Wednesday, October 27, 2010

Gods of Grind & Gate (Japan) - Split (2007)

Having babbled far and wide about Gate (who provide their tracks as a duo on this particular split, Kobori + Otake) in the post of their three demos right here, I dedicate this post to Gods of Grind, a four-piece from Nagano doing it just right despite owning a somewhat pompous bandname. I found it most interesting how they have exactly one (!) mid-paced, thrash part (on "Scum Members) to these (in total) six tracks of music, the drummer (Sunohara) not really tending toward the whole thrashing part of the deal. What he does instead is simply blast the fuck away 90% of the time, sweet & short chugga-lugga breaks in-between. Microphone-wise, the growling (snarling?) man (Tamai) positively sounds like someone had him un-muzzled and un-caged purely 'cause Gods of Grind needed a vocalist. Makes you wonder how he hasn't killed the rest of the band during recording. I conclude that Japanese grind is to the rest of the world what the Heavens are to the Earth. Holy? Nonexistent? A cool place to chill at? Nothing short of a religious experience, that's for sure (making grind in itself the only true religion, putting in question how the Christian dudes in Rehumanize can even start explaining their whole "religion in a religion" thing, seeing as they obviously worship the God of Grind; I hope it's nothing similar to the tedious and immortal-like-Christopher-Lambert [there can be only one, and the one is certainly him] discussion about grind being a subgenre of punk, or even - God / Satan / Your Mom forbid - metal [Christianity is a subreligion to Grindcore? Someone needs to blastbeat those ideas out of you!]).

...And so Gate did an Impaled Nazarene impression, putting a frown on the face of every kid in the room. (Mediafire)

Alright well, I'm off to other corners of the Balkans for a bit. You people seem to appreciate your Gate so I posted this one (while it's openly downloadable elsewhere, too), but I'm pretty sure it's still in stock over at the most excellent Bloodbath Records (this particular CD being catalogued under "BIMI058"), so have no qualms about sending those ten bucks (or, erm, thousand yen bill) of yours that way. Also, a round of applause and a big Thank You to the guy(ette) who scanned this stuff, whoever and wherever you are, and may you be or, in case you're already there (don't wanna jinx it!), stay in the grace of our lord and savior, Bill Murray.

Ni dieu ni maître!

Monday, October 25, 2010

324 (Japan) - DEMO Tape (1997)

1. Lowest Level
2. New Rotation
3. MOC
4. Melting Way
5. Cobalt
6. Glenghost
Total running time 8:15

Continuing the War on Ignorance About Grind Demos™, here's 324's 1997 tape, a release just as excellent as anything that came later, really, a thing not that surprising considering the near-identical line-up. However, notice the info on the cover! Masao Yamamoto, certainly among the most continuously resolute vocalists in punk, did not only yell here, but also played bass. Rumor has it, though, that 324 lost one of their members, got a new one. Could anyone fill me in and all; precisely what is up? I only heard this from Mr. Childers and I do not read Decibel (or any other music magazine, for that matter), so I have no means of checking out the interview in question.

But they've been relentlessly blasting away to this very day! (Mediafire)

And how awesome is that cover art? I guess you really can't separate the people of Japan and gigantic mechas.

Saturday, October 23, 2010

Gate (Japan) - This is Fuckin' Grind (2001) & Two More Demos

Gate is a Japanese grind band. Plain fact considered, I understand that it is fairly questionable whether I should even continue writing, but humour me, or do this.
The buzzsaw duo (currently, that is, being a guitarist / vocalist + blastbeater, although basses were known to be slapped) hails from somewhere in the Tochigi Prefecture of Japan, the proper place to go for shrines and temples, with a total population around half the population of Croatia (how's that for a bloody obscure country? I mean, I certainly wouldn't know).

