DAY JOB FULL ALBUM STREAM AND SHIPPING UPDATE!

 Today we're beyond stoked to drop the full album stream for the debut DAY JOB full-length "The Auger".  The (presumably) handsome gents at Invisible Oranges are dishing out the premiere for you all so you can enjoy it in full while fighting over the last PS5 in a Wal-Mart.

FULL STREAM HERE!

The band will be playing a handful of shows to celebrate the release starting with this show on 11/25 in Birmingham.  Try and show up if you can.

As far as actual physical media is concerned, here's the scoop:

- CD orders are shipping now.  The band has their share of CDs as well.

- LPs ought to shipping within the next 1-2 weeks

- Streaming on all other platforms starts on 12/8/23

GIVE 'EM REVIEWS

 Now that we only have a total of 3 hours of sunlight per day (when we get sunlight) it's leaving me more time to listen to music instead of being outside like an idiot, right?  So before I start compiling a 'year end' list I ought to maybe take stock of what just came through my speakers over the last month.  And, jeez, these bands just don't let up.  They just keep releasing records!  What the heck!  So I threw in a book too this time around....  which is about records.

CLOSET WITCH, “Chiaroscuro”

It’s been a few years since this midwest band graced us with a new record and when it finally comes out- and hoo boy was it worth the wait- they go and announce they’re going on some kind of hiatus.  Well then, fuck me right?  It’s fine.  I’ll just rip this record over and over again and spazz out in my living room, lurking neighbors be damned. It’s really a perfect amount of music for a grind (more or less) band- 13 songs, 19 minutes.  Anything more might be overkill, and the best bet is to leave people wanting more.  Closet Witch definitely sound better and just a tad bit more structured than their last full length, where they certainly bow at the alter of Full Of Hell with less reliance on metal and noise (though there’s a bit of that to be found), as well as contemporaries in fellow Midwest grind maniacs Cloud Rat in terms of how well they execute this ridiculously fast pace while keeping things pretty chaotic too.  Here’s to hoping they grace us with some shows, or more music not too long from now.  But if not, well, this is one heck of an awesome record. (Zegma Beach)

DRIP-FED, “Leap For the Fountain” EP

I’ve been singing this bands praises for awhile now and here they go surprise-dropping this new EP on us all.  So listen up, because I’m gonna sing some praises again.  This band has done a great job, over the course of a couple of albums, of combining rowdy and raging hardcore punk with really inventive and catchy melodies making for some ridiculously fun songs.  On this new EP they go in even more on the melodies and deft musicianship to create parts that can be a bit tricky, but still rattle around your head like the earworms they are.  I think their last album, the exceptionally excellent “Kill the Buzz” had a little more aggression going for it overall in comparison.  Still, this is a quality addition to their catalog, filled with clever lyrics, brief songs (4 tunes in 10 minutes is all you need honestly), and lots of fun riffs made for making you and your knucklehead pals run around in a circle and bouncing off each others heads. (self-released)

DUST MUSCLE, s/t EP

If this hadn’t been recommended to me by a peer whose musical opinion I respect I wouldn’t have had any idea this existed.  Keeping it real low key dudes from Yautja (and formerly Coliseum) drop this EP full of off-putting ugly rock.  They go for a lot of those more jangly clean tones with the guitars, but the garbled screaming and menacing structure of the songs make the whole thing sound kind of nauseating.  I don’t mean in some gore-y death metal sort of way.  More like a very uncomfortable feeling of everything around you being sort of messed up and disorienting.  I’m sure it’s intentional.  Don’t get me wrong, it still rocks.  You just might need to throw up after you’re done rocking. (self-released)

“ESTRUS: SHOVELIN’ THE SHIT SINCE ’87” by Alpert Coyle and Scott Sugiuchi

I leaped at the chance to get a copy of this well ahead of it’s actual release date because while I don’t necessarily have an obsessive love of the Estrus Records catalog (which, if you do, I get it) I am an ardent fan of their whole ‘thing’- their consistency, their DIY ethic, their ‘family’ approach to working with bands, their making of a scene unto themselves, their willingness to try all sorts of crazy ideas, and most of all their art/presentation.  I absolutely love how their records were put together, the logos, their ads, and all the fun that went with it.  And a lot of that is due in large part to the tireless mountain of work Art Chantry put into much of the art direction of the label.  Now this book looks pretty fucking fancy, but some of it was also present in the Art Chantry-specific book “Some People Can’t Surf” from quite awhile back.  So I already had a familiarity going into this.  However, this is a book about the record label.  I’ve never been a huge garage rock guy, so aside from some more known bands in here (Man…. Or Astroman, The Makers, Mono Men, Southern Culture On the Skids, etc) much of this was unfamiliar to me.  Yet the story of the label, and founder Dave Crider, was one I could relate to- energetic guy in a small town (Bellingham, WA) realizes not much happening in his town, starts a band, turns it into a label, books endless shows at a hole in the wall dive bar, things pick up, and the scene comes to him, label flourishes into one of the most prolific purveyors of trash rock in the world with an astounding dedication to their craft, both in sound and art and things are good.  It’s what every small label out there hopes to achieve.  So yeah, I like this story.  I like the art even more.  This is a hell of a good-looking book and it’s filled with cool stuff.  (Korero Press)

