Monday, November 14, 2022

COLONIAL WOUND STREAM FIRST SINGLE FROM DEBUT LP, PRE-ORDER UP!

 

Today the first single from the new COLONIAL WOUND full-length "Easy Laugh" makes it's debut via Axe To Grind Podcast!  You can check out "Altar Of Youth" through thee (yes, 'thee') hardcore podcast, and then swing over to the Hex Records bandcamp to pre-order the record.

As you can see above, there's a few different versions to choose from so go to the store to check them out.

Digital and CD versions will be out on 12/9/22 with vinyl expected to ship by February.  So what are you waiting for?

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).

And now comes their debut full-length “Easy Laugh”, coming this winter on Hex Records.  They lay down 9 tracks of immediate, crushing heaviness, full of the sludgy metallic noise rock that turned heads on their two EPs and now forged to perfection here.  In less than a half-hour they deliver the goods with one relentless hammering after another.

Tuesday, November 1, 2022

NO COAST 2022 WRAP UP!

 

Let me just start off by saying the month of October was exceptionally busy (and exhausting) for yours truly.  Started off with a trip to Colorado and experienced the effects that being 10,000 feet up for a few days has on one’s body.  From there went straight to New York for a week to visit family and also played a weekend full of shows with Dialysis (screaming and jumping around for three days straight after not doing that for over three years can really wear you down).  Once back in Portland I barely had time to slow down and collect myself before flying down to Texas for the annual No Coast Fest at the end of the month…  which brings me to now.

I’m tired.  But I am going to rally in order to regale you with the events of this year’s fest, which was a hell of a good time.

 

DAY 1

I had to get up stupid early in order to catch a flight down but was able to catch some zzz’s on the plane.  Once in Dallas I met up with someone I connected with to share a ride into Denton (it’s about 30 miles south of the airport).  I stopped by the spot I was staying at, a solid 2+ miles from the venue, so I just walked from there to the show.

Immediately upon arriving I ran into a bunch of people I hadn’t seen in ages and that’s one of the best parts of this thing- seeing tons of old homies, bands and otherwise, that I rarely ever get to catch up with.

But you all want to hear about the bands…

T-Tops opened the whole thing up.  They delivered some rock solid riffs, burly and chunky and not a bad way to kick off the weekend.  Their bassist looks like Taika Watiti.

Bring on Bummer.  I’ve got to say, if you’ve ever seen Bummer you know what an audio ass-whooping they lay down.  But if anyone was at No Coast last year you know just how awesome they were.  To me that was the best time I’d ever seen them as there was a vibe in the air, like ‘yes, we have arrived’ and everyone knew it.  This year was just as sonically crushing but it lacked a little of the crowd energy from previously I thought.  Also, they were acting like it was their last show.  C’mon, we all know better.  You all got like two records worth of stuff recorded.  Get it out there, play a couple shows, and give the people what they want.

                                            Cherubs
 

Cherubs were a semi-late addition to the fest, but not a single person is going to complain about the pride and joy of old-school Texas noise rock.  I friggin’ love Cherubs and was happy to see them again, even if they rarely ever play the songs I want to hear (why no “2 Ynfynyty” tracks? ) and often go with a lot of their more trippy spaced-out craziness rather than the ham-fisted dirges.  They also seemed a little rusty, but hey, they haven’t played a show in a few years and this was the first live performance with new bassist Pete Shore (as in, the OG Unsane bassist Pete Shore), who definitely looked like he was out feeding pigeons in the park before their set.

Young Widows closed out the night ad while I always know exactly what I’m in for whenever I’ve seen them it doesn’t change the fact that every time I’ve seen them they execute their songs perfectly, sounding precisely like they do on record, just a hell of a lot louder.  And I haven’t seen them in like 6 years or something.  But they were incredible as always, mixing in a few songs from the last three records (I’m pretty sure we will never hear “Settle Down City” tracks ever again).

                                            Young Widows, good to be back
 

 

DAY 2

It was crappy and rainy all day, which I’m used to living in the Northwest, but I was sort of hoping to get away from that and into some warm, sunny weather that I know Texas has in spades.  So what gives?  It definitely put the kibosh on doing fun, outdoors stuff.  So my man Steve, who was helping me out all weekend with the Hex Records table picked me up and we went out to Spiral Diner for breakfast because it’s right near the venue and has basically been my go-to spot the entire weekend.  You noise rock weirdos and your crappy Waffle House.  Get some actual good food and go to Spiral Diner when in the DFW metro area.  Then we drove around for awhile checking out Recycled Books/Records and a couple other spots before getting to the show that evening.

The intention was for bands to go back and forth this evening between the indoor stage and the outdoor courtyard stage, but due to the rain only us distros, labels, and band merch folks were out there…  under a quite large awning thankfully.  The intended outdoor bands played in the nook of the bar area on the floor, which was not at all ideal, but ended up being kind of awesome when they got rowdy.

