Where else ya gonna find both Pile and Obituary reviewed in the same column? You're not gonna find that elsewhere pally, I'll tell ya that. There's a bunch of randomness happening here this month- metal, experimental stuff, indie rock, brand new bands laying it out for the first time, old heads coming back with great new material, reunion dudes, and bands from overseas. So if anyone ever tells ya you're not open-minded with music you just go and tell them you follow the Hex site and that'll shut 'em up but good.
HOURGLASS, “Atomic Clock”
This is a super random reunion that one would not expect, mostly because I’m presuming at least 75% of people reading this are like ‘Hourglass who?’ For the unfamiliar Hourglass were a mid-90’s Buffalo hardcore band that, at the time, were pretty unique in that they added a good deal of chaotic craziness to their music. All they have to their name is one awesome 7” and a split and that two of the members went on to play in Buried Alive (who are doing their own reunion thing). So for a band such as this to maybe do a reunion show or two to rekindle old friendships and get some local excitement going is one thing. To make new music some 27 years after an already brief discography is quite another. Additionally, the only original members playing are the guitarist and vocalist. So they could, in all honesty, just form a new band. But that’s neither here nor there. So what do you get on “Atomic Clock”, basically the debut full length for a band that took over 20 years to put out an LP? Surprisingly this sounds quite a bit like their early material. It’s sometimes grooving, frequently chaotic, and definitely kind of weird. Their old stuff was lyrically way more evil, and the vocal range here is a bit more varied and a lyrically a lot weirder. Such is the difference between someone probably just about legally able to drink versus a middle aged adult, there’s going to be changes. Musically it does hold up pretty well though and gives fans of stuff like the pummeling 90’s hardcore of Groundwork and a bit more modern style with no boundaries, especially in some of the odd twists and turns the vocals take. (Council Records)
GREAT FALLS, “Funny What Survives” EP
So not too long ago Great Falls recorded a new full length and had a few extra tracks leftover. For starters, this is the first material recorded with new drummer Nick Parks (also of Gaytheist). Second, I’m flabbergasted at how a band such as this makes such intense, vitriolic, and complicated music in such abundance as to have, oh, just a few extra tracks laying around that absolutely crush. Like, the music is already hard enough to comprehend how three people can just write stuff this insane, bringing in a new drummer amongst the process and lay it all down like it’s no big thing. For fucks sake, this should be illegal. At the very least it makes most bands who claim to be ‘heavy’ and ‘intense’ appear chill in comparison. This is the kind of stuff that makes Immolation sound like The Promise Ring. So to get on with this review…. Great Falls are often either ripping face at an obnoxious speed with tons of part changes, or they’re painfully dragging out the ugliest sludge torture across the entire side of a record. This is the former. Three songs, about 6 minutes and a taste of what’s to come on the full length (which you’re going to want to get when it comes out). The drumming is indeed ferocious, the groove is ugly and too off-time to actually qualify as ‘groove’ I guess, and throat-ripping screaming abounds. Opener “Misery Lights” makes you think it’s going to drag out into a lengthy slow part, but just opts for an ugly and stumbling breakdown thats just grossly unnerving instead of mosh-inducing. But that’s their thing ya know? People who are already fans are going to love this. If you’ve never heard this band this is a great place to dip your toes in, even though the water is infested with piranhas. (self-released)
INKSUIT demo EP
This is a new project from members of Ryoki Center, a somewhat short-lived band from Tennessee that had one awesome full length and then split. This doesn’t really share much in common with that band aside from having some noisy guitars. I just mention it as a point of reference because I really liked Ryoki Center. Anyways, this is quite a shift, experimentally, into pretty different territory. The four songs here have a cold, detached sort of post-punk/industrial feel while still giving plenty of love to disorienting and ugly guitar rock. In place of bass guitar there are heavily affected synths that add a lot of character to the songs, making them feel more alien and, at times (like on “The Moralist”) almost dub-like. Opener “Hugh” is the closest thing here to an upbeat rock song, but even that has a menacing and spooky allure. “Panic Sales” goes for repetition but it’s really the only spot where the low, almost spoken/occasionally shouted vocals that tend to prevail throughout the EP get kind of annoying when he goes for a sort of baritone singing for the chorus. By the time they close with the fairly lengthy “Belfry” it gets weird and uncomfortable, like intentionally. You kind of have to work up to it through the other songs and it’s a good place to close out so you just feel weird and shivering and that’s pretty interesting. I’m glad to see interesting stuff coming from these creative folks and look forward to checking out more. (Self-released)
KING SLENDER, “Gold Days”
I don’t know how this fell into my lap, but I’m happy it did as there are a couple folks in this group who I was familiar with from bands they were previously in like ages ago. So happy to see they’re all still making lots of noise. King Slender have actually been at it for awhile now and have a few EPs under their belt but this is all new to me. They’re described as Drive Like Jehu meets Portraits Of Past and I agree with the second half because I’m really unsure where there’s supposed to be a Jehu vibe here. Still, it sounds heavily influenced by spazzy 90’s emo and I’m cool with that. And in keeping with true 90’s emo ethic this is being released by like 15 different labels, so points for sticking to a trope of the era. If they really were going all in they would hand-stamp the center labels, or have a sloppily silk screened record cover made from other old 12” sleeves turned inside out. But I digress.