EX EVERYTHING, “Slow Change Will Pull Us Apart”

Here’s four guys who clearly worship at the alter of the tangled and warped punk beauty of Drive Like Jehu, as much as they do the forward-thinking complex mathy hardcore of Botch.  As another group in the Kowloon Walled City family of bands (as well as like a million other bands) those highlights are present in terms of the perfect tone of the guitars, the expert level of musicianship, and the crispy clean recording.  So all those elements right there make Ex Everything worth at least a listen.  However, their songs err a bit on the long side and finding a hook amongst it all can be quite the exercise.  Their influences are clear, but can get a bit too involved for my taste, and thus some of the immediate impact you get from the first couple tracks starts getting a bit lost as the record winds on.  I will say though, having just seen them live their energy on stage is incredible and they can go toe-to-toe with any hardcore band half their age on that front.  But if you’re putting this on at home or something for a deep listen it’s take awhile to compartmentalize what they’re doing because they’re doing a lot.  (Neurot)

FEVER SLEEP, s/t EP

The local fellas in Fever Sleep come from a long line of countless other bands and convened together clearly because they are lifers who just can’t stop the endless cycle of band addiction.  Yes, we see it time and time again- these healthy young people pick up a guitar and it ends up being a gateway to the stage, and even when they try to stop- starting families, getting ‘real’ jobs, having kids, getting old- that demon keeps calling them back.  Why, some of these people have 4 or 5 bands going at once!  Some can count off dozens of bands they’ve been in over the years; their eyes sunken, pockets empty, flannel shirt tattered.  Thankfully, Fever Sleep say ‘yes’ to band addiction and keep the devil in business.  I’ve seen them a bunch, as they mostly operate at the local level, and I gotta say, the songs on this new 12” have a much darker and somber feel than how it all comes off live.  I don’t mean that in a bad way.  These are still energetic and heavily melodic grizzly punk songs.  Yet there is a darkness, a cold melody that permeates throughout these tracks that alludes to bad times, tough situations and maybe, just maybe, the glass pipe of (dun, dun, dun) band addiction! (Thirty Something Records / Ashtray Monument)

GREAT FALLS/ RADIATION BLACKBODY split 7”

Yes, this is the third record Great Falls has released this year.  But to be fair I think all the material was from the same recording session.  Still, thanks an insane amount of output for a band so complex and emotionally devastating.  And also to throw it all out there when they got a new drummer who put his mark on a bunch of these songs within the space of just a few months.  Anyway, this is the last of it and it’s another fastball, face-smashing slab of almost grind at the beginning followed by a crushing, collapsing sort of riff at the end.  If you heard the “Funny What Survives” EP earlier this year it’s very in line with that group of songs.  On the flip side is Radiation Blackbody, a duo that I had no idea was still going.  RB is 2/3 (or just the rhythm section) of long-defunct noisemongers Anodyne who absolutely punished eardrums through non-stop touring in the early aughts.  Radiation Blackbody formed soon afterwards and they’ve just gotten weirder since.  They toss out a blast of instrumental bass/drum knotty riff-mangling that will suit your interests if you enjoy Voivod if they smoked crack.  It’s a quick little offering but comes with kind of a hefty price tag because 1) it’s a fairly small pressing and 2) the leverl of badass-ness that went into screenprinting these covers and assembling them is some next level shit.  Pretty to look at, ugly to hear.  (Ancient Temple/ 7 Degrees Records)

