tag:blogger.com,1999:blog-11158559636245138332024-03-15T00:37:42.068+01:00CEPHALOCHROMOSCOPEWebzine / blogzine featuring grindcore, noise and extreme music in-general; reviews, interviews and other thoughts since 2008. For fans of Discordance Axis, Swarrrm, Corrupted, Birushanah and the like.Zmajhttp://www.blogger.com/profile/17093889738405243944noreply@blogger.comBlogger324125tag:blogger.com,1999:blog-1115855963624513833.post-55485240013063869682024-03-14T10:39:00.004+01:002024-03-15T00:37:10.265+01:00Durian (USA) / Kandarivas (Japan) - Split (2024)<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSceA8M07gxa8DrySvqgR1AMOPShOnR0XU7_-jXEk_tyKOvsMjYiUg37ewXkxclui3TLzN3FI1djkMl1Hj9u1eNErDNKVaoCPFuTmBxqMgvOPcnk9QCThFoEnCcNlbZtlrLBDoOoQFd7eMgDQFWEkyGVRiNkwjQgk2O5oDjDVD3P3W3DaYZmfmPvOQVOk/s3000/cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="3000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSceA8M07gxa8DrySvqgR1AMOPShOnR0XU7_-jXEk_tyKOvsMjYiUg37ewXkxclui3TLzN3FI1djkMl1Hj9u1eNErDNKVaoCPFuTmBxqMgvOPcnk9QCThFoEnCcNlbZtlrLBDoOoQFd7eMgDQFWEkyGVRiNkwjQgk2O5oDjDVD3P3W3DaYZmfmPvOQVOk/s320/cover.jpg" width="320" /></a></div><br /><p></p><div>Among grindcore’s many traditions, the split 7” is one of its most beloved, and for good reason. Sure, bands in most punk subgenres release splits. But none are as uniquely suited to the brevity of the medium as grind.</div><div><br /></div><div>Within the ~5 minute per side limit, a grindcore band can fit an EP’s worth of material. This means that 7” records offer a condensed showcase for bands at a low price point. For this reason, they’re a great place for an established band to give a shot to a lesser-known group, or for two like-minded bands at the top of their game to perform a sort of blastbeat-driven cultural exchange.</div><div><br /></div><div>This split, between USA’s Durian and Japan’s Kandarivas, is firmly in the latter category. Both bands have been making waves within their respective scenes with forward-thinking metallic grind for years. Durian plays a speedy, classically American sort of grind in the traditions of Discordance Axis and Assück, both of which they’ve covered in the past. Kandarivas’ <i>modus operandi</i> is slightly more experimental, incorporating traditional taiko drumming alongside the guitar and drum kit in place of a bass guitar.</div><div><br /></div><div>Durian open the record with a strong, focused set of 5 songs. These songs are some of their best recorded and performed to date. Everything here shines, especially the tracks “<a href="https://nervealtar.bandcamp.com/track/fleeced">Fleeced</a>” and “<a href="https://nervealtar.bandcamp.com/track/huck">Huck</a>”.</div><div><br /></div><div>Kandarivas begin side 2 with a new version of their microsong “<a href="https://nervealtar.bandcamp.com/track/durian">GSA (Grind Surgical Attitude)</a>”, originally from the <i><a href="https://cephalochromoscope.blogspot.com/2021/03/kandarivas-japan-grind-surgical-shrine.html?m=1">Grind Surgical Shrine</a></i> LP, performed with their current lineup. It’s followed by a tribute to their splitmates called “<a href="https://nervealtar.bandcamp.com/track/durian">Durian</a>,” which features the refrain “Eat, sleep, grind… Durian!” Perhaps most intriguing is “<a href="https://nervealtar.bandcamp.com/track/bakayaro">Bakayaro</a>,” which interpolates “<a href="https://youtu.be/HIrKSqb4H4A?si=EW19HIhO0tU8E5nj">Get Got</a>” by American noise rap experimentalists Death Grips within a grindcore context. (It rules.)</div><div><br /></div><div>Whether you’re a longtime fan or a newcomer, this is a release worth seeking out. If you’re new, it’s a great introduction to both bands in a compact timeframe. If you’re not, it’s an exciting taste of what’s to come.</div><div><br /></div><div><br /></div><div><i>The digital and vinyl versions of the album can be purchased from <a href="https://nervealtar.bandcamp.com/album/durian-kandarivas-split-ep">Nerve Altar's Bandcamp</a> in the USA, and the CD version can be purchased from <a href="http://www.obliteration.jp/">Obliteration Records</a> in Japan.</i></div>DesiccatedVeinshttp://www.blogger.com/profile/16783531567772825094noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-17120327935847794202024-03-07T12:16:00.005+01:002024-03-10T20:01:52.773+01:00Bronco Buster (Malaysia) - Dystopian (2024)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="1417" data-original-width="1417" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj0Q-r8QjdUDg71zbciUTRZ4K6R0DBg1RTFnOFZ_9ZdS-bcvh69A9eiBGbqSLvK8sXDpAvHL_HkznYkQO1dTmQn8BsJFaDPZL4L4Gw2MqOIqFcZerwRsTj0TxokQL6Ak_jgr6aSnJfsZSVA_OR0AMSNl3ybnbjSzX5dMz_YGp_CcEuZUvlKHuJDm815p8/w400-h400/cover.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr><tr><td class="tr-caption" style="text-align: center;"></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj0Q-r8QjdUDg71zbciUTRZ4K6R0DBg1RTFnOFZ_9ZdS-bcvh69A9eiBGbqSLvK8sXDpAvHL_HkznYkQO1dTmQn8BsJFaDPZL4L4Gw2MqOIqFcZerwRsTj0TxokQL6Ak_jgr6aSnJfsZSVA_OR0AMSNl3ybnbjSzX5dMz_YGp_CcEuZUvlKHuJDm815p8/s1417/cover.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"></span></a></div><p><br /></p><p>I’ve said this before, but I marvel at the range of sounds contained within an on-the-surface simplistic subgenre like grindcore. Bands are constantly developing new strains and cross-pollinations. It’s something I love about the style.