REVIEWS FOR JUNE!

I go away for a little over a week and all these killer new records just make it known they exist in a very loud and awesome way.  So I had already been listening to a few of them, and other ones I knew were coming to beat the doors down.  But yeah, did Spring end and Summer begin with a storm of great releases.  Those of the heavy, noisy, and weird variety making some waves for me.  So read on music junkies and behold the lot this time around.

ANIMAL LOVER, “Guilt” LP

People around town kept telling me, ‘you’d love this band’, or ‘this is a band that’s right up your alley’.  Apparently, I have a type.  Well, I finally saw them, and they were right, I do like this band.  They were, in fact, one of the loudest three-piece bands I’d ever seen.  But not in that sort of grating, ‘this is actually punishing’ sort of way.  They had their sound so tight and dialed in, and then just cranked the shit out of it that it straight just pierced my skull.  Not a bad first impression.  Their newest offering “Guilt” is on LP, but it’s only 6 songs so it’s more of an EP than a full length, even though a few songs get kind of lengthy.  And that, I feel, is Animal Lover’s only downside- they tend to jam out a bit too much for a band that has very, very strong comparisons to Jesus Lizard, early Shellac, and Big Black (except with a live drummer).  Their thick, rubbery bass bounces around while guitars skree and grate over drunken yelped vocals…  yeah, I can get into that.  Fuck, even this album is really loud.  These dudes really know how to make a hell of a racket. (Learning Curve Records)

AS YOU WERE #3

Another edition of this semi-new and very awesome comics anthology.  Most of the contributors this time are the same as the last issue, most of them being pretty awesome, a few being total duds.  The theme of this issue is ‘big changes’.  So each artist interpreted that as they saw fit, from comics about punks becoming parents, to simply going from being into one type of music to another, or one’s dwindling frequency of attending shows due to adult responsibilities.  Heck, Liz Suburbia offers a literal interpretation by submitting a story about seeing a band whose music is so gnarly that she literally changes into a giant wolf that consumes the Earth.  The cover is by Lauren Denitzio and, honestly, I don’t get the adulation of her artwork.  This is basically a drawing of a bland living room (the exception being the Mission Of Burma record sitting next to a shelf) and her trademark use of newspaper clippings as a background.  Meh.  Good thing the contents on the inside make this worth picking up.  (Silver Sprocket)

AUSTERITY PROGRAM, THE, “ Beyond Calculation”

Two guys and a drum machine making a lot of noise.  Heck, they’ve been at it for years and are really damn good at it too.  The heirs to the throne of Big Black.  The make no qualms about their drum machine sounding like a drum machine and utilizing it as the machine that it is.  It gives their music a slightly industrial and robotic feel.  Meanwhile, they hoot and howl with grated guitars and nerd away in their studio bunker, making sure every little sound is fine-tuned and labored over to utmost perfection.  Steve Albini fan club charter members here.  Of all their output to date this is probably their best representation to date, and self-released on their own label.  (Controlled Burn)

EYEHATEGOD, s/t

I’ll admit that I have never been an exceptionally die-hard fan of Eyehategod.  I booked them twice- once was an awful experience where I saw their scummiest side upset my naive little brain.  The other was a pleasant experience that had them at their sunniest, apparently coaxed by beer, pizza, and meeting their desired guarantee with no issues.  I only have one of their other records and find most of it to be too fixated on the feedback and noise they love so much.  Yeah, I know.  It’s their thing so why should I complain about it?  Anyway, some 14 years later they bounce back with a fucking vicious slab of sludge filth that finds them at their absolute best.  I don’t know what switch flicked in my pea brain to find this particular record so godamned good after having a half-hearted reaction to the rest of their catalog.  The recording is stellar- it meshes the best parts of their scuzz-sludge noise assault with some harsh clarity to make for complete outlaw, scumbag music.  The band is totally focused and firing on all cylinders, whether it’s the opening punk-infused drive of “Agitation!  Propaganda!”, or the pained stop-start riff-fest of “No One Told Me”.  The A-side has a bit more kick to it overall than the B-side, which works the beaten-down, slow burn feedback downpour angle a bit more.  But whatever, I’ll take it all.  This is truly dangerous music for desperate criminals who have lost all faith in humanity, created by lifers of that exact same lot.  Damaging music.  (Housecore)