The first band I really caught today was Big Hand/Big Knife who I’d heard a little bit of and was quite intrigued.  I was curious how they were live and I was thoroughly digging it.  It had some math-y parts, but almost buried under big piles of heavy grungy sort of racket.  They seem a little shy with their online presence so here’s hoping they get their new stuff out there a bit more because I don’t have a working tape player.

                                            Neckbolt's handy use of a stage chair
 

I was curious about Neckbolt as well because the music I heard wasn’t necessarily doing it for me, but Bill from Exhalants is in the band and I wanted to give it another try.  Live it was really cool though.  The weirdness definitely comes from the vocals as their singer used a bunch of pedals and stuff to manipulate his voice making for some really oddball layers to the music.  And yeah, musically it was in the realm of post-hardcore rhythms meets bizarro rock in the realm of Editrix or Big Ups.

Hammer Party I had been a bit dismissive of when I first heard them and it just wasn’t connecting for me.  But when they played on the floor in the bar it was a totally different story of intense riffs, mean-sounding heaviness, and some burly vocal intimidation from the frontman who looked like he could have been a gang member extra from The Warriors.

I’d known about the band Microwaves for some time, but had no idea what they sounded like.  Seeing them it was off-the-wall semi-metallic wildness and lots of abuse of their instruments.  It turns out one of the members was in Creation Is Crucifixion and we talked about Pittsburgh stuff for awhile and Hellfest memories.

OK, I’m biased, but USA Nails had the best set of the weekend.  It’s not like I’d been waiting 5 years to see them or anything, or that they played on the bar floor to a manic crowd and dished out a dozen songs in about a half hour.  Or that I put out two of their records.  Basically everyone in attendance agreed that they completely killed it and hopefully they get back here again soon.  They’re all lovely people and extremely gracious too and sound awesome live.

                     USA Nails- was having too good a time to get any decent pics
 

I’ll admit to not being in Psychic Graveyard at all.  I mean their music is sort of intentionally annoying, I get it.  But watching them live was definitely a spectacle as their singer gravitated around dudes with noise tables on either side (instead of guitarists) freaking out with their buttons and knobs while their drummer provided a steady pulse to the anxious-frenzied mantras.  It’s cool to see for sure.

Child Bite was another high up on my list to see because a) it’s been awhile, and b) they always put on an incredible live set.  They also played on the floor and took total advantage of that by heavily engaging with/fucking with the audience and just going off as hard as humanly possible with their thrashy punk freak outs.  It was loud, abrasive, and fucking wild.  You all need some Child Bite in your lives.

                                            Child Bite and multiple microphones
 

Tropical Fuck Storm closed things out and I’d never seen nor heard them, but was familiar with the name.  I guess I didn’t know what to expect and I’m not sure what I ended up getting.  They covered The Bee Gees if that tells you anything.

It was great catching up with people late into the night and then walking back to my place in the cool night.  I also found $20 on the pavement during my walk so, ya know, bonus.

 

DAY 3

Did I mention this fest was four days long?  I think that’s kind of pushing it for a man my age (or, should I say, half the people there), but I digress.  I started the day with a little walk up to the university area to get some coffee and grab some tacos from Pequitas and also found a little vegan grocery store that made killer subs.  Denton is a small town but has surprisingly numerous vegan options in town.  Would recommend.

Also, a lot of people seemed surprised that I spent most of my non-show time in town just walking around but it gives me the chance to see things I would overlook were I in a car-  a turtle swimming around the aqueduct creek, a possum late at night scooting around almost oblivious to me passing by, various turkey vultures about four times the size of crows just hanging out in people’s suburban yards, and, of course, trying to make friends with every cat I see.  Denton is also full of super cute, picturesque houses and neighborhoods and between those, the little neighborhood farmers market, or the Halloween-themed street fair in downtown it was nice just being on foot.  Tiring, but nice.

So before the show I went for a run.  Yeah, I brought my running gear with me on this trip, what of it?  It was kind of cold out though so I kept it to about a half hour.

So today they were able to do bands indoors and outdoors like originally planned and it made things run pretty smooth overall.

                                        Chicago's own Heet Deth
 

Heet Deth opened things up with some hot rock action as the duo had matching outfits and face paint for their set.  Props for committing to the act the entire rest of the day by keeping the make-up/outfits going too.

Venus Twins kind of got off to a rough start by freaking out right when they started causing something to break or malfunction and delayed things a bit.  But I gotta say, excellent drumming throughout.  I also admittedly didn’t realize the duo were actually twins until the next day when they were standing side by side.

I took a little food break and then watched New Primals.  I’d seen them before and they were great.  Admittedly I was initially skeptical because they are one of the wackiest-looking bands you’ll see and I thought they were going to be one of those groups that puts fashion ahead of the music.  But they’re all exceptionally excellent musicians who very much go off when they play and honestly, as striking as their image might be it takes a back seat to how good they are live.  They kind of go for that sassy-chaotic punk thing, but way more interesting.  Extra points to the drummer who played most of the set while wearing a trenchcoat and just killed it.

