SCREWED, TATTOOED, AND REVIEWED- FEBRUARY STUFF

 Occasionally I think to myself that I'm a fairly predictable study in regards to my taste in music.  But let me ask you this- where else are you going to find one person who gushes about a band's love of Life Of Agony, while also reviewing a group that worships the dirt Unwound trod upon?  Wild card suckers!  Don't try to pin me down.

AGE OF APOCALYPSE, “Grim Wisdom”

Ya know, I didn’t think I’d ever go for anything resembling Life Of Agony or Only Living Witness ever again primarily because 1) those bands are quite singular and they have very limited output that I personally enjoy (a great deal at that), and 2) pretty much every band that has ever tried to ape either of those bands has done so miserably and failed altogether.  So how the fuck did Age Of Apocalypse manage to be so godamn heavy and, like, really good at pulling off the singing parts?  They’re certainly an ultra rare breed and, if you know me, you’re probably just as surprised as I am about me vouching for this.  I’m weirded out by it too. However, you will get absolutely buried under the chug here.  This is the kind of band I hear in my head when the thought of going to a show in Troy, NY arises- some filthy club where, somehow, people are still allowed to smoke inside.  A bunch of guys that look like extras from “Goodfellas” hang in the back while dudes up front with intentional dirt staches, wife beaters, and $50 Hatebreed tattoos (“done by a friend at their house”) clobber the ever-loving shit out of one another.  The set ends, two people leave with broken noses.  A busted up old Camero is seen driving off through slush-covered streets while you change your shirt to go to your night job at a frozen foods warehouse, the thought of “Grim Wisdom” echoing in your brain for the rest of the week.  (Closed Casket Activities)

 

 

AUTHOR & PUNISHER, “Kruller”

Author & Punisher is a one-man band that’s been at this project for probably around 10 years at this point but this is actually my first time listening all the way through one of their records.  If it’s not obvious by the title this is an album about some kind of pastry.  Well, probably not, but it would be a fun surprise if it was!  OK, so what’s the deal with Author & Punisher (for those not in the know)?  Tristan Shone is the guy behind all this industrial noise and racket and the big deal is that he makes his own instruments and devices for creating the music.  And by some of the pictures I’ve seen it looks as if he’s in some sort of robot exoskeleton, like as if helmet-less Darth Vader were trying to pilot the Power Loader from Aliens.  And I’m not sure how the other records sound, but given the imagery I’ve seen I sort of expected this music to sound even more mechanized and noisy than it.  Like there’s parts on here that have soul and textured vocals, some guitar accompaniment, actual structures to the songs with different movements, and so forth.  So maybe this is the classic man vs. machine conflict, battling for the soul of a tortured human, imprisoned by his own robotic devices!  Oh, the humanity!  But seriously, this is stuff not intended for my enjoyment as I find the songs to be a bit too long, and a whole sludge/industrial mash-up isn’t really doing it for me.  However, it is well composed and inventive, particularly for a single person running it all. (Relapse)

 

BACKSLIDER, “Psychic Rot”

This is actually my first time listening to Backslider, knowing them only as a reference check for a couple members other outfit- the far noisier and riffy Eye Flys.  That’s not to say Backslider is without their fair share of floor-rattling riffs.  Between opener “Asymetric Torment”, “Bone Thief” and closing track “The Floating Door” they’re able to lay down chunky dirge but still keep things moving at a pretty good pace.  It’s on several other tracks like “Pseudomessiah” and “Collision Of Desire” where they’re blasting full speed, not quite sure if they’re aiming for straight up grindcore or powerviolence.  But honestly, who gives a rat’s ass, it all sounds good.  This is being hawked as a full length, but I’m a bit hesitant to go that far when the 10 tracks here clock in at just over 20 minutes, and two of those tracks are just weird sampled interludes.  Maybe a long EP?  I dunno, it’s a minor detail.  I’m sort of glad they keep it relatively short and to the point because the eight ass-beaters on here will keep you wanting more.  (To Live a Lie)

 

BIG WATER, “Park” EP

This Bummer-Canyons side project band offer up a quick EP after their debut full length last year.  They didn’t take long to put this out there, but then again it’s 5 songs in less than 10 minutes, so it’s not like they’re writing progressive concept records.  Or maybe they are, hell if I know what they’re yelling about.  Though if “Tours Over, I’m Driving My Mustang Home” is any indication I’m guessing no seismic, world-altering musical dissertations are being laid out here.  Nah.  This is three Kansas City dudes expressing some crazy, math-y emo where they get all noodley on the guitar but never lose the plot so you can still follow the rock.  Sure, it’s often kind of chaotic and wild, but it stays fun.  For fans of groups like Comadre, Forstella Ford, and bands whose entire discography consists of only 7” splits and/or late 90’s compilation appearances.  (The Ghost Is Clear)