Back in 2008, Orfee posted their "Soon To Be Sodomized" EP, soon after I posted the still goddamn excellent three-way "Crushing the Grindcore Trademark" split comprised of Hutt, Noisear, and Gate here. In the comment section of the split (as you can see for yourself), some cool anonymous dude(ette) commendably left a link with more Gate material. The upload in question has since ceased to be, so I decided to re-up the joyous demos that had graced it. All in all, there's three of them, and not one is half bad.
To quote myself in a tad more eloquent fashion than two years ago: "If we chose to compare and pair, Noisear would be paired with Discordance Axis, while Gate would be paired with Assück. Yes, Gate's dissonant side does remind of early DxAx, but the overall sound is a wholly different, heavier, slower, simpler, pounding Japanese tremolo hell. That almost sounds like Corrupted or something, but Gate is grindcore, and grindcore is fast." That said, Ben from the tragically vanished blog Condensed Fresh (scanned setlists from gigs that took place in the land of the rising sun, all with relevant, awesome stories) mentioned how Gate bored his pants off in the comment section of that STBS EP post. I, on the other hand, would gladly shove Gate in place of, for example, the ever prolific Unholy Grave (ironically, a band that Gate covers on Demo no. 1, and a great band in its own right, numbering 21 relevant posts on Cephalochromoscope) in the very interesting Battle of the Grind Bands over at Grind & Punishment, but I sure as hell haven't seen 'em play live. Gate has been a grind band with a brutally strict blast-policy for quite some time now, so where's the first full-length release? Seriously.

Demo 1 (Mediafire)
1. Collapsed
2. Scars Remember
3. Torso
4. Humiliation
5. Hewhoisasshole[cut]blahblah (jeez, Gate...)
6. Anti-Terrorism (Unholy Grave cover)
7. Crux of Flagellant
8. Fundamental Human Condition
Total running time 11:10

Demo 2 - This is Fuckin' Grind (2001) (Mediafire)
gate this is fuckin grind cover
1. Scars Remember
2. Torso
3. My Anger To Whom?
4. Humiliation
Total running time 4:02

Demo 3 (Mediafire)
1. Radiant Arkham (Discordance Axis)
2. The Inalienable Dreamless (Discordance Axis)
3. Desperate
4. Fundamental Human Condition
5. Nadir
6. Emancipation of Yourself
Total running time 11:03

Check out the surf-grind on "Nadir" & the classically Gate way of covering "The Inalienable Dreamless."

Thursday, October 21, 2010

Phone Home (USA) - S/T EP (2010)

1. Meds
2. Cozy Attack
3. Two is a Crew
4. Panda

Here's the super-nice, chill as fuck "debut of the Vallarelli brothers of suburban and urban New York." The Michael of the bros is on synths + keys, while the John is on the kit, and together they Phone Home and yell like a much bigger band. Seems like enjoying punk rawk is a requirement for all things Cephalochromoscope. They do that too, irrelevantly.

Fairly difficult to tag (/unnecessarily pigeonhole), contrasting the minimalist number of band members, the music (and Michael said this himself) is maximalist and (this say I: it is also) properly flowin'. "Rich piano harmonies, warm synth washes and relentlessly driving percussion," seals the whole descriptive part of the deal, really. Unlike shitloads upon shitloads of generic, cold, empty post-rock bands, these two dudes pull off a warmth that makes one want to roast a bunch of chestnuts and be extra nice to his/her mom for the rest of the evening. The non-threatening shouting (it's how it feels when friends yell greetings at you) on "Cozy Attack" reminds me of a most excellent French post-rock duo, John Makay (those two are more classically drums + guitar based, but just as awesome). Is there like an awesome band that pulls more of this sort of stuff (with determined yelling, howling, shouting) off that I've not yet heard of? Sweet stuff, really.

If that sounds up your alley, stuff's free and all right here.