                                        New Primals getting all colorful
 

I was very curious to see Bulls.  They released a very good record a couple years back and then went silent.  I think they were sort of broken up so this show was either a reunion, or a formal last show of some kind.  They pull from that classic Midwest indie sound a la Mercy Rule, Germbox, Boys Life, etc but with a layer of heavy noisiness to compliment the plaintive emotive parts.

                                                    
 Bulls (please play more music and make new records)
 

Bend, Oregon represent! The Kronk Men made the journey from central, OR’s high desert to crank out their instrumental power jams.  A little Keelhaul minus the metal, some prog minus the jerking off.

Oh man, my eardrums were not ready for the crushing heaviness that was The Grasshopper Lies Heavy.  Monstrously heavy.  They began pulverizing the audience without warning or hesitation.  I love that they just go for it.  Also, 2/3 of Pinko were holding down the rhythm section so I got to hang with those homies for part of the weekend too.  Tight.

    When your sneakers match yr guitar cord.  The Grasshopper Lies Heavy color coordinate.
 

Child Abuse was a band I knew nothing about, but looked like the bastard spawn of Voivod mixed with future bounty hunter warriors.  Apply that look to sick metal and grating noise and you get Child Abuse.

Man, Big’n has been around forever on and off always keeping a mysterious low profile, despite how incredibly energetic and super tight they are.  So this was a real rare treat getting to see them.  They lay down the well-worn Chicago noise rock in it’s purest form- tight, precise, vicious, and heavy.  They were fucking great.

                                        Big'n really know how to lean into things
 

The last time I saw Protomartyr was in a tiny music store to about 10 people and that was a long time ago and I thought they were really dull.  Now I ‘get it’, but it doesn’t entirely translate to being my thing.  It’s definitely music for a certain mood and I think that mood involves being an alcoholic English professor who chain smokes at foggy piers while contemplating their third divorce.  So, you know, not my world but good at what they do.  I realized later that the very suburban mom-looking person playing second guitar with them was Kelly Deal (of The Breeders) after seeing numerous people go up to her later asking for a picture.  I would have never guessed.

Metz closed things out and my review of them is…  duh, it’s Metz.  They kill it each and every time.  They are consistently one of the best (and energetic) live bands on the planet.  If you’re not having fun when they play then you’re probably a Republican or something.  They had to cancel a bunch of shows leading up to this but they still came down from Ontario just to play and that’s awesome of them.  Great guys, great band, never a dull moment.

                                        It's Metz!  Get wild!
 

 

DAY 4

Last year when I was here I had this great experience on my last day in town where it was beautiful out and I went down to Spiral Diner in the morning and had breakfast on their deck with the sun on me and just soaking in the day.  So I wanted to replicate that this year, which I did because it was once again really nice out.  And then I ran back to the place I was staying because I like going for runs.  So not a bad start to the last day of the fest, despite by all accounts I ought to be completely exhausted by this point.

So once at Rubber Gloves it was very clear that opening band Strays had an unenviable task ahead of them- be the opening band at a matinee show on the last day of the fest.  No one wants to open Sunday afternoon of a fest.  Everyone is tired by then.  It’s quite possibly the worst slot you can get.  So Strays did their best stoner-doom riff freak out to wake the neighbors.

Almanac Man brought some people in by this point though as the Denver dudes laid down some mathcore vibes but more on the heavy rock side rather than just goofing off on a fretboard.  It’s cool stuff that’s pretty hard for me to describe.  It just rocks, how about that?

I’d never heard of Pollen (this one anyway, as there’s probably at least 6 other bands with the name at any given time) but they brought some wild and spazzy Q and Not U style that was a little more on the math-y side and with really great drumming.  Neat!

If the first part of the day was a little less heavy the second half, kicking off with BLK OPS, was dense on the metal side.  These locals did a whole power electronics meets double bass pedal, heavy fucking metal.  It was evil man.

                                    Moon Pussy can limbo way better than you
 

Moon Pussy were fun to see again.  They’re doing good things and are wonderful people.  They write really strange songs with totally unique sounds, but it all still kicks ass.  They got a great reception again this year and had some great between-song jokes to boot.

Everyone was hyped to see Chat Pile.  I guarantee there were people who showed up this day just to see them.  I was also curious because I missed their set last year.  So I witnessed the hype.  I really dig the new record and hearing some of it live was cool.  The bass dominated the sound though and essentially controlled the room while the guitar was a little on the quiet side unfortunately.  Their singer sort of just paced back and forth while they played but had some really funny banter though.  Overall they were pretty good.  They most definitely brought the push-mosh.

KEN Mode closed things out for the weekend and they’re so freaking professional it’s ridiculous.  They sound amazing, they all have their sound perfectly dialed in, and it’s absolutely crushing.  The new stuff from “Null” sounded menacing as fuck.  The addition of the saxophone and synths/electronics was awesome as well.  It was a good way to close things out because if you weren’t completely exhausted after that then you really have problems.