 

CAPTIVE demo

One of the dudes from post-hardcore heavy-ass rockers Brain Cave up and decided to also get themselves on some Trap Them/HM-2 style grimey fastness trying to keep from unleashing their inner Terror love.  It’s all about finding some balance and side quests in life, right? Well, here you get blast beats fighting with beatdown smash-your-enemies parts and not a single song on this 4-song demo hitting the two minute mark.  Honestly, it’s impossible to be turned off by this (if you have any love whatsoever for heavy music) since it all goes by so quickly.  Just enjoy it, and barrel roll into your friends in some filthy basement.  (self-released)

 

IRON LININGS, “Pressure Valve” EP

I kind of happened upon this randomly and it’s one of those chances you take that pays off.  I really enjoy what’s happening here as Iron Linings may tread a familiar path of post-hardcore/noise rock with lots of heavy rocking parts, grooving heavy dirges, and the occasional chaotic tempter tantrum.  But there’s a feel to the guitars where they’re not constantly piling on as much distortion as possible and at times have a less aggressive, maybe melodic feel that I can only describe as sounding ‘Midwestern’.  Yeah, I know, I don’t write reviews for a living ok?  Anyway, much of the heavier sound comes from the plodding bass and the best example of all this is “On Pluto”, which has a great kind of bendy, twang drive with lumbering bass dirge for much of the song.  They’re not terribly far off from contemporaries such as Faking, or even Bummer (the last track begins with a total Bummer part), but this also wouldn’t be out of place coming out of somewhere like Louisville in 2005.  It’s a really fun listen and I’m sure you have 11 minutes to spare.  (self-released)

 

PRAYER GROUP, “Michael Dose”

I feel a little odd writing a review of this because I actually authored the press release for this record.  So instead of repeating myself, so I’ll try to vary the script. Virginia is not just for lovers, it would seem.  It’s also for misanthropic noiseniks bent on making your day exceptionally uncomfortable, which is kind of how Prayer Group have been rolling for several years now.  On their newest release they run the gamut of influence from noisy boy pack leaders like twisted and howling Jesus Lizard-ish worship (“Continuity”), sinewy and creepy thumpings reminiscent of Young Widows (“Spent”), not to mention a more chaotic ripping punk akin to Pissed Jeans (“World Of Mirror/World Of Mind”).  It’s nothing altogether new, but it’s good and it’s enjoyable.  And isn’t that what most of us want from a record?  No need to re-invent the wheel, so long as the tire is reliable and doesn’t blow out on you during the drive.  (Reptilian Records)

 

TORPORS, “TV Genius”

When you begin listening to the first full length from Torpors something immediately sounds familiar but, ya know, maybe it’s a just a coincidence.  Yet by the time you hit third track “Sense Of Self” with it’s nimble and clever bass runs and squalling guitar and then continues into the melodic/dirgey off-kilter thud on the title track it all becomes abundantly clear- these dudes fucking LOVE Unwound.  Holy shit.  It’s as if Unwound at their peak (which, for me, is around “Repetition” and “Challenge…”) just felt the urge to toss in some more of their punk/post-hardcore leanings and maybe gave a little love to Hoover while they were at it.  I mean it’s not just the focus on the creative bass parts and guitar leads, the vocals are right there as well.  The whole thing is a total love letter to the Olympia heroes of yore.  And if they weren’t such a unique band to pay homage to I’d think less of this group.  However, it’s done flawlessly, with adoration, and inserting a bit more aggression into the familiar sound.  There is literally no other information out there about this band aside from their bandcamp. (self-released)

 

WAR HONEY, “Shard To Shatter” 12”

I’ll give it to Handstand Records- they always surprise with something completely unexpected.  The label has released everything from thrashing toxic punk, to pop-dirge indie, and now to the dreamy, breezy melancholy of War Honey.  This is the kind of band you’d expect to find holed up in a dark corner of some smoky basement bar three nights a week crooning away to an ethereal, almost jazzy backbeat.  This relatively short EP (three songs and a brief instrumental interlude) give a hint at what they offer.  It’s honestly very outside my wheelhouse, but my only reference point here is that it strongly reminds me of that early 2000’s Jade Tree Records band Denali.  And while the vocals here soar in that same, highly trained sort of way it’s a little bit lower of a register pouring out of Gabrielle Dana with every fiber of her being.  This is a slick looking record too for being so short- pressed on a semi-translucent black vinyl with a screened b-side that shows through the darkened A-side.  Pretty cool.  (Handstand Records)

HEX RECORDS TO RELEASE FULL LENGTH FROM COLONIAL WOUND

 

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).

