Wednesday, August 12, 2009
Wednesday, May 20, 2009
Ok ok, my triumphant return results in this impressive demo from the Doylestown powerhouse known as Layin' Waste. They list their influences as Entombed, Metallica, Sepultura, Crowbar, and Life of Agony. If that isn't enough to get you pumped, then fuck it all.
Also, sorry for the lack of posts. I've been unemployed and on a perpetual search for a god-damned job.
Monday, April 27, 2009
a few weeks ago, the house we rent (joe lives above me in the same house), was foreclosed and we are being forced to move out ASAP. So, there has been a lot going on with the both of us, due to trying to find a new place to live. never fear, i'll be back at it as soon as i get settled into my new place.
thank you for visiting out blog. hope you come back every now and again.
Saturday, April 18, 2009
Ok, so I totally stole this link from the fine people over at Elementary Revolt. If you haven't visited this blog, please do... they have a fine collection of music there.
Hex Machine are a long-running project out of Virginia.. noise rock filth of the highest caliber. I know right now there’s a small current of bands that are championing the AmRep sound, and I’m happy about that. Though I think Hex Machine might win the title for hitting it square between the eyes, what with it’s early 90’s feedback-laden, fuzzy recording. The early Today Is the Day screeches and howls, seething vocals and tortured rhythms are most noticeable. The pounding fuzz of old Hammerhead records beat to shit acting as a conduit for Hex machine’s playing, and their daily worship at the alter of Halo Of Flies... it’s all there. They eat Guzzard for breakfast and shit out The Cows at the end of the day. And for all that I applaud them. It’s a bitter, pissed off listen that hurts in a good way. Somewhere Tom Hazelmeyer is shooting off a rifle in their honor. (thanks fellas at Elementary Revolt for this. It may be one of my newer favorite albums.)
Monday, April 13, 2009
With this new craze of "pop-punk" underway, I figured I'd post something from my golden days. Saw these guys at the old Speak In Tongues in Cleveland and they put on a really fun show. They were a 3 piece out of Seattle and rarely got out of the city. They just bring out a side of me that remembers when times were simpler, less cautious, and more fun. This is their first record, and while it may not be their most polished, it is my favorite.
Thursday, April 9, 2009
this is the best album i've heard in 2009. the duo of Phil McSorley and Erik Wunder have completely flattened the rest of their peers within the USBM scene... where Nachtmystium and WITTR have delved more into the psychedelic nuances of black metal, Cobalt instead push forward with finding ways of communicating pure evil and hatred, which in my opinion is what quality black metal should achieve. McSorley's life as an infantryman in the Army, as well as his years spent in Baghdad, provide another enthralling and unexpected facet to Cobalt's music. what you hear sounds like it's coming from a frostbitten mountaintop, not from a desert battlefield, but it's interesting to me how his experience inspired such a thought-provoking performance. Wunder's drumming talent is remarkable, at times reminding me very much of Danny Carey (thanks to heavy use of polyrhythms). the way these songs flow over you, with such immense layers of depth... that they're coming from a mere duo is a testament to the production on this record. the guitar tone alone feels like an ocean of sulfuric acid crashing on top of you. simply put, if black metal was a museum, Cobalt's Gin belongs in the premier gallery, amidst the classics of the genre.
Wednesday, April 8, 2009
This album is everything hardcore, in essence, is meant to be. Passionate, urgent, aware, and damn is it loud.
Gay Witch Abortion's debut full-length, is the soundtrack to snow-blindness, and to death by black hole—the auditory lifeline to some sightless beyond where the laws of the waking world are gruesomely atomized. This is no temper tantrum or tirade. The brutality here is intensely musical, and is directed not at the listener but in on itself. As it speeds through its 13 tracks in just over half an hour, Maverick is a planet in its volcanic age, gurgling and glowing with a heat so terrifying, it just might produce life. Details: GAY WITCH ABORTION Maverick Learning Curve Records The opening track, "Down with Giants," perfectly foreshadows the music to come—on it, drummer Shawn Walker and guitarist Jesse Bottomley exchange devastating haymakers, fighting for supremacy in the mix. It is a perfect overture for the following songs, eroding colossi in miniature that feel infinitely more expansive and fearsome than their average two minutes suggest. Luckily, a handful of abstract interludes, which feature mooing cows or looped, modulating drones decaying, break the often unbearable tension that builds from song to song and give listeners just the precious minute they need to recuperate for more punishment. Like a planet in infancy, a few minor things are still a bit out of order. Bottomley's vocals are a distraction. He's mad to compete with his own virtuosic guitar work (anyone would be), and his voice somehow seems mixed, when present, to overpower the music. "Your Own Militia," a mid-point track, droops ever so slightly, falling into a mid-tempo that seems to reference Broken-era Nine Inch Nails. But these hairs, once split, don't last long in this heat. Maverick is an album hewn from living stone.
