BRAIN CAVE AND KNUB SPLIT 12"- FIRST TWO SINGLES DEBUTED!

This is the next edition in the ongoing Hex Records split 12” series (as well as the last new record to be announced for 2022) pairing bands not necessarily directly part of the label, but that we find awesome nonetheless, and releasing it short-notice in exciting and creative packaging. First was the Great Falls/ Great Sabatini split that contained letterpressed cover artwork and a laser-etched B-side (designed and executed by the bands as well). And then came the wild split between Child Bite and Multicult containing some of the most intense screenprinting work we’ve ever seen care of the Child Bite fellas. And now we got two of the most exciting new bands to emerge- Brain Cave and Knub- laying down gigantic slabs of rock housed in a screenprinted jacket with an Obi strip to keep it all together and fancy looking.

Brain Cave- hailing from Cleveland- have been exceptionally prolific in their relatively brief time together, releasing several singles as well as a killer full length. This continues their fierce pace of releases and more post-hardcore heaviness that shifts between melody and fuzzy riffs played as loud as possible with shouted vocals keeping them rooted in basements packed with sweaty kids and questionable odors. The trio blur the line between all-out aggression and a dedication to songcraft, melody and riffs.

Knub are old heads in a new band currently sinking the city of Baltimore into the Chesapeake Bay as a result of the seismic riffs they’re creating. They dropped a demo last year and I’m still recovering from it. They completely nail those enormous Helmet riffs worthy of “Meantime” and then polish them with the seasoned production and catchy songwriting of “Aftertaste”. Yes, a perfect world can exist. Add to that a singer with a set of pipes potentially lifted from a church organ and you get the huge sounds of Knub that makes you full-body handbang to the riffs and then curse them for how stupid catchy it all is. How can this dichotomy exist? Search beneath the flooding streets of Baltimore and you’ll find out.

This split will be out digitally on January 20, 2023 and vinyl is expected to be released/shipped around the same time.

You can grab the record HERE.

NEW REVIEWS AND DEAD COMPUTER BLUES

 I'm pretty sure this will be the last batch of reviews I do this year (not counting the annual year end list) because I have too much damn stuff to do and keep up with.  Oh, and pour one out for my trusty 2009(I think) desktop as it limps to it's grave and I have to figure out an alternative replacement for anything graphically-related.  Heck, this header image I managed to do in Microsoft Word on my work laptop! And there's also just a bunch of other general life stressors, as well as trying to wrap up label releases for the year and look to 2023, so it's been kind of a hectic time. But somehow I'll manage I'm sure.  And a lot of that is through music.  So here's a handful of stuff coming in at the tail end of this weird year.  Enjoy!

-(16)-, “Into Dust”

I thought for sure there was some sort of lineup change between this record and the last full-length from this long-running Southern California stoner-sludge-hardcore band as there is a distinct difference in sound, particularly the vocals.  I know this band has a deep catalog, but for brevity’s sake, let’s start with “Dream Squasher”, their previous excellent, menacing, super-fucking-heavy long player.  That record just sounds ridiculously heavy and mean.  “Into Dust” is the newest effort, and just about 2 years removed from “Dream Squasher”.  Where that record, from a vocal stance, focused on the screamed, evil-sounding hardcore roar with the occasional foray into a sung part, mostly as just background “Into Dust” makes the more melodic vocals almost the center of the band.  Now, the membership from the last record to this one has not changed one bit (and this is a band that has had quite a few members over the years).  They put a great deal of emphasis here on the metal side, leaning into some definite Crowbar parts between the sludge, melodic metal, and sung vocals.  For some people that works great.  For me I prefer this band when they’re just laying into a groove and plowing down anything in their way between metallic hardcore and absolutely crushing sludge riffs.  There’s still riffs a plenty here, not to mention some dives into their more hardcore side (check “Lane Splitter” for proof on that), so you know they haven’t forgotten what bakes the bread.  But I’m not really feeling those sing-y, wanky groove metal bro parts that seem to creep in way more than I’d like.  I’d just suggest skipping most of “Dressed Up To Get Messed Up”.  But they do close out with a song way out of their comfort zone (in parts) with “Born On a Barstool” and it’s an example of trying something different and doing it pretty well. (Relapse)