</p><p>And yet. As hybridized as it gets, the old-school sound still has an undeniable caveman appeal. However many -posts and -cores may branch off from it, we’ll always need bands like Malaysia’s Bronco Buster to keep the original flame alive.</p><p>Their new LP, <i>Dystopian</i>, is a grind record like they used to make ‘em. 31 tracks of raw, punk-first political noisiness that’s unpretentious and staunchly untrendy. There’s refreshingly little crossover potential here; this is grindcore by grinders, for grinders.</p><p>Bronco Buster’s sound is built around trebly guitars, blasting trashcan drums and growled midrange vocals. This is grindcore from the most punk side of the spectrum. Besides the growled vocals, the band sounds beamed in from a universe where death metal never existed.</p><p>The straightforwardness of the style on display here, as refreshing as it is, does come with some limitations. There are some tempo changeups and differentiations like backup vocals and the occasional switch in vocal style. But with this many tracks in a similar style, many of them blend together into a pleasant sea of noise rather than standing out individually.</p><p>For the punk or metalhead who only listens to a few grindcore records a year, this is probably a skip. Ultimately, that’s fine, because that’s not who this record is aimed at. It's for the diehard with a mountain of LPs and 7”s of grind from around the world, and if that's you, <i>Dystopian</i> is a worthy addition to your collection.</p><div style="text-align: left;"><i><b>Dystopian</b> can be purchased digitally through the band's <a href="https://broncobustergrind.bandcamp.com/album/dystopian">Bandcamp</a> page.</i></div><p><br /></p>DesiccatedVeinshttp://www.blogger.com/profile/16783531567772825094noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-85008757100123609602024-02-24T05:01:00.000+01:002024-02-24T05:01:54.649+01:00Disintegration (USA) - Carbon Shadow (2022)<p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeeFiWGEVJvmMY40QeWO2W_nKTwVN2HMyeN844WAdrcItLvI5gJ7qKlVrPXCJiFoc000d7cN_8sJzoyechHnTl_sin9z9thyxpBSQdwucysNRXt_6N13Z0Gns4iYjY4o-oFwaXYU9zoqe9sy0voXE2h3dnCsFFSDadcXtlZl23GNXVhUvj2bjy0jimQg/s700/a4102110592_16.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeeFiWGEVJvmMY40QeWO2W_nKTwVN2HMyeN844WAdrcItLvI5gJ7qKlVrPXCJiFoc000d7cN_8sJzoyechHnTl_sin9z9thyxpBSQdwucysNRXt_6N13Z0Gns4iYjY4o-oFwaXYU9zoqe9sy0voXE2h3dnCsFFSDadcXtlZl23GNXVhUvj2bjy0jimQg/w320-h320/a4102110592_16.jpg" width="320" /></a></p><p style="text-align: center;"><u><i>Graphite-Grind</i></u></p><div><span> </span><b>Disintegration </b>are a death-grind band from deep in the heart of GWAR country, Richmond, Virginia, that play a type of grindcore that filters thrash and black metal through a crusty grindcore filter. They weaponize aggressive riffing and heavy blasting in the form of their 2022 full-length, <i>Carbon Shadow</i>. </div><div><span> </span>Since the debut of their demo in 2016, <b>Disintegration </b>have been fine-tuning and polishing their said metaphorical munitions, resulting in a very <b>Assück </b>sounding style of metallic grindcore. Although, <b>Disintegration </b>might have a little more sugar in their licks compared to <b>Assück</b>, while also avoiding that telltale stink of grunge rock that stained many 90's metal bands back during that era. This latest incarnation of <b>Disintegration </b>that we are given <span face="source-serif-pro, serif">here on <i>Carbon Shadow </i>also brings to mind certain similar Texas gulf-coast-insect-combatant-based-grind bands. </span></div><div><br /></div><div><span> </span><b>Disintegration </b>vocalist, <b>Ryan Zell</b><b style="font-family: source-serif-pro, serif;">—</b><span face="source-serif-pro, serif">who might be better known as the guitarist of such legendary bands as <b>Sacridose </b>and <b>Cellgraft</b>, if I'm not mistaken</span><b style="font-family: source-serif-pro, serif;">—</b>is laying down a solid front of mostly monotone, guttural cookie monster growls that undulates with an undertone of that cinder block on concrete kind of cadence. Vocally, he's somewhere amongst a light mince/gore dialect and throaty crust punk snorts; save for that one pig squeal in the twenty-three second song, <i>"Melting Rot." </i>The lyrical themes of war, famine and death also embody those crust punk platitudes of pestilence and pessimism. </div><div><span> I feel like a lot of </span><b>Disintegration's </b>charm is the talented uniqueness of the guitar work. Guitarist, <b>Drew Brooks</b> is serving up some rapid fire catch-and-release palm muted thrash riffs that carry the bulk of the songs and really steer them from one metal subsect to the next. He's the deciding factor on the subtle shifting from genre to genre that is happening throughout the tracklist. <i>"Justified Retaliation" </i>is giving major thrash metal vibes with the palm muting and double kick drum intro before rounding out the second half with some drilled-in black metal tremolo riffing. Meanwhile the brief intro to <i>"Black Death Trebuchet"</i> presents itself with more of an old school death metal influence. There are so many variation and delicacies translated through rhythmic palm muting. It would be easy to pigeonhole these influences as either death metal, thrash, crust or just good 'ole-fashioned grindcore. However, all would be more than apt.