                            KEN Mode's alright if you like saxophones
 

I got a ride up to DFW afterwards because my flight was again so stupid early it just made more sense for me to camp out in the airport overnight.  But ya know, long layovers between flights really made a ton of sense.  So here’s to completely screwing up my body clock and the next couple days trying to re-set and decompress right?  It’s all for a good cause I guess.  I was able to see so many faces I hadn’t seen in forever and make some great new friends as well in a very fun and joyous environment and that goes a long way.  Gotta give an extra big shout out to all us old label dudes who got to hang out and support one another throughout the weekend- Bobby at TGIC, Chris at Reptilian, the folks from Skin Graft, and Lee from No List.

Sunday, October 16, 2022

OCTOBER RECORD REVIEWS THAT (SORRY) HAVE NO PUMPKIN SPICE.

 The key word for this month's crop of reviews is 'heavy'.  I came across a lot of very heavy records this last month.  Like most of these selections will make your ears bleed so be warned.  I also reference Today Is the Day a shit ton here so whatever, that's what I was hearing.  Maybe you'll agree?  It's not like that sort of influence is a bad thing right?  Anyways, read on and be on the lookout later this month for not only more new Hex Records-related news, but an overview of the upcoming No Coast Fest down in Denton, TX which I'll be attending.  People and bands who want to argue about these reviews come find me at the Hex Records table.  I'm looking at you KEN Mode!  Just kidding.


BALCANES, “Gloria Eterna”

The Spanish have their noise rock and they’re not going to let you forget it.  Balcanes has their own particular thing going on and I’d say it’s pretty good.  They sound absolutely grimy, with twelve-ton bass that rumbles and lumbers throughout this LP.  However, the band seems to take a similar approach to nearly all their songs- find a heavy riff and then hammer it into your skull over and over again for the entirety of the track.  They also throw in a couple of straight up noise tracks, which I could do without.  Closer “Bona Nit” appears to veer into noise again but turns into a piano piece with some wild, skronky saxophone to go with it and I can appreciate that.  Overall though, it’s a mean-sounding record, very bleak indeed. Their singer is the only one here keeping this sounding somewhat upbeat as his voice reminds me a bit of like Dennis from Refused or the guy from Lack, where he’s shouting, not really screaming, and coming off like he could easily join up with a positive hardcore band if this group doesn’t work out.  It’s honestly a nice dichotomy from the seemingly non-stop aggression present here. (self-released)

 

CITY OF CATERPILLAR, “Mystic Sisters”

Of all the possible reunions that could take place this is one of the more odd ones.  Maybe it feels that way because I didn’t give this band all that much attention when they were around, and I don’t know if they really had a big impact of any kind during their tenure.  I always felt they were a bit more of a project while the members other bands were far more influential.  But those crazy Northern VA kids and all their various bands are like one big ‘ol musical collective, so I guess it should come as no surprise that they just shuffle their lives around a bit to make room for jamming in basements with one another until things click. So while older fans may be wondering if the group’s initial melodic-screamo style in the vein of Gravity Records stuff like Antioch Arrow and Mohinder remains, the answer to that question is ‘not really’.  But what do you expect?  It’s been like 20 fuckin’ years.  And there’s a bit of a change in personnel here too. They still write some fairly long songs if that was your thing.  So what really has changed?  Well, for one thing, this has a great recording.  It sounds big, full, and appropriate for people who have spent probably more than half their lives in vans touring through every mold-encrusted basement, shifty tavern, and probably playing the occasional parking lot with a generator.  They’ve all honed their skills as musicians and creators and display a dose of the familiar (at times) with new ideas and sounds they want to explore.  It’s cool.  It’s not entirely my thing still, but it’s respectable.  A friend who is a fan of both their old and new stuff has described this as being more ‘cinematic’ and I think I can appreciate that comparison.  (Relapse)

 

CLOUD RAT, “Threshold”

Consistently one of the most interesting bands that could be lumped into ‘grindcore’, but so much more than that, Michigan’s Cloud Rat once again show on their newest record that they excel at making extreme music that is both frantic and otherworldly.  I’ve always felt they are a group that carries the torch of Discordance Axis in their ridiculous intensity and forward-thinking parallel universe approach to grind (not to mention some of the best drumming you’re apt to find anywhere), but also the style-hopping that Converge can pull off between hardcore, metal, and occasional melody.  Nowhere is this melding of styles to great effect found more clearly than tucked into the middle of the B-side on “Porcelain Boat”.  But it’s really the front half of the record that’s showing what the band is capable of through dizzying speed, fractured storytelling lyrics, impossible to nail transitions, and unyielding intent.  Cloud Rat never disappoints.  Just seeing what this group- a trio consisting of just guitar, drums, and vocals- continue to pull off, and have pulled off over several full lengths already, is an amazing feat in and of itself.  This is another victory for the band and worth your attention.  (Artoffact)

