MUSIC FOR MOVING

 To say it's been a little busy around here would be an extreme understatement.  I spent the last month moving (it was only a few miles but I have a lot of stuff) and getting Hex Records all set up in a space I can call my own (my garage), AKA not renting, AKA I own a home now.  So it's made it a bit difficult to write about all this stuff, but I certainly have kept my ears occupied with plenty of new music while I spend countless hours ripping up carpet, washing and painting walls, and organizing and re-organizing amongst other things (like a day job and assorted ridiculous tasks I never thought of before).

So here you have it:  this months reviews of new stuff.  There's plenty of mind-bending bangers here to check out.

CHAT PILE/ NERVER, “Brothers In Christ” split 10”
It’s cool when a band that’s getting a heck of a lot of attention throws a bone to a smaller band and gives them a platform to an audience that would otherwise likely never hear them.  I’m talking, of course, of midwest noise/riff rock giants Nerver shedding some light on the otherwise unheard of Chat Pile.  Sure, sure, you all had “Cash” spinning on non-stop rotation last year as evidenced by your blown out stereo speakers and permanent hearing damage caused by their tectonic riffs and balls you need a wheelbarrow to cart around.  They only give you two new songs on this, but hopefully it’s enough to satiate the salivating masses for now.  But try lending an ear to the young guns in Chat Pile, until now virtually unknown despite having a couple EPs and a full length to their name.  Maybe they’ve made a video or two, who’s to say.  But their two contributions here err on the weirder, oddly melodic side.  They don’t rely as much on the huge guitars or negative energy of their LP, though that subatomic bass sound remains present.  Think of some of the more creepy and morose tunefulness of old Sonic Youth and pair it with, I don’t know, Godflesh and you’re getting close on what they’re offering here.  Who knows, maybe someday they’ll get somewhere. (Reptilian/ The Ghost Is Clear)

FACS, “Still life In Decay”
I remember hearing some bits from this band a couple years ago and was dismissive probably because I just didn’t have the time or attention to give them that they deserved.  I saw awhile later they were opening for the mighty Metz and was thoroughly bummed because of my previous not-so-great impression from before.  Of course, that’s all on me because I’m an idiot.  For when it came time to see them open said show I was pleasantly impressed and decided I needed to re-think my life (or more specifically, my feelings about this band).  Facs are indeed a band that takes time and patience.  Their songs are generally loner, more drawn out, and use minimalism to get the point across.  But when the payoff comes it occurs in a big way.  There’s a rhythm section here so tight you need a pry bar to loosen it as they make an art out of subtle and clever repetition while the guitar paints a landscape through a combination of feedback, or clean melodies, or shimmering washes of noise sprinkled with dancing ice beads from a hidden cave.  Or something.  Facs are minimalism and experimentation taken to it’s apex while still retaining a strong sense of hook and melody, just done in otherworldly ways that requires the listener to sit down for awhile and just tune in. (Trouble In Mind Records)

HIRS COLLECTIVE, ‘We’re Still Here”
The approach Hirs take is wild.  As a general practice punk has always pushed things to the edges.  It’s not for everyone.  It finds the most disaffected of us, outsiders music, and thus pushes away most of the world because the whole idea is to get away from most of society.  But Hirs bring everyone in.  And I mean everyone.  For a group whose politics, extremely abrasive music, and near absence of names/faces to put with the actual members they could take the obvious road and go further underground and turn their noses up to anyone attempting to ‘get’ what they do.  But no.  Hirs invite everyone into their world and embrace the world despite the obvious powers that seek to keep people down and often make life miserable.  And get this- it’s fucking awesome and exciting!  While their old material inserted a good sense of humor to go with the heaviness more recent efforts focus on innumerable guests throughout the 17 tracks of crushing grindcore/hardcore on this particular release.  Going from Dan Yemin yelling about cops on “Public Service Announcement” (I’m pretty sure he wrote the lyrics as well), to completely switching gears with Ghosh rapping their ass off on the hiphop/hardcore hybrid on “Judgment Night” directly after that, and then swinging  into the bizarre as fucking Melt-Banana inserts their pop-grind vocals and broken video game sounding guitar skrees into “XOXOXOXOX” this record is at once all over the place yet completely cohesive in that it’s a manic ride of grindcore madness orchestrated by a couple of people laying the foundation while everyone and their mothers adds their bit.  It’s really quite a feat.  I’m not going to even attempt to list all the guests here but I can’t even begin to fathom how much networking and scheduling that all takes while composing the music, recording it on their own, pressing the record(s), running the label, and booking numerous tours and doing it all exceptionally well.  Give it up for Hirs- fucking with the establishment by dragging them into the fold with a hug and a smile and turning them into moshing, cop-hating anarchists. (Get Better Records)

