RESURRECTION REVIEWS

 I think the song "Resurrection" off the new Truth Cult record is more about the seasons ending and it getting colder, but I'll be damned if it ain't a great track for Spring flourishing and resurrecting that dead 'ol winter husk into some new life.  All that is to say this is more like a second review for their new album and I like it a lot.

But hey, there's other stuff here too!  And it's all over the map so dig in.  I've been incredibly busy lately so I'm keeping this intro brief.  Just listen to some of these jawns and go outside.

DJUNAH, “Femina Furens”
For some reason Djunah, which is primarily the music created by Donna Diane, along with a drummer to accompany her songs, gets shoehorned into the whole noise rock genre and I find that to be kind of inaccurate.  Without question the music of Djunah delves into experimentation (after all Diane plays guitar AND bass at once through what must be a tap dancer’s pedigree in pedalboard footwork) and a fair share of grungy feedback.  But let’s be honest- this is just hard rocking rock music at it’s core.  Sure, to pull off what Djunah does involves a great deal of technical skill but the intent is to rock out and make big songs that showcase that talent, creativity, and her bellowing voice.  Given the artwork, the nature of the music, and themes around this record I’d dare say Djunah is almost moving into progressive rock territory at times here, though sometimes reminiscent of the intense, unsettling anthems that Made Out Of Babies could conjure up.  All that said, this is an impressive second record that is really attempting to make a big bold statement and I can only imagine seeing her pull this stuff off live (remember Djunah is just a duo) is likely where the real impressions are made. (self-released)

HEEL TURN, “Glamorous Void”
At first I thought this was a fast hardcore punk band because I’m pretty sure another group matching that description has also used this name.  So perhaps in a villainous turn this group has stolen the moniker for their own ends.  This band, however, hardly engages in posi jumps, or circle pits.  This is sludgy metalcore in the vein of stuff like -(16)- and Seven Sisters Of Sleep, or the kind of evil and heavy music one would be prone to finding throughout the A389 Records catalog.  That is to say, Heel Turn sound ugly and heavy, but they could turn hardcore kids to the dark side just by opening up at a Mindforce show.  Either way, the band make quick business of scurrying through 10 tracks of this chunkiness with a few blast beats thrown in for good measure and an extra brief track of just noise. (The Ghost Is Clear)

HONDUH DAZE, “Beater” EP
I’m pretty sure this is intended to be multiple songs, but if you take a listen to this online it’s just one single 23 minute long track, which is sort of odd. But what’s even weirder is the concept behind this duo- dealership noise punk.  Yeah.  Figure it out.  They’re called Honduh Daze (get it?) and they’re gonna try and sell you a lease.  Their music is not the kind of thing you’re going to hear walking onto a used car lot, and in most respects it’s harsh and weird noise, but that’s kind of what makes it hilarious (which I’ll get to in a minute, just follow along).  Here you’ll find drawn out sludge sections with tons of feedback, alternating effects experimentation, various extended samples, and shouted vocal parts over what sounds like a jet engine taking off.  But honestly, seeing this band in action is where it really comes together.  Amongst all this noise and chaos they commit to the bit with matching dealership uniforms, breaking between songs to go full-on with ad reads that half sound like the most annoying prime time used car lot commercials and half overtly aggressive wrestling promos.  And they will literally try to get you to sign up for a car lease by haranguing the audience.  It’s this crazy performance art/noise punk/ nightmare critique of capitalism and it’s both terrifying and hilarious at the same time. (Sweatband Records)

MAST YEAR, “Knife”
Things start off on this initial offering from this rather new Baltimore-area band with some very KEN Mode style of audio destruction, grinding through quick, sharp stabs and twists of metallic heaviness.  But then for most of the remainder of the record it becomes a little more difficult to nail down what Mast Year is doing as there seems to be no set sound.  There’s bits of noise, creepy-crawly melodic passages, and quite a bit of dour/downtrodden early Today Is the Day kinds of sullen, twisted evil and sludgy grime.  It’s certainly a sound that not many are doing, and for current comparisons they seem to pair nicely with the ugly sludge that Coordinated Suicides lay down.  However, I do find it a bit hard to follow throughout the record as it meanders down a branching path of depression and bad vibes, somewhat lacking cohesion. (Grimorie Records)

MSPAINT, “Port-American”
Somehow this band has slid into the hardcore punk discussion because their sound doesn’t fit that world.  At the same time I think to myself ‘yeah, they’re a hardcore band, but I don’t know why.”  In general, people typically think of hardcore/punk as being guitar-based music.  So the fact that MS Paint use synthesizers in place of guitars (well, there’s still bass guitar) should maybe give listeners pause in terms of where to classify this and I tend to think of that as a good thing.  While I’m mostly a fan of guitar-based music I hold that punk and hardcore should always be moving into new territory, which is what makes it exciting and revolutionary music to begin with, and this band do exactly that.  I’d say MS Paint pine similar territory as bands like Militarie Gun (whose Ian Shelton even guests on one track here) in that you have commanding/gruff vocals that show the ‘hardcore’ side of the band, while the music takes on a different angle, whether that’s through pop melodies, or synth-based arrangements. It’s catchy, fun and rhythmic, and lyrically tackles social issues through the vocals which I don’t want to say sound…. I dunno…. rappy?  That kind of makes it seem like it’s something other than what it is.  Just because the vocalist has a rhythmic cadence and their lyrics rhyme doesn’t equate to rapping.  Honestly, it all just makes the music more catchy.  Whatever it is here I like it and applaud the exciting chances this group is taking.  But that record cover…. looks like it was made in MS Paint.  C’mon.  (Convulse)

REAPERS GONG, “Subduction” EP
Full Of Hell members pulling another grungy and noisy side project that is pretty awesome.  I love that these cats just keep creating stuff in various off-shoots.  I reviewed another EP from this band a few months back and here they are with another very short EP, but it’s the best-sounding effort they have done yet.  I’m kind of wondering why they don’t just drop an LP.  This is like 9 minutes of music across 3 songs and almost half of that time is spent on a drawn out ending to a song.  Just give us more!  Anyways, if you’re looking for a band that has touches of shoegaze with grungy sludge and nods to stuff like Babes In Toyland this might be for you.  This is available digitally, or as a 12” with their earlier demo tacked on to make it worth your hard-earned duckets. (Fuzz Records)