Sunday, October 17, 2010

Jesus Egg (USA) - Erm, some presumably newer stuff (around 2004)

1. Track 1
2. Track 2
3. Track 3
4. Track 4
5. Unorthodox Transaction
6. Track 6
7. Track 7
Total running time 4:02

I'm not really gonna say whether I enjoy this more than version 1.0, but it's some newer stuff and it is obvious that the band has tightened up heavily. If I must trace their grind / metal / punk lineage in order to define Jesus Egg's sound, bluntly put, both releases / demos come from Discordant Axis' orbit, yet, as they got older, the band tended to do things from a more Human Remains angle. A great thing, too, considering how well they found themselves in the whole abrasively austere stop-start riffin' business. Ever so lovingly and completely un-jokingly, ska-punk also makes an appearance in-between bursts of manic thrash. And that's it! Nico (Hypoptalasias) provided this one too, seven more tracks, 40 seconds less than the five-track version 1.0, and that's all I have. Regretfully, I just recorded the first utilisation of the dreadful "ska" tag, making the blog die a little on the inside. Just kidding, ha, ha... ha.

Not kidding. (Mediafire)

My compatriot (well, near enough) Thethirdchildren provided an excellent link with some Jesus Egg info! So here's their purevolume page (check out the Chang-as-fuck lyrics to "Censure"). The band is apparently composed of J
on Vinson, Cole Martinez, Ryan Wes(e?)ling, and Jamie Bibbs. They're - get this - "a 4 piece from cleveland, ohio blending death metal, grind, ska, and jazz into one." The description's heart is at the right place, but it misses "reggae".

Friday, October 15, 2010

Sonic the Hedgehog 4: Episode 1(Xbox 360)

Hello, Ceph-chums. There now follows a review of this game, written by a man who grew up clutching a Megadrive. Indulge me, I'm extremely bitter.

I waited all morning, I did. I couldn't find any information on when Xbox Live Arcade updates the game catalogue, and vaguely remembered Rez being released around 8.30am, so I waited. Did some writing, drank a lot of tea, refreshed the Marketplace, repeated. As it turns out, they update at 12pm dead these days, so at 12.03 I had a lovely, pristine download of Sonic 4: Episode 1 booting up, presenting me with the legendary SEEE-GAAAAAA! sample, the Sonic Team logo, a title screen that hit every nail right on its excited little head and said to me maybe, just maybe, they got it right this time.

Illusions can be shattered quickly, readers. Very quickly indeed.

Imagine, if you will, a tennis game. Say, Virtua Tennis 3, a decent example of the genre; it looks like tennis, it plays like tennis, it sounds and feels and reacts in a tennis-y way. It's tennis, is what I'm trying to say. Not Sega Superstars Tennis, or any idiot novelty nonsense: TENNIS. Now imagine that the programmers forgot to put a ball in. Rather defeating the purpose, no? Completely destroying the mechanic that tennis is known for, like that Dredd game for the original Xbox that included a Lawgiver but no ammo for it, forcing the inimitable, epically-chinned Judge to rely on scavenged weaponry from fallen crims. Taking something known and expected, nay demanded, and removing it whilst preserving the notion, the hint that it should be there. That's Sonic 4.

It starts off well enough, the Splash Hill zone essentially being a shiny remake of Emerald Hill from Sonic 2 but this is clearly simply in order to spark the nostalgia glands of anyone playing the trial. from Act 2 onward, there is nothing but hateful design, vexing enemies, absurdly easy bosses and horrendous graphical problems. Much of the time, you'll be hit by an enemy you had no chance of spotting. Obviously, this has been placed in order to reward repeat playings; learn where the enemies are, and press the jump button before they appear. However, the experience of being repeatedly hit by something you couldn't conceivably know was there is such a joyless, frustrating task that you'd have to be an idiot to subject yourself to repetition. Shmups are based on this principle, replaying and memorisation, but the difference is that in for example Dodonpachi death is your fault. Rarely does enemy fire come at you off-screen, or appear from nowhere, or arbitrarily change its rules so your hitbox is larger for no reason. This consistency, this set of rules obeyed totally is what Sonic 4 lacks.