HOLY FIGURES, “New Superstitions” EP
I was initially drawn to this band having seen that they did a Jawbox cover (yes, of course it’s “Savory” and I implore other bands to choose any of the, like 100 OTHER awesome songs Jawbox has should they opt to cover them), which is generally a good sign.  While this is a short EP at only three tracks including the cover it gives a nice indication of what Holy Figures set out to do.  In some ways I would typically be turned off by a band such as this because I’m not a big fan of vocals sung in this way.  But I can’t deny it’s super catchy and I’m a sucker for big riffs.  The first song starts out immediately with a punch and continues throughout the track while the second takes a less direct approach and, honestly, lacks a bit of the immediacy of the first.  It’s a minor detail, but I also appreciate that there are basically no breaks between the songs which adds a dash of urgency to a band that otherwise seems to use space, which can get a little plain if used too much.  So it’s a nice way to pace things. But if your big into bands like the heavier side of Far, and the easily-relatable sensitive-dudes-with-beards rock of Balance and Composure you’d probably want to give this a whirl. (New Morality)

PORTRAYAL OF GUILT, “Devil Music”
Portrayal Of Guilt is a consistently engaging band because they are not only quite prolific, but they also take chances with each new release.  Their “We Are Always Alone” full length found the band laying down a very solid, very heavy record in their own way and then they quickly followed it up several months later with “Christfucker”, which is an album I still find kind of tough to digest as it sounded so freaky and weird and disorienting compared to much of their other material.  And now with “Devil Music” the band lay down 5 new tracks that sort of find an in-between of the haunting strangeness of the last record and some of the more heavy (whether it’s the black-metal tinged “Where Angels Come To Die” or the more straightforward and brief “Burning Hand”.  But what’s this?  Not only did they drop 5 awesome new tracks but they did alternate takes of all 5 songs with orchestral strings, brass, and acoustic bass (and minimal drums) in place of guitar and heavy drumming.  It’s honestly almost better.  At the very least it’s incredibly interesting.  In fact it all sounds like the soundtrack to some creepy-as-fuck artsy horror movie.  Oh, guess what?  They made a 15 minute weird and creepy horror type movie to go with that side of the record.  So you know, it all fits.  Good on this band for consistently pushing the envelope and trying new things, the effect of which is usually pretty awesome. (Run For Cover Records)

SCIENCE MAN, “Minces Cane”
Science Man are back with more insane punk music for those of you who get off on drinking homemade hooch and then climbing utility poles at 3AM to fuck with the wires so you can steal cable just to be able to say you did it.  Once again primary culprit behind these criminal jams John Toohill has crafted some unique ways to experience this new record- it’s 7 quick songs so there’s a 7” version.  There’s also a limited 12” version (repeats on both sides) with utterly insane artwork inside that’s freakishly elaborate, confusing, and unsettling all at once (it’s really the selling point for me), as well as a VHS format as every song here once again has a freaky video to go with it.  The same concept (minus the 7”) was in effect for their last full length “Nines Mecca” so this is really a continuation of that.  And it’s a worthy follow up, even if it relies on a similar concept/execution because that last record was one of the best damn punk records I heard all year and the accompanying videos were really wild too.  I’d say “Minces Cane” sounds even more raw and unhinged.  None of these songs hit two minutes and “Magnetic Death” may be the shortest and most hyperactive of the lot, while next track “Galaxy” takes an in-and-out bobbing back-and-forth like some sped up demented waltz.  Science Man will make you nervous, anxious, probably a bit sweaty because you can’t stop running in circles lighting shit on fire. (Swimming Faith)

