IT'S BEEN AWHILE... REVIEWS FOR YOU!

I am now in a new house, all moved in, getting settled, arranging my records just right, already dealing with dumb college student neighbors who pee off their second floor porch and listen to crappy dance music...  yup.  It's already getting real.
Anyway, now that I am a bit settled I can get back to this reviewing stuff.  So here's some records that piqued my interest lately.

BRIDGE UNDER FIRE, "Why Wait?"

Upbeat dude rock as played by dudes with beards.  I can't really put it any other way, and it ought to be as apt description as one can get.  After all, having gone to Gainesville Fest several times now and hearing about 1000 bands that do a very similar sort of style it does tend to blend together.  It's nothing against these locals though because there is a soft spot for bands that do what they love just because they love it and don't really give two shits about what other bands they may sound like.  Nothing deep or philosophical (thought I would be intrigued to know the lyrical plot line for what the song "Jaws 8: Mr. Holland's Opus" was were it actually about that), and a bunch of silly song titles back up the gruff rock being set forth here.  Just some friends hanging out playing rock music with other dudes.  Nothing wrong with that.  (self-released)

BURNING LOVE, "Rotten Thing To Say"

One of the tops of the year, no doubt.  The second full length from the Toronto wrecking machine slays on a more realized level than their last outing, which seemed like they were still getting used to being a band (and also re-recording a lot of their 7" output).  On here, amps sonically get pounded until they spray blood from the speakers and riffs laying down a path for solos to ride the red wave of violence through your face.  Get fuckin' killed with these rippers.  I'm a bit more partial to the B-side overall as it leads off with the bitchinest riff barrage this side of a Motorhead record on "Hateful Comforts".  It is soon followed up with the one-minute -and-change blitzkrieg of "Tremors".  But it's a tough call when you have the very gruesome and detailed exploits of a serial killer on "Karla" from the A-side of this LP, as well as the wonderfully titled "Made Out Of Apes".  Tough call indeed.  I'm going to have to just say this entire thing rules front to back.  Just stop reading and get it now.  (Southern Lord)

BURNING LOVE/ FIGHT AMP split 7"

This split is in a series that a European label I'm unfamiliar with is doing featuring similar awesome artwork and a bevy of great bands like Thou, Kowloon Walled City, Great Falls, and more are a part of.  So whatever the theme may be is beyond me.  All I know is that these two bands on this record will sonically punch a hole through your skull.  Burning Love toss an alternate take of a song off their most recent full length (which would be a lot better if they gave up an exclusive song) and it's a total ripper.  Fast, aggressive, nods to stuff like Turbonegro's bitchin' rock attitude hanging with Tragedy's mean-ass demeanor.  Fight Amp deliver their own brand of noisy destruction, giving high fives to Tad's ballsy noise rock, and sharing a beer with Black Flag's negative attitude.  Exclusive songs or not, these two bands were meant to team up and that's a good enough reason to seek this out.  Good luck finding it in America though.  (Hell Comes Home)

DRUG CHURCH 7"

While a lot of people find Pat Kindlon's vocals in End Of a Year/Self-Defense Family to be either a clever use of dichotomy, or just downright irritating there's no question they fit well with his other band Drug Church.   He posed the question to me about this band, asking if I thought it was more 'fun' or 'art'.  I feel like it's a good mixture of both.  They are clearly not re-inventing the wheel.  In fact, they're stealing riffs left and right from Quicksand and Seaweed and melding the two together into an awesome post-hardcore/skate rock kind of mish-mash.  So that's definitely the 'fun' part, and hardcore dudes approaching (or already there) 30 who still enjoy this style will really love it.  Insofar as 'art' goes I have to say the following- not many bands who are younger and into this style necessarily get it as they were not there to experience it firsthand.  But I'm pretty sure most of these guys were and they do it really fucking awesome.  It's well-written, the lyrics are witty and funny, and the band does not waste your time.  They clearly give a shit about what they're doing, but having enough fun to know that this isn't the second coming.  So take that as you will.  If the cover art doesn't get you the music will.  Highly enjoyable.  (No Sleep)

LADDER DEVILS, "Nowhere Plans"