 

A.M. NICE, “Half Past Tense”

When you see the name perhaps visions of a sunny retirement community, in the morning just after changing out the attends and having a good ‘ol cup of Metamucil before heading over to the rec center to watch the pre-lunch magic show, whilst humming along to some old timey crooner is in your head.  No?  Just me?  Well, A.M. Nice is a band that certainly sounds nice and I suppose listening to them in the A.M. would help add a cheery disposition to start out the day for sure.  A.M. Nice do not make harsh music.  They create the sort of indie rock, rooted in some punk ideas, that adorned the pages of Punk Planet and represented hard in the late 90’s via labels like Jade Tree, Southern, and Caulfield Records.  Their jangly rock is somewhere between post-punk, a bit of mod rock, and a dollop of Midwest emo.  Most everything moves at a decent clip, most of the songs are direct and to the point.  It isn’t until halfway through on “Your War” where they kick it up a notch, increase the tempo, and toss out a 80 second ripper before getting back to their regular programming.  It’s nothing that’s going to blow your hair back, but it’s a fun listening experience that you just can’t be mad at.  Pleasant, not-very-confrontational, and enjoyable. (Phratry Records)

 

BLACKLISTERS, “Leisure Centre” EP

Godamn you Blacklisters for only giving us four new songs, fucking tease.  You can take your Idles, your Part Chimp, and whatever other ‘well-known’ British noise heavies and toss them into the Thames because Blacklisters basically makes them all sound like the theme to Teletubbies.  So this band has always sounded wild and fucked up in the best way possible, scattering howled drunken vocals over clattering guitar feedback and noise, but they have always had this incredible low-end rhythm that not only keeps things together, but generally sounds frightening while getting your body shaking.  Everything is chunky, dirty, and mean, yet so bright and vicious all at once always making for an exceptionally entertaining listen.  And leave it to these smarmy bastards to add some significant saxophone skronk to half the tracks, including what more or less amounts to a saxophone breakdown at the end of “The Wrong Way Home”.  It’s just another layer of insanity on top of the already caustic music.  I friggin’ love this band and if this is any indication of what’s to come I’m even more excited.  More sax skronk!  More lumbering bass!  More wild guitar feedback! (Exploding InSound)

 

BOTHERS, “II”

It’s been awhile since Portland’s Bothers surfaced.  Apparently, this record was finished nearly two years ago and in that time the members of this formidable punk band started other bands (that kind of sound a bit like Bothers), and then quickly dropped this one on listeners.  In all honesty, I thought they had broken up.  But nope, they were just hibernating.  So where I felt like the bands first LP was fast and dirty punk mixed with some of the guitar-pedal love of 90’s post-hardcore this record seems just a little slower.  But, like, just a little.  And it really does sound a great deal like members previous outfits (Glass and Ashes and Young Livers most notably), which is not altogether a bad thing.  Maybe make it just a little darker and harsh overall.  When a songwriter(s) have a certain style it can be difficult to escape it.  I don’t think these guys are trying to re-invent the punk/hardcore wheel by any means or alter the type of music they’ve created in the past, I think they’re primarily playing to their strengths which they show off on this second record.  And they do it well.  Now they need to get out of hibernation mode for real and play some more shows. (Dirt Cult Records)

 

FULL OF HELL, “Aurora Leaking From An Open Wound” 7”

I had no idea this was a thing that existed either, but apparently the band pressed this 7” themselves and only had it on their recent European tour.  But not to deny the rest of the world you can get the digital version and keep up with all things Full Of Hell.  Honestly, I’m waaaaay into this.  Full Of Hell has grabbed my attention more and more with each release as they deftly weave in and out of various extreme style of harsh music.  Their last couple releases threw grindcore, death metal, noise rock, and crusty hardcore into a blender and made it all work naturally.  On this 7” all three tracks move a little slower, do great stuff with sludgy metal and noise rock and a bit of Converge, and then even throw in a nice bit of saxophone on “Blinding Erasure”.  I, for one, would love to see them continue in this direction.  But you know they’re just going to keep throwing whatever the fuck they feel like at audiences and convincing everyone all this weird shit together makes total sense.  They’re great at doing that.  I highly recommend this little slice of extremity. (self-released)