SAMUEL S.C., “High Places”
Chalk this up to the ‘reunions you would have never guessed would occur’ category.  While Samuel was never a big name by any stretch, and did not have much of a discography at all, they did make a brief, but significant impression upon the mid-90’s indie/punk scene.  They may be most notable for having done a great split with the like-minded Texas Is the Reason, or that guitarist Eric Astor ran the most excellent Art Monk Construction Records (and later started Lumberjack Distribution when it was awesome, and also founded the Furnace Manufacturing record pressing plant) who put out a lot of great stuff way back.  So some 25 years later, or whatever, Samuel decides to give it another go an tacks ’S.C.’ onto their name (for State College, where they initially started) and makes some new music.  It’s easy to say that this group isn’t going for a cash grab, or puffing up of egos, because they never got all that big.  It’s noticeable that it’s friends getting back together to have fun and make some music, and that’s kind of the best sort of reunion if you ask me.  There’s no ego, no pretense, not pining for days of youth when middle age is making your back hurt from standing for more than 20 minutes.  So half this record is half songs written back when they were originally around, but never got to recording while the other half is new material and there’s honestly not much difference between the bunch.  The only thing missing between this material and their “Lives Of Insects” EP is a bit of youthful spark absent, which is a natural occurence from early 20’s to mid-40s.  But vocalist Vanessa Downing sounds just as bright and engaging as ever while the rest of the group plays their hearts out with fun and spirited indie rock.  It’s not going to blow your hair back, it’s just going to be a good listen.  But if you name a song “Syracuse In Winter” that should really sound like the bleakest primeval shit ever and their track makes it sound like it’s a pleasant day out.  You all need to rename that one something like “Savanah In Winter”.  For real. (Org Music)

TRUTH CULT, “Walk the Wheel”
This has been one of my most anticipated releases of the year ever since hearing that the band recorded a new record last summer.  “Off Fire” was such a welcome surprise full of excitement and promise that I knew whatever this Baltimore/DC-based band did next would be worth watching.  Truth Cult excel at what was laid down with Revolution Summer style DC bands in the 80s, and pushed forward with the caustic rock/hardcore of Swiz in the early 90s.  And now with the aide of DC alum/studio wizard J. Robbins they present us with their second LP that brings their sound into a more focused version of what they had done previously.  They’re apt at short hardcore rippers like opener “Squeeze” and late-album track “Ain’t Rubbin’ No Shoulders” (which also tacks on a quick little saxophone honking at the end).  They can vibe out with more meditative, melodic jams (they are named after a Lungfish song after all) on “Heavy Water” and “Medicine”.  And they can also lay down some of the most anthemic and beautiful punk songs ever through fantastic hooks and dueling back-forth vocals between frontman Paris Roberts and bassist Emily Ferrara on tracks like “Resurrection”, “Unstoppable” and the very emotive “Naked in the End” where we hear Roberts become more vulnerable than ever by trading in his hoarse shout for a go at actually singing.  It works to great effect.  This is an excellent follow up for the band that I hope brings them a lot more attention.  I’m going to tell you to listen to it right now, but also spin this during the summer because it’s a perfect summer kind of soundtrack.  And if you ever get the chance to see them live you absolutely must do that as it is where they shine being a completely explosive and energetic live group. (Pop Wig)

GET A LOOK AT THESE COLONIAL WOUND RECORDS!

 

Yes, they're finally here.  After waaaaay too much waiting and other assorted horseshit they're in-house and flying out the door.  So to answer an oft-repeated question I've been getting throughout the last couple months 'it's in the mail, ok?'

Just a heads up that the bonus/special die-cut cover versions are all sold out on my end, but the band has 50 copies of their own (split between both colors of vinyl) with the special cover so you can get one from them if you missed out.

And if you somehow haven't heard this yet maybe you ought to check out COLONIAL WOUND for yourself and then get a record.

ENOUGH VARIETY TO MAKE YOU QUESTION REALITY REVIEWS

 Where else ya gonna find both Pile and Obituary reviewed in the same column?  You're not gonna find that elsewhere pally, I'll tell ya that.  There's a bunch of randomness happening here this month- metal, experimental stuff, indie rock, brand new bands laying it out for the first time, old heads coming back with great new material, reunion dudes, and bands from overseas.  So if anyone ever tells ya you're not open-minded with music you just go and tell them you follow the Hex site and that'll shut 'em up but good.

HOURGLASS, “Atomic Clock”
This is a super random reunion that one would not expect, mostly because I’m presuming at least 75% of people reading this are like ‘Hourglass who?’  For the unfamiliar Hourglass were a mid-90’s Buffalo hardcore band that, at the time, were pretty unique in that they added a good deal of chaotic craziness to their music.  All they have to their name is one awesome 7” and a split and that two of the members went on to play in Buried Alive (who are doing their own reunion thing).  So for a band such as this to maybe do a reunion show or two to rekindle old friendships and get some local excitement going is one thing.  To make new music some 27 years after an already brief discography is quite another.  Additionally, the only original members playing are the guitarist and vocalist.  So they could, in all honesty, just form a new band.  But that’s neither here nor there.  So what do you get on “Atomic Clock”, basically the debut full length for a band that took over 20 years to put out an LP?  Surprisingly this sounds quite a bit like their early material.  It’s sometimes grooving, frequently chaotic, and definitely kind of weird.  Their old stuff was lyrically way more evil, and the vocal range here is a bit more varied and a lyrically a lot weirder.  Such is the difference between someone probably just about legally able to drink versus a middle aged adult, there’s going to be changes.  Musically it does hold up pretty well though and gives fans of stuff like the pummeling 90’s hardcore of Groundwork and a bit more modern style with no boundaries, especially in some of the odd twists and turns the vocals take. (Council Records)

GREAT FALLS, “Funny What Survives” EP
So not too long ago Great Falls recorded a new full length and had a few extra tracks leftover.  For starters, this is the first material recorded with new drummer Nick Parks (also of Gaytheist).  Second, I’m flabbergasted at how a band such as this makes such intense, vitriolic, and complicated music in such abundance as to have, oh, just a few extra tracks laying around that absolutely crush.  Like, the music is already hard enough to comprehend how three people can just write stuff this insane, bringing in a new drummer amongst the process and lay it all down like it’s no big thing.  For fucks sake, this should be illegal.  At the very least it makes most bands who claim to be ‘heavy’ and ‘intense’ appear chill in comparison.  This is the kind of stuff that makes Immolation sound like The Promise Ring.  So to get on with this review…. Great Falls are often either ripping face at an obnoxious speed with tons of part changes, or they’re painfully dragging out the ugliest sludge torture across the entire side of a record.  This is the former.  Three songs, about 6 minutes and a taste of what’s to come on the full length (which you’re going to want to get when it comes out).  The drumming is indeed ferocious, the groove is ugly and too off-time to actually qualify as ‘groove’ I guess, and throat-ripping screaming abounds.  Opener “Misery Lights” makes you think it’s going to drag out into a lengthy slow part, but just opts for an ugly and stumbling breakdown thats just grossly unnerving instead of mosh-inducing.  But that’s their thing ya know?  People who are already fans are going to love this.  If you’ve never heard this band this is a great place to dip your toes in, even though the water is infested with piranhas. (self-released)