</div><div> <b>Brooks</b> also pulls double duty as bass player on <i>Carbon Shadow</i>, out of what is presumably mere necessity. Now, there's not a lot of light to shine on the bass guitar within this album. It's very much there as a warm booming background tone and is sort of a <i>shadow </i>in and of itself. Yet, it's likely exactly where it should be in the mix. With a majority of the sound being given to the guitar, possessing a springy slinkiness tone of its own, the brightened growl of a bass isn't as necessary.</div><div><span> </span><b>Disintegration's </b>drummer, <b>Leland Hoth</b>—previously of <b>Occultist </b>fame—sets pace with a cavalcade of intense drumming that is as chaotic as it is pummeling. Much like the guitar, <b>Hoth</b> is dodging in and out of the metal genre like a Fun Dip Lik-a-Stick. He constantly runs the gamut from the double bass pedal gallops of <i>"Robust Nuclear Earth Penetrator" </i>to the careening, overly fast mid-paced thrash-punk hammering of <i>"Blood Eagle"</i> before leaning into the boiling blast beats of <i>"Perfect Life-form."</i> The breakneck pace is very reminiscent of both <b>Vermin Womb</b> and <b>Insect Warfare's </b>styles of high-speed percussion. </div><div><br /></div><div> Unfortunately, despite my veneration towards the band, <i>Carbon Shadow </i>is not without its more strident criticisms. <i>Carbon Shadow </i>is what the band has been building towards the past six or so years. The guitar and drums have evolved exponentially from their initial demo, not to mention their songwriting and production value as well. </div><div><span> </span>Yet, <i>Carbon Shadow </i>seems to have some complication in the mix. Periodically, I get the sense that the instruments of the band sound like they are playing almost independently from one another; occasionally falling in-and-out of pocket—or at least sound like they are on the verge of it. And I understand the harshness of this critique and I'm willing to concede that I might be mistaken and this may not even be the case. Especially considering that there is no sign of this in the band's demo or on their 2017 EP, <i>Cruel Slaughter. </i>It may possibly be an in-studio issue. If this is even the case—allegedly. </div><div><span> Another issue with the mix is the de-emphasizing of the snare drum, however so slight. Again, compared to the previous releases, this just happens to be the most suppressed volume of snare</span>—allegedly. It should be noted that the band's entire discography is self-produced and self-recorded. </div><div><br /></div><div><span> Minor gripes notwithstanding, </span><b>Disintegration's </b><i>Carbon Shadow </i>is an aggressively dark and mean version of death-grind that incorporates almost all aspects of all associated subgenres. They fill the gap from <b>Apocalyptic Noise Syndicate</b> all the way to <b>Iskra</b>, if not just straight up <b>Assück </b>zealotry. I know I've named dropped more than a few bands already and I would name drop even more if I was more familiar with the metal community.<i> </i>So you can see the wide appeal for listeners either looking for a variety of inspiration or listeners merely interested in heavy grinding. </div><div> The full-length itself is decently polished and crisp and finds the band at top performance. <b>Hoth </b>and <b>Brooks' </b>skill behind the kit and on the guitar are the band's crown jewels and are shepherded through with <b>Zell's </b>coarse vocal command. Any of these are well worth the price of admission, but the headbanging catchiness and thick crunch of the guitar sends <i>Carbon Shadow </i>over the top. </div><div><br /></div><div><br /></div><div>FFO: <b>Assück, Insect Warfare, Apocalyptic Noise Syndicate</b></div><div><b><br /></b></div><div>Listen to the album:</div><div><a href="https://disintegrationgrindcore.bandcamp.com/album/carbon-shadow">https://disintegrationgrindcore.bandcamp.com/album/carbon-shadow</a></div><div><br /></div><div><div><i>[Originally posted on July 26, 2023, Return to the House of Grindcore]</i></div><div><i><br /></i></div><div><i>For more reviews, Follow Return to </i></div><div><i>the House of Grindcore: <a href="https://returntothehouseofgrindcore.blogspot.com/">https://returntothehouseofgrindcore.blogspot.com/</a></i></div></div>Return to the House of Grindcorehttp://www.blogger.com/profile/05677205597965126917noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-66315419398065204752024-02-14T02:59:00.000+01:002024-02-14T02:59:38.758+01:00Shitstorm (USA) - Only In Dade (2023)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilViNYzacY2EHlF6NCEmG6lo0aavCesH8Pcdkq-xyNWY3fodoo-uOCcoWEQhmopmVqUdhI0NoLE_b0hyphenhyphenX15KH91ELLeQIPI-r1cpJDs6CdRglRE60dYEqidwmh-o4CruXh-NqxR4aggstxfAc7f_Ho6NOvofwaOxGqAyyGBwh2brt2n8tZVjsnjUCDoedi/s700/a3472772774_16.jpg" style="display: inline; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilViNYzacY2EHlF6NCEmG6lo0aavCesH8Pcdkq-xyNWY3fodoo-uOCcoWEQhmopmVqUdhI0NoLE_b0hyphenhyphenX15KH91ELLeQIPI-r1cpJDs6CdRglRE60dYEqidwmh-o4CruXh-NqxR4aggstxfAc7f_Ho6NOvofwaOxGqAyyGBwh2brt2n8tZVjsnjUCDoedi/w320-h320/a3472772774_16.jpg" width="320" /></a></div><p></p><div><div style="text-align: center;"><i><u>Holy Shit</u></i></div><div style="font-weight: bold;"><br /></div></div><div> Did anyone have a new <b>Shitstorm</b> release on their 2023 bingo card, because I sure as shit didn't. <b>Shitstorm's</b> <i>Only In Dade</i> came out of nowhere and absolutely destroyed. The album is a staticky, grime drenched onslaught of completely pissed off grindcore vengeance. </div><div><b><br /></b></div><div><b><span> </span>Shitsorm</b> have their grindcore roots in hardcore and thus have an unflourished purity to