It pains me to say this, but this record is OK.  In an effort to be completely honest I gotta remove the friend goggles and call this for what it is.  And that would be a firm, "it's decent".  Half of this record was released digitally last year as an EP and those songs remain pretty good.  "Pyramids" has a heavy Young Widows vibe to it and I think is my favorite of the old set.  The A-side is three new songs, and one very effects-heavy experimental kind of song recorded a year later.  So there's a disparity among the entire recording, as well as the sound of a band that hasn't completely come into their own just yet (even though the members have been playing together for years in various incarnations).  The opening track kills and the rest is pretty good.  But for all the neat gear and cool effects pedals I feel that it is lacking something bringing it all together as a cohesive whole.  Maybe with a little time and a proper full length that isn't two EPs slapped together they will really come to fruition.  (Brutal Panda)

LUNGFISH, "ACR Sessions 1999"

Here's a band that I wish would drop another record, as well as play some live shows.  But that's pretty much a pipe dream at this point as I'm somewhat sure they're more or less done with.  You never know though.  They are a very strange band.  But I must say, it took me quite awhile to really get Lungfish.  Yes, they make a nice song, and the vocals are really strange, and if you're not listening carefully enough you'd think they made 10 records of the same song over and over again.  But once you take the time you notice how bizarrely beautiful Dan Higgs lyrics and voice can be in a sort of poetic stream-of-conscious HR in slow motion sort of way.  And the way in which the songs have a fascinating repetition that draws you into a trance until it opens up and reveals itself in a carefully thought-out loop.  Every album amazes me in its intricate simplicity and this record, demos culled from 2000's "Necrophones" full length is no exception.  And seeing that "Necrophones" was really my first experience with Lungfish it's the one I listen to least as it was at a time when I didn't really understand them.  And in retrospect, it's one of their more 'rocking' records, right behind "Talking Songs For Walking".  "ACR Sessions" contains half songs that ended up on "Necrophones", including a much wilder and rocking version of "Sex War", and other upbeat songs such as "Shapes In Space" and "Occult Vibrations".  More plaintive instrumentals such as "Eternal Nightfall" and "Infinite Daybreak" make up the other already-released tracks.  But then you get a handful of songs never released.  A couple I guess I can see why, as they are decent, but don't really hold up to the rest of the Lungfish canon.  Others, though, are just as good as anything else they've released, so it was a real treat to get some 'new' material out of this truly interesting and engaging band.  (Dischord)

MISSION OF BURMA, "Unsound"

At this point Mission Of Burma have been around longer, and released way more music, in their second run as a band than they did when they first emerged in '79.  And for a band that was split up for a good 18 years or so before reuniting their output has been consistently good.  but I gotta admit, for as much of a superfan I am of this band this new record feels a bit lacking.  I'd say about half the record is great, especially the second half, with strong tracks like "7s", "ADD In Unison", and "What They Tell Me".  But a few tracks fall a bit flat, which bums me out as this is a group that I've always found to be very influential and creative.  Bob Weston brings some freshness to the group as the only non-original member, and contributes some tasteful trumpet to a couple of songs.  And the Clint Conley penned songs tend to be my favorites here as I appreciate his flair for melody that complements Roger Millers more raucous, eclectic side ("Second Television", "7s").  It's still a decent record overall, but some of it is a bit weak compared to the overwhelming steamroller of awesomeness the rest of their catalog has.  (Fire)

HEX RECORDS BIG ASS MOVING SALE!

So after being in the same house for 7 years myself and the wife are moving into some new digs across town.  And that means a whole shitload of stuff to haul over.  But seeing as I'm entering old age my bones just ain't what they used to be and I can't be bothered to be moving so many things that are heavy (like boxes of records).  Essentially, what I'm saying is, instead of moving all that heavy stuff I'd rather sell it to you at a discounted price.
So I've come up with 4 awesome packages of sale stuff.
This will be going on for one week, so now's the time to get a lot of stuff.
Most of these sales are only applicable to US residents though as it's just too damn expensive to be shipping all this stuff out overseas when the prices are this cheap.
Check it:

Hex Records store

Furthermore, DISTROS- now is the time to get in touch about some discounted rates to pick up some stuff.  If you have an interest in carrying some titles I'll be doing some deals for all of you as well.  hanginghex@hotmail.com

BLACK THROAT WIND, "Between White Worlds" PRE-ORDER UP!