GRIDLINK, “Longhenna”

I had planned on reviewing this last time around, but forgot, which is stupid because this is a stupid good record.  So I’m a huge fan of “The Inalienable Dreamless” by Discordance Axis.  It basically sets an untouchable standard for just how weird, inventive, and fast grindcore can be played.  Their vocalist, Jon Chang, has a very distinctive style that I really admired (as well as a totally off-the-wall stage presence if you ever had the good fortune to see one of their rare live appearances).  That being said, he heads up this international grind unit and I’m naturally going to be interested in anything he does musically.  This is actually Gridlink’s second (and, apparently, final) record, which contains the core of his previous endeavor Haiyano Daisuki.  Again, super fast, very slickly produced, and full of wild guitar leads.  It’s like future music for ADHD-riddled video game freaks, minus any electronic elements.  Just the fastest music imaginable, minus any of the sloppiness or scuzz that accompanies most grind bands.  This is played by perfectionists.  So I still like Discordance Axis better but they’re different animals and this is, by no means, a bad turn.  It’s a fitting end to a good project.  (Handshake Inc.)

HELMS ALEE/YOUNG WIDOWS split 12”

So these two bands team up once again on a longer format?  Well, not exactly.  Ben from Helms Alee’s old band, Harkonen, did a split 7” with Young Widows previous incarnation as Breather Resist and the results for both sets current band produce similar results.  For Young Widows they are definitely an album band.  When they do shorter offerings (like 7”s or splits) I feel like they’re pulling from their pile of rejected songs.  It’s not to say the three songs they have here are not good, they just don’t have the heft and same thought-out execution of grand ideas (or as much pedal experimentation) they present on their LPs.  These songs are a bit more straight ahead and rocking than other material they have.  Helms Alee, though, knock it out of the park.  “Punchy Stabby” starts things off with a twisting and knotty riff that carries through this ripper.  “PAN” is next, and offers up the meandering and melodic side of the group, while closer, “Gas Giant” continues the meandering until a massive riff explodes from the ether and swallows the song whole ‘til it fades into oblivion.  The HA side wins this one.  A bit dismayed at the lack of packaging on this sucker.  Just a neat cover drawing, and no insert or info about the songs, recordings, lyrics, or otherwise.  (Sargent House)

HINDSIGHT, “Draining Satellites” EP

If I could call up the meme of the smiling dude with cornrows and add my own text, “I heard you like hardcore, so I put some hardcore in your hardcore to make it more hardcore” I’d place that here instead of an actual review.  It would get the point across.  These are some Pittsburgh dudes who are clearly having a good time revisiting their favorite memories of Trial and other mid-to-late 90’s hardcore styles.  I mean, just get a load of their name and their record title!  I lived through this stuff man, I know my 90’s hardcore worship when I hear it.  If this doesn’t turn your small t-shirt into an XL ringer than you’re not listening.  Regardless, they do a decent job of it, throwing down seven tracks of multiple breakdowns, lots of chugging rocking, and sing-alongs.  You will mosh.  You will (most likely) bleach your hair as well after hearing this.  (Hindsight)

PUP, s/t

Not since the 90’s have I been swayed to see a band or purchase their record based upon a music video as an introduction to their music.  Pup are my 120 minutes (or Headbangers Ball) moment of 2014.  Of course, both videos they have made (which are insane, by the way, look them up) are for two of the best songs on this LP.  Opener “Guilt Trip” rides a swinging beat with a wacky guitar lick looping over it and wild sing-along chants, while the next song, “Reservoir” takes a ripping punk rocker and inserts even more song-along madness to the mix.  From there it gets to be fairly consistent with songs like “Dark Days”, “Lionheart”, “Back Against the Wall” and “Mabu” all having a similar feel- upbeat punk, catchy riffs and licks, and sung/yelled melodic vocals and gang vocals.  Nothing wrong with any of that, but I like the songs where they’re going against the grain and doing something different, like “Guilt Trip” and the painfully beautiful and post-hardcore leaning “Cul-De-Sac” to separate them from the pack.  Nevertheless, Pup are a really fun band that take some of the more fun moments of Weezer and toss them into a blender with bands like Flatliners and Fucked Up.  (SideOneDummy)

