ALL ROADS LEAD TO CATERWAUL- SHOWS AND TOURS!

 

It's going to be a busy summer!  A bunch of bands we do stuff for/work with are going to be on tour and playing shows all over the gosh-darned country, a number of whom will be going to and from Minneapolis for the annual Caterwaul Fest.  Still/Form, Child Bite, Grizzlor, USA Nails, Multicult, and Facet are all label-affiliated bands who will be playing the fest.

Yours truly will also be there and slinging records all weekend.  So come say 'hello', buy some crap, or tell me how much you disagree with my reviews about...  whatever.  However, if you want to recite lines from Mel Brooks movies or chat about the latest issue of National Geographic magazine that will put a smile on my face.

Also of note, a special one off show for Achilles in their hometown this summer!

So go check out some bands:

STILL/FORM

5/22/23- Portland- High Water Mark w/ Nerver

5/29/23- Minneapolis- Palmers (Caterwaul Fest)

6/3/23- Portland- High Water Mark w/ Djunah

GAYTHEIST

5/19/23- Portland- Mission Theater w/ Help, Ils

5/26/23- Salem, OR- Ike Box w/ Help

ACHILES

7/1/23- Rochester, NY @ Bug Jar

PINKO

5/30/23- Denton, TX w/ Facet

5/31/23- Austin, TX w/ Facet

6/1/23- El Paso, TX w/ Facet

6/4/23- Austin, TX- Big Dumb Fest

6/11/23- Austin, TX w/ Cherubs, Rid Of Me

10/20/23- Denton, TX @ No Coast Fest

KNUB

5/18/23- Washington, DC @ Pie Shop

5/19/23- Charlotte, NC @ Skylark

5/20/23- Atlanta, GA @ Boggs

6/9/23- Baltimore w/ Gloop, Abandoncy

7/20/23- Washington, DC w/ Cherubs, Rid Of Me

7/21/23- Baltimore w/ Cherubs, Rid Of Me

MULTICULT

* all shows with Vincas

5/25/23- Richmond, VA @ 4 Cyber Cafe

5/26/23- Columbus, OH @ Spacebar

5/27/23- Minneapolis, MN @ Palmers (Caterwaul Fest)

5/28/23- Chicago, IL @ Burlington Bar

5/29/23- Louisville, KY @ Portal

5/30/23- Nashville, TN @ DRKMTTR

 

USA NAILS

* all shows with A Deer a Horse

5/24/23- Brooklyn, NY @ St. Vitus

5/25/23- Pittsburgh, PA @ Spirit

5/26/23- Louisville, KY @ Kaiju

5/27/23- Chicago, IL @ Cole's

5/28/23- Minneapolis, MN @ Mortimers (Caterwaul Fest)

CHILD BITE

5/24/23- Grand Rapids, MI @ Pyramid Scheme

5/25/23- Chicago, IL @ Livewire Lounge

5/26/23- Madison, WI @ Mickey's Tavern

5/27/23- Minneapolis, MN @ Mortimer's (Caterwaul Fest)

GRIZZLOR

5/20/23- Naugatuck, CT @ Skate Park

5/25/23- Youngstown, OH @ Cedars West End w/ Brain Cave 

5/26/23- Chicago, IL @ Liars Club w/ Hands Up Who Wants To Die, Traindodge

5/27/23- Minneapolis, MN @ Palmers (Caterwaul Fest)