So we feel confident enough at this point to put up a pre-order for the BLACK THROAT WIND full length CD.  I suggest you go and get it.  Order it HERE.
This is a limited pressing (out of 200) CDs for Syracuse's BLACK THROAT WIND's debut full length "Between White Worlds".
Comprised of members from Oak & Bone, White Picket Fence, Current, and more they drop an epic long player full of heavy vibes, stoner rock, psychedelia, and pop melodies backed by lush piano. Imagine the Beach Boys smokin' a load of dope, going on slow mo, and getting some distortion pedals. Yeah, I'm releasing this.
Comes in a neat silkscreened arigato pack, as well as a wax-sealed wraparound cover and hand-numbered out of 200. Dig it.

This jammer officially comes out next week, and there's a CD release show happening.  Check the event page for it:   https://www.facebook.com/events/316790308405747/

So just to repeat...  order the CD HERE.

Thanks!

BUSY GETTIN' MARRIED.


BE BACK SOON.

It has been a very busy Spring indeed, as we roll into Summer.  Gotten a lot of traveling so shows all over the Northeast area, seen a lot of great bands (maybe I ought to review a couple of those shows sometime soon?), and there has been a metric buttload of most excellent records coming out and taking all my money.  Oh yeah, and I get married in a few weeks.  So there's that too.  So in the meantime, I'll leave you with some reading material.

 
 
CERCE tour CDEP

I’m not one to typically review a burned CD with a folded paper cover that’s being sold/given away as a preview to a band’s sound while they’re on the road. But I will say that Boston’s Cerce pretty much kicked my ass when they rolled through town not too long ago, and were quite a surprise. First of all, this band is really young and hearing how tight they played, as well as the blunt force of their attack, made them shine beyond their years. It’s a tight combination of the powerviolence of Iron Lung mixed with some of the more gnarly hardcore of Cursed, and the like. Atop it all are the back and forth between a more gruff male voice and a more shouted/screamed wail of the frontwoman. Four quick rippers to give you an idea of how they roll.  (Cerce)

“GENTLE DREAMS/ BUSTED FUTURES” ,by William James
William James is a poet who tends to tour with bands and go off and do his solo thing between loud music. But reading his words and seeing him perform it are two very different things though. When you read what he’s laid out here, which is a collection of his works laid out quite nicely between thick silkscreened patches acting as a cover one can notice the detail of his descriptions, a great deal of thought put into what he’s getting across. It’s intelligent and well thought out. But when you see him do this live it’s pretty much like seeing a hardcore band, minus everyone but the vocalist. He doesn’t really speak so much as he shouts and yells his poems in a gruff tone, befitting a pissed off swirl of guitars and drums to be backing it. So yeah, what seems flowing and descriptive on paper comes off as belligerent and demanding in the live setting. Kind of an interesting juxtaposition. (William James)


GREAT REVERSALS, “To the Ends Of the Earth” 10”
I’m more into the idea and concept behind this record than the actual music on it. The four songs on this 10” are all about the drummers son and his struggles with autism. For one thing, it’s really uncommon for a hardcore band to address such a topic, which really sets this record apart in terms of lyrics and content. I can relate though, as I have worked with kids and adults with autism for years now. So seeing things in song from a parents perspective is pretty interesting and I thought it was really cool. As far as the music goes it’s done in a way that doesn’t really appeal to me that strongly. Fans of Verse and Have Heart will really dig this as it has a lot of that slower, melodic, kind of 90’s chuggy thing they are known for. That’s not really my bag. But the content is fascinating and the record looks pretty great (4 songs on a fancy 10”), so there’s that going for it. (Great Reversals)


GREY AREA/ THE COPYRIGHTS/ THE REVELING/ LUTHER 4-way split
Four pop-punk bands here that all have a very similar sound and style going on. I have to admit that most of this doesn’t appeal to me that much, but I will say that the fun cover art featuring all the bands as Mexican wrestlers strongly appeals to me. So good job on that end. Right off the bat, lifers Grey Area play fast and melodic and the vocals are legit singing. Token Entry gone softer. The Reveling honestly sound like Green Day to me, somewhere between post-success, but not quite bloated megastar way. I’ve never heard the Copyrights before, even though they seem to be hot shit in pop-punk circles, and I gotta say they were the best of the bunch here. They play a lot faster, more rowdy, and also throw in a Sacred Of Chaka cover. Not too bad. Luther still sounds like a pop rock band to me. I’m not quite sure if they consider themselves a punk band, but they just sound like uninspired rock. There ya have it. (Black Numbers)