Since that time Colonial Wound has been writing and demo’ing a bevy of new material, which they will record in April 2022 for their debut full length, which will be released by Hex Records by the end of the year.

NEW YEAR, NEW REVIEWS

 Welcome to weird world, version 2022.  It's a new year and with that comes the only thing that can save our sanity in these times- new and exciting music.  OK, so a it of it is from the tail end of that beast known as 2021, but most of this stuff is coming in fresh for the New Year to you.  Let's hope for a slice of enjoyable life within the next 300+ days, right?  For now, enjoy this stuff here.

CLOAKROOM, “Dissolution Wave”

It’s hard to believe Cloakroom has been a band for 10 years now and in that time they have created three (four, if you count their debut EP) nearly flawless records which have firmly put them in their own subgenre of the shoegaze/slowcore style.  They truly are their own thing and when a band comes around that borrows from them it’s really fucking obvious.  Best to just let Cloakroom be Cloakroom.  So like their other records their newest “Dissolution Wave” continues what the band has set out to do from the get-go, but things here feel a little less sprawling, though that could be in part it being their shortest (at 37 minutes) and most concise album.  In Cloakroom terms of course.  Maybe it’s just that the band is a familiarity at this point that I don’t have to sit through multiple listens of the new material to get what’s going on.  They still can combine one of the most massive bass tones on Earth with hints of early Pink Floyd psychedelia, somber vocals, a touch of country twang, and Hum-homage (without ripping them off) to create a document consistent in quality with any of their other albums.  While the band states that there is an ongoing story through these eight songs there remains variety throughout each track, showcasing all the qualities that make the band great- first track “Lost Meaning” opens things up in the groups most well-known fashion- huge guitars, massively distorted bass, soft vocals, and a lumbering beat.  That all quickly fades as the second song, the title track of the record, is an ethereal dreamscape floating in the clouds, shimmering in and out.  “Fear Of Being Fixed” and “Dissembler” are the most stoner rock selections here, riff-centered and fuzzy as it gets, the later of which shifts gears several times into more and more mellow sections before it cuts out completely and changes into a simple little coda to close out the LP.  All told, this is Cloakroom doing what they do well, the primary difference being combining elements they’re known for in new and interesting ways to make yet another fine addition to their catalog.  Oh yeah, and this is the first record to officially feature drummer Tim Remis (bassist of Sweet Cobra and Suicide Note) who has been in the group for a spell now already but first time on record.  Yay for Tim!  (Relapse)

 

GLOWING BRAIN, “Brain Dust”

This sounds like Motorhead being played by Hot Snakes.  I’m not really sure if there’s anything else I could really add to that.  Do I need to add anything more than that?  Shouldn’t that be more than enough for your interest to get piqued?  Like, if that doesn’t sound like a good time than you ought to re-think your life.  OK, so maybe some more thoughtful heavy punk like Sweet Cobra peeks in here and there, like on “Plastic World” and “Bleed Into”, but let’s not get too carried away.  Just put on “Everyone Higher Than Everyone Else” and have a non-stop circle pit in your basement until you pass out and then do it again (but slower) because it’s the longest song on the record.  This record cover is wild and I think it came from outer space.  You’ll freak out, you’ll thrash, you might barf, but you will enjoy the shit out of Glowing Brain. (The Ghost Is Clear)

 

PRIZE HORSE, “Welder” EP

I’m pretty much always interested in whatever New Morality decides to release when they take a chance on bands that draw outside the lines of standard hardcore.  The label itself appears to cater to the ‘core, but they certainly have an ear for other exciting sounds as well.  Enter Prize Horse, a Minneapolis trio who are playing (“say the line!”) heavy shoegaze/slow core that errs on the Cloakroom side of things, but with a bit less dour melancholy and a bit more in the airy/dreamy sort of side of the genre.  Yes, I know at this point it’s like ‘how much differentiation can that style have?!’  But like all trends in sound/style it eventually boils down to who does it good and who is merely just riding a trend, quickly to be forgotten as soon as the next cool thing comes around.  I’d like to think Prize Horse are doing it well.  They are not breaking new groundbut they are doing what they do well and creating a worthwhile collection of songs for you to space out to. (New Morality)