 

RADIATION RISKS, “Welcome To Bad Boy City” 7”

A number of years ago this band jumped on a show they totally did not at all fit on, but they managed to pretty much blow away most of the other bands on the bill.  I was familiar with the cats in this band, but not their band.  They all showed up looking like a mix of extras from “Decline Of Western Civilization” and Dr. Teeth and Electric Mayhem…  and that’s what it sort of sounded like if you combined those two.  Think super short, fast punk songs with clean guitar, and wild saxophone and organ.  And I don’t mean that in some sort of chaotic, avant-garde highbrow mess.  I mean all their stuff had a classic wild punk feel, every song sounded like a 90-second party.  I kind of lost track of this particular endeavor, but I guess they ended up touring quite a bit and are now finished.  However, before calling it a day the band decided to lay down their last 7 songs (in all of 11 minutes) and had the one and only Mike Tommyrot draw up an absolutely sick cover and threw it all on a 7”.  Sadly, this release is lacking the sax and organ, which definitely takes away a bit from the fun, but I’m always impressed by what these creative folks do, whatever band it may be.  From the wild minds behind bands like Alpha Hopper, Science Man, I Object, and Brown Sugar so you know it’s got some flavor.  I’d start with their full length “Strawberry Quick” and go from there. (SwimmingFaith/ Feral Kid)

 

SEAXES/ IRON LININGS, “Die Twice” split 12”

Pairing up a couple of Midwest’s newer, yet already very promising, bands this split expresses a couple different sides of loud and abrasive rock music.  Seaxes are a noise rock band from Chicago so Jesus Lizard are inevitable.  And like those legends Seaxes use taut, tight rhythms while still going completely off the rails with their crazy sound.  Things only heat up as their side moves along with the last two tracks- “Ball Peen” and “Sand” taking the cake for most adventurous and wild tracks, the latter careening towards a violent horizon as it closes out with nauseating slide guitar across what sounds like a never-ending fretboard.  Iron Linings hail from St. Louis and follow up with five new tracks after a really awesome demo earlier this year.  They lay down a thick and lumbering groove (which lends itself to some truly pulverizing chunky sections here and there) throughout that recalls regional contemporaries such as Bummer and Nerver, while adding a bit of that Midwest melodic flavor that I can’t exactly pin down.  But I know it when I hear it where they’re exploring the roots of some of that area’s heavy alternative scene from the 90’s betwixt their big riffs. (The Ghost Is Clear)

 

SWEET COBRA, “Threes”

This record has been sitting on a shelf for a couple years as the world got weird and finally, it’s out there for all to enjoy and I couldn’t be happier.  Sweet Cobra has always been an impressive band.  They’ve been at it for a long time and I initially got into them due to the members previous (well for awhile, coinciding) band Suicide Note.  Sweet Cobra ply a similar trade in that they’re a ‘heavy’ band that completely fuck with the concept of what they’re supposed to be.  Sure, they started out a lot sludgier, and from a punk background.  Over the years they have tried their hand at various songwriting styles and I think things truly peaked on their last full length, “Earth”, which moved in a lot of different directions yet remained exciting, vibrant, and energetic throughout.  On “Threes” there seems to be a decidedly overall more chill vibe with an emphasis on the studio and recording versus just how ass-kicking something will sound live.  And there’s no shortage of names handling the recording and mixing duties from Matt Talbot (Hum), Alan Epley (Shiner), and Kurt Ballou (God City/Converge).  So yeah, it sounds great.  While opener “Coats” is a faster, rhythm-oriented rocker and “Least Worst” stomps around, and “Melted” quickens the pace even more it’s tracks like “Cave” and the poppy meditation of “Bring Them Water”, or the ballad-esque “Alive On Arrival” that show the band taking their time with things and laying some focus on the vocals and harmonies and it all sounds pretty great.  There’s a bit of a Queens Of the Stone Age, “Songs For the Deaf” sound between the thick bass and vocals, minus a bit of the boogie and cocaine, but I like to think Sweet Cobra is their own thing more than ever these days.  They may not be nearly as active as they were years ago, what with members other obligations with Cloakroom and adult lives going on, but I’d love to be able to see these dudes again on a stage and hear some of these songs.  This is a great addition to their catalog and if you haven’t ever heard them give this and “Earth” a spin.  (Hawthorne StreetRecords)

COLONIAL WOUND STREAM FIRST SINGLE FROM DEBUT LP, PRE-ORDER UP!