 

COORDINATED SUICIDES, “This Could Be Heaven”

These Wisconsin miscreants have been at it for quite awhile now and it seems they have been sitting on this stuff or a long time but are finally releasing it proper after some teasers over the last couple of years.  Damn.  It sucks to sit on material for that long without getting it out to listeners.  Well, welcome to creating music in 2022 where you’d think progression was a thing that was actually happening.  But I digress.  With a name like Coordinated Suicides you can be sure this isn’t happy-go-lucky, having a fun picnic sort of music.  Stylistically they veer into a few different directions, but I’m most closely reminded of Today Is the Day, somewhere between the more down-tuned sludgy evil they started on with “Temple Of the Morning Star” and the uncomfortably melodic bliss rock that would show up here and there on records like “Willpower”.  Also, putting all that distortion on the vocals really drives the reference point home.  Still, what the band is doing is worthy of attention as it is heavy, weird, unsettling, and downright ugly a lot of times.  While a lot of the heavier songs err on the side of down-tuned sludgy noise rock there’s a couple rippers like the 90 second “You Could Smile” and the equally abrasive “Like Shining Flies”.  But then you get an absolute spine-crusher with the repetitive downer “Sarcoma” and I’m wondering if these dudes need some time away from Madison’s cold and oppressive weather and spend a few weeks on a tropical island…  ya know, just to beat out the seasonal affect disorder that is clearly at play here.  While the first 2/3 of this record are wonderfully varied and engaging the last few tracks drag a little bit as they’re all longer and switch between spooky acoustic meditations and slowcore sludge.  Overall though, a winner of oppressive weird heaviness. (TemporalRecords)

 

KEN MODE, “Null”

KEN Mode are absolutely punishing in every sort of way to a point where their music can feel almost overwhelming or, at times, suffocating.  They have always, consistently, pushed that extreme envelope, though I’ve sometimes felt it was being ‘extreme’ just for the sake of it and it occasionally turned me off.  Of course, I could just be an asshole too, which is perfectly reasonable to assume.  But I’d like to say that on “Null” this is legitimately a painful, hurtful record and every ounce of it is pure.  Composed during a time of heavy anxiety, depression, and solitude one can really feel it’s brutal honesty.  Like most of their records, the sound is huge and heavy and their Today Is the Day-meets-Unsane-meets-Botch sort of sonic mincing is dense on the metallic end of things, as long time listeners will approve of the shorter, faster cuts here.  However, it’s the addition of saxophonist/keyboardist/noise grinder/whatever Kathryn Kerr that really adds a new dimension to the band’s sound and it works to great effect, particularly on opener “A Love Letter”, with it’s skronky sax parts.  They don’t lighten up a bit until halfway point “Not My Fault” with it’s almost post-hardcore perpetual buildup.  It should be noted as well that this record is not just an exercise in tricky riffs and pounding bass.  Both “The Tie” and “Unresponsive” are soundscape pieces that pull more from Swans than Deadguy, and make heavy use of those noise elements.  They’re not throwaway tracks either, but I’m certainly more of a fan of the riffs.  Anyway, KEN Mode pulled off an awesome record here that’s both forward-thinking/progressing on their end, and also totally satisfying to those who are already fans. (Artoffact)

 

PORCELAIN demo

OK, so these Austin folks have to be extremely aware of just how much they sound like Unwound.  I mean, Steve also plays guitar for Exhalants and everyone knows they have a lot of Unwound love…  just played incredibly heavy much of the time.  Porcelain has a sound that certainly recalls Exhalants (I mean, same guitarist/vocalist), but just reeled in a bit more to give exclusive focus to that Unwound and Sonic Youth love and it’s done well.  There is clearly a bigger emphasis on melody here with passages going in and out of trance-like bliss, particularly on third track “C.O.A.”.  For the four tracks presented here it’s a very good start I have to say, even though I am admittedly a bit biased.  But hey, go figure it out for yourself and tell me I’m wrong.  I’m not.  (self-released)

 

SUNTOUCH HOUSE demo

There’s a lot of activity happening around a handful of Jacksonville loud dudes and doing as many bands as they possibly can.  Between Yashira, Colonial Wound, and now Suntouch House there’s some member differences and a bit of musical chairs, and probably five other bands I’m forgetting and a whole lot of super heavy music.  This project does a good job of combining some of Yashira’s metallic hardcore tendencies as well as some of Colonial Wound’s sludgier noisy moments.  What’s a bit distinct here, though, is this extra little factor that recalls early Today Is the Day.  It’s most readily apparent on “Neverending”, which sounds like it could have been a B-side on “Willpower”, or a demo take of “Mountain People” from the s/t album.  The vocals are all hardcore shouting but again, some of that more chaotic style rears it’s head on “Disgusting/Give Me the Gun” before it goes into a creepy melody and then closes out with some Kiss It Goodbye-styled stomp and smash.  (Daze)