PAINT IT BLACK, “Famine” EP

It’s so good to see this band back with a relatively longer offering (still an EP though for all intents and purposes) where the band seems to give a bit of everything they’re known for.  The first couple tracks (as well as the 30 second ripper “Serf City, USA”) go for that fast, direct, “CVA” hardcore style.  Meanwhile, “Safe” takes on more of that overtly melodic style as heard on their second LP, “Paradise”.  From there we get some of the fucking-with-convention experimentation the band tried out on “New Lexicon” with the rhythmic pounding of closer “City Of the Dead”, as well as the harrowing “Exploitation Period” where the bulk of the song is just a creepy bass line and vocalist Dan Yemin shouting his always compelling prose over it while strange background noise filters through.  And I can’t say “The Unreasonable Silence” recalls anything from any of their other records, but it’s seriously the closest thing to a new Fugazi song since…. well, Fugazi.  Paint It Black, 20 years on, still make important records with engaging, vicious music and I still consider Dan’s lyrics to be some of the most well-written screeds against the world at large- clever yet direct, insightful while still harsh.  Just like their music.  (Revelation)

RID OF ME, “Access To the Lonely”

Rid Of Me has always excelled at somber, emotionally-wrenching slow burners, and then all-out crushers and there is no point on their second LP where that is not on display more than the back-to-back tracks of “Gutted” and “Hell Of It”.  The Philly crew really went all out on this one and put their all into it, and I imagine they are darn proud of it.  I think it’s an overall exceptional effort with stronger and more developed songwriting, as the group has really gotten their footing (a lot of touring and members having played together in previous bands helps too).  The record leans more into the slower, more melodic stuff with a sort of permeating sadness or remorse, though they often add a hefty dose of distortion to it all just to drive the emotion home.  I’m always a fan of when they’re more upbeat (the aforementioned “Hell of It”, or “Libertarian Noise Rock”) because they can beat you within an inch of your life with a riff.  The real challenge is bringing that emotion and they have truly managed that well.  (Knife Hits)

TRAINDODGE, “The Alley Parade”

Truly a band’s band, Traindodge are the secret kept for the last 25 plus years that every band worth their salt in post-hardcore rock aesthetic knows about and worships, and yet amongst the masses they’ve remained largely unheard.  But in all those years they have failed to release a dud of an album (and they have a bunch of albums).  I remember hearing about this band in the late 90’s, whispered by other Midwest legends such as Giants Chair, Shiner, and Boys Life with reverence.  Years later, when I had the pleasure of working with Portland post-hardcore rippers Prize Country they went and did a split with the group and I thought, ‘they’re still together?’ Fast forward another 10 years one of the Traindodge guys lives in Seattle and has a band up there and once again I thought, ‘they’re still together?!’ And FINALLY, over the spring I actually saw Traindodge live and witnessed just why so many bands hold this group in such high regard.  Sure, they all look like the most dad of dad rock bands, and to an extent they are.  However, you will be hard pressed to find a group whose sound is so pitch perfect, present, loud, and full.  Their music is brawny but soulful, heavy but taut and precise, thoughtful without over-thinking it, and it simply rocks very hard.  This is a great addition to their already exceptional canon of work.  (Spartan Records)

DAY JOB, "SIMPLE MACHINE" NOW STREAMING

 

The second single (and actual first track) from the upcoming Day Job debut full-length, "The Auger" is now available to check out.
"Simple Machine" is debuting today so maybe go take a listen to it.
"The Auger" is due out at the end of November and will be available on LP/CD/digital.
All vinyl copies come on random regrind vinyl, meaning no two copies will look alike and will be on various mixtures of colors. Should look interesting.
A little background about this song from bassist/vocalist Kevin Wright: "Simple Machine came from an old riff I had been bouncing around for awhile. I feel like the somewhat mechanical repetition felt like a fun device with the overall concept we were working towards and it felt like a suitable back drop for the cycle of grievances of just being a person. Just the sort of dull pounding that comes with the monotonous menagerie of the day to day."
@dayjobnoise will be playing a record release show on 11/25 in their hometown of Birmingham, AL at the Woodlawn Theater.
Check the song out here:

HALLOWEEN TIME REVIEWS!

 It's the best time of the year for the punks- Halloween!  Why?  I have no idea.  Maybe because we were always the ones perceived to be 'in costume' all year and the one day a year where everyone else dons a costume makes us all feel more at home?  Costumes and insecurity aside, it's just fun.  People get creative in different ways- with what they wear, what they put in their windows, or lawns, or whatever and I always enjoy a good dose of creativity to get my spirits up.  And that extends to a bunch of cool new stuff that came out over the last month or so that I'll pontificate upon here.  And in keeping with the holiday theme each review will get a bit of a Halloween nod as well.