YOUNG WIDOWS, “Easy Pain”

The A-side of Young Widows fourth LP may be some of the best stuff they’ve ever done.  Each of the first four songs is a separate, awesome entity.  “Godman” opens things up with a huge, crushing collapse of haywire intent moving at sloth speed.  “Cool Night” demonstrates how the band can take chaos and present it in a pretty and smooth way before Evan Patterson comes in with that closing epic guitar ascension while crooning “ease the pain” over and over.  “Kerosene Girl” picks up the pace and burns the house down before they’re even halfway through the record.  The first closes out with “Doomed Moon”, quite possibly one of my favorite YW songs ever.  It opens with a looped whisper of guitar, adding up until it’s a simple little whistle.  And then it just gets completely smashed by Nick Thineman’s pulverizing bass, turning the whole thing into a repetitive lumbering beast while Evan’s guitar abuse wails all around it with calculated skronks of noise tear through the mess (and that constant little background loop).  It’s quite incredible.  Not to say the B-side is a dud.  “Bird Feeder” might be one of their most sleazy-sounding songs they have written.  “Gift Of Failure” and “King Sol” are top notch additions to the band’s catalog, but add in a consistent way, and not necessarily as the pick of the litter.  All in all and great record that successfully combines the inventiveness and wild nature of “Old Wounds” with the moody and reserved weight of “In and Out Of Youth and Lightness” (Temporary Residence)

OFF TO SEATTLE

Going on vacation for a little over a week.  The Northwest calls for me once more.  Hoping to see old pals, new sights, and lots of Mighty-O Donuts.  Seattle/Portland area give me some good stuff.

DIALYSIS 7" STREAMING/ DOWNLOAD PURCHASE!

Check it out! DIALYSIS, "Ludicrous Speed" is streaming on the bandcamp! And for those who enjoy supporting music, but do not like being weighed down by physical objects, you can now purchase the entire record (and bonus track!) off the bandcamp site!  

https://hexrecords.bandcamp.com/album/ludicrious-speed

MAY REVIEWS!

As Biz Markie would say, "It's Sprrring agaiiiinnnn!"  So celebrate all that with plenty of time outdoors and hopefully with some music and reading in tow.  Nothing better than lazing on the porch with a good read and some music blaring in the background. 

BLEAK/ HELL MARY split 7”

Syracuse’s Bleak offer up their two heaviest tunes yet.  The first is a chaotic and violent mess of a massive shelving collapse in a sledgehammer warehouse.  The second track is a  slower climb, and then descent, on the ‘ol riot stairs with an incredible chunky breakdown in the middle- like apes beating on war drums while listening to Crowbar.  They are our hometown’s answer to Disembodied.  The recently deceased Hell Mary carve out their niche on the B-side with three quick burners that lie somewhere between Suicide File’s fun and catchy hardcore and 108’s semi-metallic leanings.  The band rips.  Too bad they called it a day.  Still worth a few clams so pick it up if you see it around. (Fake Art Fake Music)

BLOODLET, “Live On WFMU” LP

Unearthed from some dusty old vault, live from 1995, the one and only Bloodlet.  Quite literally, no other band sounded like this when they were at their peak.  And to this day no band has ever really been able to properly imitate them either.  This is from a radio performance, when the band was still a 5-piece and they are playing mostly “Ethenogen”-era material.  Aside from a couple little audio farts and a couple minor mess-up’s the sound (and present re-mastering) is great as is the tightness of the band.  A couple of the songs sound a little different, as they were either slightly re-worked from their original recordings, or not quite tweaked to perfection for when they would be laid to wax officially, and that’s interesting to hear for a person mildly obsessed with this band’s output.  Additionally, there is an instrumental track on ere that never made it on to any official Bloodlet release, so that’s a treat.  If there’s anything wrong with this release I’d have to say it’s lacking a little bit in presentation.  I know it’s just a radio session, but it would have been nice to have an insert with some notes from the band or whatever, or even a download to go with it, especially given the price.  A389 puts out awesome records, but they tend to be a bit on the pricey side.  (A389 Recordings)

