audio recordings?  They recorded a few new songs and then offered digital versions (or just slow your record player to 33 rpm) of the same songs reallllly slow.  It’s fucked up.  But their sense of non-stop noisy feedback over the fuzziest of riffs and the wildest swinging drumbeat ever and vocals so off-kilter one wonders how people grow up to be this way.  I love it.  No one sounds like Cherubs and that’s what makes them incredible.

 

BRAIN CAVE, “Log World”

Post-hardcore leaning real heavy into the groove and riff, a foggy and grungy foot stomping affair from these Ohio dudes.  It’s not like they invented fire here, it just feels like these dudes read my mind in terms of the exact kind of music I love and laid it to tape.  A really nice follow up to their awesome full length from last year.

 

BEAUTY PILL, “Instant Night”

Another band that is incredibly one-of-a-kind.  Of course I can pick out things in their music that remind me of other genre defying artists, but they’re so far afield from one another that when Beauty Pill puts those pieces together it makes for something altogether whole and new.  If you can hang with Tortoise at the same time as De La Soul and musicians who play in museums you can appreciate Beauty Pill.

 

STUCK, “Content That Makes You Feel Good”

It took a bit to come around to Stuck, but after a bunch of listens I finally realized their full length from last year, “Change Is Bad” is super good.  So I got excited about this new EP, which is like a perfectly condensed summation of their sound that tells a story over five expertly-crafted post punk jams.  It’s so incredibly succinct and descriptive all at once through music and lyrics I’m blown away at the efficiency of it all.

 

COLONIAL WOUND, “Degradation”

Only three songs but total eardrum-blasting, angular and grooving metallic heaviness that hits all the right spots. Maybe I miss Coalesce and Engineer, and these Florida cats are just paying homage in the best way possible.  They will tear you in half.

 

KNUB, s/t

Look, I grew up in the 90s and heavy music that is not only real catchy but real heavy at the same time is like peanut butter and chocolate smashed together for me.  Knub have crafted the perfect 90’s-style heavy rock demo.  These guys are probably my age too so they know what they’re doing.

 WIPES, "Dumpster"/"You're the Boss"

Look, Tile was one of the goddamned heaviest bands ever, and equally as pissed.  This new iteration of Tile/new band is friggin' heavy and throws some curveballs in there too.  You're just not ready for what they're going to bring.

Runner ups

 

GLOOP, “Crayon Sun”

Super weird and noisy punk that these cats have been banging out for a few years now and they just really nailed it here.  Sassy chaotic punk without making you want to punch them in the face for it.

 

EKULU, “Unscrew My Head”

Hard-fucking-core.  Dudes with chops making well-crafted bangers that can throw thrash, NYHC style, Clevo style, and a bit of their own unique thing into a blender and churn out a face-crusher as a result.

 

OVLOV, “Buds”

Consistency is the name of the game for Ovlov, except this one is better.  Dino Jr worship with some added stoner rock buzz/bliss.  “Cheer Up, Chihiro!” when it brings that sax in…  man.  They’re on it.

 

 

I actually saw live music this year and these were my favorite shows

 

 


GAYTHIEST/ PET WEAPON, Kenton Club, Portland 7.24- The first indoor show I’d been to in over a year with probably the most fun band you could possibly go see.  It was like a great little reunion for all the people you’re accustomed to seeing at shows with a band that welcomes all to have a fun time with.  And we all had a lot of fun

 


 

BULLY, Mississippi Studios, Portland, 9.6- Bully are such a great live band.  They just tear it the heck up and write really damn good songs.  “Sugaregg” was one of the better records released a couple years back and it was cool to finally hear a whole bunch of those songs live.

 

 

QUICKSAND, Wonder Ballroom, Portland, 10.11-  Duh, it’s Quicksand.  They played their amazing new album, as well as a ton of songs you already love them for.  Steve Brodsky played second guitar and brought magic to the stage.  They never looked like they were having more fun than they were that night.  I was overwhelmed with joy.


 

 

Looking forward to in 2022:

 

 -All the records I ordered in 2021

 

-Drug Church, “Hygiene”

 

-Bitter Branches, “Your Neighbors Are Failures”

 

-Cloakroom, “Dissolution Wave”

 

-new stuff from Easy Prey, Still/Form, Colonial Wound, Wipes, Knub, Brain Cave, Mums, Truth Cult (hopefully)

 

-Pinko going on tour in April

 

-That Turnstile/Truth Cult/Ekulu tour in May

 

-Hopefully recording some new music this year with Dialysis, maybe play a show or two?