Myspace (don't visit if you are prone to seizures)
Monday, March 30, 2009
This is just miserable music for miserable bastards. Their last record was a great slab of dark, crust punk that also took cues from the doom and noise/rock genres as well. The result was short stabs of caustic aggression tempered with lowdown doom riffs, squealing guitar noise, unrelenting drums, structured bass and a vocalist that is extremely pissed off.
On this record the band changes things up a bit. The album is separated into four acts with each act incorporating a number of different song titles. Those that are familiar with Green Machine's "D.A.M.N" and "…Sky Valley" by Kyuss will know exactly what I'm talking about. The acts range from 4 minutes to over 7 and the band manages to cover a lot of ground over the course of a short 22 minute offering.
The first act opens with a very Eyehategod-esque moment that features the band launching in a downtrodden dirge riff complete with heart-attack vocals to match. Then before you know it they launch into a wall of pure hate and noise that combines crust, doom and near grind in a very threatening manner. Spoken word rambling then adds a distraught atmosphere to the track when a drum and bass part kicks in and before long we are sent back to their vision of white-knuckle punk rock.
That first act is just the tip of the iceberg too! Act 2 begins with throttling, crusty punk before slowing down and entering a New York alley and meeting up with Unsane as the pace slows and sludge encrusted noise/rock becomes prevalent. The second part of Act 2, "Collect my Guts" comes in with a much more noticeable break between the songs and is another mix of psychotic punk and doom/noise that never lets up for a single moment. The vocals in this track are downright insane with some maddening high-pitched screams entering the mix on occasion. Things define clearly once again in this act for "Trail of Blood" to rip through your speakers in all of its wild-eyed, punked-out glory with powerful riffs and a sonic array of battering drums and bass noise crashing down all around you.
Act 3 starts us off in the noise/sludge/metal realm once again with the seething, slow-burning anger of "Mind Forks" that eventually paves the way of the unstoppable punk/grind of "Plotting and Planning" and "Hair my Pillow"; a no bullshit, one two punch of ferocious speed that is occasionally broken up by some tense sludge-y riffing.
The band brings down the house on the grand finale that is Act IV. The most doom and noise/rock infused offering on the whole disc. As per usual there are faster punk ridden parts but there is also scathing doom breaks. One thing I have to say about all of the doom elements that Defcon 4 uses is that even when there is a groove going, it never feels uplifting. It is completely enraged and will seriously make you contemplate taking the razor to your wrists. This track though actually has the most out and out, Sabbath influenced riff towards its last section and it is a great way to close off the ever shifting moods of its 7+ minute running time.
I'm highly impressed by these Defcon guys. Both albums I've got by them are fantastic and they are certainly putting their own touches to this overall sound. I do believe this album is also a concept album of one man's descent into the deepest, darkest pits of everyday life.
All fans of noise/rock, doom, and punk should pick this one up. I'm hearing influences that include Discharge, Black Flag, Eyehategod, Unsane, Tear it up and many, many more notable artists but incorporated in a way that sounds only like Defcon 4. If you dig this type of stuff then this is a must have release. Supernova you have stormed out of the gate with a trifecta of epic proportions and I can only bet that more amazing releases are on the way in the not so distant future.
Sunday, March 29, 2009
1. Damnation A.D
3. Smash Your face
4. Talk is Poison
5. I SPY
8. Monster X
10. Pig Destroyer
18. Assfactor 4
19. the Swarm
20. the Locust
21. Seven Days of Samsara
22. Corn on Macabre
24. Reversal of Man
this is one file. an hour long mp3 of a mixture of songs of some 7"s i found laying around. hope you enjoy. leave some feedback.