 

Today the first single from the new COLONIAL WOUND full-length "Easy Laugh" makes it's debut via Axe To Grind Podcast!  You can check out "Altar Of Youth" through thee (yes, 'thee') hardcore podcast, and then swing over to the Hex Records bandcamp to pre-order the record.

As you can see above, there's a few different versions to choose from so go to the store to check them out.

Digital and CD versions will be out on 12/9/22 with vinyl expected to ship by February.  So what are you waiting for?

Colonial Wound began in 2018 by bassist/vocalist Dylan Mikos (also of Good Fight Music heavy-hitters Yashira), drummer John Edwards (touring drummer for Kylesa), and guitarist Ben Clifton.  While they had a healthy scene of heavy music in and around their home of Jacksonville, FL to inspire and provide camaraderie Colonial Wound was aiming to do something noisier, uglier, and more disturbing.

The initial result was an EP that was self-released digitally before Detroit-area label Dropping Bombs pressed it onto 12” introducing a sound that had as much to do with crushing grooves a la Coalesce as it did the off-kilter guitar antics and wall-of-noise heaviness of groups like Engineer and Botch, combining lumbering hardcore and noise rock into a singular sludgy entity.

Not too long after the band added vocalist Jeremy Atkins to the lineup, making the group a 4-piece and they released another EP, “Degradation” on the New Morality label showing off their revised lineup.  The music remained just as heavy and punishing while further showing off the band’s creative side with a photo zine accompanying the record (the first 12” featured a silkscreened B-side).

And now comes their debut full-length “Easy Laugh”, coming this winter on Hex Records.  They lay down 9 tracks of immediate, crushing heaviness, full of the sludgy metallic noise rock that turned heads on their two EPs and now forged to perfection here.  In less than a half-hour they deliver the goods with one relentless hammering after another.

NO COAST 2022 WRAP UP!

 

Let me just start off by saying the month of October was exceptionally busy (and exhausting) for yours truly.  Started off with a trip to Colorado and experienced the effects that being 10,000 feet up for a few days has on one’s body.  From there went straight to New York for a week to visit family and also played a weekend full of shows with Dialysis (screaming and jumping around for three days straight after not doing that for over three years can really wear you down).  Once back in Portland I barely had time to slow down and collect myself before flying down to Texas for the annual No Coast Fest at the end of the month…  which brings me to now.

I’m tired.  But I am going to rally in order to regale you with the events of this year’s fest, which was a hell of a good time.

 

DAY 1

I had to get up stupid early in order to catch a flight down but was able to catch some zzz’s on the plane.  Once in Dallas I met up with someone I connected with to share a ride into Denton (it’s about 30 miles south of the airport).  I stopped by the spot I was staying at, a solid 2+ miles from the venue, so I just walked from there to the show.

Immediately upon arriving I ran into a bunch of people I hadn’t seen in ages and that’s one of the best parts of this thing- seeing tons of old homies, bands and otherwise, that I rarely ever get to catch up with.

But you all want to hear about the bands…

T-Tops opened the whole thing up.  They delivered some rock solid riffs, burly and chunky and not a bad way to kick off the weekend.  Their bassist looks like Taika Watiti.

Bring on Bummer.  I’ve got to say, if you’ve ever seen Bummer you know what an audio ass-whooping they lay down.  But if anyone was at No Coast last year you know just how awesome they were.  To me that was the best time I’d ever seen them as there was a vibe in the air, like ‘yes, we have arrived’ and everyone knew it.  This year was just as sonically crushing but it lacked a little of the crowd energy from previously I thought.  Also, they were acting like it was their last show.  C’mon, we all know better.  You all got like two records worth of stuff recorded.  Get it out there, play a couple shows, and give the people what they want.