 

V/A, “Exhibit A”

This project was started a couple years ago and finally coming to fruition just now, and it’s certainly worth the wait.  As I understand it, one of the guys from Bitter Branches (who appear here with a killer cover of PJ Harvey’s “50 Foot Queenie”) hatched the idea for this and it appears the several labels who assisted with releasing this have their bands well represented through the stellar roster of groups on here.  There’s plenty of representation from the current crop of fast hardcore bands like Gel, Faim, School Drugs, and Truth Cult along with the older heads showing off their current bands- Be Well, Crossed Keys, Every Scar Has It’s Story, and the aforementioned Bitter Branches.  And then you get a smattering of what’s going on in the ugly, noise rock side of the punk spectrum with the likes of Exhalants, Multicult, Fashion Week, and Easy Prey delivering new, B-side, or demo versions of hard-to-find tracks.  A couple standouts for me are HIRS absolutely destroying everything in sight with a double dose of metallic craziness and Rid Of Me laying down a wild cover of “Sabotage”.  Atomic Action Records, Hellminded, and Knife Hits are a few of the prime suspects here getting this thing together and the entire shindig is a benefit for Southern Poverty Law Center.  Personally, when I think of hardcore and punk it encompasses a lot of different sounds and ideas and is never about just playing either fast or slow and screaming over it.  A lot of people miss that.  I think this comp is a perfect representation of not only a bunch of bands that are quite awesome, but of that umbrella term for this crazy stuff we subject our ears to daily.  (lots of labels)

Sunday, September 25, 2022

FALL TOUR DATES!

 It's getting into that cozy season so why not celebrate it with seeing different Hex Records-associated bands while they play shows in various parts of the country!

Of note, Multicult are making their way back to the Pacific Northwest, Wipes are headed out on their first tour, and USA Nails are FINALLY returning to the US and doing some dates with Child Bite and yours truly will be back in the Northeast for a minute and playing some shows with my band Dialysis.

Additionally, for any of you venturing down to NO COAST FEST in TX come say hello!  I'll be there as well tabling/slinging goods all weekend.

Check these dates out y'all and go to a show or something.


MULTICULT NORTHWEST SHOWS

9/29/22- Portland, OR @ Kenton Club w/ STILL/FORM

9/30/22- Seattle, WA @ Rat City Recon w/ Red Fang, GAYTHEIST, Help, Ils, more

10/1/22- Vancouver, BC @ Red Gate w/ Teeth To Your Throat


DIALYSIS (10 Year Anniversary) NORTHEAST SHOWS

10/7/22- Bethlehem, PA @ The Library w/ WIPES, Easy Blame

10/8/22- Syracuse, NY @ Silver St Community Ctr w/ WIPES, Easy Blame, Time To Die

10/9/22- Buffalo, NY @ Amys Place w/ BRAIN CAVE,  Easy Blame, Phased Out


CHILD BITE/ USA NAILS Midwest tour

10/24/22- Hamtramck, MI @ Sanctuary

10/25/22- Chicago, IL @ Empty Bottle

10/26/22- St. Louis, MO @ Red Flag

10/27/22- Kansas City, MO @ Mini Bar

10/28/22- Denton, TX @ No Coast Fest


WIPES Northeast tour


10/7/22- Bethlehem, PA w/ Dialysis

10/8/22- Syracuse, NY w/ Dialysis

10/24/22- Philly, PA

10/25/22- NYC

10/26/22- Boston, MA

10/27/22- New Haven, CT

10/28/22- Albany, NY

10/29/22- Buffalo, NY

10/30/22- Wilkes-Barre, PA

 

PINKO (OK, not a tour, but a really killer show) 

9/27/22- Austin, TX @ Hotel Vegas w/ Kal Marks





Thursday, September 15, 2022

WIPES/ DAY JOB SPLIT TAPE OUT NOW!

 


I swore I was never going to release a tape. But here we are. This works on a functional level as it’s a very limited release (only 100 copies total), and serves to aid both bands as they set about playing some shows and doing a bit of touring. So it’s handy to have these sorts of things when you’re on the road ya know?
Both bands are part of a burgeoning noise rock scene that has just as much to do with grungy, feedback-drenched dissonance as it does sludgy heaviness. 
 

WIPES emerge from the ashes of Tile, a local PA favorite who made anguished, ugly noise rock for a solid decade. When that band's guitarist left to take on more adult responsibilities Matt Molchany, Tile's resident studio engineer who recorded all their material, stepped in to fill the open guitar slot and thus WIPES was born. Hot on the heels of their recently announced debut LP, "Making Friends", due out this fall this split contains three tracks from the LP sessions that got left off the album due to space constraints. They're hardly leftovers though, as each track is a solid representation of what WIPES lays down. 
 