INKSUIT demo EP
This is a new project from members of Ryoki Center, a somewhat short-lived band from Tennessee that had one awesome full length and then split.  This doesn’t really share much in common with that band aside from having some noisy guitars.  I just mention it as a point of reference because I really liked Ryoki Center.  Anyways, this is quite a shift, experimentally, into pretty different territory.  The four songs here have a cold, detached sort of post-punk/industrial feel while still giving plenty of love to disorienting and ugly guitar rock.  In place of bass guitar there are heavily affected synths that add a lot of character to the songs, making them feel more alien and, at times (like on “The Moralist”) almost dub-like.  Opener “Hugh” is the closest thing here to an upbeat rock song, but even that has a menacing and spooky allure.  “Panic Sales” goes for repetition but it’s really the only spot where the low, almost spoken/occasionally shouted vocals that tend to prevail throughout the EP get kind of annoying when he goes for a sort of baritone singing for the chorus.  By the time they close with the fairly lengthy “Belfry” it gets weird and uncomfortable, like intentionally.  You kind of have to work up to it through the other songs and it’s a good place to close out so you just feel weird and shivering and that’s pretty interesting.  I’m glad to see interesting stuff coming from these creative folks and look forward to checking out more. (Self-released)

KING SLENDER, “Gold Days”
I don’t know how this fell into my lap, but I’m happy it did as there are a couple folks in this group who I was familiar with from bands they were previously in like ages ago.  So happy to see they’re all still making lots of noise.  King Slender have actually been at it for awhile now and have a few EPs under their belt but this is all new to me.  They’re described as Drive Like Jehu meets Portraits Of Past and I agree with the second half because I’m really unsure where there’s supposed to be a Jehu vibe here.  Still, it sounds heavily influenced by spazzy 90’s emo and I’m cool with that. And in keeping with true 90’s emo ethic this is being released by like 15 different labels, so points for sticking to a trope of the era.  If they really were going all in they would hand-stamp the center labels, or have a sloppily silk screened record cover made from other old 12” sleeves turned inside out.  But I digress.
The first half lays down a solid foundation of what to expect, but it’s the second half where things get more energetic and aggressive in a very pleasing sort of way on tracks like “Half-Priced” and “Adversarial”. And on “Stint” you get a brief diversion into some exceptionally loud and grimey bass to throw the listener off for a minute. The A-side runs from being melodic and sometimes catchy to rather chaotic, though I guess that doesn’t truly give a clear indication of everything going on here.  I’ll just say fans of 90’s chaotic emo dished out by the likes of Level Plane and Ebullition will be pleased and you ought to be able to make up your mind from there. (Tor Johnson /New Grenada/ Killer Tofu)

MULVA, “Seer” EP
Mulva is a new band fronted by Christina Puerto, who has added quite a bit to the most excellent Kal Marks since joining up with them.  So maybe as a result a couple members of Kal Marks have returned the favor and are a part of this band.  It’s quite a departure though and, quite honestly, I’m unsure if Mulva has found their bearings just yet (and why should they?  they’re a new band, let them figure it out, jeez).  Some of this music moves at a slower, almost sludgy pace with Puerto’s vocals hovering above it all.  The first two tracks, “Heel As Hammer” and “Shouldn’t Fear the Seer” move through sections that go from almost freeform to rocking and stomping parts.  However, the second pair of tracks appear to be mostly freeform and meander quite a bit and I find it hard to get a sense of footing.  But maybe that’s their point?  With two tracks firmly rooted in a particular style that is unique, followed two more that don’t seem fully formed it’s tough to see where this group is headed but I’m keen to find out regardless of how it develops. (Self-released)

OBITUARY, “Dying Of Everything”
I’m hardly the person to talk to if you want to have a stimulating conversation regarding death metal.  My knowledge is tepid at best and I can occasionally get down with the genre, but nothing more than dipping my toes in.  However, you don’t have to necessarily be into death metal to enjoy Obituary, because I’m aware they’re sort of low-hanging fruit for the casual death metal fan.  You can pretty much drop in with almost any record of theirs in their lengthy discography and get a similar experience.  I first heard them with “Back From the Dead”, enjoyed it and then kind of forgot about it.  Then I grabbed on to “World Demise” (the record before “Back..” ) and still enjoy it some 25 years after first hearing it.  And then they released a bunch more records I’m mostly unfamiliar with and here we are now in 2023 with “Dying Of Everything” and it sounds….  like Obituary.  Here’s the thing about them though- having grown up with mid-90’s hardcore/metalcore a bunch of bands from that scene need to be paying Obituary some royalties for ripping off so many parts from them.  Furthermore, Obituary don’t rely on crazy technical parts or guttural barf vocals (my primary turn off with a large amount of death metal).  They could do all that shit if they wanted but tend to focus on a riff and a groove and ride that shit out with wild, evil vocals that you can actually make out what he’s saying (most of the time).  So yeah, “Dying Of Everything” is awesome.  There’s riffs for weeks on here and so much groove that Ashley Furniture ought to name a factory after them. Listen to “Without a Conscience”, or the title track, or “My Will To Live”, or “Weaponize the Hate” and if by the end of those tracks you don’t suddenly find yourself wearing camouflage pants, your hair grown into a skullet, and moshing wildly in a Crowbar hoodie you’ve completely missed out.  There is so much opportunity here to fully exercise your neck muscles. (Relapse)

PILE, “All Fiction”
Pile is already a weird sort of band, but this is by far their most experimental album to date.  It’s more of a leap rather than baby steps of progression.  And it’s crazy to think that a band such as theirs, who have a relatively large following at this point despite being far from easily digestible pop songwriters, can get even more out there and drag their audience along for the ride and I guarantee nearly everyone who was already a fan will be on board with this too.  I myself have listened to this several times over already and am unraveling the weird tapestry they have created here on their seventh album.  It’s still the same band because vocalist/guitarist Rick McGuire’s unique vocal intonation is immediately recognizable as is his knotty/meandering style of playing. But they have expanded to a far wider palette of sonic expression using varying synths, percussion that, at times, sounds (or was intentionally recorded this way) electronic, different vocal effects, and pretty much anything else including the kitchen sink (for reference check the first half of “Poisons”, which has all sorts of clanking and banging sounds going on for the ‘beat’).  There is nary a song on here that has Pile’s tried and true off-timed and labyrinthe heavy rock, unless you count the second half of “Poisons” where it breaks off into something you could have heard on “Dripping” or other earlier records.  While I’ll always be a big fan of the overall approach of Pile- as they truly are one of a kind- and their more direct material I’m consistently impressed and curious with how they push a sound into other realms, surreptitiously invite the listener to try and ‘figure it out’, and leave a lasting impression once things click after the 5th or 6th listen.  I’m almost there. (Exploding In Sound)