                                            Cherubs
 

Cherubs were a semi-late addition to the fest, but not a single person is going to complain about the pride and joy of old-school Texas noise rock.  I friggin’ love Cherubs and was happy to see them again, even if they rarely ever play the songs I want to hear (why no “2 Ynfynyty” tracks? ) and often go with a lot of their more trippy spaced-out craziness rather than the ham-fisted dirges.  They also seemed a little rusty, but hey, they haven’t played a show in a few years and this was the first live performance with new bassist Pete Shore (as in, the OG Unsane bassist Pete Shore), who definitely looked like he was out feeding pigeons in the park before their set.

Young Widows closed out the night ad while I always know exactly what I’m in for whenever I’ve seen them it doesn’t change the fact that every time I’ve seen them they execute their songs perfectly, sounding precisely like they do on record, just a hell of a lot louder.  And I haven’t seen them in like 6 years or something.  But they were incredible as always, mixing in a few songs from the last three records (I’m pretty sure we will never hear “Settle Down City” tracks ever again).

                                            Young Widows, good to be back
 

 

DAY 2

It was crappy and rainy all day, which I’m used to living in the Northwest, but I was sort of hoping to get away from that and into some warm, sunny weather that I know Texas has in spades.  So what gives?  It definitely put the kibosh on doing fun, outdoors stuff.  So my man Steve, who was helping me out all weekend with the Hex Records table picked me up and we went out to Spiral Diner for breakfast because it’s right near the venue and has basically been my go-to spot the entire weekend.  You noise rock weirdos and your crappy Waffle House.  Get some actual good food and go to Spiral Diner when in the DFW metro area.  Then we drove around for awhile checking out Recycled Books/Records and a couple other spots before getting to the show that evening.

The intention was for bands to go back and forth this evening between the indoor stage and the outdoor courtyard stage, but due to the rain only us distros, labels, and band merch folks were out there…  under a quite large awning thankfully.  The intended outdoor bands played in the nook of the bar area on the floor, which was not at all ideal, but ended up being kind of awesome when they got rowdy.

The first band I really caught today was Big Hand/Big Knife who I’d heard a little bit of and was quite intrigued.  I was curious how they were live and I was thoroughly digging it.  It had some math-y parts, but almost buried under big piles of heavy grungy sort of racket.  They seem a little shy with their online presence so here’s hoping they get their new stuff out there a bit more because I don’t have a working tape player.

                                            Neckbolt's handy use of a stage chair
 

I was curious about Neckbolt as well because the music I heard wasn’t necessarily doing it for me, but Bill from Exhalants is in the band and I wanted to give it another try.  Live it was really cool though.  The weirdness definitely comes from the vocals as their singer used a bunch of pedals and stuff to manipulate his voice making for some really oddball layers to the music.  And yeah, musically it was in the realm of post-hardcore rhythms meets bizarro rock in the realm of Editrix or Big Ups.

Hammer Party I had been a bit dismissive of when I first heard them and it just wasn’t connecting for me.  But when they played on the floor in the bar it was a totally different story of intense riffs, mean-sounding heaviness, and some burly vocal intimidation from the frontman who looked like he could have been a gang member extra from The Warriors.

I’d known about the band Microwaves for some time, but had no idea what they sounded like.  Seeing them it was off-the-wall semi-metallic wildness and lots of abuse of their instruments.  It turns out one of the members was in Creation Is Crucifixion and we talked about Pittsburgh stuff for awhile and Hellfest memories.

OK, I’m biased, but USA Nails had the best set of the weekend.  It’s not like I’d been waiting 5 years to see them or anything, or that they played on the bar floor to a manic crowd and dished out a dozen songs in about a half hour.  Or that I put out two of their records.  Basically everyone in attendance agreed that they completely killed it and hopefully they get back here again soon.  They’re all lovely people and extremely gracious too and sound awesome live.

                     USA Nails- was having too good a time to get any decent pics
 

I’ll admit to not being in Psychic Graveyard at all.  I mean their music is sort of intentionally annoying, I get it.  But watching them live was definitely a spectacle as their singer gravitated around dudes with noise tables on either side (instead of guitarists) freaking out with their buttons and knobs while their drummer provided a steady pulse to the anxious-frenzied mantras.  It’s cool to see for sure.