The first half lays down a solid foundation of what to expect, but it’s the second half where things get more energetic and aggressive in a very pleasing sort of way on tracks like “Half-Priced” and “Adversarial”. And on “Stint” you get a brief diversion into some exceptionally loud and grimey bass to throw the listener off for a minute. The A-side runs from being melodic and sometimes catchy to rather chaotic, though I guess that doesn’t truly give a clear indication of everything going on here. I’ll just say fans of 90’s chaotic emo dished out by the likes of Level Plane and Ebullition will be pleased and you ought to be able to make up your mind from there. (Tor Johnson /New Grenada/ Killer Tofu)
MULVA, “Seer” EP
Mulva is a new band fronted by Christina Puerto, who has added quite a bit to the most excellent Kal Marks since joining up with them. So maybe as a result a couple members of Kal Marks have returned the favor and are a part of this band. It’s quite a departure though and, quite honestly, I’m unsure if Mulva has found their bearings just yet (and why should they? they’re a new band, let them figure it out, jeez). Some of this music moves at a slower, almost sludgy pace with Puerto’s vocals hovering above it all. The first two tracks, “Heel As Hammer” and “Shouldn’t Fear the Seer” move through sections that go from almost freeform to rocking and stomping parts. However, the second pair of tracks appear to be mostly freeform and meander quite a bit and I find it hard to get a sense of footing. But maybe that’s their point? With two tracks firmly rooted in a particular style that is unique, followed two more that don’t seem fully formed it’s tough to see where this group is headed but I’m keen to find out regardless of how it develops. (Self-released)
OBITUARY, “Dying Of Everything”
I’m hardly the person to talk to if you want to have a stimulating conversation regarding death metal. My knowledge is tepid at best and I can occasionally get down with the genre, but nothing more than dipping my toes in. However, you don’t have to necessarily be into death metal to enjoy Obituary, because I’m aware they’re sort of low-hanging fruit for the casual death metal fan. You can pretty much drop in with almost any record of theirs in their lengthy discography and get a similar experience. I first heard them with “Back From the Dead”, enjoyed it and then kind of forgot about it. Then I grabbed on to “World Demise” (the record before “Back..” ) and still enjoy it some 25 years after first hearing it. And then they released a bunch more records I’m mostly unfamiliar with and here we are now in 2023 with “Dying Of Everything” and it sounds…. like Obituary. Here’s the thing about them though- having grown up with mid-90’s hardcore/metalcore a bunch of bands from that scene need to be paying Obituary some royalties for ripping off so many parts from them. Furthermore, Obituary don’t rely on crazy technical parts or guttural barf vocals (my primary turn off with a large amount of death metal). They could do all that shit if they wanted but tend to focus on a riff and a groove and ride that shit out with wild, evil vocals that you can actually make out what he’s saying (most of the time). So yeah, “Dying Of Everything” is awesome. There’s riffs for weeks on here and so much groove that Ashley Furniture ought to name a factory after them. Listen to “Without a Conscience”, or the title track, or “My Will To Live”, or “Weaponize the Hate” and if by the end of those tracks you don’t suddenly find yourself wearing camouflage pants, your hair grown into a skullet, and moshing wildly in a Crowbar hoodie you’ve completely missed out. There is so much opportunity here to fully exercise your neck muscles. (Relapse)
PILE, “All Fiction”