NARROWS, “Painted”
I don’t want to say there’s a formula for a good noisy math rock/hardcore record, but I’d have to say Narrows nailed it perfectly. But since this is a subgenre that strongly appeals to me I naturally flock to this sound like ants to sugar. It would be the same for anyone who is a connoisseur of youth crew hardcore. Sure, it all sounds the same to the layperson. But that dude with the straight edge varsity jacket can pick apart every sound-alike band out there and see what’s at the top of the heap. I’m the same with stuff like this. Narrows does combine a lot of familiar influences (and coming from the members pedigrees it makes sense that they sound like this- ya know, later-era Unbroken mixing with These Arms Are Snakes experimental flair) that I really dig. Their combination of sludgy, murky bass tones, with riffy guitars and lots of wild effects against a steady backbeat is the sort of thing I always get roped into wholly. I’d have to give the B-side the thumbs up for better half of the record as the first two songs “It’s the Water” and “Face Paint” fly by at a couple minutes a piece of fast, serpentine rockers. Then, the slow, syrupy crawl of closer “SST” wraps things up in a grand fashion. Over top of it all is vocalist Dave Verellen’s distinctive bark. So while the band pine territory that I’m all too familiar with they do so in such a way that is completely satisfying and fresh. (Deathwish)


PIGS, “You Ruin Everything” LP
Unsane bassist Dave Curran picks up the guitar in this band and dishes out more cranky noise rock dirges that don’t stray too far from his primary musical wrecking unit. That same filthy bass tone and straightforward drumming is on display with Pigs, but the songs tend to have an overall more upbeat approach in a sense. While there is still a scummy vibe going on here pigs tend to rock out a little more and aren’t afraid to mess around with some melodic leads and offbeat riffs. Added is a sense of humor with a Lebowski nod on the last track “At Least It’s An Ethos”, and perhaps with the cover art- depicting a bloodied and possibly strung out Ronald McDonald hanging out on a beach. That is, it’s funny if you’re kind of a sicko. While I feel my preference is with Curran’s main band, Pigs does a pretty good job of delivering the goods too. (Solar Flare)


RISE AND FALL, “Faith”
I’d seen this band a couple times and they never stuck with me. My thoughts were basically ‘heavy European hardcore, kinda metal-ish.’ I guess I didn’t pay close enough attention. Or maybe their sound really evolved into something more interesting. Whatever the case, this new full length (which also has some of the most interesting packaging on a record this year) hits a very satisfying spot in terms of heavy music. While they most certainly took a page (more like barrowed the book and never gave it back) from Converge’s style of tones, production, and feedback the songs themselves give a nod more to Cursed’s brand of blazing d-beat riffage, and the noisy metallic chaos of “The Process Of”-era Turmoil (particularly on the opening track “A Hammer and Nails”). And, to me, that’s a fine place to call home when laying down some fast and vitriolic hardcore. Next time they roll through town I’ll be sure to pay closer attention. (Deathwish)



SICK JOKES zine
Within these pages you will find no text, not any real jokes for that matter. What you will get is a bunch of drawings and sketches by Ben Sears. You may not know much about this dude right now, but I guarantee you will see a lot more of his stuff in the coming months and years. The guy has such an interesting art style that has already found its way onto a bunch of band t-shirts and record covers (including a Lemuria 7” I released). The zine highlights some more of his esoteric and pop-culture-referencing sketches (actually, that seems to describe a great deal of Ben’s art). I’m a little hind because this zine was released last Winter (I think) and it feels like his style has just gotten way better since then. Check it out if you’re into weird sketches and art stuff.  (http://www.bensears.tumblr.com)



SSWAMPZZ, “Sleeper” cassette
It’s funny to hear influences in much younger bands who may, or may not, be aware that they’re referencing something older. Especially when those nods are to already fairly obscure things to begin with. Syracuse’s curiously named Sswampzz are one such group doing this, adding multiple elements to their chaotic sound to create something wholly their own. While the guitar work points towards jangly indie garage rock, and catchy leads (most noticeably on the standout track “Pools”) the extra riffy bass offers up densely distorted power that harkens to Death From Above 1979 style parts. But it’s the overall loose nature of all these songs where it sounds like a band of well-trained musicians who can play tight when they feel so inclined just spiraling out of control, reminding me of mid-90’s era Gravity Records bands… and I like that. They reel you in with a catchy hook and then delve into chaos when you least expect it. It was quite a surprise to see a band such as this come out of nowhere in this town and bring a whole new bag of tricks to freak people out. (Miscreant)