Sonic's physics have altered from the classic 2d games of the early 90's. In Sonic the Hedgehog, pressing the jump button whilst moving caused Sonic to describe a parabola in mid-air - you had a degree of control over his momentum, and could affect where he landed, but once you had leapt from a platform you were committed to whatever happened next. In Sonic 4 no matter how much momentum is carried into a jump, it can be cancelled and Sonic dropped straight downward by letting go of the directional button. Now, for someone used to skipping back from left to right to left to correct a trajectory, this is so jarring as to completely break the game; doing so results in a bizarre zig-zag of total direction changes. It's possible to leap outward from the edge of a platform, change direction in mid-air and land behind your original position, a manoeuvre dubbed 'the curly muffin' by Amiga Power and ridiculed in the early 90's.

The cave levels(don't remember the name, am blanking this from my mind) include an act where the main gimmick is darkness. Sandopolis did this well in Sonic 3 & Knuckles; the 'oh-no-there-are-ghosts' thing being the most enjoyable aspect of a tedious, badly designed level. Sonic 4's Stupid Cave Level reduces the player's vision to an area immediately surrounding the character, meaning any oncoming obstacles are not visible until bumped into due to the speed at which the player moves. It's one of the most frustrating things I've played since that bit in Halo 3 on Legendary in the corridor, and exemplifies the nature of this game entirely - it's for the 'hardcore', the savants that post speedruns, people that don't have anything else to do with their lives.

There are many other things; the card game level that grants insane numbers of extra lives(twenty-three on my first go), the bland, forgettable music, the incredibly easy bosses, the horrid special stages, the single save slot, the occasional frame rate problem - if I went on, it would be six times as much text as I have already written. Almost literally everything about this game is subtly, slightly wrong, resulting in mediocrity.

To me, that is the worst crime Sega could have committed with Sonic 4. Sorry, Sonic, but it's over. I've suffered at your hands long enough. It's time for us to part.

Jesus Egg (USA?) - version 1.0 (2003)

1. Track 1
2. Track 2
3. Bane of Avalon
4. Botato Pug
5. Bloodwork
Total running time 4:43

When cephalochromology is your line of business, you learn to be effective in scrolling the keyword-riddled internet speedways, finding and arresting disciples of Discordance Axis in order to plant them before the Infallible Court of Cephalochromoscope where they might be prosecuted for unworthiness and beaten by blasts forever on the steamy cyber-platforms, but what'll probably happen is a stream of praise for worshiping the right gods of grind, thereby achieving blastbeatitude; grind is heavy on the soul, and Jesus Egg is heavy on the Egg side of Jesus, 'cause theology doesn't know shit about the beginning, i.e. what came first - an egg, or a Jesus - whereas the answer is as obvious as Coltrane's sax skills: Discordance Axis came first, and Jesus Egg knows this.

After being but informed of its existence (thanks to Camille of Dreams of the Drowned, Smohalla & Stagnant Waters), I got this gem, blood diamond, or whatever it may be called, from the blastbeat-happy Nico (again, of Hypoptalasias), who acquired its ghastly form without even proper songtitles from the band itself. And it's a goddamn obscure band, it is. Asking the omniscient Google what the hell a Jesus Egg is will leave you wading through entries of The Flaming Lips' "Jesus Egg That Wept", searching for band info that doesn't fucking exist. This one's shrouded in dadaist mystery, true to a page on YTMND with Rosie O'Donnell having the best seizure of her life courtesy of "Bloodwork", the last track on version 1.0. For a long time, I thought that the band was French 'cause only Frenchmen seemed to even know about it, however(!), I found out that Ryan "Spicolli" Weseling, who played bass in Population Reduction, Raw Sewage, Kilgore Trout, and a shitload of other bands, actually was or is in the unfathomable phantasmagoria that is the fantastic, albeit presumably dead (/forever unhatched), Jesus Egg. If I'm even on the right track, that is.