FACET 


5/19 - Oakland, CA 5/21 - Eli’s Mile High Club *
5/20- Reno, NV- Holland Project *
5/21- Carson City, NV- Shoetree Brewing *
5/22 - Salt Lake City, UT- Aces High *
5/23 - Denver, CO- Seventh Circle *
5/24 - Kansas City, MO- Farewell *
5/25 - Des Moines, IA- Dark Slide *
5/26 - Minneapolis, MN- Mortimers (Caterwaul Fest) *
5/27 - Milwaukee, WI- X-Ray Arcade (w/ Cherubs, Rid Of Me, Kal Marks)
5/28 - St Louis, MO- Sinkhole
5/29 - Tulsa, OK- Whittier Bar
5/30 - Denton, TX- Rubber Gloves (w/ Pinko)
5/31 - Austin, TX- Chess Club (w/ Pinko, Porcelain)
6/1 - El Paso, TX- Mona (w/ Pinko)
6/2 - Flagstaff, AZ- The Hive
6/3 - Los Angeles, CA- Non Plus Ultra
* w/ Elephant Rifle

FACET TO RELEASE DEBUT LP THROPUGH HEX, RELEASE FIRST SINGLE

 

Facet will be releasing their self-titled debut LP through Hex Records this year and what better way to celebrate than to release a single from the upcoming record in time for their forthcoming tour to the Midwest.
Facet are a trio from Oakland that began in 2019.  They quickly got underway with their debut self-released EP “Duck” that summer and then did a west coast tour later that same year.
Over the last few years they were able to hunker down and write what would become their full length, which is an expanded and refined vision of the first EP- coils of knotty and rhythmic bass, jangling angular guitar, and driving post-hardcore riffs propel this group to take their influences (think “Repetition” or “Challenge”-era Unwound) into this decade.  Coming off of lockdown the trio began playing again in earnest throughout the Bay Area opening for the likes of Metz, Kowloon Walled City, and Tunic.
Expect to see Facet on tour throughout the west and midwest this spring with Elephant Rifle and Pinko as they show these new songs off. The tour ventures Midwest-wards on the I-80 to the noise-rock Mecca of the Caterwaul Fest in Minneapolis and then winds back West into the sunset.

“Yoga” is a taste of the songs to come from this exciting new band. In regards to the song guitarist/vocalist Max Senna states: “(The song is) a snarky sun salutation opening with guitars screeching like the wheels on a stolen Kia. I’m not sure I have anything else to say about this song specifically other than gentrification is statistically the number one cause of yoga classes.”

"Yoga" is the first single from the album and you can check it out HERE.  A pre-order for the record will be this summer.

Expect more news soon regarding pre-order for their record, additional tour dates, and more.  The debut full length is expected to come out late summer/early fall on Hex Records.  “Facet” was recorded by Scott Evans of Kowloon Walled City at GSE Studios and mastered by Amar Lal of Big Ups.

FACET ON TOUR:

5/19 - Oakland, CA 5/21 - Eli’s Mile High Club *
5/20- Reno, NV- Holland Project *
5/21- Carson City, NV- Shoetree Brewing *
5/22 - Salt Lake City, UT- Aces High *
5/23 - Denver, CO- Seventh Circle *
5/24 - Kansas City, MO- Farewell *
5/25 - Des Moines, IA- Dark Slide *
5/26 - Minneapolis, MN- Mortimers (Caterwaul Fest) *
5/27 - Milwaukee, WI- X-Ray Arcade (w/ Cherubs, Rid Of Me, Kal Marks)
5/28 - St Louis, MO- Sinkhole
5/29 - Tulsa, OK- Whittier Bar
5/30 - Denton, TX- Rubber Gloves (w/ Pinko)
5/31 - Austin, TX- Chess Club (w/ Pinko, Porcelain)
6/1 - El Paso, TX- Mona (w/ Pinko)
6/2 - Flagstaff, AZ- The Hive
6/3 - Los Angeles, CA- Non Plus Ultra
* w/ Elephant Rifle

TEST PRESSINGS!

 

This coming Friday (5/5/23) will be another Bandcamp day and what better way to help fund some new upcoming releases than by selling off some test presses from the 2022 releases.  Keep your eyes open regarding those as there's some fancy-ass tests available here.  Mark it dude.