CREEPOID, “Wet” 12”

As if their long-awaited new full length hadn’t just come out Creepoid released a special one-sided 12” EP for record store day.  I’m pretty sure you can find a few of these floating around as it isn’t one of those things that was gone in an instant.  It’s certainly worth it as you get 4 new heavy psych-stoner-shoegaze rockers, colored wax, and some weird-ass involved etching on the B-side.  Aside from the one oddball track of atmospheric strangeness this leans more on Creepoid’s drugged-out heavy slacker side moreso than their breezy, yet eerie, tuneful one.  This is a really great, yet brief, collection of songs from one of Philly’s finest.  If you can’t find this EP don’t be a chump, go and get their self-titled LP instead, like now.  (Graveface)

CULT LEADER, “Nothing For Us Here” EP

The members of Gaza lost their singer, did some minor musical chairs, and have now returned as Cult Leader.  Basically, in their new formation, it sounds pretty much just like Gaza.  They offer up a couple deviations from their past efforts, including closer “Driftwood”, which rides a slow and steady behemoth riff throughout.  Opener (well, after the beginning noise track) “Flightless Birds” treads familiar territory- noisy chaotic metal scattershot like aluminum shrapnel in a bottle of drano left to explode in a subway station at rush hour (scary thought, yes?).  These same stomping grounds are re-visited later on “Skincrawler”.  So, yes, it’s a bit of a mixed bag for the band’s debut.  But those familiar with their past efforts will be pleased with this and the sonic adventures they take you on for, oh, about 15 minutes.  (Deathwish)

EX HEX, “Hot and Cold”/”Waterfall”, “Everywhere” 7”

I went to see Rocket From the Crypt a couple times last month and had no idea who was opening for them.  When a trio of bad ass ladies got on stage and proceeded to rock the fuck out I not only marveled in awe of their rock prowess, but also something about the guitarist/singer was quite familiar.  I then figured out that it was Mary Timony, long time DC mainstay and former front person of 90’s indie rock bulldozer Helium (and, more recently, Wild Flag).  Needless to say it was a pretty nice surprise.  Their introduction on this Trapper Keeper-looking 7” is three songs.  The first, “Hot and Cold”, is an instant classic.  The riffs and vocals have been stuck in my head for weeks.  It’s pretty damn catchy.  They also made a hilarious video for the song featuring the Spiv, which I highly recommend watching.  “Waterfall” is the sort of forgettable song on the record.  It’s not bad, but doesn’t quite stick with me either.  Closer “Everywhere” once again brings back super-catchy riffs, especially at it’s somewhat drawn-out ending.  Imagine Thin Lizzy being played by Heart…  at a beach…. In the 70’s, everyone’s eating some pasta salad, having a good time.  Yeah, that’s a good record/picnic.  (Merge)

FLOOR, “Oblation”

Fuckin’ Floor.  Ten years after they disband they make a new record.  While the casual listener may not be able to tell the difference between this and a Torche record (it is the same singer/guitarist after all) I’ll offer this- the last several years of Torche has seen them explore more pop song elements and way more melody to go with their low-tuned monster rock attack.  Floor have melody too, but prefer the crash and thud of bomb strings, slower (overall) grooves, and crushing rhythms.  OK, so it really is a bit tough to tell the difference honestly.  It doesn’t really matter because this thing is a pretty damn good return to form.  My favorite songs on here tend to be of the slow, chunky dirges where the drummer still manages to have some swing with all the smashing of blunt objects going on (try “War Party” or “Trick Scene” for kicks).  For three dudes they definitely manage to bring the house down and it’s very nice to see them back in action.  (Season Of Mist)

RUINE “Winter 2014 demo” 7”

Soul-crushing, bleak, filthy and mean sludge metal.  These cats ain’t fucking around.  It’s a 7” and only two songs on it, and each one uses every iota of available wax to punish you (you probably deserve it).  One mean riff piled atop another with no hope of ever coming up for air.  This is not a bad start for a new (I’m pretty sure they are new anyway) band.  I’m very interested in hearing more, I’m a glutton for punishment.  (Forcefield)