their grind. They don't have time to fuck around, just bludgeon. The guitar riffs slide in and out of chord changes and different levels of distortion tone like nothing I've ever heard. The bass punches into the mix just long enough to let you know it's there and it's not happy about shit. But that all quickly means little as the whole thing is strangled out by screaming feedback. Like, literally blast beats over stinging white noise. It's like the instruments and fuzz are clamouring over each other for dominance. Meanwhile, the drums are just toppling over themselves at the most violent of speeds. The vocals act as ringleader to this head-on collision with livid barks reminiscent of 90's era powerviolence. </div><div><i><br /></i></div><div><i><span> </span>Only In Dade </i>is plain and simple savagery for savagery's sake. And just like the grindcore albums of yore, <b>Shitstorm</b> fires off twenty-seven tracks in less than ten minutes! So, yeah. This album is not for posers or metalhead-weekend-warriors thinking they listen to grind. I love how <b>Shitstorm</b> just checked-in to remind everyone who the fuck they are and what the fuck they do. </div><div><br /></div><div>FFO: <b>Magrudergrind, Yacøpsæ, Capitalist Casualties, Combatwoundedveteran</b></div><div><br /></div><div>Listen: <a href="https://miamigrindcore.bandcamp.com/album/only-in-dade">https://miamigrindcore.bandcamp.com/album/only-in-dade</a></div><div><br /></div><div><div><div><div><i>[Originally posted on January 4, 2024, Return to the House of Grindcore]</i></div><div><i><br /></i></div><div><i>For more reviews, Follow Return to </i></div><div><i>the House of Grindcore: <a href="https://returntothehouseofgrindcore.blogspot.com/">https://returntothehouseofgrindcore.blogspot.com/</a></i></div></div><div><br /></div></div><div><br /></div></div><div><br /></div>Return to the House of Grindcorehttp://www.blogger.com/profile/05677205597965126917noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-621934020000497302024-02-04T21:59:00.000+01:002024-02-04T21:59:18.802+01:00Closet Witch (USA) - Chiaroscuro (2023)<div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijnsvgSSsiTGc-Nh5gODbTBGggyFt3ag_EkN7PQHnWd-mgpTgdGbE0sDaGOy-lxw7k_xd34VhSdDXb6CccHj74o88vayyogNst-6kxmeZYjYZz-X0VVGcBD-wd3txgRT7zciXK1XRimFonZK0-Sx16xe1CT9gwOI5Ckte-zNrmdnRBHndE30pmDQ0v0wJI/s700/a3075889817_16.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijnsvgSSsiTGc-Nh5gODbTBGggyFt3ag_EkN7PQHnWd-mgpTgdGbE0sDaGOy-lxw7k_xd34VhSdDXb6CccHj74o88vayyogNst-6kxmeZYjYZz-X0VVGcBD-wd3txgRT7zciXK1XRimFonZK0-Sx16xe1CT9gwOI5Ckte-zNrmdnRBHndE30pmDQ0v0wJI/w320-h320/a3075889817_16.jpg" width="320" /></a></div><div style="font-weight: bold;"><b><br /></b></div><div style="text-align: center;"><i><u>The Blast Witch Project</u></i></div><div style="font-weight: bold;"><br /></div></div><div> I first saw <b>Closet Witch</b> in Dallas in 2018 and it was one of the most impressive live performances I had ever seen. What I bore witness to was a demonstration of unconditioned power and catharsis. On that tour the band was promoting their first full-length record and now, five years later, <b>Closet Witch</b> have followed it up with their second LP, <i>Chiaroscuro</i>—an appropriately titled album because <i>Chiaroscuro </i>is high art. </div><div><b><br /></b></div><div><b><span> </span>Closet Witch's</b> latest is a concoction of grindcore, chaotic hardcore and screamo played with an air of melancholy and desperation. Guitarist <b>Alex Crist</b> sets the songs ablaze with a wall of noise and distortion that is both melodic and punishing. This creates a large atmospheric space within the album that gives you a sense of total immersion. <b>Cory Peak's</b> growling bass and <b>Royce Kurth's </b>drumming only fuels the fire. <b>Kurth</b> propels songs with his blast beats and stomping hardcore interludes, as well as some atypical drum fills that are understated, yet are completely in tow with the band's emotive audio environment. <b>Mollie Piatetsky's</b> vocals are a searing contrast of fury and despair. They cry of an exhausted longing, a burning torment, an empowered courage and a soul crushing disgust. They are a vicious seething well of feminine rage that I'm not even going to pretend to understand the depths of. </div><div><i><br /></i></div><div><i><span> </span>Chiaroscuro</i> is a brooding grindcore masterpiece and plays a little bit as the band's swan song since they announced a hiatus simultaneously with the album's release. <b>Closet Witch </b>elevates noise, chaos and speed into something beautiful and ethereal. Hopefully my favorite wicked witch is not dead and the band has more to offer in the future.</div><div><br /></div><div>FFO: <b>Cloud Rat, Fluoride, Sacridose</b></div><div><br /></div><div><br /></div><div>Listen: <a href="https://closetwitch.bandcamp.com/album/chiaroscuro">https://closetwitch.bandcamp.com/album/chiaroscuro</a></div><div><br /></div><div><div><i>[Originally posted on January 4, 2024, Return to the House of Grindcore]</i></div><div><i><br /></i></div><div><i>For more reviews, Follow Return to </i></div><div><i>the House of Grindcore: <a href="https://returntothehouseofgrindcore.blogspot.com/">https://returntothehouseofgrindcore.blogspot.com/</a></i></div></div><div><br /></div></div><div><br /></div>Return to the House of Grindcorehttp://www.blogger.com/profile/05677205597965126917noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-44081359553555141852024-02-03T18:16:00.000+01:002024-02-03T18:16:32.876+01:00Real Life Ugly (Texas, USA) - Manifestación (2023)<p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeCJQRkKEDnyJB0xg7RUHdtTrc3jY8Q4ZzNOKLDDK0CMAj-_vfLDJDPIuAq5yyhSZK_gwxOtv2oIfcc0RZ9pBm8Ys3Ev8BtQU4_wMY4QiM842IX2LP4TJct2cjcGx-KtW3nQiI9WM0sRKHLO8YkTNN0PZvZtJjub2T9OlKkg14R5VY9BiXqNmm9tLDtA/s1200/a1960934200_10.