REMOTE VIEWING, “Modern Addictions”
Generally speaking, when bands use goofy/silly song titles that shit tends to wear out pretty quick, but I’ll give Remote Viewing a pass because naming a song “Watch Me For the Changes” when it’s as glacially slow and sludgy as it is is just good humor.  Or “Cleveland Balloonfest ’86” being the farthest thing from a fun-filled family excursion on a sunny day you could get.  Though I’d say “Your Opinion Is Wrong” is pretty on point with how mean-spirited and commanding it is.  And it’s not like they come off as a novelty act.  Not when you open your record with a piledriver of a song that recalls all the riffage of Fudge Tunnel with the slow-motion crush of Godflesh.  The band, at varying times, gives a respectful nod to the somber melody of Neurosis as well, but keeping it reined in enough to not be full-on fanboying.  So for those downer days when you want soul-mangling music, but also want a little chuckle to go with it this would make for a pretty good choice. (Human Worth)

RIOT STARES, “Sounds Of Acceleration”
This band had released a couple solid 7”s a few years back and started getting a bit of a name for themselves.  They went and covered a Cast Iron Hike song, which not only totally surprised me that anyone under the age of 40 actually gave a shit about that band, but they did it really well too.  They were well on their way to a full length and then one of their guitarists suddenly passed away and the band went on hiatus.  Fast forward a couple years they have decided to finish the work they began and are releasing this full length in honor of their departed guitarist, to see their collective vision through.  It’s an admirable effort and a noble undertaking to be sure.  However, I can’t say I’m completely on board with the result.  Fans of “Progression”-era Snapcase and “Driver Not Included”-era Orange 9mm will shit themselves with glee, though there is an uncomfortable amount of nu-metal/radio rock on here for my tastes.  While both the aforementioned strong influences on this band dabbled in that exact same turn off Riot Stares wholeheartedly embraces it.  I too have been a fan of bands like Orange 9 and Snapcase and I still like a lot of that, though I realize not all of it aged well.  I’d like to think as big of influences as those are upon Riot Stares the best parts of those bands shine through more on the B-side here starting with the very awesome “Dead Issue” as it trudges along at a sludgy trod, while the next track, “Burst”, whizzes by at just over two minutes at a furious pace.  I’m a product of the era where these guys draw their influence and I realize they pay homage to it with 100% sincerity, and while I still enjoy that music I realize not all of it translates well today.  Still, Riot Stares don’t really give a damn.  So they’re gonna do what they do regardless and good on them for not letting a thing they began just fade away.  They saw it through and while I’m not hip to all of it there’s enough of it I enjoy to write about it.  (Daze)

NEW YEAR, NEW REVIEWS

 Well, it's been a month since adding a year end list so why not add reviews for a bunch of stuff that I clearly missed out on right as 2022 ended?  Not to mention some other stuff that just came out (or isn't out yet!).  As always, I look forward to what's in store for this year as far as new music goes.  It's kind of a constant that I can rely on- new bands, exciting surprises, established groups putting forth new efforts.  Forget all the misery that is sure to be down the road, or having to wake up early after a couple holiday days off just to start again down the same trodden path.  No, it's the gift of song/record/band/whatever that makes looking forward to a New Year and is a reason to pull the sheets back from our faces and meet the day with a little less apathy.  Or something to that effect.

DESPERATE LIVING, “Shame” EP
It’s been a few years since Desperate Living graced us with some new music. Thankfully the Philly group, who’ve all know each other for decades and played in various other bands together, were bound to make some new music at some point and here it is.  “Shame” is 6 new tracks…. Well, more like 5 because the first tracks is like a 50 second intro, not sure if I’ll count it.  But they do their thing admirably with well-worn loud, fast rocking…. I guess you could say hardcore.  But really it’s loud and heavy rock from dudes who have been around the block more than a few times and have the chops to lay down whatever the fuck they feel like.  Whether it’s the lumbering mammoth-heavy trudge of “If You”, where there is a track of squealing, hissing feedback going through the entire song that I just love; or the super upbeat, almost Pissed Jeans quality of “Commit To” with it’s awesome tricky end part that sounds sort of like it’s all falling apart until you realize these guys can throw down an awesome off-time part and make it rock the fuck out I highly enjoy this effort.  This definitely sounds like friends having fun who also know how to play exactly what they want to, getting the exact sound they want as well. (Reptilian)

 

IN DER WELT, “In Der Welt”
Here’s a French band with a rather German sounding name.  They do a take on the more space rock elements of Cave-In (and occasional metal-leaning moments), and couple it with their own grunge riffs.  Each song has an atmospheric, space-y interlude often with some sample as well, to separate it from the next track and while that seems a bit redundant it’s not annoying in any way.  Many of these songs move at a somewhat slower pace, but the third song, “Watchtower” is a bit more upbeat.  It’s a solid listen throughout.  The cover art is a highlight- while rather simplistic the drab colors depict what seems to be the profile of a head but with the face smeared and distorted like it’s sliding off, like the effect of dragging a picture across a photocopier as it copies an image.  I dig stuff like that.  (Self-released)

 

INNY, “Pippins”
I’ve seen this band a couple times now without hearing a lick of their recorded music and for whatever reason I thought they were kind of a funk-punk band and I couldn’t be further off the mark.  Maybe I just wasn’t paying attention enough.  Either way, now they have a second full length under their belts (their first one sort of went under the radar for me and was released right as the pandemic hit) so I can listen to how wrong I was.  If anything this reminds me way more of J. Robbins kinds of bands like Burning Airlines, though a little less melodic in the vocals and minus a few of those golden hooks (but then again, there can only be one J. Robbins).  Maybe the comparison is present in my mind in part due to the excellent recording on this and how every instrument stands out huge and clear while still remaining aggressive and not too polished.  The bass just sounds amazing on this as well.  Still, the more I listen to it the more I’m enjoying what this trio does and they show it through deft post-hardcore, leaning into creative hard rock through epic-sounding endeavors like A-side closer “The Soup and It’s Mass”, or the playful and plaintively emotive title track.  They close out the album with a ripper that sounds more akin to Hot Snakes in it’s first half, while ending on a drawn out let-it-all-out cascade that wouldn’t be out of place on a Kerosene 454 or Giants Chair album. (Nadine)

 

RABBIT, “Halo Of Flies”
Sneaking in at the close of 2022 is the new EP from a band that is still new (and only had a demo to their name prior to this), but man alive does it crush.  Rabbit takes sounds of crusty hardcore, bits of recorded-in-a-cave black metal, a dash of Obituary’s caveman death metal, maybe a hint of NYHC, and crams it all into six truly maniacal tracks.  Most every song sounds like a war going on full of raging speed and fury before some of the most ignorant breakdowns in recent memory pop in like a downpour of cinder blocks.  It’s kind of got it all in terms of variety of extremity.  Geez, put these guys and Warthog on a bill and watch the venue self-destruct from the unmeasurable vitriol like the river of slime from “Ghostbusters 2”.  Nothing but bad feelings. (Delayed Gratification Records)

 