SPRAYPAINT, “Rodeo Songs” 12”

This sounds like Wall Of Voodoo with some of Sonic Youth’s guitar pedals and tuning.  That’s a compliment by the way.  This post-punk Texas trio is a couple guitars, a drummer, and all three sing these sparse and weird quick little bursts of punk.  If you want to get all technical I guess they’re kind of a no wave sort of band, but still kind of rocking in an odd Devo-minus-robot synths sort of way.  So yeah, I mentioned Wall Of Voodoo.  I think it’s because of the nasally sort of vocals, reverb-y frantic sort of guitar work.  I found these songs not translating quite as well to record as they did live.  Upon seeing this band I have to say I was quite surprised.  Fans of weird, yet strangely rocking music will be intrigued by this, especially if you like the bizzaro stuff AmRep churned out near the end of their initial run (Calvin Crime, Servotron) or Brainiac.  I know I reference a lot of bands that employ synths, even though Spraypaint don’t use them.  I think I’m just comparing bands based on how weird they are.  So maybe it doesn’t make sense.  Honestly, I don’t care.  Spraypaint sound pretty fucking weird and I’m perfectly OK with that.  (S-S Records)

SURROGATES, “Easier Without You” cassette

Local act The Surrogates have gone through multiple lineups since they began, but have now settled with a half-Syracuse, half-Binghamton conglomerate.  In this time they have come up with a chunk of pop-punk burners and committed them to tape.  While I’ve never been a fan of pop-punk vocals that go for the semi-nasally nice guy/bratty boy thing (think Blink-182) I will say the other vocalist who handles things in a bit more gruff manner delivers well.  Musically, I’m reminded of Baltimore rockers Dead Mechanical, which is never a bad thing.  Six quick blasts to make you run around in circles.  (http://thesurrogates.bandcamp.com/ )

THIS AIN’T NO PICNIC, by Josh Ploeg

Josh Ploeg is about as punk as you can get in the kitchen.  The man not only offers wild concoctions of ingredients I’d never really think of putting together (and somehow making it work), but also offers tips on cooking on the fly, which sometimes literally means instructions for cooking on a hot engine block in the middle of nowhere or making s’mores with a lighter.  This is one colorful and weird cookbook.  It’s all about getting your hands dirty, cooking with weird and dirty people, and taking some chances on stuff you may not have thought of every trying in the past…  all vegan, of course.  The author not only offers up many recipes but also meals he thinks well known punkers would like (John Lydon’s Lavender Tea Cakes or Joey Ramones Black Bean Pizza), and offers up fun musical playlists throughout.  I’ve met the author on a few occasions and he basically tours the world as a vegan chef much of the year, doing his thing for bands on the road, important people in far off countries, and creates countless zines about his cooking.  This will probably be one of the most entertaining cookbooks you will ever read.  It’s also hilarious.  (Microcosm)

PRE-ORDERS/SALE STUFF/ NEW SONGS UP....!!!!

Thanks so much to those who, so far, have pre-ordered both the DIALYSIS 7" and BLOOD SUN CIRCLE LP!  Keep in mind, both records come with special limited covers that look pretty spiffy, as well as download cards too.  So you all got that going for you.

Additionally, for one more week most of the other titles in the webstore remain on sale, so treat yourself and pick up something extra when ordering these fresh new records.

And just to sweeten the deal, both DIALYSIS and BLOOD SUN CIRCLE have another song each from their respective records up on the bandcamp for you to check out.  Like you still needed a reason to get these records....

Diaysis, "Back To the Stone Age":  https://hexrecords.bandcamp.com/album/ludicrious-speed

Blood Sun Circle, "Escape Artist":  https://hexrecords.bandcamp.com/album/bloodiest-sunniest

ORDER IN THE WEBSTORE!!!!!!

BLOOD SUN CIRCLE AND DIALYSIS PRE-ORDERS ARE NOW UP!

Guess what? PRE-ORDERS ARE LIVE! Also, you may notice... many other items are on sale in the store for the next 2 weeks. So pick up the BLOOD SUN CIRCLE LP and DIALYSIS 7" and then maybe some more stuff. http://hexrecords.bigcartel.com/

The first 100 copies of the BSC LP come with an added screened cover.  The first 50 copies of the DIALYSIS 7" come with an additional alternate cover.  Both records come with a download card as well.