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1113" data-original-width="1200" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeCJQRkKEDnyJB0xg7RUHdtTrc3jY8Q4ZzNOKLDDK0CMAj-_vfLDJDPIuAq5yyhSZK_gwxOtv2oIfcc0RZ9pBm8Ys3Ev8BtQU4_wMY4QiM842IX2LP4TJct2cjcGx-KtW3nQiI9WM0sRKHLO8YkTNN0PZvZtJjub2T9OlKkg14R5VY9BiXqNmm9tLDtA/s320/a1960934200_10.jpg" width="320" /></a></p><div style="text-align: center;"><u><i>U-G-L-Y You Ain't Got No Alibi</i></u></div><div><br /></div><div><span> What's more exciting and appealing than professional wrestling? From Mexico's lucha libre to Canada's Hart Foundation, the cowbell kickoff of clean </span>kayfabe competitive combat is for some the height of entertainment. It's a modern amalgam of clashing gladiators in a crowded coliseum and a Greek tragedy holding spectacle in an encircled amphitheater, brought to life in your home's living room like an in-ring telenovela. The conflict between larger than life baby-faces and sinister heels embodies the timeless morality tales of good versus evil via the most electrifying television programming in sports entertainment. Yet professional wrestling is not real. </div><div><span> During a three-day period between the days of </span>June 22 and June 24 of 2007 the former Heavyweight title holder of both the World Wrestling Federation as well as World Championship Wrestling, Chris "The Canadian Crippler" Benoit, murdered his wife and seven-year-old son before taking his own life by means of a lat pull-down machine. After a twenty-two year career, it's theorized that chronic head trauma induced brain damage led to the murder-suicide. That was real. </div><div><span> </span><br /></div><div><span> Real life isn't the shiny family-friendly choreographed superstar mill that companies like the WWE and CMLL would have you believe. It's an ugly billion dollar marketing machine that chews up muscle and spits it out</span>. </div><div><span> Wrestler</span> Owen Hart fell to his death during a botched stunt on a live televised pay-per-view event in 1999. Darren "Droz" Drozdov suffered a neck injury in a 1999 match which left him as a quadriplegic. In 2019 skeleton clad luchador, Jesús Alfonso Huerta Escoboza, better known to the world as La Parka, was paralyzed and later died after an aerial maneuver went bad. In 2015 Mexican wrestler, Perro Aguayo Jr. died in the ring after what would become a fatal trick move from current WWE Superstar, Rey Mysterio Jr. </div><div><span> </span>Real life is ugly. Real life is criminal negligence and greed. Real life is murder, drug addiction, disease and indifference. Real life is two tears in a bucket.</div><div><span> TV isn't real. Shit, <i>reality </i>TV isn't even real. The twenty-four-hour news cycle is questionable at best. Social media is fake. TikTok, well </span><span>fuck TikTok. The filtered, Photoshopped race to be famous for nothing and the selling of sex via dating apps are based on deception and manipulation. The whole culture behind <i>swiping right</i>, </span>whether for love or lust, is a selective delusion that the populace buys into. The false sense of anonymity and control is not real life. Essentially, a life based on superficialities will ultimately lead to something or <i>someone</i>—ugly.</div><div><br /></div><div><span face="source-serif-pro, serif"> Straddling this dark dualism of a Tinder date gone wrong and the existential terror of life is Dallas' newest grindcore band, <b>Real Life Ugly</b>. A band whose founding members consist of some of the DFW grind scene's heaviest hitters and all around good people, <b>Irving Lopez</b> and <b>Alejandro Ramirez</b>. Both of whom are current members of the rising Dallas grind-gore super group <b>Trucido</b>. Before that <b>Lopez's </b>tenure<b> </b>in the dissonant/technical death-grind group, <b>Cognizant </b>might ring a bell, as well as <b>Ramirez's </b>past in the cult hardcore/procedural-violence band, <b>Dick Wolf </b>and crusty grindcore THC-oholics, <b>BOZO</b>. With the addition of newcomers <b>Randall Day</b> and <b>Brad Langton</b>, <b>Real Life Ugly</b> are establishing themselves as more than just a side project with their debut demo release </span><i>Manifestación</i>. </div><div><span face="source-serif-pro, serif"><br /></span></div><div><span face="source-serif-pro, serif"> <b>Real Life Ugly's</b> </span><i>Manifestación </i><span face="source-serif-pro, serif">is a love letter to Texas grindcore, most notably the gulf coast sounds of grind royalty like <b>Insect Warfare</b>. There's an emphasis on heavy repetitive riffing and fast blasting. </span><i>Manifestación </i>is a four song demo that doesn't need to meddle in blending genres and doesn't waste time with mood or atmosphere. Even the vocals are moderately sparse. No, this new EP is just straight snarling, driving, no frills Texas grindcore.