ANOTHER HEAVEN, “IV: Heaven Sent”

These midwesterners have been around a minute but they’ve mostly flown under the radar (mine at least), aside from a couple really good singles here and there.  Based solely off those couple random songs I heard I decided I really needed to make sure I saw their set, playing quite early on a godamned Sunday at this year’s sensory-exhausting Caterwaul Fest in Minneapolis.  And they were just super, donchaknow (say it like a Minnesota native would).  Unbeknownst to me, they were about to release another new record and here it is.  This continues their heavy shoegaze dreamy rock that just can’t help but frequently break out into unbridled post-hardcore-but-slower heaviness in many of the songs.  I can’t complain about that.  It’s like the bliss of stuffing your face full of candy, pilfered from a night of trick or treating in the ‘good’ neighborhoods, and getting a sugar rush headache, only to be gouged later with a nasty stomachache from overdoing it.  Songs like “Erased” come across as pleasant, breezy, and poppy as can be and then they just shout at you with a hard stop-start chorus several times, alternating between the two styles all bi-polar like.  “Catacombs” gives you their best take on Hum for the first half and then during the second half they decide to demonstrate what it would sound like if Hum really liked Neurosis.  Patterns like this exist all over the record until closing track, “The Light” which has an almost Radiohead-quality to the melody and feel of the song.  Current contemporaries would place them around the likes of Soul Blind, Cloakroom, or Big Garden.  Eat it up like a king-size Zagnut kids.  (Mpls Ltd)

CRONIES, “L1V3 S1CK0 L0V3 F3ST”

Get a load of these bold motherfuckers.  Who comes out the gate swinging their dicks around just to show the boulder-sized balls they got to go with it like this?  They start their record off with some nasty chunky old Helmet sort of bomber and then go right into “Ice Pop” that sounds like it was birthed from the center hole in a mint copy of the KARP/Rye split.  After that they continue with some songs that sound like Chat Pile covering Rage Against the Machine, though I could probably do without the rappy-sounding vocals, which are most prominent on “Rentboy”.  And even though I cringe just a little bit at that it’s still bold on their part to just say fuck it and go for broke.  They bring it back at the end with a very long song that somehow manages to continuously rock the fuck out for over 9 minutes, like the entire time.  So hats off to Cronies for being the types that would double down by not only keeping their Halloween decorations up all year ‘round, but go in on having at least two 12 foot skeletons in their yard. (Reptilian)

DUG, “You Make Me Sad”

Slower than the plot of “Rosemary’s Baby”, but two dudes having more fun than the silliness of “Phantom Of the Paradise”, Dug is a band you really need to see in order to fully understand.  On their third album in probably just as many years the duo continue to lay on the crushing sludge/drone/amplifier worship to a ridiculous degree.  Most of the time stuff like this goes right past me and at first I kind of felt that way about this band too.  But then I saw them and witnessed just how much fun they were having, seemingly enthralled and giddy about how huge and heavy playing 5 beats per minute could be before an utterly flattened audience.  So yeah, on record it’s all doom, gloom, broken machinery, abstract samples, and occasional deviations into strange found sounds or electronic bits.  You’re kind of suffering through it, and some people like that.  Live, you’re cheering the sonic apocalypse while winging empty beer cans at the stage and the two guys in Dug are laughing with you before another note deflects the shotgunned tall boy with sound so dense you need a shovel just to get out of the room.  “Pain Machine” (the record before this) is probably their most ‘accessible’ one, but this ain’t too shabby either. (The Ghost Is Clear)

FILTH IS ETERNAL “Find Out”

I think I feel a bit misled by the first couple singles that were released from the new Filth Is Eternal record.  They had some hooks, some singing parts…. were they going soft?  Um, heck no.  Put this slab of wax on and the entire A-side is like getting creamed by a cement truck sick of waiting in Tacoma traffic on the I-5 and gone full road rage.  There is absolutely no letting up through the first 7 or 8 tracks.  It’s a new high water mark for the band, who have already been pushing their raging hardcore for years now.  At their most vicious they fall somewhere in between the stadium crust of Tragedy, and the HM-2 heaviness of Black Breath.  And at their least ‘heavy’?  I’d say they evoke some of the snarled shouts and catchy thump of L7.  It isn’t until the last 4 or so tracks where they do kind of stretch their musical wings a bit and try some different song structures, a number of leads and melodies, and not just plowing through riff after riff.  It certainly adds some tasteful balance to an already stellar record.  And this is a record that truly sounds as loud and heavy as the band does live, so kudos on a great recording that really captures what it’s like to see this band on stage (or floor), which is like a hearty kick straight to the Wolf-Mans nards.  (MNRK Heavy)

FINAL GASP, “Mourning Moon”