In the meantime, go listen to some jams: https://hexrecords.bandcamp.com/

MUSIC FOR MOVING

 To say it's been a little busy around here would be an extreme understatement.  I spent the last month moving (it was only a few miles but I have a lot of stuff) and getting Hex Records all set up in a space I can call my own (my garage), AKA not renting, AKA I own a home now.  So it's made it a bit difficult to write about all this stuff, but I certainly have kept my ears occupied with plenty of new music while I spend countless hours ripping up carpet, washing and painting walls, and organizing and re-organizing amongst other things (like a day job and assorted ridiculous tasks I never thought of before).

So here you have it:  this months reviews of new stuff.  There's plenty of mind-bending bangers here to check out.

CHAT PILE/ NERVER, “Brothers In Christ” split 10”
It’s cool when a band that’s getting a heck of a lot of attention throws a bone to a smaller band and gives them a platform to an audience that would otherwise likely never hear them.  I’m talking, of course, of midwest noise/riff rock giants Nerver shedding some light on the otherwise unheard of Chat Pile.  Sure, sure, you all had “Cash” spinning on non-stop rotation last year as evidenced by your blown out stereo speakers and permanent hearing damage caused by their tectonic riffs and balls you need a wheelbarrow to cart around.  They only give you two new songs on this, but hopefully it’s enough to satiate the salivating masses for now.  But try lending an ear to the young guns in Chat Pile, until now virtually unknown despite having a couple EPs and a full length to their name.  Maybe they’ve made a video or two, who’s to say.  But their two contributions here err on the weirder, oddly melodic side.  They don’t rely as much on the huge guitars or negative energy of their LP, though that subatomic bass sound remains present.  Think of some of the more creepy and morose tunefulness of old Sonic Youth and pair it with, I don’t know, Godflesh and you’re getting close on what they’re offering here.  Who knows, maybe someday they’ll get somewhere. (Reptilian/ The Ghost Is Clear)

FACS, “Still life In Decay”
I remember hearing some bits from this band a couple years ago and was dismissive probably because I just didn’t have the time or attention to give them that they deserved.  I saw awhile later they were opening for the mighty Metz and was thoroughly bummed because of my previous not-so-great impression from before.  Of course, that’s all on me because I’m an idiot.  For when it came time to see them open said show I was pleasantly impressed and decided I needed to re-think my life (or more specifically, my feelings about this band).  Facs are indeed a band that takes time and patience.  Their songs are generally loner, more drawn out, and use minimalism to get the point across.  But when the payoff comes it occurs in a big way.  There’s a rhythm section here so tight you need a pry bar to loosen it as they make an art out of subtle and clever repetition while the guitar paints a landscape through a combination of feedback, or clean melodies, or shimmering washes of noise sprinkled with dancing ice beads from a hidden cave.  Or something.  Facs are minimalism and experimentation taken to it’s apex while still retaining a strong sense of hook and melody, just done in otherworldly ways that requires the listener to sit down for awhile and just tune in. (Trouble In Mind Records)

HIRS COLLECTIVE, ‘We’re Still Here”
The approach Hirs take is wild.  As a general practice punk has always pushed things to the edges.  It’s not for everyone.  It finds the most disaffected of us, outsiders music, and thus pushes away most of the world because the whole idea is to get away from most of society.  But Hirs bring everyone in.  And I mean everyone.  For a group whose politics, extremely abrasive music, and near absence of names/faces to put with the actual members they could take the obvious road and go further underground and turn their noses up to anyone attempting to ‘get’ what they do.  But no.  Hirs invite everyone into their world and embrace the world despite the obvious powers that seek to keep people down and often make life miserable.  And get this- it’s fucking awesome and exciting!  While their old material inserted a good sense of humor to go with the heaviness more recent efforts focus on innumerable guests throughout the 17 tracks of crushing grindcore/hardcore on this particular release.  Going from Dan Yemin yelling about cops on “Public Service Announcement” (I’m pretty sure he wrote the lyrics as well), to completely switching gears with Ghosh rapping their ass off on the hiphop/hardcore hybrid on “Judgment Night” directly after that, and then swinging  into the bizarre as fucking Melt-Banana inserts their pop-grind vocals and broken video game sounding guitar skrees into “XOXOXOXOX” this record is at once all over the place yet completely cohesive in that it’s a manic ride of grindcore madness orchestrated by a couple of people laying the foundation while everyone and their mothers adds their bit.  It’s really quite a feat.  I’m not going to even attempt to list all the guests here but I can’t even begin to fathom how much networking and scheduling that all takes while composing the music, recording it on their own, pressing the record(s), running the label, and booking numerous tours and doing it all exceptionally well.  Give it up for Hirs- fucking with the establishment by dragging them into the fold with a hug and a smile and turning them into moshing, cop-hating anarchists. (Get Better Records)