READY FOR DEATH, s/t
The resumes’ for the members of this band are about as long as your arm, but the real crazy part is how incredibly varied it is and what comes out the other end.  Guys who’ve served time in 90’s hardcore ragers Milhouse, post-rock riff stallions Pelican, metalcore shit stirrers Racetraitor, and post-punk minimalists Luggage joined together to make this whirlwind of thrash metal/hardcore called Ready For Death and it’s fucking wild.  But they keep it simple- 10 songs, just over 20 minutes, and almost all of them fucking shred.  Most of them go at a pretty fast clip and it isn’t until much later on the record (in fact, the two longest songs on here) when they slow down at all with “Wasteland Of Peace” and closer “Microchip Mutilation”.  It’s those two where I see a little more of the Racetraitor songwriting style in that thrashy, double bass metalcore sound coming through.  However, the majority of this awesome debut barrel right through your ears and I’m particularly fond of “Worldwide Blackout” (again, a track later on the record and I swear the first half of this album is pretty great too).  The record looks awesome, sounds crazy heavy, and is worth a spin.  (Translation Loss)

 

SALVATION, “Mock”
Three albums in and Chicago’s Salvation have hit their stride.  This still has a good dose of their sleazy noise rock swagger though they do offer up a couple far different tracks to break it up (which wouldn’t be the first time doing something like this on their other output).  The A-side closes with a piano-driven ballad “Drag the River”, while the B-side ends with the mournful acoustic track “Worn Out Party”.  But sandwiched between all that is dirty, nasty rock that gets pretty upbeat and catchy (opener “Drag” and B-side harmony-meets-distortion “AM Radio”).  “Voices In the House” is a 10-minute screed that goes by a lot faster than you’d imagine, which is a respectable feat keeping listeners attention through its crunchy slough.  Personally, I’m partial to a couple earlier tracks on the album- the crushing feedback sludge of “Backwards Bunny” and the rhythmic back n’ forth stomp of “Up On the Wall”.  If I’d never heard this and you told me it was released on Amphetamine Reptile back in 1993 I’d absolutely believe you.  Fans of stuff like Guzzard, Chokebore, and Janitor Joe will fully appreciate/worship at the altar of Salvation.  (Reptilian)

 

STRESS PALACE,  s/t
It’s a little tough to get an accurate frame of reference for the Dallas-based Stress Palace as they’re quite a new band and there’s not a whole ton of info out there about them.  I have no idea if they were in any bands previously, or what sort of band they consider themselves.  But I’ll give a bit of perspective from my end (that’s what you’re reading this for right?).  While I think of them having an overall heavier sound they can get dark and brooding, as well as strangely melodic too.  They have a bit of modern sassiness/screamo style present in bands like New Primals but also hit some of the wild vocal style and noisy post-punk chaos the VSS did so well.  There’s speedy punk energy present on tracks like “Waste Time” while “Confessor’s Blood” lays down a tight rhythm under a repetitive melody, subtle synth texture, and lots of shouting before it irrupts into a big and heavy take on the first half of the song.  It’s probably the strongest cut here.  Even so, for a debut (a full length right off the bat at that), this is a great collection from a band that already seems fully formed. (The Ghost Is Clear)

 

THOUSANDAIRE, “Ideal Conditions”
There’s so much fuzz on this thing you could receive a heart-stopping static electric shock just from hitting ‘play’.  Dino Jr slowed way down, early Weezer if they didn’t suck and took downers, True Widow if they were in the suburbs as opposed to a desolate Texas back country, Cloakroom but on Earth instead of another dimension…. This is what I’m hearing with Thousandaire.  It’s fucking wonderful.  Big ‘ol fuzzed out slowcore style here and done in a way that’s familiar and close to home.  I would say comparable to all those aforementioned bands minus ambition, but that would sound mean.  It’s more like they feel comfortable and warm, like being at home, or being grounded in reality and dealing with everyday shit.  It’s all very relatable.  So even though it all moves pretty slow most of these songs stay under 4 minutes each, which is cool.  This snuck in right at the end of December and I would have crammed it into my top 10 favorites of the year, but can I just carry that into a 2023 favorite (providing 10 other life-altering records don’t come out this year?).  As far as favorite tracks go, “Your Gold Teeth III” could be a Tom Petty jam slowed down, while “On Earth” is the most riff-centric on the record, and “Weekend At Bernie’s Again” is the most upbeat track here and a joyous burst of feel-goodness.  (Knife Hits)

 

WRONG MAN, “Who Are You?” EP
I know they’re mostly out of the public zeitgeist at this point so I guess it’s fair game to bring this influence back into the world, but I have never heard a band so closely get the vibe of Rollins Band and nail it perfectly.  This fully captures an earlier Rollins Band sound (circa the shorter, more direct songs of “Lifetime” versus the longer, more involved stuff from “End Of Silence”) with bluesy hard rock meets mean-ass riffs and some punk action, though I’ll admit the closing track of this 4-song burner could pass for an Easy Action B-side.  It just sounds more sleazy and that’s pretty cool.  It’s a shame this is only four songs because I want plenty more.  I am also curious if this is a project or a full-time thing from these former members of metallic German rippers Rise and Fall.  (Atomic Action)

IT'S THE END OF THE YEAR LIST!

 

Naturally, all the records I released this year are kind of my favorites, so making this list is pretty much everything else I really thought was tops.  I have listened to a lot of bands and music this year and a bunch of it was really quite wonderful.  However this list, in no particular order, was really what I was feeling.  So without further ado, here’s the stuff I caught myself listening to the most.

KAL MARKS, "My Name Is Hell”
I had been rather willfully ignorant of this band for way too long, or never gave their previous material the attention it deserved.  But there was really no escaping this new record once I heard the first few notes of “Ovation”.  Not only does this record benefit from a stronger recording overall, but also the addition of second guitarist Christina Puerto to make for stronger songs.  These tracks are incredibly catchy, but also weird and noisy, occasionally breaking into sludgy chaos.  They really are a band completely doing their own thing and it’s great.  (Exploding In Sound)

HELP, “2053”
Like many of their shows that seem to be almost spontaneous and occurring in random weird locations (under bridges, next to parking lot loading docks, etc) this Portland trio kind of just started being everywhere suddenly and released this excellent full length after a couple EPs.  They’re truly a punk band through and through but their music has a way of being minimalist in the loudest, most passionate, and chaotic way possible.  And to see them live…. You gotta see them live as it’s always an experience.  I guarantee you’ll be hearing a lot more about these cats in the next year.  (Nadine Records)

CLOAKROOM, “Dissolution Wave”
A bunch of people will see this and be like, ‘oh yeah! I forgot about this one’. Released right as the year started “Dissolution Wave” found Cloakroom getting into their 10th anniversary and opting to not make a double LP this time and that’s just fine.  The songs are still expansive, still big, and sludgy and dreamy all at once.  And they took some new ideas too- like almost country-ish vibes, a couple more pop-oriented tunes, and crammed all those big sounds and big ideas into 37-ish minutes and I love it.  They continue to be a wonderful band. (Relapse)