Tuesday, December 7, 2021

THE LAST REVIEWS YOU'LL READ THIS YEAR, THANKFULLY

 Seriously, all these damn opinions!  It just makes you want to puke.  Still, I feel compelled to write about the stuff I come across whether it's solicited, or if it's just something I think people ought to give some attention to.  But that ought to come as no great epiphany at this point.  Here's to closing out a weird year where I'm noticing that like a shit ton of great EPs were put out there.  Year-end list is coming next.


BASHFORD, “Greener Grasses”

I’m nothing if not brutally honest.  There’s a bunch of stuff on here that sounds just like Nirvana “Bleach” if it were a bit less engaging.  And there’s some stuff on here that sounds like butt rock.  And this band is like five albums in nearly as many years.  There’s no doubt an appealing rawness to their sound when they’re on and for like the first 30 seconds of half these songs I’m ready to jump in, but then it just sputters out into rather hackneyed songwriting. (BigNeck Records)

 

BEAUTY PILL, “Instant Night” 12” EP

From one of the most interesting groups to make music over the last 10-15 years Beauty Pill present another EP while many of us fervently await a new full length.  The title track starts the record off with collaborator Erin Nelson supplying soaring vocals over a BP trademark of playful instrumentation that bleeds into euphoric bliss and an additional trick of somehow maintaining a beat without once using percussion.  Bass-heavy drones at certain points fill in the gaps.  A lot of BP material is difficult to describe as they utilize such a wide range of instruments and production techniques to mold something entirely unique and “Instant Night” (the song) will certainly go on to stand out as one of their better songs that work into that semi-indescribable brilliance.  A short instrumental interlude comes next with snappy, jazzy drumming and a pretty jingle atop it before the funky, “You Need a Better Mind” rolls in and honestly, if you’re not bobbing your head or straight up shaking your butt to this you got problems.  Primary composer/ringleader Chad Clark uses his delicate and smooth voice to bring the song a relative calm amongst the calamity while a background chorus chants the songs title repeatedly.  Finally, there’s a remix of “You Need a Better Mind” and oh how I dread remixes.  They’re usually just a lazy dissection of a song with a bad techno beat over it and a waste of time.  At least with this one Beauty Pill attempts to maintain the core of the song but adding a quick beat to it, changing the funk style of the actual version.  It feels like background music to the scene in Akira where Kanada visits the arcade in the middle of the day when no one else is around.  So in all takeaway number one- what does Beauty Pill sound like exactly?  Imagine De La Soul being covered by Laurie Anderson being backed by Sly and the Family Stone… in the future.  Takeaway number two- give us a damn new full length already.  (Northern SpyRecords)

 

ENGINE KID, “Special Olympics” flexi 7”

As a hardcore kid I’ll always associate this band with releasing an album through Revelation and how that just never made much sense.  I never got to see them, but they were apparently unbearably loud, even though much of their music then was melodic and wandering.  But knowing what I know now, it makes sense how loud they were (members would go on to form Sunn 0))) and I see why Revelation was interested in them (members were in Brotherhood and there was a Sunny Day Real Estate-adjacent connection).  And now I understand what Engine Kid were going for- Slint as filtered through big, burly Pacific Northwest grunge thunder.  They were definitely kind of their own thing.  It’s just that in 1995 I had no idea what to do with it.  And I think neither did most other people who heard this band.  So maybe it’s good fortune that the band finds themselves recording some songs again for the heck of it and gives us an EP to chew on now that culture has caught up.  Earlier this year they dropped an impressive box set collection of all their material so I guess there’s a little momentum going here.  This has three short burners that are heavier than anything I recall them doing in the past and it all sound like Torche going bananas.  The fourth track sounds more like Engine Kid that I am familiar with- a long winding passage with sampled vocals, followed by a single heavy section, and back to the quiet stuff.  Apparently this is finished versions of songs they were working on before they broke up some 25 years ago.  Comes on a flexi record for all you lovers of music pressed onto a sheet.  (Southern Lord)

 

EYE FLYS, “Exigent Circumstance” EP

I’ve been in and out with paying attention to this band.  I have no good reason why, they rule pretty hard.  Their first offering was kind of a bit too on the nose for me with the outright Melvins worship, but it was still good.  They did an LP that saw them come into their own a bit more, and now we have this EP that was not quite a surprise release, but it did sort of sneak up all quick-like.  And heck, why not just throw down four new tracks of ear-hammering sludgy riff worship to make sure people know you’re still doing the damn thing?  They come out the gate with a track that could have been an outtake from Crowbar “Odd Fellows Rest” if I didn’t know better and then proceed to drag what’s left of your bloodied corpse through a tar pit with “Dead Larvae”.  “Exigent Circumstance” has an almost Coalesce vibe with it’s noisy cavalcade off feedback and off-timed riffs heaped atop a ongoing chugging riff keeping things centered.  The EP closes out with “Circular Motion”, which has a bit more of bro-y southern riff, but repeatedly clobbers you over the head with it for three minutes.  In all, it’s 11 minutes of heavy damage with a screened b-side for you collector types.  (ClosedCasket Activities)