This sounds like early Van Halen playing Samhain.  I don’t mean that derisively either.  It’s fine.  It certainly makes it stand out.  But don’t tell me you don’t hear some of that Diamond Dave intonation in the vocals.  It’s there.  I’m just waiting for this guy to bust out some spandex and jump off the stage while doing a split.   Although I’m guessing that’s not going to happen, unless it’s occurring in a cemetery under a full moon and there’s zombie moshers around.  This isn’t my typical go-to punk, but I like it when I hear it. Get you some deathrock, goth, and hardcore all rolled together.  There is a distinctive 80’s quality to the recording on purpose, which just makes these punk rippers sound all that much more distinctive.  “Blood and Sulfur” stands out as one of the strongest tracks on record between it’s upbeat delivery, crushing stomp, and keeping things brief.  And yet, they cruise right into the title track afterwards, which might be one of the more melodic songs on the LP, adding some synth for texture while remaining spooky all around.  Honestly, if you’re not listening to this a lot this month (it being October and all) you’ve either got Samhain on repeat, or you’re doing something wrong with your life.  Carve a pumpkin, put it over your head, and skeleton mosh through Spirit Halloween.  (Relapse)

NECKBOLT, “Dream Dump”

Austin’s Neckbolt serve up a platter of songs more bizarre and off-the-wall than the entire 88 minute runtime of schlock horror B-movie “Blood Diner”.  As strange and out there as the band is they’re really not too far afield from fellow acid-trip experimental groove gurus Guerilla Toss, if they were winging it from a garage and with more duck tape holding everything together.  In other words, the group can reel you in with rhythmic repetition but then peel back the layers of reality through piles of feedback, distortion, and every conceivable voice modulator made even weirder through circuit bending (or some other process I’m too much of a layperson to understand).  It really does make for a wild and fun listen, especially because they mostly keep the songs relatively brief, which is just enough time to surprise you, confuse you, and then get out just as you begin to grasp what they’re doing. Recommended for fans of weird and original shit from another planet. (Born Yesterday Records)

OPEN CITY, “Hand In the Honey Jar”

We’re all lucky to be living in a timeline where we get to experience the individuals in this band get together to make music and share it with us.  It’s been a pretty long time since Open City graced us with new music (nearly 6 years I think), but to be fair, they are an extremely part time band so I suppose we ought to just feel lucky to get anything at all.  For those unfamiliar, Open City is half of Paint It Black with drummer Chris Wilson (Ted Leo/Pharmacists) and guitar virtuoso Rachel Rubino (Bridge & Tunnel) trading 6 strings for one microphone and absolutely shredding throat.  Despite an overt dedication to channeling all things Sarah Kirsch (Fuel, Torches To Rome, Bread and Circuits, a million other bands) and Dischord hardcore, you can still hear traces of guitarist Dan Yemin’s distinct playing style in there.  It all makes for an excellent listen of emotionally wrought, tenuously melodic, and energy-filled hardcore punk.  A couple welcome deviations from the overarching theme take place where Yemin slips in a full-on Paint It Black song with “Blitz Kids Stay Sick”, as well as an obvious nod to Philly legends Ink & Dagger at the end of “Return Your Stolen Property Is Theft”.  Meanwhile, midway track “No One Thinks About You More Than You” takes a slower, more somber, yet melodically uplifting respite before things pick up again through the second half of the record.  All told, this is a great follow up to their first album, filled with enough emotion to wake the dead Herbert West-style in “Re-Animator”. (Get Better)

TORONTO BLESSINGS, “Big Wins”

OK, try to keep up, geographically speaking.  Toronto Blessings are a band that does not hail from Canada, but instead the UK.  And yet, on the first few tracks here they really remind me of the punky noiseniks in Canada’s very own Metz.  So, just keep your head in England here, OK?  Because after that initial salvo of songs they pivot to the far more expansive and drawn out “Omission”.  And from there they get weirder as various guitar effects whizz and weave throughout the songs like laser fire in some sci-fi flick, to 70’s slasher proggy film synths.  Additionally, insofar as vocals are concerned, the band errs more on the sassy punk side evoking some kind of midway point between the freaked out spazz of The Blood Brothers and the more wavering singing of At The Drive-In.  I know this all sounds kind of like a mixed bag, but believe me, it works.  You get enough rippers that are nicely balanced out by some of the longer and more involved songs.  Just like the “Halloween” film franchise sometimes they just throw in the odd movie that doesn’t fit with the others, but regardless of which one you’re watching someone’s getting killed. (Serial Bowl Records)