Pile is already a weird sort of band, but this is by far their most experimental album to date. It’s more of a leap rather than baby steps of progression. And it’s crazy to think that a band such as theirs, who have a relatively large following at this point despite being far from easily digestible pop songwriters, can get even more out there and drag their audience along for the ride and I guarantee nearly everyone who was already a fan will be on board with this too. I myself have listened to this several times over already and am unraveling the weird tapestry they have created here on their seventh album. It’s still the same band because vocalist/guitarist Rick McGuire’s unique vocal intonation is immediately recognizable as is his knotty/meandering style of playing. But they have expanded to a far wider palette of sonic expression using varying synths, percussion that, at times, sounds (or was intentionally recorded this way) electronic, different vocal effects, and pretty much anything else including the kitchen sink (for reference check the first half of “Poisons”, which has all sorts of clanking and banging sounds going on for the ‘beat’). There is nary a song on here that has Pile’s tried and true off-timed and labyrinthe heavy rock, unless you count the second half of “Poisons” where it breaks off into something you could have heard on “Dripping” or other earlier records. While I’ll always be a big fan of the overall approach of Pile- as they truly are one of a kind- and their more direct material I’m consistently impressed and curious with how they push a sound into other realms, surreptitiously invite the listener to try and ‘figure it out’, and leave a lasting impression once things click after the 5th or 6th listen. I’m almost there. (Exploding In Sound)
REMOTE VIEWING, “Modern Addictions”
Generally speaking, when bands use goofy/silly song titles that shit tends to wear out pretty quick, but I’ll give Remote Viewing a pass because naming a song “Watch Me For the Changes” when it’s as glacially slow and sludgy as it is is just good humor. Or “Cleveland Balloonfest ’86” being the farthest thing from a fun-filled family excursion on a sunny day you could get. Though I’d say “Your Opinion Is Wrong” is pretty on point with how mean-spirited and commanding it is. And it’s not like they come off as a novelty act. Not when you open your record with a piledriver of a song that recalls all the riffage of Fudge Tunnel with the slow-motion crush of Godflesh. The band, at varying times, gives a respectful nod to the somber melody of Neurosis as well, but keeping it reined in enough to not be full-on fanboying. So for those downer days when you want soul-mangling music, but also want a little chuckle to go with it this would make for a pretty good choice. (Human Worth)
RIOT STARES, “Sounds Of Acceleration”
This band had released a couple solid 7”s a few years back and started getting a bit of a name for themselves. They went and covered a Cast Iron Hike song, which not only totally surprised me that anyone under the age of 40 actually gave a shit about that band, but they did it really well too. They were well on their way to a full length and then one of their guitarists suddenly passed away and the band went on hiatus. Fast forward a couple years they have decided to finish the work they began and are releasing this full length in honor of their departed guitarist, to see their collective vision through. It’s an admirable effort and a noble undertaking to be sure. However, I can’t say I’m completely on board with the result. Fans of “Progression”-era Snapcase and “Driver Not Included”-era Orange 9mm will shit themselves with glee, though there is an uncomfortable amount of nu-metal/radio rock on here for my tastes. While both the aforementioned strong influences on this band dabbled in that exact same turn off Riot Stares wholeheartedly embraces it. I too have been a fan of bands like Orange 9 and Snapcase and I still like a lot of that, though I realize not all of it aged well. I’d like to think as big of influences as those are upon Riot Stares the best parts of those bands shine through more on the B-side here starting with the very awesome “Dead Issue” as it trudges along at a sludgy trod, while the next track, “Burst”, whizzes by at just over two minutes at a furious pace. I’m a product of the era where these guys draw their influence and I realize they pay homage to it with 100% sincerity, and while I still enjoy that music I realize not all of it translates well today. Still, Riot Stares don’t really give a damn. So they’re gonna do what they do regardless and good on them for not letting a thing they began just fade away. They saw it through and while I’m not hip to all of it there’s enough of it I enjoy to write about it. (Daze)