 

GENOCIDE PACT, s/t

I’m by no means an expect of any sort on death metal.  I occasionally dip my toes in to check some out, and usually I’m good for a few songs before I’m done.  You could say I’m not even a casual listener.  I do recall seeing Genocide Pact once back when they were probably just getting going and even then their punk and hardcore infused death metal was pretty easy to grasp.  On their new record they seem to not have deviated too hard from that initial plan.  Genocide Pact are not trying to be overtly flashy with wild technical prowess, though you will find ripping solos here and there.  They are playing dirgy, grimy, filth-strewn death metal informed by a punk background, frequently shifting pace between plodding Obituary-style groove (“Mutilated Vision”) and more grind-y/faster paced Napalm Death-styled beatings (“Deprive/Degrade”).  But hey, like I said, I’m no expert.  Those just looking for something to melt the sleeves off your shirt (if you’re listening to this, why would you have sleeves on your shirt anyway?) and cause your jacket to sprout Repulsion patches will be pleased, those looking for a re-invention of the wheel look elsewhere.  (Relapse)

 

HELMET, “Live and Rare”

Having seen Helmet not that long ago I can say they still sound great.  But, to me, nothing will really compare to their classic lineup.  I think each of those players in that initial lineup were astounding in their own right as musicians, regardless of how much of the music was composed by Page Hamilton (not too shabby of a musician himself).  So I’m happy to report that this live record is two sets- one from CBGBs in 1990, early in the band’s formation.  The other is from an Australian festival in 1993, quite possibly at the band’s apex of hype.  And both sets are the band in their original lineup.  I always love hearing documentation of this sort- how a band sounded early on, how they were captured in a live environment, especially when it’s a band as important as Helmet.  The CBs set- from some sparsely attended weeknight calendar filler- somehow sounds better and more vicious than the stadium-sized, professionally recorded festival set at a point where the band was touring non-stop.  Chalk it up to a group that rehearsed fervently and were hungry to demolish audiences.  This is pre- “Strap It On” Helmet, though you get a primitive version of “Murder” (which manages to come off as even more grating and disturbing than the studio version) and a slightly less ominous performance of “Sinatra”.  The rest is fast-paced crushing noise played as loud as humanly possible.  It’s the singles stuff, not on their actual records.  The festival set shows a band that now has nice gear and playing out primarily “Meantime” material (as well as their go-to cover of the Melvins “Oven”).  Maybe it’s the people recording it, maybe it’s Hamilton’s tipsy demeanor (in the linear notes he admits to knocking back a few too many before playing), but there’s whole sections of guitar missing on “Give It” (probably one of their best songs ever) and “Blacktop” that are sort of essential to the songs that’s a bit of a letdown.  The rest of it sounds pretty good.  I tend to dig live albums for the warts and all aspect that bands don’t need to sound perfect live, and that’s part of the charm.  However, with a touring history as long as Helmet has had over the last 30 years one would think they could pull a live set from the vault that’s a little better. (earMUSIC)

 

POMELO, “Validations”

Rochester, NY trio Pomelo presents their debut full length that shows them flexing their art-punk brains to give the listener 11 tracks that fall somewhere between the taut post-punk of bands like Stuck with the DC-leaning math rock of groups like Faraquet if they were a little less playful and more somber.   These songs primarily move at a slower pace, bringing plenty of breathing room to emphasize the studious interplay between guitars, vocals, and rhythm but keeping things far from dull.  Sure, they will draw some fans whose noses are permanently up their own ass, but I’d like to think some folks who are just into good, thoughtful, and carefully constructed math rock can easily enjoy this as well.  There are 11 songs here for you to decide for yourself. (self-released)

 

RID OF ME, “Traveling”