WRONG MAN, “Big Plans” EP

The second EP from Wrong Man comes pretty quickly after their first one and I sort of wonder why they didn’t just roll with an LP from the jump.  In the long run I suppose it doesn’t mater, however, there is a noticeable difference between the songwriting on that first record and this one where it seems they put an emphasis on more melody than before, particularly in the layered guitars across the pensive and anxiety-inducing “Wait”.  Still present are the Rollins Band style bluesy riffs (especially on the title track) and the almost spoken word creepy crawl of “Lights Out”. Of course, there’s some seriously great screaming in that song as well.  This EP lacks a little of the more overt weighty heaviness of their first EP, but comes across just as crunchy in other ways.  Not everything has to come at you with a sledgehammer to be heavy.  This is more creeping killer waiting in the woods, a la “Killer In the Woods” (how’s that for a comparison?).  (Sunday Drive)

DAY JOB TO RELEASE "THE AUGER" THIS FALL

 

DAY JOB is a fairly new band from Birmingham, AL comprised of two individuals who have been playing with one another in a variety of other bands around the area over a long period of time and a recent transplant with a resume of their own.

Today, New Noise Magazine is debuting the first single from the record, entitled "Hour Back", as well as a pre-order for the record.

CHECK OUT THE SINGLE HERE

PRE-ORDER HERE

Day Job started with Brenton and Kevin wanting to work on something more aggressive than their two other active bands, Null and Bulging. After jamming with several different drummers, they watched scene newcomer Jake pummel through a live set and found their fit, ultimately landing on what is now Day Job. After spending about 6 months writing and playing their initial shows, the trio recorded a debut EP with Shibby Poole (Thirdface, Yautja) in early 2022. Hex Records took quick notice of the group and a deal for a full length was quickly struck up.

As an introduction of sorts, the band recorded a few more tracks which were released through Hex as a limited split tape release with Wipes, also on the Hex label.  Day Job then began the writing process for their debut full length, “The Auger”, in February 2023. The whole procedure of writing and recording took just 6 months and in that time the band played live only once so that they could pour everything into writing new material.  Day Job then returned to Nashville where they recorded every single sound on the record in 4 days, from July 8-11, once again with Shibby Poole behind the board.

The result is “The Auger” - a 10-song crusher of big riffs, sludgy bass, and morose heaviness. The band has developed beyond their earlier KARP/Unsane worship and added unsettling melodies, moments of trance-like repetition akin to the members' other work in Null, as well as the tasteful use of various effects pedals to add texture and emphasis to these otherwise hammering songs. 

REVIEW SPICE LATTE

 OK, if summer was a little slow (for me anyway) with new music that made me do a double take this early entry into fall has already got my noggin on a swivel like I'm Linda Blair in the Exorcist.  But instead of Satan's vomit I'm spewing words of excitement over a bumper crop of great new music both from long-standing familiar favs (Great Falls, Will Haven, KEN Mode), as well as a bunch of new up-and-comers (Silk Leash, Kircher, We. and more!).  Heck, the season is already so chock full of excellent new stuff that I kind of already have next months block of reviews mapped out.  So just give me a minute to catch up, alright?

FEEFAWFUM, “100”

Upon getting underway with listening to the new LP from Oakland group FeeFawfum I was instantly transported to the early aughts by way of quirky and bouncy sassy punk like Q And Not U.  As the record goes on though it deviates into a little more goofy-sounding and somewhat chaotic bits, and I don’t mean that derisively.  So instead of nose-in-the-air hipster nonsense it musically comes off as more fun and a bit spazzy, which is cool.  Despite that I guess based on the bands own album description a lot of this record is about dealing with being a diabetic…. so ya know, not so funny.  Still, the band sound exceptionally fun in a freaked out way on “Plucked” before the second half of “Miles Away” slows things down to a melancholy instrumental revolving around mostly synths and sampled noises. (self-released)

GET WELL, “Burning the Village To Feel It’s Warmth” EP

For a band whose name makes me think they’re a youth crew band (I’m getting them mixed up with Be Well) this is very confusing.  And disorienting. Have you heard this?  Of course not, that’s why you’re reading this.  It’s a really unsettling listen.  The vocals come at you harsh as fuck, channeling some Botch energy.  So you’re then expecting crushing guitars and math-y parts, but instead it’s almost clean guitars, jangling and jabbing at you like some sociopath with a Swiss army knife and a wound fetish. The first song really throws me off from what I’ve just described but by the time track two rolls around it begins to settle in that this is something weird.  Yet it’s only three tracks total so there’s never really a full adjustment period.  That’s kind of a good thing though- keep people guessing, never let them feel at ease, and left a bit uncomfortable. Recorded in a roller rink.  Cool, cool.  Even more discomfort at that thought where a campy horror movie style murder definitely isn’t going to happen. (self-released)