SCOWL, “Psychic Dance Routine” EP
In the last year or so Scowl has received so much hype they could bottle it like it was tap water.  Awhile back, based on this non-stop chatter about them, I gave their debut full length “How Flowers Grow” and found it be…. competent?  I guess that’s all I could say.  It was well-played punk/hardcore but nothing terribly special.  Scowl’s strength came from their wild lives shows, undeniable live energy, and vocalist Kat Moss’ killer style.  So it’s nice to see on this new EP that they’ve expanded their musical palette and honed the skills they already have to make a 5-song collection that’s a bit more exciting to listen to and I imagine will completely destroy on stage.  Three of the tracks continue down their furious southern Cali hardcore style- fast and malicious with killer breakdowns and lots of energy.  The other two tracks throw in what could best be described as a hardcore/alternative rock hybrid?  Moss gives a shot at singing on these tracks and the result comes off like Babes In Toyland, or Hole with a pot of coffee in them instead of downers.  It’s a great step forward for this band, even though at this point they hardly need anything more to prop them up.  Personally, I hope they keep this up.  (Flatspot Records)

SSOLD, “Passionate Horse” EP
A new EP from Portland-based noiseniks Ssold?  Sure!  Their last release was a pretty ugly ride, but carried some less-distorted tunefulness.  But I’d say that not only does this EP sound better on the whole, but also goes all in on those ugly sounds to be downright repugnant.  The bass goes from filth-encrusted rumbling to Jesus Lizard quick-picking and rubbery runs.  Musically Ssold share a great deal in common with the mighty Pissed Jeans, particularly in the vocals (though the music isn’t too far off the mark either).  While Ssold has been in effect for a just a few years their members lineage spans decades between stints in bands like Rabbits, The VSS, and more.  This is a bit closer to Rabbits material sonically, but it’s all just rowdy and ugly punk music so smash your head against rotting drywall in celebration. (self-released)

TUNIC, “Wrong Dream”
I realize that in the Canadian midwest there’s not a whole lot to do, which is got to be at least part of the reason Tunic are on tour so much and so prolific as a band.  They have released a new LP literally every year for the last 3-4 years, as well as additional material (some of which has been released, some hasn’t) and while their catalog has consistently erred towards short, fast punk songs with a sort of nervous energy and high anxiety it don’t mean this trio is a one trick pony.  Just to prove those who might say such a thing completely wrong take their newest full length, “Wrong Dream” as an example.  Sure, they still know how to write a brief and speedy punk ripper there’s plenty more going on where they’re trying new things- such as the more drawn out and creepy “Protected” that eventually culminates in a huge and explosive second half.  Or take the post-punk minimalism of “My Body, My Blood” that relies on a rolling drum beat and vocals for a chunk of the song and a strange and pretty melody for the chorus.  Meanwhile, “Whispering” may be the catchiest tune of the record if you consider a clanging guitar for the verse that sounds like a fire alarm to be catchy.  Wait til you hear the chorus though, it’s a fun exercise in a slippery melody and propulsive energy.  However, it’s the final track, “Empty Husk” that truly shows the band taking strides as they stretch the track out through a slow burn that moves into an ending with a repeated chorus, piano, and what sounds like slide guitar.  It’s definitely the most out-of-character the band has been and it’s a really cool gamble to take that pays off.  Consider checking Tunic out if you haven’t.  Give one of the older records a try and then check this out for the difference.  Either way, you can’t go wrong. (Artoffact Records)