EDIT: Seeing as an anonymous dude found the mention of Weseling offensive enough to rant about it in the comment section, I'll mention here that Weseling apparently didn't have much to do with the creative process of Jesus Egg. Check out this post for more actual band info, courtesy of Thethirdchildren's googling skills!

But fellow DxAx fanboys, you sure as hell shouldn't be giving a damn about all o' this right now 'cause this Egg is positively full of an unequivocal Rob Marton-impregnated beauty (is it safe to say that he is, in fact, the cock who conditioned the Egg's presence among us, even now?).

Bloody download this. (Mediafire)

I even wrote you a faux cover up there for the whole thing. Think it ought to land me some jobs in grind-cover-design?

Monday, October 11, 2010

John Coltrane (USA) - Olé (Coltrane) (1961)



The Night Has A Thousand Eyes



Dahomey Dance


Original Untitled Ballad (To Her Ladyship)

Total running time 1:07:44

While it certainly makes sense to proclaim how title tracks have little relevance to reviewing a jazz record (or doing about anything jazz-related), you'll forgive me 'cause I chiefly write nonsense anyway. However, might the intention count, at least? I try to blurt impressions, so how come it feels like the primeval act of farting? Hey, Dolphy got to play on this one, namely 'cause he "was able to circumvent contractual obligations to the Prestige label by using the 'George Lane' pseudonym." See, that's what you call a cool cat, doing it all for the Jazz.

So, how do you describe jazz? Well, here's a transcription of Freddie Hubbard's trumpet solo on "Aisha": Dee-dooo-dooo-dee-doo-doodoo-doodoooo-deedloo-dee-dee-doDEEEE-doo-doo-DOO-DOODOODEEDLY-DEEDLYDEEDLYDOO-dee-doodle-deedle-doodledoodledeedledeedoodeedledood-deedledoodledood-dee-doodoo-dee-dooo-deedoo-doo...

Enjoy the Coltrane, kids. (Mediafire)

I mean, he's dead anyway. This is from the presumably wonderful Heavyweight Champions 7CD collection, the one that encompasses all of Trane's recordings on Atlantic, which makes - I'm pretty sure - this Olé the Olé with the most tracks (7). Tracks 1 - 3 were recorded on October 26th, 1960, while tracks 4 to 7 (meaning the original Olé Coltrane) did the same on May 25th, 1961, both at Atlantic Studios, New York City. All of 'em written by John Coltrane, except for number two, "The Night Has A Thousand Eyes", by Buddy Bernier and Jerry Brainin.

Personnel for the original Olé, recorded May, 1961 (tracks 4 - 7):
  • John Coltrane – soprano sax "Olé", tenor sax on "Dahomey Dance" and "Aisha"
  • Eric Dolphy (credited as "George Lane") – flute on "Olé" and "To Her Ladyship", alto sax on "Dahomey Dance" and "Aisha"
  • Freddie Hubbard – trumpet
  • McCoy Tyner – piano
  • Reggie Workman – bass
  • Art Davis – bass on "Olé" and "Dahomey Dance"
  • Elvin Jones – drums

Sunday, October 10, 2010

Hypoptalasias & Tekken (France) - Live at Mix'art Myrys 03-31-2003 SPLIT (2003)

That's Tekken.