GREAT FALLS, “Objects Without Pain” 2xLP

I’m going to be partial to these guys because I’ve released stuff for them and their other bands and they live in the area.  So any hint of journalistic integrity is kind of kaput here.  It’s not like I’m going to lie and tell you this doesn’t rule.  I feel like Great Falls are a band that consistently outdoes themselves each time and it’s quite a feat to do so honestly.  Their music is so emotionally exhausting, cathartic and crushing, and done so in ways that often defy what average musicians should be able to pull off.  And to be as prolific as they have been just makes it more bewildering.  Basically, Great Falls are the current high water mark for bands doing chaotic, emotionally draining, math-y noisecore.  Are all those words together a subgenre?  Whatever.  They easily transition from blasting, knotty riffs that shouldn’t make sense (but eventually do) into world-ending Neurosis-like sludgy doom, and somber reprieves…. and writing long songs.  And now with Nick Parks (Gaytheist) playing drums things sound even more violent and intense.  But be warned, the theme, or sort of concept, of this record is some truly depressing adult-in-limbo distress.  It’s that real life existential musings on failure, family, trying to cope with giant life changes in middle age sort of shit.  It’s hard.  So take that as you will.  Like all releases from this band their presentation is stellar, with intricate artwork, as well as some bonus stuff with a letterpressed booklet (designed and handmade by the band) and extra song for the obsessive weirdos like me.  Hey, I’m a guy like me!   Nevertheless, everything about this band and record gives you 100% of what they have and then some and on the live front you’ll either go deaf, get your neck swiped by a swinging bass guitar, or cry…. or maybe all of the above.  What you’ll  never be is shortchanged. (Neurot)

GRIDLINK, “Coronet Juniper”

It’s been a number of years since Gridlink gave us all new music to get whiplash to.  I’d long been a fan of vocalist Jon Chang, ever since shredding his throat for grind maestros Discordance Axis.  His undeniable shriek is all over this record (well, not the second half, but I’ll get to that in a minute).  Musically it’s in that same vein, but there’s more emphasis on classically trained guitar to go along with the seemingly endless blast beats.  Sure, these guys all love grindcore, but they also love video game music.  So imagine those concepts of wailing guitar over Sonic going like a thousand miles an hour collecting coins like a fiend, or Camy kicking the shit out you in an alley and apply it with blast beats.  The first handful of tracks here lean a bit more into those ideas, along with lots of leads.  But once they get to “Octave Serpent” and going basically until the rest of the record things just become straight up vicious, with songs barely passing the minute mark and just absolutely killing it.  That’s the best stuff.  Now here’s where it gets weird.  There’s 22 tracks listed here with the second half listed as ‘karaoke’ versions of all the previous 11 tracks.  It sounds like it could be something fun, or a goof with this group’s sense of humor.  But it’s just all instrumental versions of those songs.  So just a fun name for instrumental tracks I guess?  Either way, the vocalized record is a compact 19 minutes and 11 tracks, which is basically the perfect length of time to experience a grind record.  Anything more than that and your head will explode. (Willowtip)

KEN MODE, “Void” 

The quick follow up to last year’s “Null”, KEN Mode strike back with more insidious noise racket.  I’m unsure if this is supposed to be a companion record to “Null” and written in the same time frame, though the similar cover art alludes to as much.  However, I’m more inclined to see this as their side record where they get to fuck around more with sounds you wouldn’t normally chalk up to the KEN Mode sound.  Tracks like “These Wires”, which, I’m not gonna lie, sounds like an emo Steve Erkle for the first half.  But then they go into “We’re Small Enough”, an instrumental that uses spacey synths alongside a cold post-punk sort of Killing Joke thing.  It’s not long before they jump back into the absolutely crushing berating they’re known for with the plodding “I Cannot” and that’s probably my favorite (arguably best) song on the album. If “Null” was the official introduction for newest member Kathryn Kerr- with her accompanying saxophone on a few tracks, as well as noise/synth additions- than this record truly folds her completely into the fabric of the band and gives them another dimension. “A Reluctance Of Being” has her saxophone playing a somber and jazzy lead for the entire first half of the track while it bellows and wails spastically during the repetitive and cacophonous second half of the track.  The last two songs on the record take a decidedly less aggressive approach as the vocals are mostly spoken, the bass is overall less distorted and keeps a simplistic repetition on both songs, and there is more piano, sax, and even some strings (on “Not Today, Old Friend”).  Yeah, it’s a different turn for the otherwise highly confrontational KEN Mode, but it’s awesome they have given it a go and for the most part, it works.  Not to worry for those who appreciate consistency- at least three of the 8 songs here will beat the ever-lovin’ snot out of you in the way you’re used to. (Artoffact)