1. Blue Oyster Cult
2. The Vindictives
3. Scared of Chaka
6. The Gain
7. Fun Size
8. Hot Water Music
11. Alligator gun
12. Compound Red
15. Karate for Kids
Tuesday, March 24, 2009
"Their bio claims that they’re “making slow and boring even more slow and boring.” Thankfully, Nanda Devi are a bunch of rotten liars and Fifth Season is neither particularly slow, nor is it boring. Now if I was to lazily state that these guys are simply another in a long line of acts taking their cue from the likes of Isis, Cult of Luna etc. or dare utter the ‘p’ word, at best you’ll probably roll your eyes in complete indifference or at worst, want to throw a shoe in my general direction. So instead I’m going to point how this band is different from your typical Neur-Isis clone and why you should bother with Fifth Season. The most obvious thing to point out is the vocals. The combined efforts of bassist Ryan Whyte and guitarist Aaron Schomaker are easily the nastiest, most harrowing and evil-sounding vocals I’ve heard from a band of this type. Aaron Turner may have sounded quite gruff on those early Isis records but he’s got nothing on the growls, shrieks and howls that Nanda Devi offer up. It really is their standout element and gives the band a darker, more visceral edge than their contemporaries.
The other aspect of Fifth Season that impresses me is how tight it is. Out of the eight tracks, three are brief, untitled segues. Whereas on other albums such passages are often absolutely useless, here they have a genuine ‘what comes next?’ feel and actually serve their purpose of linking the main songs together. As a result, weightier numbers like “Abandoned By the Sun” and the excellent “Blood and Iron” are more easily digestible and hence enjoyable. As much as I love my plodding, atmospheric metal, it’s a sad fact that I rarely have the time or energy to invest in a seventy-minute concept album, so to have Nanda Devi do their business with me in less than forty is a real plus. Also, the fact that these guys don’t have the same level of innovation or full-on artistry as their peers is another reason why the modest, streamlined approach of Fifth Season serves them well.
Ironically, Nanda Devi are one of the bands I'd most readily suggest to those who normally find this particular strain of modern metal too 'slow and boring'. Fifth Season is by and large a dark, heavy and gutsy affair with some suitably haunting atmospherics thrown into the deal. It cleverly avoids some of the pitfalls that can dampen albums of this kind, thereby affording itself some real cross-genre appeal. There, and I didn’t mention ‘post-metal’ once."
Plus.... for those of you who live in Cleveland, they are playing at Now That's Class on April 20th. Go see 'em and buy this record.
You ever listen to an album or song and think "hey, I KNOW this band" and then were completely wrong... but not in a bad way? Well the Backup Plan is that band. "Dearest Whomever" at times sounds like the album (or at 19 minutes, should I say EP?) that Kid Dynamite never made. I know other reviewers might debate this point, but while this album is not breaking any new ground, or blending hereunknown genres, or selling records by the truckload, etc. etc., (notchmarks that appear on most reviewers crooked yardsticks), it doesn't detract from the fact that this is a solid album, every track, from beginning to end.
One of my favorite D.C bands. Although, they didn't sound like most other D.C area bands. this album represents a high point in the angst of hardcore The emotion in this album is simply amazing.
Homefront acts as both a love letter and op-ed piece to growing up, hardcore, family and Long Island. It's working-class punk rock without the white tank tops and un-ironic suspenders. Corrigan is simply a man telling his sincere thoughts on various subjects, causing nearly every song to be a standout: "Crossroads" defends the presence of illegal immigrants with the common but rarely embraced talking points; the self-explanatory "Mosh Parts" finds him laughing off bands clogging their songs with needless dance parts; "On a Mission" narrates Corrigan discovering his gateway to hardcore (Revelation's famous late `80s compilation, The Way It Is).
All the past comparisons the band's garnered musically (Dag Nasty, Avail) are still somewhat apt, but Capital have clearly found their own niche here. Sure, the Silent Majority similarities are still inescapable, but only at certain points. Particularly, there's "Procrastination," a tumbling, restrained number where Corrigan growls corrosively over it all, and "Gold Coast," another mid-tempo, aggressively unraveling track. However, throughout Homefront's course, Capital clearly strive to offer both complex, multi-part songs ("Crossroads") and bursts consisting solely of short, fast and hard (the plastic surgery-condemning "Rubberface"), all the while providing versatile moods that range from dark and disgusted to upbeat and reminiscent.
Monday, March 23, 2009
i fuckin' love this album
1. Famous for Nothing
2. God Willing
3. The State Of Massachusetts
4. Tomorrow's Industry
5. Echoes On "A." Street
6. Vices And Virtues
8. (F)lannigan's Ball
9. I'll Begin Again
10. Fairmount Hill
11. Loyal To No One
13. Rude Awakenings
14. Johnny, I Hardly Knew Ya
15. Never Forget