Child Bite was another high up on my list to see because a) it’s been awhile, and b) they always put on an incredible live set.  They also played on the floor and took total advantage of that by heavily engaging with/fucking with the audience and just going off as hard as humanly possible with their thrashy punk freak outs.  It was loud, abrasive, and fucking wild.  You all need some Child Bite in your lives.

                                            Child Bite and multiple microphones
 

Tropical Fuck Storm closed things out and I’d never seen nor heard them, but was familiar with the name.  I guess I didn’t know what to expect and I’m not sure what I ended up getting.  They covered The Bee Gees if that tells you anything.

It was great catching up with people late into the night and then walking back to my place in the cool night.  I also found $20 on the pavement during my walk so, ya know, bonus.

 

DAY 3

Did I mention this fest was four days long?  I think that’s kind of pushing it for a man my age (or, should I say, half the people there), but I digress.  I started the day with a little walk up to the university area to get some coffee and grab some tacos from Pequitas and also found a little vegan grocery store that made killer subs.  Denton is a small town but has surprisingly numerous vegan options in town.  Would recommend.

Also, a lot of people seemed surprised that I spent most of my non-show time in town just walking around but it gives me the chance to see things I would overlook were I in a car-  a turtle swimming around the aqueduct creek, a possum late at night scooting around almost oblivious to me passing by, various turkey vultures about four times the size of crows just hanging out in people’s suburban yards, and, of course, trying to make friends with every cat I see.  Denton is also full of super cute, picturesque houses and neighborhoods and between those, the little neighborhood farmers market, or the Halloween-themed street fair in downtown it was nice just being on foot.  Tiring, but nice.

So before the show I went for a run.  Yeah, I brought my running gear with me on this trip, what of it?  It was kind of cold out though so I kept it to about a half hour.

So today they were able to do bands indoors and outdoors like originally planned and it made things run pretty smooth overall.

                                        Chicago's own Heet Deth
 

Heet Deth opened things up with some hot rock action as the duo had matching outfits and face paint for their set.  Props for committing to the act the entire rest of the day by keeping the make-up/outfits going too.

Venus Twins kind of got off to a rough start by freaking out right when they started causing something to break or malfunction and delayed things a bit.  But I gotta say, excellent drumming throughout.  I also admittedly didn’t realize the duo were actually twins until the next day when they were standing side by side.

I took a little food break and then watched New Primals.  I’d seen them before and they were great.  Admittedly I was initially skeptical because they are one of the wackiest-looking bands you’ll see and I thought they were going to be one of those groups that puts fashion ahead of the music.  But they’re all exceptionally excellent musicians who very much go off when they play and honestly, as striking as their image might be it takes a back seat to how good they are live.  They kind of go for that sassy-chaotic punk thing, but way more interesting.  Extra points to the drummer who played most of the set while wearing a trenchcoat and just killed it.

                                        New Primals getting all colorful
 

I was very curious to see Bulls.  They released a very good record a couple years back and then went silent.  I think they were sort of broken up so this show was either a reunion, or a formal last show of some kind.  They pull from that classic Midwest indie sound a la Mercy Rule, Germbox, Boys Life, etc but with a layer of heavy noisiness to compliment the plaintive emotive parts.

                                                    

 Bulls (please play more music and make new records)

 

Bend, Oregon represent! The Kronk Men made the journey from central, OR’s high desert to crank out their instrumental power jams.  A little Keelhaul minus the metal, some prog minus the jerking off.

Oh man, my eardrums were not ready for the crushing heaviness that was The Grasshopper Lies Heavy.  Monstrously heavy.  They began pulverizing the audience without warning or hesitation.  I love that they just go for it.  Also, 2/3 of Pinko were holding down the rhythm section so I got to hang with those homies for part of the weekend too.  Tight.

    When your sneakers match yr guitar cord.  The Grasshopper Lies Heavy color coordinate.
 

Child Abuse was a band I knew nothing about, but looked like the bastard spawn of Voivod mixed with future bounty hunter warriors.  Apply that look to sick metal and grating noise and you get Child Abuse.

Man, Big’n has been around forever on and off always keeping a mysterious low profile, despite how incredibly energetic and super tight they are.  So this was a real rare treat getting to see them.  They lay down the well-worn Chicago noise rock in it’s purest form- tight, precise, vicious, and heavy.  They were fucking great.