01. Rock'n'Roll
02. Monte Moi Dessus
. Tep Kaos
. I Can't Fall In Love
. Fucking Bastard
. All Gonna Die
. D.I.Y. 666
. What Can I Do
. Pc Shoes
. Shit Pants
. B. Boys
. Slave
. Circle Pit
. Crusty 2
. I See Life
. Reagan Youth
. Hypoptalasias Is Gay
. Back To The Roots
. Noise
. Trash Vs Numetal
. Spazm
. We Are Better Than You
. Chaos
. Fuck Away
. Sickness Benefit (Hiatus Cover)
. Don't Fuck Me Out
. Rabid Grannies
. Unfortunate Carnage Of A Worldwide...
. Burgaud Got Eyes
. Hypopcrisie
. Go To The Deal - Boxes - Box#7
. urfing Moïse
. Human God Flesh - Man Is Dead
. The Kill (Napalm Death Cover)
. Johan Holocaust
. Frog Eyes - Stupid Cops
. Kiss Da Beluga
. Premutos
. I8U - Pop & Korn - Ta Gueule
. Titinus Hearing
. My Head... My Computer...
. P.M.R.C. Sucks
. Pee On The Wall
Total running time 40:40

Awesomely named, Tekken play thrash to the core with the classic crow-guy on the vocals ("Grrrah, grrah, grrrraaah! Grrraaaah, grraaah!"). Grindviolenza done right. As for blastmasters Hypoptalasias, well, how much can a man talk about Hypoptalasias? Seriously, split with Denak + info here, split with Rot in Pieces here, and most of their tracks in general on their website. The thing with this one is, it's a live recording, making it just enough noisy for the majority to be unappreciative of the content (this includes the collective audience having multiple orgasms after each and every song). Not me, though, 'cause the Hypoptalasias recording displays an almost Pikadourei-level lo-fi wonderfulness. That said, I don't even know whether this one's an "official" release or what, but it sure is... there.

It is also here. (Mediafire)

Hypoptalasias, there.

Friday, October 8, 2010

Hypoptalasias & Rot In Pieces (France & Canada) - SPLIT (2002)

rot in pieces hypoptalasias split

Rot in Pieces
1. Les cons-damnés 00:47
2. 2 Die 4 your Con3 01:13
3. Crie la vérité sur les murs 02:36
4. Yan osborne 01:14
5. Afterlife Murder 03:21
6. Cormier 00:30
7. McDollars 01:03
8. Until Death do us in Parts 02:34
9. Dis-le pas à personne 00:30
10. La parole et l'acte 04:51
11. Langue perdue 00:35
12. Le Bièrier 00:50
13. Manipulations 04:28
14. The Kill [Napalm Death] 00:14
15. The Hillside Stranglers [Dahmer] 01:18
16.Johan Holocaust(2:44)
17.Unfortunate carnage of the worldwide economic war(1:42)
20.Rabid grannies(1:50)
22.Pee on the wall (live)(4:28)
23.Stupid cops (live)(0:29)
24.Perynnées manson (live)(0:22)
25.PMRC (live)(1:34)
26.Burgaud got eyes (live)(0:18)
27.Titinus hearing (live)(1:02)
28.Human god flesh-man is dead (live)(0:29)
29.Johan holocaust (live)(1:41)
30.Rabid grannies (live)(1:37)
Total running time 48:20

Quebequois quartet Rot In Pieces play grind with a grotesque death metal twist, in love with all things creepy and deformed, that ought to be familiar to everyone who dabbled in disgusting, quasi-experimental, disharmonic (Orchestra[l]) metal. This was their first (split) release, the second and last one being a split with Agathocles that came out one year later. It's a blast, with swinish pronunciation, topped off with a classic cover of Napalm Death's "The Kill" and a Dahmer one, suggesting (along with the general sound of the bad and that split with Agathocles) a love for mincecore.

Yet we have Hypoptalasias bringing the grindessential blasts, caught up between a horde of zombies kept animate purely on Discordance Axis shots and the Brutality of Truth and God knows what other sorts of socially perceived defects. Most wonderful is how they finish their studio-recorded side (tracks before the live recordings I mean): "Reflekt", a chuggathon to chug-along to, and perhaps even a nod to the frustratingly honest "A Leaden Stride to Nowhere" (sure sounds like it). I won't play the role of a barely comprehensible biographer here seeing as I already did it here, but I ought to comment that the sound on this one triumphs over that Hypoptalasias / Denak split, a very understandable thing once you take into account that this one was released on CD.