HOLY FIGURES, “New Superstitions” EP
I was initially drawn to this band having seen that they did a Jawbox cover (yes, of course it’s “Savory” and I implore other bands to choose any of the, like 100 OTHER awesome songs Jawbox has should they opt to cover them), which is generally a good sign.  While this is a short EP at only three tracks including the cover it gives a nice indication of what Holy Figures set out to do.  In some ways I would typically be turned off by a band such as this because I’m not a big fan of vocals sung in this way.  But I can’t deny it’s super catchy and I’m a sucker for big riffs.  The first song starts out immediately with a punch and continues throughout the track while the second takes a less direct approach and, honestly, lacks a bit of the immediacy of the first.  It’s a minor detail, but I also appreciate that there are basically no breaks between the songs which adds a dash of urgency to a band that otherwise seems to use space, which can get a little plain if used too much.  So it’s a nice way to pace things. But if your big into bands like the heavier side of Far, and the easily-relatable sensitive-dudes-with-beards rock of Balance and Composure you’d probably want to give this a whirl. (New Morality)

PORTRAYAL OF GUILT, “Devil Music”
Portrayal Of Guilt is a consistently engaging band because they are not only quite prolific, but they also take chances with each new release.  Their “We Are Always Alone” full length found the band laying down a very solid, very heavy record in their own way and then they quickly followed it up several months later with “Christfucker”, which is an album I still find kind of tough to digest as it sounded so freaky and weird and disorienting compared to much of their other material.  And now with “Devil Music” the band lay down 5 new tracks that sort of find an in-between of the haunting strangeness of the last record and some of the more heavy (whether it’s the black-metal tinged “Where Angels Come To Die” or the more straightforward and brief “Burning Hand”.  But what’s this?  Not only did they drop 5 awesome new tracks but they did alternate takes of all 5 songs with orchestral strings, brass, and acoustic bass (and minimal drums) in place of guitar and heavy drumming.  It’s honestly almost better.  At the very least it’s incredibly interesting.  In fact it all sounds like the soundtrack to some creepy-as-fuck artsy horror movie.  Oh, guess what?  They made a 15 minute weird and creepy horror type movie to go with that side of the record.  So you know, it all fits.  Good on this band for consistently pushing the envelope and trying new things, the effect of which is usually pretty awesome. (Run For Cover Records)

SCIENCE MAN, “Minces Cane”
Science Man are back with more insane punk music for those of you who get off on drinking homemade hooch and then climbing utility poles at 3AM to fuck with the wires so you can steal cable just to be able to say you did it.  Once again primary culprit behind these criminal jams John Toohill has crafted some unique ways to experience this new record- it’s 7 quick songs so there’s a 7” version.  There’s also a limited 12” version (repeats on both sides) with utterly insane artwork inside that’s freakishly elaborate, confusing, and unsettling all at once (it’s really the selling point for me), as well as a VHS format as every song here once again has a freaky video to go with it.  The same concept (minus the 7”) was in effect for their last full length “Nines Mecca” so this is really a continuation of that.  And it’s a worthy follow up, even if it relies on a similar concept/execution because that last record was one of the best damn punk records I heard all year and the accompanying videos were really wild too.  I’d say “Minces Cane” sounds even more raw and unhinged.  None of these songs hit two minutes and “Magnetic Death” may be the shortest and most hyperactive of the lot, while next track “Galaxy” takes an in-and-out bobbing back-and-forth like some sped up demented waltz.  Science Man will make you nervous, anxious, probably a bit sweaty because you can’t stop running in circles lighting shit on fire. (Swimming Faith)