Pick both up and get some extra stuff in the store on sale!

HEX RECORDS WEBSTORE

(S)MARCH REVIEWS!

Lunch break posting.  How about maybe letting all this snow finally melt so I can return from sub-caveman style living?  Music shall help pave the way.

CAYETANA, “Hot Dad Calendar” 7”

Glad to hear that this upstart Philly crew is making moves quickly.  This is more of a teaser than anything really though.  It shows a much brighter production than the demo, even though it’s only two songs (one, which I believe will be on their full length, and the other a re-recording from their demo).  Both are great songs and maybe it’s a bit of a holdover until the LP drops, but I’ll take it for now.  Strongly in that vein of pop-punk who-cares-just-go-for-it recklessness combined with easy-going indie rock with great melodies and slightly awkward (yet really nice sounding) vocals.  Philly (by way of upstate NY mostly…  reppin’!) continues to dish out one killer band after another.  (Tiny Engines)

CREEPOID, s/t

A couple years ago I was blown away by “Horse Heaven”.  It just came out of left field and destroyed me.  Creepoid were this mysterious new band out of Philly that I watched on word of mouth.  Eerie, somber, psychedelic, melodious, and then monstrously loud and crazy when they felt like it.  This new self-titled LP continues that trend, but with further refinement and attention to the details.  The overall vibe of this new record is a little more consistent overall, whereas “Horse Heaven” jumped around frequently, one song to the next, on what type of mood they were going to drag you around by.  While that same gut-busting drugginess still pervades here it is done so with a smoother flow and the whole album feels like a big, weird trip full of excellent music.  So yeah, it’s good.  Also, I don’t do drugs, I just like to listen to a lot of bands that definitely do.  (No Idea)

DIRECT EFFECT, “Sunburn”

Thank you for the surprise.  When some PR dudes send you a band description that tosses around names like Pissed Jeans meets Fucked Up forgive me for being skeptical.  A band like that might be too awesome to actually exist.  Yet, somehow it does.  Hardly over-thought, but still brimming with melodious, catchy riffs that happen to be careening off the rails through rough-and-tumble playing and a singer so off his rocker one can’t help but feel like they’re about to get a beer bottle winged at their head just by putting the needle to the record for this one.  Like a garbage can full of bricks being thrown down a flight of stairs, and finding a catchy rhythm in it all this should probably be heard and experienced.  (Tiny Engines)

HELMS ALEE, “Sleepwalking Sailors”

Helms Alee have quite a catalog at this point to draw from.  Their first long player, “Night Terror”, set the stage with a brooding and sinister vibe and the most incredible guitar tones a heavy music fan could hope to hear.  “Weatherhead” got a little weirder, took a few more chances with a variety of song styles, yet maintained a fairly propulsive feel throughout.  And now they have their third full length out (finally!).  After a handful of listens it seems the most tame of the three, both in terms of heaviness and production.  They put the breaks on a bit with the massive tones (insert sad face), got more into the weird and sinew-y melodies, as well as the combined vocals of guitarist Ben Verellen, bassist Dana James, and drummer Hozoji Margullis all unifying at various times.  While I most certainly enjoy that side of Helms Alee, and they do it with an original sound, my reptile brain reacts most favorably when they are laying down two-ton riffs out of some of the most bad ass amps ever built.  You get that here and there, but it feels like the focus is on the melodies.  The production, while good, doesn’t quite do the heavy parts the justice they had been served in the past.  Perhaps it was intentional, perhaps not, I’m not sure.  It stands as a fine addition to Helms Alee’s growing catalog, a band that regardless of my preferences towards what they do, are one of the best and original bands out there today.  (Sargent House)

NOTHING, “Guilty Of Everything”