</div><div><span> <b>Irving Lopez's</b> guitarwork is front and center on this demo. It sounds like he's performing his version of knuckle-dragger heavy metal riffs; purposely replacing his usual technical and dissonant guitar whirlings with crushing palm mutes and sharp heavy marching chugs. Nevertheless, his personal style of hiccup riffs and circular fret smears still make their brief appearances. I think I even heard some pinch harmonics in there as well. Regardless, the guitarwork that he's doing with <b>Real Life Ugly</b> is a direct contrast to his work in <b>Cognizant</b>. There is more of a linear process here compared to his usual more angular playing. <b>Lopez </b>is a casual guitar savant that seemingly can play anything in any style. </span></div><div><span> I don't know about you, but during live shows I'm staring a hole through the drummer of every band on the bill and watching technique and style. And when I tell you that other than <b>Bryan Fajardo</b>, <b>Alejandro Ramirez </b>might be the most effortlessly smooth and fluent drummer in the North Texas grind scene. Casual fans who might only know </span><b>Ramirez</b> as the vocalist for <b>Trucido </b>may not know him as a drummer, but he's one of those guys who is just good at everything. It's stupid. On <i>Manifestación </i>he is oscillating from mid-tempo trots that accentuate the chugging riffs to faster .50 caliber machinegun blast beats woven together with satisfyingly tight snare rolls. I genuinely believe his efficiency and solidity behind the kit is clear and present on this release. </div><div> Now, from what I can hear, <b>Real Life Ugly</b> could easily be recorded as a two-piece on this release—which was an early incarnation of the band, if I'm not mistaken. But I'm not hearing a defined bass in the mix and I'm not a hundred percent sure of who or how many are on vocals. Assuming the CD's liner notes listing <b>Randall Day</b> and <b>Brad Langton</b> as vocalists are correct, their vocals on <i>Manifestación</i> are a clamoring of some wild, caveman mid-ranged shrieking highs and some raspy low gutturals that are not too far off from <b>Phobia's Shane Mclachlan</b>. You can definitely hear the overlap in the mainly monosyllabic grunts that, again, are very reminiscent of Houston's <b>Insect Warfare</b>. The CD version of the demo EP comes with a fifth bonus track that is a different version of the previous track, <i>"Just Die Already" </i>only with a different vocal performance and the addition of one <b>Arnold Santos</b>. </div><div><br /></div><div> <b>Real Life Ugly's</b> aesthetic is a huge part of the band's charm. They have a certain style of sarcasm and irony towards life, weeb culture, social media, the white trash metal community and Hulk Hogan Newspeak. It's a fun lampooning of the problematic and vapid qualities of the human condition and society as a whole, but also a celebration of the more laudable aspects of today's world. The sense of humor in this niche local scene is very specific. <b>Real Life Ugly </b>could very well be forging their own subgenre of grindcore—like a "cringe-core" or maybe "ironi-core." And despite all of this, the band's lyrical message promotes a progressiveness and shines a light on societal problems such as drug abuse and poverty. </div><div><span> </span>A lot of the band's merch and imagery is based on underground wrestling and lucha libre. The EP itself pays homage the Latino cultural influence both within the band as well as in the Dallas/Fort Worth areas of Texas. I'd go as far to say it's an intrinsic part of the scene here. </div><div><span> Hopefully, </span><i>Manifestación </i>is the first of many releases from <b>Real Life Ugly</b> to come. I personally would like to see this band do more and not die on the back pages of Bandcamp, as many grindcore demos are wont to do. Yet as this demo is only a few months old, I guess we shouldn't necessarily be in a rush. But <b>Real Life Ugly</b> is a band well worth swiping right on, especially if you have a fetish for traditional flavored Texas grindcore. HYB!</div><div><br /></div><div><br /></div><div>FFO: <b>Trucido</b>, <b>Insect Warfare</b>, <b>Phobia, PLF</b></div><div><b><br /></b></div><div>Listen to the album:</div><div><a href="https://reallifeugly.bandcamp.com/album/manifestaci-n-demo-2023">https://reallifeugly.bandcamp.com/album/manifestaci-n-demo-2023</a></div><div><br /></div><div><div><i>[Originally posted on May 26, 2023, Return to the House of Grindcore]</i></div><div><i><br /></i></div><div><i>For more reviews, Follow Return to </i></div><div><i>the House of Grindcore: <a href="https://returntothehouseofgrindcore.blogspot.com/">https://returntothehouseofgrindcore.blogspot.com/</a></i></div></div>Return to the House of Grindcorehttp://www.blogger.com/profile/05677205597965126917noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-52664609379912238512023-08-16T23:47:00.005+02:002023-08-17T04:20:16.411+02:00Life Through a Cephalocromoscope Volume 1 Mix<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk_TU9dFKcGzFiZS7nkgMhmEaHfmPZsI_bZnKfobG6IGuUirhL6zLW-EpTXk7zTMCLykiEhxq9U5GrLnAGueGkAeCBVR3uaNUK7W6cMi4_6dWjKAHL8oQhcu8abnwVfxv43Zk443MoIiNeDSLk44KPj7pm3-sjsz9NIP39tWAIoQxZObPf_xWRNY53RBI/s2016/received_2004335636583053.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2016" data-original-width="1512" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk_TU9dFKcGzFiZS7nkgMhmEaHfmPZsI_bZnKfobG6IGuUirhL6zLW-EpTXk7zTMCLykiEhxq9U5GrLnAGueGkAeCBVR3uaNUK7W6cMi4_6dWjKAHL8oQhcu8abnwVfxv43Zk443MoIiNeDSLk44KPj7pm3-sjsz9NIP39tWAIoQxZObPf_xWRNY53RBI/w300-h400/received_2004335636583053.webp" width="300" /></a></div><p><br /></p><p>Hey all!</p><p>Nigel (aka Desiccatedveins) here with something a bit different.