SCOWL, “Psychic Dance Routine” EP
In the last year or so Scowl has received so much hype they could bottle it like it was tap water.  Awhile back, based on this non-stop chatter about them, I gave their debut full length “How Flowers Grow” and found it be…. competent?  I guess that’s all I could say.  It was well-played punk/hardcore but nothing terribly special.  Scowl’s strength came from their wild lives shows, undeniable live energy, and vocalist Kat Moss’ killer style.  So it’s nice to see on this new EP that they’ve expanded their musical palette and honed the skills they already have to make a 5-song collection that’s a bit more exciting to listen to and I imagine will completely destroy on stage.  Three of the tracks continue down their furious southern Cali hardcore style- fast and malicious with killer breakdowns and lots of energy.  The other two tracks throw in what could best be described as a hardcore/alternative rock hybrid?  Moss gives a shot at singing on these tracks and the result comes off like Babes In Toyland, or Hole with a pot of coffee in them instead of downers.  It’s a great step forward for this band, even though at this point they hardly need anything more to prop them up.  Personally, I hope they keep this up.  (Flatspot Records)

SSOLD, “Passionate Horse” EP
A new EP from Portland-based noiseniks Ssold?  Sure!  Their last release was a pretty ugly ride, but carried some less-distorted tunefulness.  But I’d say that not only does this EP sound better on the whole, but also goes all in on those ugly sounds to be downright repugnant.  The bass goes from filth-encrusted rumbling to Jesus Lizard quick-picking and rubbery runs.  Musically Ssold share a great deal in common with the mighty Pissed Jeans, particularly in the vocals (though the music isn’t too far off the mark either).  While Ssold has been in effect for a just a few years their members lineage spans decades between stints in bands like Rabbits, The VSS, and more.  This is a bit closer to Rabbits material sonically, but it’s all just rowdy and ugly punk music so smash your head against rotting drywall in celebration. (self-released)

TUNIC, “Wrong Dream”
I realize that in the Canadian midwest there’s not a whole lot to do, which is got to be at least part of the reason Tunic are on tour so much and so prolific as a band.  They have released a new LP literally every year for the last 3-4 years, as well as additional material (some of which has been released, some hasn’t) and while their catalog has consistently erred towards short, fast punk songs with a sort of nervous energy and high anxiety it don’t mean this trio is a one trick pony.  Just to prove those who might say such a thing completely wrong take their newest full length, “Wrong Dream” as an example.  Sure, they still know how to write a brief and speedy punk ripper there’s plenty more going on where they’re trying new things- such as the more drawn out and creepy “Protected” that eventually culminates in a huge and explosive second half.  Or take the post-punk minimalism of “My Body, My Blood” that relies on a rolling drum beat and vocals for a chunk of the song and a strange and pretty melody for the chorus.  Meanwhile, “Whispering” may be the catchiest tune of the record if you consider a clanging guitar for the verse that sounds like a fire alarm to be catchy.  Wait til you hear the chorus though, it’s a fun exercise in a slippery melody and propulsive energy.  However, it’s the final track, “Empty Husk” that truly shows the band taking strides as they stretch the track out through a slow burn that moves into an ending with a repeated chorus, piano, and what sounds like slide guitar.  It’s definitely the most out-of-character the band has been and it’s a really cool gamble to take that pays off.  Consider checking Tunic out if you haven’t.  Give one of the older records a try and then check this out for the difference.  Either way, you can’t go wrong. (Artoffact Records)

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)