DAY JOB are a new band comprised of old friends who have all played together in various other bands in their local scene. Both guitarist Brenton Reid and bassist Kevin Wright play together in psych-stoner-sludge band Null who have been together for many years. DAY JOB is a more immediate, heavier, and noisier project that sounds like the perfect mixture of KARP and Unsane butting heads and coming up with massive sounds. Having already released a well-received demo these songs serve as a precursor for their debut LP, which will come out in 2023 on Hex Records. 
 
Check out two songs and order HERE:

This release is limited to 100 tapes, all with a 4-panel J-card insert and swampy green cassettes. Each copy comes with a download of the split as well.
  
 
This will be out officially on September 27, 2022

Monday, September 12, 2022

BACK TO SCHOOL REVIEWS

 Do people even go to school anymore?  Is that still a thing?  I'm out of the loop.

Either way, here's a bunch of fun indie stuff and some fahkin' hahdcoh!!!

Everything else is friggin' busy with pieces and parts of records moving here and there and trying to keep it all sorted.  Got a bunch of traveling coming up over the next couple months too so who knows, maybe I'll show up in your area.


ANXIOUS WAVE, “Live From the Poison Factory”

On a lark I decided to give this a spin and was pleasantly surprised at what was presented by this group of punks.  Right away they kick in with some noisy-fuzzy punk rock that showed off a fair deal of melody and deft bass work that brought forth the hooks, some times giving off a SoCal approach, but far less polished.  What sets this apart further is having a vocalist that sounds like Rollins doing a little less constant self-reflection and trying his hand at just a bit more range to go with the sandpaper-shredded throat.  Things are fairly aggressive for the first few tracks until it gets to the slower heart-puncher/tearjerker “Regards” and then throws a few tracks that dip into 80’s postpunk like “Carnivore” and “Void Boyz” before getting back into ugly, aggressive territory on the last pair of songs.  I’m with it.  This band doesn’t necessarily fall into one particular category, but rather expresses themselves in an original way through skate rock, post-punk, noise rock, and doses of grimey hardcore and they make it work well.  (Nefarious Industries)

 

DEMONS, “Swallow” EP

While the band’s name may be lacking a bit in imagination there are a whole bunch of good ideas packed into these four rippers that tear right through you like a ghost pepper enema in about seven minutes.  Following up on their recently released LP I love the notion of this EP being so quick and yet full of energy that you really just want more.  Whether it’s the absolute heaviest post-hardcore can get during the close of “Inauguration Day” or the Botch-esque controlled chaos of “Public Art” and the second half of “Nothing At the Bottom” Demons do a great job of mixing all that stuff with fast, abrasive hardcore and churning those styles together like so many circle pits in some decrepit living room where you know you’re never getting the security deposit back because sooner or later the landlord will figure out you’ve been hosting punk shows there for the last 5 months.  (Knife Hits)

 

IRANIRAN, “Previously, On….”

With song titles like “Form Is Temporary, Shitiness Is Eternal” and absolutely zero vocals you can already begin to assume what this band might sound like.  Yes, it’s another group playing math-y instrumental music with goofy song titles.  I’m not quite sure how that became a thing, but it’s like the calling card of the most obvious serial killer in history.  Whatever the case, at least IranIran (yup, one word) have the decency to give their clever math rock some cajones by funneling it through chunky sludge rock akin to the likes of Pelican, Torche, or Russian Circles, though I’ll admit it tended to meander off into less tumultuous thundering riffs during the last couple tracks and sorta lost my attention.  I’ll also give them this- the artwork on this phenomenal, whatever is going on here- a person being ripped out of their skin by I’m not sure what, an old TV, or oven, or dryer?  Who knows.  It looks cool, it (mostly) sounds cool too. (self-released)

 

KISSED BY AN ANIMAL, “I Don’t Have To Explain Myself To You”

On their second LP the Brooklyn indie rockers in Kissed By Animal return with a similar sound, with some tasteful updates, as well as another eye-pleasing ultra-colorful gatefold cover that’s simply a delight to look at.  They’re still on that jangly catchy power-pop tip with a big nod to Teenage Cool Kids (“Blue Skull” especially before it does a kind of psychedelic fake out ending before coming back to the main riff), but sometimes reminds me of more direct pop music like the Rentals with simple verse-chorus- verse and occasional keyboards making for some undeniably fun sounds.  The record closes out with a ballad that might be out of place with most other bands of this style, but seems almost fitting for this group for reasons I cannot explain.  Maybe it’s because throughout the record they work their pop hooks like earworms little by little until you get to the title track (the last one) and they’re on the verge of doo-wop mixed with the slow dance at the prom and by then you’re like ‘this makes sense.  I’m with it.’  Very clever Kissed By An Animal, very clever indeed.  (Handstand Records)

 

PERSONAL STYLE, “False Memories” and “On Fyre” 7”