BLACK THROAT WIND LIMITED CD RELEASE

If you didn't already know, we will be releasing a limited CD pressing of the new BLACK THROAT WIND full length, "Between White Worlds" (HXR022, since the original release for #22 never came out this is taking it's place).  We've been buddies with these cats since they started and are happy to get them a physical release of their record, which is up at various sites now (like iTunes, for starters).  Essentially, the band more or less self-released this album, but for those of you out there who enjoy an actual, tangible thing to go along with the music this CD will be just that.  "But why a CD?", you ask.  Well, it's quite simple- vinyl is really friggin' expensive and this record is already out digitally, so a lot of people who want it already have it.  So we thought a CD would be a good route to go, especially since it's going to be a pretty neat-ass package!  Each one will be professionally-pressed CD in a silkscreened arigato pack, wrapped in a fold around cover and wax sealed.  There will be a neat lyric sheet insert and each one will be hand-numbered out of 200.  So how's that for something special?
But wait...  you want to know what they actually sound like?  Well, get dudes from Oak & Bone, White Picket Fence, an a drummer that's played in every Syracuse band for the last seven years and ....  wait, how about just giving a link for a song?  Here ya go:  http://www.altpress.com/news/entry/black_throat_wind_release_new_single_sunwalk

Expect a pre-order to go up in another week and an official CD release show to happen in Syracuse at the end of June.  Actual CD ought to be out by mid-June.

NEW REVIEWS FOR YOUR MONDAY READING PLEASURE

So I typically post stuff like this on the weekend, but I just had my eardrums blown out by the Melvins and Unsane less than 24 hours ago, and the long drive home (and subsequent ass-dragging into work today) has made it a little tough to keep up. Nevertheless, I listen to, see, and read things, and end up writing about them. And you know that. So here's your fill:

BEATS, RHYMES, & LIFE: THE TRAVELS OF A TRIBE CALLED QUEST DVD
One of my two favorite hip-hop groups ever (the other being Public Enemy), who made one of my top 5 records of all time, finally gets their story told. Much of this documentary focuses on their reunion shows they did in 208 and 2010. But, naturally, the tale of how it all came together is presented as well. A Tribe Called Quest began in the late 80’s, right about the time I was seriously getting into hip-hop myself. It was an amazing time for the genre, with established rappers like LL Cool J, EPMD, Run DMC, and Boogie Down Productions releasing some of their best material to date. Then you had Public Enemy explode on the scene and bring this radical political consciousness and rage to the game. It seriously knocked my little 12 year old ass out, and I credit them for opening my eyes to many of the world’s injustices. Then, not too long after, it seemed like there was a backlash to that. All this heavy-handed political rap was countered with the trifecta of Jungle Brothers, De La Soul, and A Tribe Called Quest all coming out at the same time. These groups were far more light-hearted and fun. It was still smart, there was still a consciousness to it, but they all brought a far different style to the game- samples and beats I’d never heard before, rhyming that wasn’t all braggadocio, or fervently political. It was just something new, and it grabbed my attention. Tribe seemed to rise to the top of the pack because they just did it better. The interplay between Phife’s high-pitch hypeness, and Q-Tip’s smooth delivery was this wonderful pairing, all backed by Ali Shaheed’s turntable magic. To this day, “The Low End Theory” gets me just as excited as it did when it came out 20 years ago, and I still play it on the regular (and have it on 3 formats, no less). So beyond the background of the group, and footage from some of those old shows, as well as the reunions, there’s the ugly side of things. There’s the burn out from the late 90’s, when they originally disbanded, and just went their separate ways. There’s Phife’s ongoing battle with diabetes, that led to an eventual kidney transplant. There’s the bitter acrimony between Phife and Tip (for whatever reason) that seemed to come out of nowhere and then dissolve into nothingness. It seems they are all still good currently, and still traveling in one sense or another. One thing that hasn’t changed- that being how much I still enjoy this group and their records.