 

STOMATOPOD, “Competing With Hindsight” EP

This just screams Chicago 1993.  It’s like some audio engineers got together and decided to do a band that had the sonically astute noisy clatter of Tar and mashed it together with the melodic working man punk of Pegboy.  And then there would be several discussions over a six-pack of Old Style as to whether Divot or Southern would release the record.  If you’re under 40 none of these references will mean a thing to you and I realize I’m dating myself just by writing all this.  But hey, this is what I hear when Stomatopod offer up their newest 6-song EP, and wouldn’t you know it, in true Chicago style it was recorded by Steve Albini.  While more than half the record really follows my frame of thought in terms of the aforementioned references both “The Big Parade” and “Out Of Our Hands” veer into a poppier, more direct, framework.  Overall it’s a decent effort and all the players seem as if they have been at it for a long time, though whether it appeals to a younger crowd or not is anyone’s guess.  But is that even their aim?  I’m guessing they are not terribly concerned with that.  (self-released)

 

STRANGE LIMBS, “Not Worth Fighting For”

The new EP from Canadian metallic rock-sludge unit Strange Limbs may as well be a new band.  They released an initial EP a little while back in which the music was indeed similar.  However, the change in vocalists since that time has such a significant impact upon the overall feel of the music it’s almost best to just start here, forget the past, and see where they go next.  The gruff, more hardcore vocals on the previous outing were fine, and fit right in with the abrasive heaviness of the band.  But I’ve heard all that before.  It’s sort of like the same sound coming out of each instrument (vocals included).  Since bringing aboard Jessica Channer to yell into a microphone there’s a bit higher register to complement the grimy sounds of the rest of the group and it makes the music brighter and more interesting overall.  Musically (aside from the vocals), the band share some commonalities with fellow countrymen Cancer Bats in the sense of hardcore dudes wanting to just rock the fuck out, a bit of Every Time I Die when they clearly are rocking the fuck out, and some HM-2 love (or a close approximation of it) akin to Trap Them doing their best impression of “Wolverine Blues”.  The seven tracks are a real fun listen overall but still vicious and dirty enough to feel ugly afterwards.  (self-released)

 

SWEAT, “Gotta Give It Up”

The debut recording from this LA-based group finds members of Graf Orlock, Ghostlimb, and a wrestler teaming up to make hardcore punk leaning heavy into Thin Lizzy rock n’ roll, minus anything resembling melodic singing.  At times this really reminds me of some of the more rock-oriented hardcore that was coming out of the Boston scene in the early aughts like Suicide File, R n’ R, maybe a little Rival Mob, as well just a smidgen of Canadian brethren Fucked Up.  This is a debut however, so I think there’s some room for growth.  At times it lyrically gets a little too wordy and crams a lot into a short space, but the whole thing sounds like fun for the people making it.  For me, I think the band sound the most fun and engaging on the real quick ripper “Mental”, which is catchy, and quite sing-a-long-able.  And if you pick up an actual physical copy of this record the cover feels like it’s made out of corduroy.  Yo Tuna, you still making them crazy zines? (Pirates Press)

 

V/A, “Rhino Body Lover:  A Tribute To Shallow North Dakota” 2xCD

OK, let’s first get the strange title out of the way:  Shallow North Dakota were a 90’s sludge band out of Southern Ontario.  If there were ever a band’s band they were most certainly it.  Their output was not huge, but their sound was beyond massive.  While geography kept them somewhat isolated (I don’t know if they ever made it to the US for shows, despite being all of about 50 miles away) the riffs could not be constrained to mere borders and this 2-disc compilation ought to be proof of that.  Nearly 30 bands across the heavy noise rock spectrum have offered their worship of this band in the wake of the band’s drummer/vocalist Tony Jacome untimely demise last year.  All the profits of this go to his family, which is a kind gesture.  As for the bands representing on here- it’s pretty apparent that they have taken at least a sliver of inspiration from Shallow and by covering their songs (mostly pretty similar to the originals I might add, though Fuck the Facts speeds up “Open Minded”, which could be considered a cardinal sin to these titans of sludge) they shine a light on a band that is often spoken of in secretive, hushed voices and hopefully giving some life to their gargantuan sound.  Heavy hitters like The Great Sabatini, Cellos, Throat, Intercourse, Cell Press, Fuck the Facts, and The Grasshopper Lies Heavy all do their take on Shallow’s riff factory and do them justice.  While the price tag on all this is a bit more than one would expect (it is a benefit after all) there’s over two hours of music here so you certainly get your money’s worth.  (Learning Curve/ No ListRecords)