DRUG CHURCH, “Hygiene”
When “Cheer” came out I was pretty much convinced they had made their best, peak album.  However this record just smashed that notion into smithereens.  “Hygiene” is incredible.  Here’s a band that pokes all the 90’s post-hardcore/alt rock/whatever fun spots for me and just gets better and better at making super catchy songs, cool riffs, and still be heavy and rocking.  Catching them on tour for this earlier this year was truly a highlight as it’s impossible not to bounce around to “Million Miles Of Fun”, or be swayed by the poignant and direct lyrics of “Detective Lieutenant” and “Premium Offer”.  So I’ll say it here- this is their best album (until the next one comes out anyway).  (Pure Noise)

BASEMENT FAMILY, “Eerie Ennui”
This kind of came out of nowhere and I was struck by how I had a hard time defining the sound of this band.  That’s usually a good sign.  When I have difficulty describing a thing yet I highly enjoy it I get stoked.  Basement Family totally do that.  The lay out weird and intricate Midwestern indie rock that could find a home on a label like Exploding In Sound easily, but also adds a good dose of Sonic Youth-style guitar scree overload, the occasional foray into post-hardcore/noise rock-ish thump and wallop, and bits of lackadaisical flighty melody.  It will lure you in, keep you guessing, and take fantastic little twists and turns.  (The Ghost Is Clear)

PLOSIVS, s/t
John Reis is not only one of my favorite guitarists ever, but he’s also a national treasure, and a consistently reliable creator of only the finest punk music.  So here’s yet another project in the gigantic resume of the dude featuring old RFTC bandmate Atom Willard on the cans, and Rob Crow from Finback also playing guitar and singing.  So this makes for an excellent record of great catchy songs.  Pretty music imagine Speedo’s writing/playing style colliding with Rob Crow’s most excellent vocals and songwriting style and you get Plosivs.  This is a great match.  You get everything from clever riffs, to plaintive melodies, to ripping rockers.  (Swami)

HAUNTED HORSES, “The Worst Has Finally Happened”
Man, I wrote this band off before when they were just a duo because I figured it was just noise pedals with drums.  But on this they just took it to a completely other level by adding a a bassist to contribute some seriously low end bombast and it makes everything sound incredibly creepy and weird and I love it.  The baritone vocals and carefully curated soundscapes that sub in for guitars give it all an industrial sort of sheen, yet organic and punk enough to sound like controlled chaos makes this record a full-on winner.  (31G)

ANXIOUS WAVE, “Live From the Poison Factory”
I was going to add this as a ‘runner up’, but whatever.  These songs definitely get caught in my head.  They have an awesome way of being a punk band that incorporates elements of ripping hardcore, some noise rock tendencies, as well as sounds that make me think of bits of the SST catalog as well as Cargo/Headhunter Records stuff of the early 90s.  It’s a weird mix, but these dudes just made an awesome record and it kicks ass.  (Nefarious Industries)

COME TO GRIEF, “When the World Dies”
I never really checked out Grief when they were originally around, so I ignorantly have nothing to hold this up against.  But I really don’t give a rat’s ass because this is so freaking epic and huge that whatever lineage came before is irrelevant.  The recording on this is so solid and big-sounding it elevates the sludge genre.  And while that’s something I don’t go for a heck of a lot Come To Grief truly win me over with songs that don’t drag on forever, laying on the riffs like bricks in the foundation of a house, and tastefully crushing anything that gets in their way.  (Translation Loss)

SCIENCE MAN, “Nines Mecca”
My man John Toohill is a musical mad scientist.  His one-man project Science Man has blossomed into a full band (on the live end anyway) of furious, absolutely unhinged crazy hardcore punk.  While that may not seem entirely like anything new go and YouTube this album.  There’s a video for every song on the record and they’re all super weird, freaky, and will make you ponder reality as it is.  All that together with this great music makes for one hell of an audio and visual experience.  (Swimming Faith)

FAVORITE EPs and DEMOS

BLACKLISTERS, “Leisure Centre” - Completely bananas follow up from these Brits with tons of sax, a rhythm section so lumbering you’d think Bigfoot was stomping through your rec room, and noise rock bona fides to make the Jesus Lizard blush.  (Exploding In Sound)

FULL OF HELL, “Aurora Leaking From An Open Wound”- Emerging from out of nowhere, and a tour-only physical document the prolific mid-Atlantic sonic abusers drop a few tracks focusing more on their jagged noise rock chaos instead of their grind core go-to.  There’s still plenty of absurdly heavy too and I’m convinced this band will excel at any style they try. (self-released)

SUNTOUCH HOUSE demo- I’m a bit biased because this is Colonial Wound dudes.  But this *almost* makes the Colonial Wound full length sound tame in comparison.  Four songs of chaotic hardcore heaviness that gives love to everything from the fierce and moshy style of Indecision to the all-out evil heaviness and sludge of Today Is the Day.  It’s fucking wild.  (Daze)

BRAIN CAVE, “Drained Wisdom” 7”- By the time they released this the band had already recorded the songs for the split I released for them and I thought, ‘geez, I would have loved to have released these songs too!’  This is three songs in six minutes and showcases the bands more upbeat hardcore style, playing fast, having piles of great riffs, huge fun breakdowns, and awesome songs.  You can’t go wrong with these dudes. (Head2Wall)

DAY JOB, “Be a Friend, Make a Friend” demo- KARP meets Unsane.  That’s all I need to say.  And you’re wondering why I’m putting out their next record.  C’mon, get a clue.  This is fucking vicious. (self-released)

 

FAVORITE SHOWS

If last year was a sort of soft opening back into seeing live music again this year was an all out cornucopia of live music experiences and I got to see a ton of stuff.

                                                  USA Nails at No Coast

 
-NO COAST FEST down in Denton, TX (10/27-10/30) was another fun go around as I saw a ton of friends from all over, finally got to see USA NAILS live (who were incredible by the way), as well as a ton of other bands that I'd probably rarely ever get the chance to see, and got to hang out in the wonderful little town of Denton.  The travel to and from sucked, but everything else was a blast.
-Playing a few shows with DIALYSIS again after three years of not getting on a stage was a much-needed outlet (10/7-10/9).  And it was in a variety of weird places, which I will always take over a professional stage any day of the week.  We played a library in PA, a diner in Buffalo, and the basement of a community center in Syracuse.  And I got to hang/road trip with my homies which is always a bonus. Oh, and we also got to play with some awesome bands that I otherwise probably wouldn’t be able to see on my coast.

                                                              Wipes

 
-I took a little trip up to Seattle to see the HAUNTED HORSES record release show (8/20) that STILL/FORM was invited to play last minute, and was also one of the first live shows Nick from Gaytheist played with GREAT FALLS as their new drummer and he (and they) absolutely crushed it.  It was also my first time at the venerable Bar House, a great spot run by a great dude and the perfect space to see some super loud, super wild bands and a big crowd giving them all the attention they deserved. 