This Buffalo group hits you with not one, but two, (semi) new 7” records.  And at a total of four songs across them.  Twenty years ago I would have seen this as completely normal, as would any person who enjoyed the 7” record format.  Now, as a person who presses records in the insane hellscape that is running a label in the 2020’s, the notion of simply committing a couple songs to a 7” record seems totally batshit crazy to me.  Not only does it take forever to press records, but the cost is incredibly high, even for 7”s.  So when this group continually keeps tossing out various singles I have to wonder just how deep their pockets are, or if the members are immortal and time is but a blink of an eye to them.  More power to them if they can pull it off, but I’d think it would just be more advantageous to save all those tunes up for a full length and get it all done at once.  But I digress, I ought to talk about the music right?  So Personal Style has already released a few records and this continues their tasteful post-punk/power pop rock groove.  I’m putting it together that there are clearly members of the now defunct (yet attention-deserving) Mallwalkers in their ranks, but that’s really not much of a detective-like deduction seeing as about half the population of Buffalo comprised that very large group.  Either way, I can hear some of that Mallwalkers thing going on, though Personal Style is more lean in their approach, taking cues from the likes of X-Ray Spex, Buzzcocks, and The Jam but with a modern flair. Enjoyable no doubt. (self-released)

 

SAWCHUCK, “Modern Love”

Hell yeah, just raw, super fast, and pissed off grimey hardcore.  I’m in.  This thing just blasts right off and it isn’t until the fourth song that they slow down at all.  And even then it’s for under two minutes.  And then it just gets fast again.  I’d say it’s no real feat to pack 14 fast hardcore songs into less than 20 minutes, but when those songs got personality and the crazy energy just bleeds right out of the speakers, well, that’s when you know you got something good.  Sawchuk do that great thing of making it absolutely clear that their unbridled live energy is translated to record.  It sounds like you’re in the basement or VFW hall, or wherever with them.  So if you damage your record, or speakers, or walls from jumping off your bed (or setting it on fire) blame the band for creating the false illusion you’re at a show they’re playing.  Also, how dare they write a song that’s over two minutes long, even if it’s a closer. (Dropping Bombs)

 

WOORMS, “Fatalismo”

I get the distinct impression these guys have more than a slight liking for The Melvins.  In fact, it’s probably borderline fanaticism.  Channeling Buzz and company straight from “Stoner Witch” Woorms may not be original, but they sure do an homage justice.  My only exposure to them thus far is the recently released split they did with The Grasshopper Lies Heavy where they offered up one 20+ minute long track filled with sludge, psychedelia, more than a passing fancy with Electric Wizard, and other weird sounds.  This new LP dials back a bit of the psych and samples (just a bit) and goes more for sludgy riffs, a few noodley early Mastodon-style guitar licks, and the occasional Sabbath nod. It veers off into some more experimental territory closer to the end of the record, but then brings back some stomp n’ sludge to close things out.  For those seeking some variety in their swamp rock jazz cabbage parties this makes for an interesting soundtrack. (Supernova Records)

Monday, September 5, 2022

WIPES RELEASE NEW SINGLE, PRE-ORDER FOR LP, AND TOUR DATES!

 Geez, they got a lot going on here.  New LP, new single, split tape, tour dates...  read on...


LISTEN TO THE NEW TRACK, "ALWAYS" AT NEW NOISE MAGAZINE


Wipes is a new band from the Allentown/Bethlehem, PA area that remains quite familiar.  That might be because the band started as almost an off-shoot from Tile, who have been blasting eardrums for well over 10 years.  When Tile’s guitarist began taking on more adult responsibilities and had less time to devote to the band remaining members Ray Gurz (bass, vocals) and Michael Dumoff (drums) began jamming with guitarist Matt Molchany, who had already been a long time friend and fan of the band.  In fact, he was responsible for recording and engineering both of Tile’s full length albums.
Thus Wipes was born and began writing music at a furious pace.
Soon the band demo’ed a few songs, putting up one on their bandcamp page just to give people an idea of what was going on.  Not long after the band did a very limited lathe cut 7” on Limited Appeal Records with two more tracks showcasing what they were up to.
During the Winter of 2021-2022 Wipes recorded their debut full length, “Making Friends”.
Prepare for more of the familiar noise served up by Tile- heavy sludgy noise rock aggression, but with odd melodies and harmonies recalling everything from Nirvana to The Pixies, or Drug Church.  It’s a blast to listen to.
Wipes will also be releasing a split tape with Alabama’s Day Job containing three songs left off the LP due to space constraints in conjunction with the full length.
To celebrate the release of “Making Friends”, as well as the split, Wipes will be doing a tour around the Northeast US in October.
“Making Friends” officially comes out on November 4th.

 

PRE-ORDER "MAKING FRIENDS" HERE

 
Tour dates:
10/7- Bethlehem, PA
10/8- Syracuse, NY
10/24- Philly, PA
10/25- NYC
10/26- Boston, MA
10/27- Connecticut
10/28- Albany, NY
10/29- Rochester/Buffalo, NY (?)
10/30- Wilkes-Barre, PA