KIRCHER,  s/t EP

I’m not sure if this can be called a side project when the ‘main’ project isn’t super active.  What do you call that?  Adjacent project?  Whatever, it’s all semantics.  Kircher is the project of fellas from Prayer Group and it doesn’t stray super far from that, but they do exorcise a few additional musical demons on this EP offering that you may not encounter in Prayer Groups riffy racket.  Kircher definitely toss in some of their loud and brash noise rock clanging around, heavy on Jesus Lizard/Pissed Jeans/Blacklisters sort of worship and that’s never a reason to be mad.  However, midway track “How I Learned To Start Worrying…” (and it’s short noise intro before it) delves into some droney chatter over trance-y drug-addled jamming.  Lyrically, Chat Pile would like you to hold their beer.  Final track “Gone” is lengthy and pulses uncomfortably with added effects akin to what the dudes in Haunted Horses get up to before it busts into some “Souls At Zero”-era Neurosis apocalyptic slow burn.  It’s certainly the odd track out but it’s a good one.  So you get three more straightforward heavy rockers and a trio of varying levels of weirdness with mixed results.  Give it a try why not? (Fisher King Records)

SILK LEASH, s/t

Not exactly a new band, but my first encounter with their brand of audio terrorism.  These Maryland filth addicts let loose with all the ugly swagger and self-injurious punk destruction akin to Pissed Jeans after they fell into a dumpster of used syringes.  I know it’s a fairly easy comparison, but it’s apt.  I’d say Silk Leash aren’t as up front about their humor (if they have any) but they bring unsettling noise rock in relatively quick bursts for the first half of this full length and then let fate take their hand as they close out things with “You Are Replaceable” comprised of a a winding bass looping amongst swirling chaos and hitting every guitar pedal they own just to see what happens. But packed between the opening 90 seconds track of this record and the closers five minutes-plus of fuck all abandon are 8 more punchy and dastardly ripping jams.  (self-released)

WE., “Blursed” EP

Wild and weird chaos from the wastelands of Ohio comes the difficult-to-google We..  One guy plays a two-string bass and sings while the other bashes drums.  But for two guys it’s a whole bunch of racket and it’s pretty awesome.  Much of the song structures and tones they’re getting out of that wacky bass are really akin to Denver noiseniks Moon Pussy, while adding in a big trashy sound similar to another band  reviewed a couple months back called Big Clown.  But instead of a full band just imagine two fellows fucking up your day.  While the content of the songs seems to be serious there’s definitely a sense of fun, what with naming their EP “Blursed”, as well as the crazy structure to these songs- chaotic but having a good time doing it.  By the time they get to “Behind Closed Doors” there’s no fucking around and maximum damage occurs.  I’m all for it.  Pretty rad overall.  (self-released)

WILL HAVEN, “VII”

Will Haven is nothing if not extremely consistent.  They’ve barely changed their sound in the 25+ years they have been a band and it’s pretty much guaranteed that if you like one of their albums you will probably like all of them.  At times they have leaned more into their mix of sludge metal and atmospheric sounds (like on 2011’s “Voir Dire”), but you will never not catch them throwing in heaps of their chugging metallic groove throughout.  “VII” is a fine addition to their rather large body of work and I’d say focuses more on their chug-chug-chug style, as well as on shorter songs.  Will Haven has long been their own beast, even though many want to lump them into nu-metal, which I think is far off-base.  They are a band that favors slick production, lots of low end hostility, and tight groove but you’ll never see them attempting to rap and they all love Neurosis so there’s that.  They’ve toured with plenty of arena-packing nu-metal bands, but hey, why not play in front of a huge crowd if you can, right?  Whatever the case, Will Haven has always paired their desire-to-punch-a-parking-meter stomp with slow and crushing riffs, pained screaming, and spooky atmospheric noise to make something all their own.  It’s a thing I like, and I will continue to like Will Haven because they’re great at what they do.  (Minus Head Records)

MORE MUMS, IN VIDEO FORM!

 OK,OK, enough about MUMS right?  Wrong.

Not only is their new record out now, but you can also get a little view into their studio stuff while they were recording to the tune of "100 Kilos" off the record.

Get a load of this:

Get "Legs" on LP/CD/digital HERE.