                                                 Haunted Horses

- SICK OF IT ALL came to the PNW and were joined by AGNOSTIC FRONT and CROWN OF THRONZ on 9/13.  It had been probably close to 10 years since seeing SOIA, over 20 seeing AF and probably at least 8 since COT.  Northwesterners don't exactly get NYHC style, but people certainly tried their best and it was incredibly fun.  While I am hardly the mosh fanatic I once was I could not help but stagedive and go off for SOIA.  And when Crown Of Thornz played "Love Sick"?  Hoo, forget it.  But I'll tell you this- moshing with a mask on is super exhausting, and I was also feeling sore for a straight week afterwards.  It was all worth it because each band was excellent (I mean, of course SOIA was, they're one of the best live bands you will ever see) and was a reminder that despite all the weird music shit I get into I still have a lot of love for hardcore.

 

Sick Of It All

-And to cap it off, this guy went to see that massive TURNSTILE tour when it passed through town (5/02) because stop trying to deny it- they’re amazing, incredibly fun, and put on a heck of a show.  Sure it was packed to the gills and I usually find that kind of a deterrent, but the energy was incredible.  Oh, and having both TRUTH CULT and EKULU open for them was about the best new hardcore bands going you could bring along with you.  And to be honest, Truth Cult gives Turnstile a run for their money in terms of how incredibly good they are on stage.  And they were the opener.  So do yourself a favor and keep an eye on them.

                                                Truth Cult
 

BRAIN CAVE AND KNUB SPLIT 12"- FIRST TWO SINGLES DEBUTED!

This is the next edition in the ongoing Hex Records split 12” series (as well as the last new record to be announced for 2022) pairing bands not necessarily directly part of the label, but that we find awesome nonetheless, and releasing it short-notice in exciting and creative packaging. First was the Great Falls/ Great Sabatini split that contained letterpressed cover artwork and a laser-etched B-side (designed and executed by the bands as well). And then came the wild split between Child Bite and Multicult containing some of the most intense screenprinting work we’ve ever seen care of the Child Bite fellas. And now we got two of the most exciting new bands to emerge- Brain Cave and Knub- laying down gigantic slabs of rock housed in a screenprinted jacket with an Obi strip to keep it all together and fancy looking.

Brain Cave- hailing from Cleveland- have been exceptionally prolific in their relatively brief time together, releasing several singles as well as a killer full length. This continues their fierce pace of releases and more post-hardcore heaviness that shifts between melody and fuzzy riffs played as loud as possible with shouted vocals keeping them rooted in basements packed with sweaty kids and questionable odors. The trio blur the line between all-out aggression and a dedication to songcraft, melody and riffs.

Knub are old heads in a new band currently sinking the city of Baltimore into the Chesapeake Bay as a result of the seismic riffs they’re creating. They dropped a demo last year and I’m still recovering from it. They completely nail those enormous Helmet riffs worthy of “Meantime” and then polish them with the seasoned production and catchy songwriting of “Aftertaste”. Yes, a perfect world can exist. Add to that a singer with a set of pipes potentially lifted from a church organ and you get the huge sounds of Knub that makes you full-body handbang to the riffs and then curse them for how stupid catchy it all is. How can this dichotomy exist? Search beneath the flooding streets of Baltimore and you’ll find out.

This split will be out digitally on January 20, 2023 and vinyl is expected to be released/shipped around the same time.

You can grab the record HERE.

NEW REVIEWS AND DEAD COMPUTER BLUES

 I'm pretty sure this will be the last batch of reviews I do this year (not counting the annual year end list) because I have too much damn stuff to do and keep up with.  Oh, and pour one out for my trusty 2009(I think) desktop as it limps to it's grave and I have to figure out an alternative replacement for anything graphically-related.  Heck, this header image I managed to do in Microsoft Word on my work laptop! And there's also just a bunch of other general life stressors, as well as trying to wrap up label releases for the year and look to 2023, so it's been kind of a hectic time. But somehow I'll manage I'm sure.  And a lot of that is through music.  So here's a handful of stuff coming in at the tail end of this weird year.  Enjoy!

-(16)-, “Into Dust”

I thought for sure there was some sort of lineup change between this record and the last full-length from this long-running Southern California stoner-sludge-hardcore band as there is a distinct difference in sound, particularly the vocals.  I know this band has a deep catalog, but for brevity’s sake, let’s start with “Dream Squasher”, their previous excellent, menacing, super-fucking-heavy long player.  That record just sounds ridiculously heavy and mean.  “Into Dust” is the newest effort, and just about 2 years removed from “Dream Squasher”.  Where that record, from a vocal stance, focused on the screamed, evil-sounding hardcore roar with the occasional foray into a sung part, mostly as just background “Into Dust” makes the more melodic vocals almost the center of the band.  Now, the membership from the last record to this one has not changed one bit (and this is a band that has had quite a few members over the years).  They put a great deal of emphasis here on the metal side, leaning into some definite Crowbar parts between the sludge, melodic metal, and sung vocals.  For some people that works great.  For me I prefer this band when they’re just laying into a groove and plowing down anything in their way between metallic hardcore and absolutely crushing sludge riffs.  There’s still riffs a plenty here, not to mention some dives into their more hardcore side (check “Lane Splitter” for proof on that), so you know they haven’t forgotten what bakes the bread.  But I’m not really feeling those sing-y, wanky groove metal bro parts that seem to creep in way more than I’d like.  I’d just suggest skipping most of “Dressed Up To Get Messed Up”.  But they do close out with a song way out of their comfort zone (in parts) with “Born On a Barstool” and it’s an example of trying something different and doing it pretty well. (Relapse)

 

A.M. NICE, “Half Past Tense”

When you see the name perhaps visions of a sunny retirement community, in the morning just after changing out the attends and having a good ‘ol cup of Metamucil before heading over to the rec center to watch the pre-lunch magic show, whilst humming along to some old timey crooner is in your head.  No?  Just me?  Well, A.M. Nice is a band that certainly sounds nice and I suppose listening to them in the A.M. would help add a cheery disposition to start out the day for sure.  A.M. Nice do not make harsh music.  They create the sort of indie rock, rooted in some punk ideas, that adorned the pages of Punk Planet and represented hard in the late 90’s via labels like Jade Tree, Southern, and Caulfield Records.  Their jangly rock is somewhere between post-punk, a bit of mod rock, and a dollop of Midwest emo.  Most everything moves at a decent clip, most of the songs are direct and to the point.  It isn’t until halfway through on “Your War” where they kick it up a notch, increase the tempo, and toss out a 80 second ripper before getting back to their regular programming.  It’s nothing that’s going to blow your hair back, but it’s a fun listening experience that you just can’t be mad at.  Pleasant, not-very-confrontational, and enjoyable. (Phratry Records)

 