 

WOORMS/ THE GRASSHOPPER LIES HEAVY, “Various Plants and Animals Under Domestication” split 12”

The Grasshopper Lies Heavy may be waiting on like 5 of their records to actually be released in a physical format, but it certainly does not slow the band down from dishing out one molten slab of sonic heaviness after another, audio format be damned.  Here is a pretty quick follow up to their exceptional “A Cult That Worships a God Of Death” full length from last summer.  You get four songs taking up one side of this split.  The first two are in that lumbering, riffs-as-weapons style the band does so well and they certainly bring that noisy sludge and then stick it right in your brain hole.  Following that is an instrumental chaser that opens the door for the closer- an 8+ minute slow burner with a creeping melody that finds the band going in the other direction that they are known for taking on other records.  It’s a solid batch of tunes from these gearheads.

Woorms has the B-side with a single 20 minute track that moves through a number of different sections.  Things kick right off with some murder sludge straight from some long lost Electric Wizard album, complete with wacky samples before quickly adding some otherworldly sounds that you might find on a Gasp b-side or something.  At times they go into more mellow sections, or at least more quiet and subdued.  But they eventually bring back the Electric Wizard worship and get all acid-trip death cult on your ass while their vocalist pulls off his best Buzz Osbourne growl here and there.  I don’t generally roll with tunes that exceed 20 minutes, but there’s enough wild shit happening here to keep it entertaining most of the ride.

One last note- the actual physical record of this isn’t supposed to come out until November 2022 and they released the whole split digitally just now.  Personally that’s just weird to me, purposefully putting this out there so incredibly ahead of time and taking pre-orders on something where half the audience will probably move before their copies get in the mail.  Just wait a few months dawg, it’s cool.  (Forbidden Place Records)

HEX TO RELEASE DEBUT FULL LENGTH FROM STILL/FORM

 

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

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

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

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

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

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

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

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

 

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

 

TURNSTILE, “Glow On”

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

 

QUICKSAND, “Distant Populations”

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

 

DRIP-FED, “Kill the Buzz”

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

 

BUMMER, “Dead Horse”

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

 

FIDDLEHEAD, “Between the Richness”

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

 

 

Favorite EPs

 

PORCUPINE, “The Sybil”

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

 

CHERUBS, “Slo Blo 4 Frnz & Sxy”

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

 

BRAIN CAVE, “Log World”

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

 

BEAUTY PILL, “Instant Night”

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

 

STUCK, “Content That Makes You Feel Good”

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

 

COLONIAL WOUND, “Degradation”

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

 

KNUB, s/t

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

 WIPES, "Dumpster"/"You're the Boss"

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

Runner ups

 

GLOOP, “Crayon Sun”

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

 

EKULU, “Unscrew My Head”

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

 

OVLOV, “Buds”

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

 

 

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

 

 

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

 

 

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

 

 

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

 

 

Looking forward to in 2022:

 

 -All the records I ordered in 2021

 

-Drug Church, “Hygiene”

 

-Bitter Branches, “Your Neighbors Are Failures”

 

-Cloakroom, “Dissolution Wave”

 

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

 

-Pinko going on tour in April

 

-That Turnstile/Truth Cult/Ekulu tour in May

 

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

THE LAST REVIEWS YOU'LL READ THIS YEAR, THANKFULLY

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

BASHFORD, “Greener Grasses”

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

 

BEAUTY PILL, “Instant Night” 12” EP

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

 

ENGINE KID, “Special Olympics” flexi 7”

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

 

EYE FLYS, “Exigent Circumstance” EP

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

 

GENOCIDE PACT, s/t

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

 

HELMET, “Live and Rare”

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

 

POMELO, “Validations”

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

 

RID OF ME, “Traveling”

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

 

SUNSTROKE, “Cryin’ Wolves”

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

BANDCAMP DAY DEALS AND NEWS- DECEMBER 2021

 

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

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

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

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

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

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

#3- BOTH USA NAILS LPs FOR $25!

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

#4- 10 CDs FOR $25!

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

#5- ALL DIGITAL SALES GOING TO CHARITY.

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

OK, news both good and bad:

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

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