                                        Big'n really know how to lean into things
 

The last time I saw Protomartyr was in a tiny music store to about 10 people and that was a long time ago and I thought they were really dull.  Now I ‘get it’, but it doesn’t entirely translate to being my thing.  It’s definitely music for a certain mood and I think that mood involves being an alcoholic English professor who chain smokes at foggy piers while contemplating their third divorce.  So, you know, not my world but good at what they do.  I realized later that the very suburban mom-looking person playing second guitar with them was Kelly Deal (of The Breeders) after seeing numerous people go up to her later asking for a picture.  I would have never guessed.

Metz closed things out and my review of them is…  duh, it’s Metz.  They kill it each and every time.  They are consistently one of the best (and energetic) live bands on the planet.  If you’re not having fun when they play then you’re probably a Republican or something.  They had to cancel a bunch of shows leading up to this but they still came down from Ontario just to play and that’s awesome of them.  Great guys, great band, never a dull moment.

                                        It's Metz!  Get wild!
 

 

DAY 4

Last year when I was here I had this great experience on my last day in town where it was beautiful out and I went down to Spiral Diner in the morning and had breakfast on their deck with the sun on me and just soaking in the day.  So I wanted to replicate that this year, which I did because it was once again really nice out.  And then I ran back to the place I was staying because I like going for runs.  So not a bad start to the last day of the fest, despite by all accounts I ought to be completely exhausted by this point.

So once at Rubber Gloves it was very clear that opening band Strays had an unenviable task ahead of them- be the opening band at a matinee show on the last day of the fest.  No one wants to open Sunday afternoon of a fest.  Everyone is tired by then.  It’s quite possibly the worst slot you can get.  So Strays did their best stoner-doom riff freak out to wake the neighbors.

Almanac Man brought some people in by this point though as the Denver dudes laid down some mathcore vibes but more on the heavy rock side rather than just goofing off on a fretboard.  It’s cool stuff that’s pretty hard for me to describe.  It just rocks, how about that?

I’d never heard of Pollen (this one anyway, as there’s probably at least 6 other bands with the name at any given time) but they brought some wild and spazzy Q and Not U style that was a little more on the math-y side and with really great drumming.  Neat!

If the first part of the day was a little less heavy the second half, kicking off with BLK OPS, was dense on the metal side.  These locals did a whole power electronics meets double bass pedal, heavy fucking metal.  It was evil man.

                                    Moon Pussy can limbo way better than you
 

Moon Pussy were fun to see again.  They’re doing good things and are wonderful people.  They write really strange songs with totally unique sounds, but it all still kicks ass.  They got a great reception again this year and had some great between-song jokes to boot.

Everyone was hyped to see Chat Pile.  I guarantee there were people who showed up this day just to see them.  I was also curious because I missed their set last year.  So I witnessed the hype.  I really dig the new record and hearing some of it live was cool.  The bass dominated the sound though and essentially controlled the room while the guitar was a little on the quiet side unfortunately.  Their singer sort of just paced back and forth while they played but had some really funny banter though.  Overall they were pretty good.  They most definitely brought the push-mosh.

KEN Mode closed things out for the weekend and they’re so freaking professional it’s ridiculous.  They sound amazing, they all have their sound perfectly dialed in, and it’s absolutely crushing.  The new stuff from “Null” sounded menacing as fuck.  The addition of the saxophone and synths/electronics was awesome as well.  It was a good way to close things out because if you weren’t completely exhausted after that then you really have problems.

                            KEN Mode's alright if you like saxophones
 

I got a ride up to DFW afterwards because my flight was again so stupid early it just made more sense for me to camp out in the airport overnight.  But ya know, long layovers between flights really made a ton of sense.  So here’s to completely screwing up my body clock and the next couple days trying to re-set and decompress right?  It’s all for a good cause I guess.  I was able to see so many faces I hadn’t seen in forever and make some great new friends as well in a very fun and joyous environment and that goes a long way.  Gotta give an extra big shout out to all us old label dudes who got to hang out and support one another throughout the weekend- Bobby at TGIC, Chris at Reptilian, the folks from Skin Graft, and Lee from No List.