BLACKLISTERS, “Leisure Centre” EP

Godamn you Blacklisters for only giving us four new songs, fucking tease.  You can take your Idles, your Part Chimp, and whatever other ‘well-known’ British noise heavies and toss them into the Thames because Blacklisters basically makes them all sound like the theme to Teletubbies.  So this band has always sounded wild and fucked up in the best way possible, scattering howled drunken vocals over clattering guitar feedback and noise, but they have always had this incredible low-end rhythm that not only keeps things together, but generally sounds frightening while getting your body shaking.  Everything is chunky, dirty, and mean, yet so bright and vicious all at once always making for an exceptionally entertaining listen.  And leave it to these smarmy bastards to add some significant saxophone skronk to half the tracks, including what more or less amounts to a saxophone breakdown at the end of “The Wrong Way Home”.  It’s just another layer of insanity on top of the already caustic music.  I friggin’ love this band and if this is any indication of what’s to come I’m even more excited.  More sax skronk!  More lumbering bass!  More wild guitar feedback! (Exploding InSound)

 

BOTHERS, “II”

It’s been awhile since Portland’s Bothers surfaced.  Apparently, this record was finished nearly two years ago and in that time the members of this formidable punk band started other bands (that kind of sound a bit like Bothers), and then quickly dropped this one on listeners.  In all honesty, I thought they had broken up.  But nope, they were just hibernating.  So where I felt like the bands first LP was fast and dirty punk mixed with some of the guitar-pedal love of 90’s post-hardcore this record seems just a little slower.  But, like, just a little.  And it really does sound a great deal like members previous outfits (Glass and Ashes and Young Livers most notably), which is not altogether a bad thing.  Maybe make it just a little darker and harsh overall.  When a songwriter(s) have a certain style it can be difficult to escape it.  I don’t think these guys are trying to re-invent the punk/hardcore wheel by any means or alter the type of music they’ve created in the past, I think they’re primarily playing to their strengths which they show off on this second record.  And they do it well.  Now they need to get out of hibernation mode for real and play some more shows. (Dirt Cult Records)

 

FULL OF HELL, “Aurora Leaking From An Open Wound” 7”

I had no idea this was a thing that existed either, but apparently the band pressed this 7” themselves and only had it on their recent European tour.  But not to deny the rest of the world you can get the digital version and keep up with all things Full Of Hell.  Honestly, I’m waaaaay into this.  Full Of Hell has grabbed my attention more and more with each release as they deftly weave in and out of various extreme style of harsh music.  Their last couple releases threw grindcore, death metal, noise rock, and crusty hardcore into a blender and made it all work naturally.  On this 7” all three tracks move a little slower, do great stuff with sludgy metal and noise rock and a bit of Converge, and then even throw in a nice bit of saxophone on “Blinding Erasure”.  I, for one, would love to see them continue in this direction.  But you know they’re just going to keep throwing whatever the fuck they feel like at audiences and convincing everyone all this weird shit together makes total sense.  They’re great at doing that.  I highly recommend this little slice of extremity. (self-released)

 

RADIATION RISKS, “Welcome To Bad Boy City” 7”

A number of years ago this band jumped on a show they totally did not at all fit on, but they managed to pretty much blow away most of the other bands on the bill.  I was familiar with the cats in this band, but not their band.  They all showed up looking like a mix of extras from “Decline Of Western Civilization” and Dr. Teeth and Electric Mayhem…  and that’s what it sort of sounded like if you combined those two.  Think super short, fast punk songs with clean guitar, and wild saxophone and organ.  And I don’t mean that in some sort of chaotic, avant-garde highbrow mess.  I mean all their stuff had a classic wild punk feel, every song sounded like a 90-second party.  I kind of lost track of this particular endeavor, but I guess they ended up touring quite a bit and are now finished.  However, before calling it a day the band decided to lay down their last 7 songs (in all of 11 minutes) and had the one and only Mike Tommyrot draw up an absolutely sick cover and threw it all on a 7”.  Sadly, this release is lacking the sax and organ, which definitely takes away a bit from the fun, but I’m always impressed by what these creative folks do, whatever band it may be.  From the wild minds behind bands like Alpha Hopper, Science Man, I Object, and Brown Sugar so you know it’s got some flavor.  I’d start with their full length “Strawberry Quick” and go from there. (SwimmingFaith/ Feral Kid)

 

SEAXES/ IRON LININGS, “Die Twice” split 12”

Pairing up a couple of Midwest’s newer, yet already very promising, bands this split expresses a couple different sides of loud and abrasive rock music.  Seaxes are a noise rock band from Chicago so Jesus Lizard are inevitable.  And like those legends Seaxes use taut, tight rhythms while still going completely off the rails with their crazy sound.  Things only heat up as their side moves along with the last two tracks- “Ball Peen” and “Sand” taking the cake for most adventurous and wild tracks, the latter careening towards a violent horizon as it closes out with nauseating slide guitar across what sounds like a never-ending fretboard.  Iron Linings hail from St. Louis and follow up with five new tracks after a really awesome demo earlier this year.  They lay down a thick and lumbering groove (which lends itself to some truly pulverizing chunky sections here and there) throughout that recalls regional contemporaries such as Bummer and Nerver, while adding a bit of that Midwest melodic flavor that I can’t exactly pin down.  But I know it when I hear it where they’re exploring the roots of some of that area’s heavy alternative scene from the 90’s betwixt their big riffs. (The Ghost Is Clear)

 

SWEET COBRA, “Threes”

This record has been sitting on a shelf for a couple years as the world got weird and finally, it’s out there for all to enjoy and I couldn’t be happier.  Sweet Cobra has always been an impressive band.  They’ve been at it for a long time and I initially got into them due to the members previous (well for awhile, coinciding) band Suicide Note.  Sweet Cobra ply a similar trade in that they’re a ‘heavy’ band that completely fuck with the concept of what they’re supposed to be.  Sure, they started out a lot sludgier, and from a punk background.  Over the years they have tried their hand at various songwriting styles and I think things truly peaked on their last full length, “Earth”, which moved in a lot of different directions yet remained exciting, vibrant, and energetic throughout.  On “Threes” there seems to be a decidedly overall more chill vibe with an emphasis on the studio and recording versus just how ass-kicking something will sound live.  And there’s no shortage of names handling the recording and mixing duties from Matt Talbot (Hum), Alan Epley (Shiner), and Kurt Ballou (God City/Converge).  So yeah, it sounds great.  While opener “Coats” is a faster, rhythm-oriented rocker and “Least Worst” stomps around, and “Melted” quickens the pace even more it’s tracks like “Cave” and the poppy meditation of “Bring Them Water”, or the ballad-esque “Alive On Arrival” that show the band taking their time with things and laying some focus on the vocals and harmonies and it all sounds pretty great.  There’s a bit of a Queens Of the Stone Age, “Songs For the Deaf” sound between the thick bass and vocals, minus a bit of the boogie and cocaine, but I like to think Sweet Cobra is their own thing more than ever these days.  They may not be nearly as active as they were years ago, what with members other obligations with Cloakroom and adult lives going on, but I’d love to be able to see these dudes again on a stage and hear some of these songs.  This is a great addition to their catalog and if you haven’t ever heard them give this and “Earth” a spin.  (Hawthorne StreetRecords)