Philly’s Rid Of Me has really made a heck of a full length with “Traveling”.  Comprised of a few re-recordings of several songs from their various demos, as well as a clutch of brand new songs, it makes for a cohesive whole worthy of repeated listens.  While initially this band had the feeling of a low-key project to do when members weren’t off doing the similarly-minded Low Dose, it seems that now Rid Of Me is the main group for the songwriting team of Mike McGuiness and Itarya Rosenburg.  Starting as a trio (rounded out by former Fight Amp alum Mike Howard on drums) they also enlisted second guitarist Reuben Polo (Soul Glo) to fill out the sound and this may be his first real deal recording with the band?  Either way, the record sounds like a band that has gone from project to the real thing and it shows.  The slightly wistful post-punk vibes on the first couple tracks come off as a nice addition, but ultimately the DNA of filthy rock stemming from the Fight Amp/Low Dose resume cannot be ignored and is present in some way on all these songs.  Things are at their most cacophonous on the raging “Broke Shit”, which takes the spot of my favorite song here.  Bassist/vocalist Rosenburg has really come a long way with utilizing her voice to easily shift between going with the melody to add emotional texture and screaming to fuck with yr skull, frequently blending both to great effect.  Though smoking is pretty gross I gotta say I love the cover of this record, which kind of acts as a metaphor for the album as a whole- it’s an artful depiction of various pictures of the members hands all holding cigarettes.  So ya know, artistically engaging, but still kind of gross and ugly. (Ghost IsClear/ Knife Hits)

 

SUNSTROKE, “Cryin’ Wolves”

I don’t think I’m out of line to say the art the band is using for this new single is directly an homage to Melinda Beck-illustrated “Dine Alone” 7” from Quicksand.  It looks almost exactly like it, and while I’d take a guess that the members of this band are fans and their music could presumably fall under the vast umbrella of ‘post-hardcore’, they don’t sound all that much like Quicksand.  Sunstroke fall somewhere within the upbeat, melodic sound of current groups like One Step Closer and the rowdy, swirling hardcore rock sound of past bands like Swiz.  “Cryin’ Wolves” is a stand-alone single that follows up on a another single from a few months back (“I Wanna Be Ignored”) where they did lathe cuts, which seems a bit wasteful to me.  After all, it’s tough to justify paying nearly $20 for a single song on a crappy format (lathes), which is what the plan seems to be for this single as well (which is currently just digital).  Maybe waiting and putting both songs on a single record would be a bit more convenient.  Still, I like this band a lot and think they’re making really cool music so at the very least it’s worth checking them out.  (New Morality)

Thursday, December 2, 2021

BANDCAMP DAY DEALS AND NEWS- DECEMBER 2021

 


Hey, it's another bandcamp day and I got some deals to do, as well as some news on upcoming and current projects.

So since there's a certain holiday coming up go and treat yourself, or treat someone you want to show the true meaning of good music (or, Christmas...  semantics).

# 1- 3 LPs FOR $20- PUNK DEAL!

Bringing it back since it was popular last month.  With this one you get LPs from DIALYSIS, LIKE WOLVES, and ALPHA HOPPER   https://hexrecords.bandcamp.com/merch/3-lps-for-20-punk-deal-2

#2- 3LP s FOR $20- RIFFS DEAL!

Three LPs full of riffs to bury you under.  Cozy up to these suckers:  GRIZZLOR, "Destructoid", NULL, "Act Of Love", and OAK AND BONE, s/t  https://hexrecords.bandcamp.com/merch/3-lps-for-20-riffs-deal

#3- BOTH USA NAILS LPs FOR $25!

I put out two of their records.  Get them and then seek out the rest of their catalog.  You get "Character Stop" on clear pink and "Life Cinema" on clear red (second press).  Beautiful noisy post-punk recklessness from the UK.  https://hexrecords.bandcamp.com/merch/both-usa-nails-lps-for-25

#4- 10 CDs FOR $25!

Bringing this back too.  10 random CDs from the catalog sent to you.  It would be easier to tell me which ones you don't want.  Feel free to air your grievances.  https://hexrecords.bandcamp.com/merch/10-cds-for-25

#5- ALL DIGITAL SALES GOING TO CHARITY.

Any digital purchase made today will be donated to Out To Pasture Animal Sanctuary here in Oregon.  They do great work taking in and caring for rescued, abandoned, and injured animals from factory farms, hoarders, and other crappy situations.  They do the good work so let's help them out.

OK, news both good and bad:

Bad news- A lot of people have been asking about the new GRIZZLOR LP and where it's at.  I don't know how long it is going to take.  I fully expected to have it back by now but like basically all records at press right now it's taking forever.  I'm sorry.  On the good side, I live very close to the press and I'm keeping tabs on progress.  But I don't expect it before the end of the year.  I'll keep you all updated.

Good news- as you may have seen earlier this week, we will be releasing a full length from Allentown, PA-based WIPES!  They're rippers, let me tell ya.  Current/ex- Tile dudes making that ungodly agitated noise competing with crazy riffs.  They have a few songs on their own bandcamp so give 'em a listen before they head into the studio to record their full length: https://wipes.bandcamp.com/