DAMAGES, “Indignation” LP
I’m not sure how it escaped my attention the last time I reviewed stuff from this Vancouver group. Their bass-thick jangly post-hardcore brought to mind the trademark style of 90’s Touch and Go Records bands, but I was overlooking an obvious homage, that had somehow gotten lost in the referential rolodex of my brain. And that reference, which is loud and clear on the group’s full length, is some very heavy nods to fellow Canadians Shotmaker. From the aforementioned rubbery bass front and center, to the chaotic bursts of yelled 90’s-era screamo hardcore (and I mean that in the best way possible), down to the awesome packaging (complete with a newsprint booklet of lyrics and die-cut record sleeve), Damages has really got a good thing going. Sure, it sounds a lot like a band that came before them. But the thing about that is when a good band takes a sound from a criminally underrated band of the past it often makes for good results. So with that, I think Damages have put out a pretty great record. I’m most certainly feeling the lurching stomp of the title track the most here. (React)

FORMER THIEVES, “The Language That We Speak”
Since this band is from Iowa I automatically want to associate their sound with Modern Life Is War, which isn’t too far a stretch, as they have some similar qualities. But they take far more from the whole noisy mathcore style of things, a heavy vibe of later-era Breather Resist/early Young Widows rearing its head between the swampy bass sound, and sinewy, effects-spattered guitars. Maybe throw a touch of Touché Amore in there and you get what Former Thieves is laying down. Half this record is pretty awesome, the other half is a bit less interesting. They are a band that I think will consistently make good music, but I don’t necessarily think it will have a lasting quality 4 or 5 years down the line. It is what it is, and good for the right now, but who knows if it will be memorable. Perhaps they will continue to grow and get awesome, I can’t say. (No Sleep)

GIT SOME 7”
Here’s a Colorado band that always manages to sound like a dumptruck with a ton of lit fireworks emptying out the contents into a canyon in the live setting. That is to say, they’re pretty awesome- loud, heavy, chaotic at times, gruff, ultra-burly. Like early Clutch beating on Planes Mistaken For Stars (which some of the members of this band come from), Git Some have a good thing going. But on record it always sounds pretty weak. I just don’t get it. They have not done well to translate their awesome live sound to a good recording. This one, in particular, sounds exceptionally rushed, and I get the impression they were trying to bang it out before going on tour just so they would have something new to take with them. Here’s my suggestion. Definitely hear this band, but go see them to get the real experience. And if you want to support them buy some of their bassists awesome paintings he takes with them everywhere. (Alternative Tentacles)

GYPSY, “Giants Despair”
A full length records worth of music that sounds like taking Jawbreaker, Failure, Quicksand, and “Aftertaste”-era Helmet and throwing it into a blender. That, to me, is pretty nice. Of course, all those things added up today pretty much equals good mainstream rock. But let’s ignore that and focus on how for an old dude like me I’m OK with it. “Selfish Blues” and “Unconditionally Dependant” are my favorite songs on this. How about some live shows or something? Can we make that happen? (Six Feet Under)

PATRONS OF SWEET, “A Coping Mechanism” CD
For starters, Buffalo’s Patrons Of Sweet have returned with an EP’s worth of material that comes in a very simple, yet very clever package (which is much like their music as well). It’s a simple paper sleeve that is set up to look like a jar of prescription pills, complete with sticker info and all that. I just get a kick out of things like that. In much the same way, I get a kick out of this band. It’s nothing that will make record of the year material, but my man Vic has always been good at writing great riffs that are angular, melodic, and hook-filled, and have good interplay between vocals and guitar in making it work. The influence from everything J. Robbins (Jawbox, Burning Airlines, etc) related is very apparent. And seeing as I am a big fan of stuff like that I am a fan of stuff such as this too. The band bust out 4 new songs, a great Nirvana cover, a rather out of place Tears For Fears song, and a couple older tracks recorded live. (Patrons Of Sweet)

PSYCHIC LIMB, “Queens” LP
This LP is a case of both overdoing it and under doing it. It comes in this fancy-ass gatefold cover with really amazing artwork, and thick, yellow vinyl. But there is next to no information about whose record it is, no song titles, no lyric sheet, and it’s a one-sided record at that. It’s pretty much a total mystery (which I’m guessing is their goal). That being said, the music contained therein confidently strides the line between Discordance Axis’ dystopian future grind and C.R.’s wild DIY powerviolence/hardcore mish-mash. Go down to NYC sometime and see them put a hole in your face with pure sonic malevolence. (Clairvoyant Records)