An unfortunate download for the worldwide copyright war! (Mediafire)

I repeat, you can get most Hypoptalasias tracks from their website. What's that... Why am I posting this shit then? Because I'm posting the whole releases, that's why, other bands included. Hypoptalasias don't spend any time talking 'bout bullshit. I mean, they really like zombies and shit, so they point it out sometimes, but that's that. Really.

Thursday, October 7, 2010

Hypoptalasias & Denak (France & Spain) - SPLIT 7" (2003)

1. Rabid Grannies
2. Purulent Mouth II
3. Asynchrophobia
4. Frog Eyes
5. Booe
6. Golden Boy
7. Muy Espiritual
8. Aquellos A Los Que Nadie Quiere
9. Basta
10. Cruel Realidad
11. Sin Base Ni Ideas

Even civilized, oversocialized man could live without almost all of the luxuries that he takes for granted, you know (at least that's what Ted Kaczynski says). But... without grind? Grind me do, 'cause there ain't no fucking way I could forget about The Blastbeat, and no bloody church could divorce us.

You could call Hypoptalasias a somewhat weird band from Toulouse, France, composed of four guys that take themselves un-seriously in all the right ways, as in relation to zombies and rabid grannies (Tekken have a track called "Hypoptalasias is gay", too, on their 2003 live split [will post]). That said, the band is made of pure fucking grindcore. Of a kind that over-enjoys Discordance Axis at that. Twitchy, bludgeoning riffs, set to Nico's (who played in Anal Rip [another French grind band] and [still plays?] drummed live for the hilariously notorious punk as fuck fairy-black metal band Nuit Noire, hated by the elitist black metal teenagers full of weltschmertz and generally angst / check out the newest song on the myspace: a cover of Lady Gaga's "Paparazzi", Jesus unexplainable Fuck) first ever grind performance, tight as ever. Forgive me if I romanticize, but (1st) it's grind, and (2nd) I'm feeling sentimental about France since I tripped through the country about a month ago, having a most excellent time (said Hi [for three days straight] to Cephalochromoscope's own Jyb).

As for Hypoptalasias, they have since split up, but I know from trustful sources that one last release is currently in the mixing stage + I'll be putting up a few more of their splits + vous pouvez télécharger 99% of recorded Hypoptalasias tracks (mostly from their sides of split releases) on their still-functioning website ici.

Denak is pretty much one of the pioneering grind bands from España, formed in 1994, split up ten years later (two or three of the members went on to play in Looking for an Answer, a band that's just starting to get attention [or so I suppose] despite putting out stuff since 1999). There's an excellent summary of their awesomeness on Grind & Punishment concerning influence that Denak might have had on the genre. Their side is skullfucking, bass-heavy grind, showing that they are no strangers to crust, just the kind of excellent band that I would put forward in an argument about grind being bent to punk, rather than metal, although it ain't either one once we introduce, erm, common sense to the equation. A few of 'em growling, screaming, making noise; nothing wrong with that. La Fiesta comes in many forms.

No comment? I hope you drownload. (Mediafire)

P.S. People/bands that have sent me their releases: I did not forget. I just lack the time. That said, I will not be posting many of you, especially not random rock/metal bands sending their shit to each and every music blog that they can find. This is not a review site, for fuck's sake (understand my frustration, I get fairly in(s)ane offers / "could you review my jewelry? could you make a post about my website about fashion? could you write a thirty-page synopsis of my balls?" [note: made the last one up, thank sweet Jesus]). As for some (specific) bands that have sent me their new releases, completely oblivious about the earlier posting(s) of their older release(s), that's just... shitty. Thing is, Cephalochromoscope doesn't have a huge flow of different visitors. From what I've noticed, it's rather a set readerbase thing, so here's a thank you to all of you who feedback and/or appreciate in one way or another.