Apparently people are freaking the fuck out over this fairly new Philly group.  To date I believe they have released an EP before this and that’s it.  But this full length shows a lot of promise.  I’ve given it several listens attempting to pin down their sound and while it definitely leans heavy on the ethereal shoegaze style, complete with clean vocals that float in and out like sweet nothings in a lover’s ear, there are some great nods to 90’s alt-rock like Lush, Belly, and “Siamese Dream”-era Smashing Pumpkins.  A few songs begin to get a little same-y over the course of the record, but the ones that stand out (like lead single “Dig”) really stand out bright.  Lifts you up on a cloud of atmospheric guitar riffage, and then brings you down with walls of sound bigger and brighter than you can imagine.  (Relapse)

OLD IRON, “Cordyceps”

Has Isis-Neurosis metal been out of fashion long enough for it to return to a level of class again?  I mean, all those other bands ripping this style have moved on to shoegaze, or stoner rock, or black metal folkgaze, or whatever the shit is getting played out currently, right?  Leave it to these Seattle dudes to not really give a damn about trends and just do what they’re into.  So yeah, they lay down some massively heavy glacier-like movements deep in tone, thick in riff, and introspective in melody and song length.  Fellow Seattle brothers in things metallic Heiress actually come to mind when hearing the more melodic sections Old Iron offers up and I’m very OK with that…  and I’m sure they are too.  I’ll admit to not being huge into bands of this style (mostly because the wave of bands that over did it several years ago sort of ruined my appreciation for it), but this mostly keeps my attention all the way through and has some memorable parts as well.  And that’s pretty good for a band that writes 9 minute long songs.  (self-released)

SECRET CUTTER, s/t

Calling this record ‘heavy’ sort of does it a dis-service.  I mean, a dump truck full of landmines is ‘heavy’.  This record needs some new word that implies heaviness beyond what I just mentioned.  Also, if I’m not mistaken, this band is simply a vocalist, drummer, and guitarist who plays through two bands worth of guitar and bass cabs.  So yeah…  it’s something beyond heavy.  There are plenty of bent and twisty riffs to go around.  There are also sharp musical daggers being thrown recklessly at limbs, crushing drums doing a tap dance on your skull with brick-lined soles, and lots of down-tuned sludge pouring out of the speakers like some failed skyscraper collapsing in slow motion.  And for some reason when I see the record cover I am reminded of Ministry or Skinny Puppy.  There’s no logic behind it.  It just looks like it could be from some 90’s industrial band.  Don’t be fooled.  This is whatever-new-word-I-have-that’s-heavier-than-heavy.  (self-released)

TESLA’S REVENGE demo

Taking a gander at this band they seriously look like the nicest band around…  like they spend their days reading to senior citizens and carrying their groceries for them just for fun.  And musically, it’s a pleasant sound too.  There’s certainly more than enough bands out there doing pop-punk and playing the ‘we’re nice kids’ card, when in fact, it comes off as more of an advertisement for an energy drink of some kind.  So, that being said (all conspiracy-like at that) I’d like to think Tesla’s revenge are the real deal in terms of nice people playing good music.  The first song is upbeat, genuinely rocking, and rooted in a sort of current pop-punk vibe with alternating male and female vocals.  The second song has a real Bridge and Tunnel vibe to it, not to mention a little more depth overall.  Strangely enough, these songs are not on their band page, but they ought to be.  Promising.  (self-released)

TYPEWRITER, “No One Clears Out a Room Like...”

The first time I tried listening to this CD I put it in my computer and it got about a minute in before it froze and wouldn’t eject for another two hours.  So, first things first, don’t put dumb stickers on your CD that cover the entire disc (many would argue ‘don’t make CDs’, but hey, one thing at a time).  After rectifying that mess I got down to brass tacks and put this fucker on repeat.  Typewriter go through a number of styles on this 8-track demo and they’re all good.  Some of this gets all mod rock in the vein of The Jam and (if you want to get all 90’s) Chisel.  But then they throw in some synths that overall have an 80’s feel to them, which definitely adds well to the songs.  Another song gets a real fuzzy reverb feel to it and I’m reminded strongly of The Men, circa “Leave Home”-era.  Then it switches over to an older Superchunk feel.  Fans of consistency might not be too into the band switching it up like this, and I get that.  But I’m a big fan of every style they’re throwing at me so I’m OK with it.  Maybe they’re finding their sound, maybe they just like to do whatever suits them at the time.  All I know is this is good and deserves to be heard by many.  (self-released)