</p><p>At the beginning of the summer, I'd been thinking a lot about the blog's origins as a music-sharing site when Karlo and the crew originally conceived of it. It's what caught my interest, led to my friendship with Karlo and ended up all these years later helping out at the site.</p><p>I wanted a way that I could share the recent music I loved more immediately and more quickly with a lot of folks in a way that isn't possible through reviews and other kinds of writing. Filesharing isn't feasible in the same way it once was, so I landed on the concept of a mix.</p><p>Karlo will be the first to tell you that grindcore and fast music in general isn't the site's only interest and aim. It isn't mine either, but I do have a particular love for the short, fast, loud and weird, and with this mix I wanted to highlight some of the exceptional things happening in that realm from 2019 until now.</p><p>I landed on Mixcloud as a platform, as it makes it easier to coordinate your tracklist and mix than other services.</p><p>I legally purchased all the music featured here, and I urge you to do the same for anything here you especially enjoy. Everything can be found through the bands or their labels' Bandcamp pages, and if you have any questions about a certain song or band, feel free to reach out in the comments.</p><p>You can find the full mix in the player below! Hope you all enjoy, and I hope to be back with more projects in this vein in the future.</p><p>
<iframe frameborder="0" height="120" src="https://www.mixcloud.com/widget/iframe/?hide_cover=1&feed=%2Fdesiccatedveins%2Flife-through-a-cephalochromoscope-volume-1%2F" width="100%"></iframe></p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><b>
Full Tracklist</b></blockquote><div><div><ol style="text-align: left;"><ol><li style="text-align: justify;">Ona Snop, "Wake in Fright" 00:00</li><li style="text-align: justify;">Triac, "Sardonic" 00:47</li><li style="text-align: justify;">Diploid, "Failure to Deradicalise" 01:46</li><li style="text-align: justify;">Transient, "Home" 02:46</li><li style="text-align: justify;">Nak'ay, "Deprivation Siege" 04:12</li><li style="text-align: justify;">Socioclast, "Infinity Nexus" 05:00</li><li style="text-align: justify;">Soil of Ignorance, "Earthquake Magnitude" 06:05</li><li style="text-align: justify;">Stimulant, "Myopic Voided" 06:57</li><li style="text-align: justify;">Iron Lung, "The Psychology of Quarantine" 08:03</li><li style="text-align: justify;">Backslider, "Collision of Desire" 08:43</li><li style="text-align: justify;">Fluoride, "Alienate" 09:57</li><li style="text-align: justify;">Cloud Rat, "Porcelain Boat" 11:34</li><li style="text-align: justify;">Brainpan, "Quantomb" 13:41</li><li style="text-align: justify;">Gasp, "Rose Gold" 14:51</li><li style="text-align: justify;">GALL, "Migraine Aura" 17:37</li><li style="text-align: justify;">HOLY GRINDER, "Knurling Flesh" 18:49</li><li style="text-align: justify;">PSUDOKU, "SLAughter_in_10D" 19:56</li><li style="text-align: justify;">Cognizant, "Thrall" 22:02</li><li style="text-align: justify;">Gridlink, "Coronet Juniper" 23:10</li><li style="text-align: justify;">Chepang, "Avismarinaya" 24:36</li><li style="text-align: justify;">Days of Desolation, "King of Pikes" 25:54</li><li style="text-align: justify;">Suffering Quota, "Rights" 27:42</li><li style="text-align: justify;">Yacøpsæ, "K-lynch" 28:51</li><li style="text-align: justify;">WVRM, "Shining Path" 29:49</li><li style="text-align: justify;">WORLD PEACE, "Gnashing of Teeth, Hissing of Tongues" 30:54</li><li style="text-align: justify;">Knoll, "Tether and Swine" 31:15</li><li style="text-align: justify;">Bled to Submission, "Bury Them in the Graves They Dug For You" 33:27</li><li style="text-align: justify;">PULMONARY FIBROSIS, "Pontocerebellar Hypoplasia" 35:34</li><li style="text-align: justify;">Internal Rot, "Chronic Bedlam" 37:13</li><li style="text-align: justify;">Mortify, "Chemical Plant" 38:43</li><li style="text-align: justify;">Necropsy Odor, "Degreaser Bath" 39:24</li><li style="text-align: justify;">Soiled Hate, "The Hated in This Utopia" 40:27</li><li style="text-align: justify;">GATE, "女神ノ天秤" 41:46</li><li style="text-align: justify;">EXTREME DECAY, "White Phosphorous Nightmare" 43:14</li><li style="text-align: justify;">Deserve to Die, "Dead" 44:18</li><li style="text-align: justify;">Sea of Shit, "Undiagnosed" 45:50</li><li style="text-align: justify;">Closet Witch, "A Happy Kettle" 46:46</li><li style="text-align: justify;">LYCANTHROPHY, "Kill Your TV" 48:23</li><li style="text-align: justify;">Libranos Del Mal, "Flor de Carne y Sangre" 49:10</li><li style="text-align: justify;">Barren, "Rust" 49:30</li><li style="text-align: justify;">CHIENS, "Dogsnation" 50:48</li><li style="text-align: justify;">Hideous Species, "Dream Monger" 51:37</li><li style="text-align: justify;">Caca De Luna, "Züchtigungstheater" 52:26</li><li style="text-align: justify;">Deterioration, "Hallucinogenic Demise" 53:38</li><li style="text-align: justify;">Whoresnation, "Avalanche" 55:30</li><li style="text-align: justify;">Triage, "Dehumanate" 56:54</li><li style="text-align: justify;">P.L.F., "Synaptic Nebula" 57:40</li><li style="text-align: justify;">Beasters, "Humiliation Fetish" 58:52</li><li style="text-align: justify;">ESP Mayhem, "Negative Feedback" 1:00:21</li><li style="text-align: justify;">HIRS, "XOXOXOXOXOX (ft. Melt-Banana)" 1:01:23</li><li style="text-align: justify;">Horornisdiphonevalley, "Involuntary Transfusion (The Kill cover)" 1:03:34</li><li style="text-align: justify;">Final Exit, "エレキの若大将(Young Guy of Eleki)" 1:04:24</li><li style="text-align: justify;">SETE STAR SEPT, "Repeated Blunders" 1:05:07</li><li style="text-align: justify;">Mortalized, "Kusabi (Wedge)" 1:06:06</li><li style="text-align: justify;">Takafumi Matsubara, "Stuttered Rope" 1:07:08</li><li style="text-align: justify;">KANDARIVAS, "Dissemination" 1:08:54</li><li style="text-align: justify;">Wormrot, "Broken Maze" 1:10:06</li><li style="text-align: justify;">SWARRRM, "ハレルヤ - hallelujah -" 1:12:01</li><li style="text-align: justify;">Skullshitter, "Auto Cannibal Nihilistic Creep" 1:14:47</li><li style="text-align: justify;">HORRIBLE EARTH, "Brainworms" 1:16:48</li><li style="text-align: justify;">Blight Worms, "Ashen Blood" 1:17:18</li><li style="text-align: justify;">Bandit, "Hoax" 1:18:09</li><li style="text-align: justify;">Twin Tombs, "Poser/Filth" 1:18:48</li><li style="text-align: justify;">Vermin Womb, "Real Trauma (Bomb First)" 1:19:25</li><li style="text-align: justify;">Escuela Grind, "My Heart, My Hands" 1:21:12</li></ol></ol></div><div><br /></div><div><br /></div></div>DesiccatedVeinshttp://www.blogger.com/profile/16783531567772825094noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-32730372798744805062023-06-16T00:30:00.003+02:002023-06-21T08:32:22.055+02:00Suffering Quota (Netherlands) - Collide (2023)<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6T8NPR_Haxj63G_ebQ2lYEGua5sYiuLfelVuu8mfLlMH3rsowrouj7JtNu6OpzLSf1Et7EJv6NF3VyZCU0g3U5N799b7KuY31yg2Rb6tDBKX_1ODtDkfU6esv9x9FO-LxunQQwtN8CAeV9icTbvwjI_l0xBSrDYUCuMWFUM0kweTofNjFnKKx8zZx/s2000/cover.jpg" style="margin-left: 1em; margin-right: 1em;"><i><img border="0" data-original-height="2000" data-original-width="2000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6T8NPR_Haxj63G_ebQ2lYEGua5sYiuLfelVuu8mfLlMH3rsowrouj7JtNu6OpzLSf1Et7EJv6NF3VyZCU0g3U5N799b7KuY31yg2Rb6tDBKX_1ODtDkfU6esv9x9FO-LxunQQwtN8CAeV9icTbvwjI_l0xBSrDYUCuMWFUM0kweTofNjFnKKx8zZx/s320/cover.jpg" width="320" /></i></a></div><i><br /></i><p></p><p>Some bands shift their sound drastically once or more over their lifespan, while others hone what's present on their earliest material, adding influences as they age. Suffering Quota has been around for nearly 15 years, and in that span of time they've refined their sound into a unique brand of crushing grindcore that pulls from a number of stylistic areas. <i>Collide</i> is composed of shards of pummeling death metal, blasting grindcore that balances between technicality and emotional resonance in a manner not unlike Discordance Axis and crusty hardcore intensity as the glue that holds it all together.</p><p>Opener "Out" (watch the video for the song by Jordi van Putten <a href="https://youtu.be/-AmOyPgAkDw">here</a>) begins with a cacophany of orchestral string instruments and other sounds, punctuated by a dialogue sample that leads into a loping, circular riff and explodes into speedy blasting and seasick rhythms. "Drown" is another standout grinder that shifts into a powerful, moshpit-inducing churn halfway through. Midtempo thrasher "Pig" rides a Slayer-esque pummel through half of its 1:56 runtime, before smashing full-speed through a wall for its last 40 seconds. Closer "Scorn" is the longest song on the record at 4:16, but rather than suffer the tedious fate of most long closing tracks on grindcore records, it's a dramatic, physical song that draws on their hardcore and crust punk influences.</p><p>Musical cohesion is also accompanied by aesthetic cohesion thanks to excellent design work. The striking cover artwork was painted by Netherlands-based artist <a href="http://www.wokkel.nl/paintings.php">Wokkel</a>, a friend and frequent artistic collaborator of the band. Its use of color and figurative style, as well the fact that it's a painted piece, makes this cover easily stand out in the sea of grim monochrome sketches and photographs that adorn most grindcore records.</p><p><i>Collide</i> is a tight, well-realized record with a strong sense of self within its chosen genre. It is meant as a companion to 2018's <i>Life in Disgust. </i>Easily surpassing that record, this collection stands out on its own merits and presents a tantalizing snapshot of the band's current sound.</p><p><i><span style="font-family: inherit;"><b>Collide</b> can be purchased in digital or a number of physical editions in a co-production between several labels on the band's <a href=" https://sufferingquota.bandcamp.com/album/collide">Bandcamp page</a>: <span face=""Helvetica Neue", Arial, sans-serif" style="background-color: white;">Orange Sunburst vinyl via the band, Silver vinyl via <b><a href="https://www.7degrees-records.de/">7Degrees Records</a></b>, Gold vinyl via <b><a href="https://shop.tartarusrecords.com/">Tartarus Records</a></b>, blue/white/metallic red cassette from <b><a href="https://lckr.bandcamp.com/">Lower Class Kids</a></b> records, metallic yellow/green/purple cassette from <b>Tartarus Records</b> or black cassette via the band.</span></span></i></p>DesiccatedVeinshttp://www.blogger.com/profile/16783531567772825094noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-29064220670020354112023-05-28T20:11:00.005+02:002023-06-21T08:32:35.728+02:00Negative Bias (USA) - Negative Bias LP (2022)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQfJjJGoI_sVQ3BcOTgwpaTfHBHOOXh2KmlA7bobO6k0DTQl6XiMVdtxzP-3tiEsWD_RFsi3--OMXCmSEiF4HB7yqLzFeQSCb3tv85VoPuWBZyrssqfaLItkWAkh8CZwLCvNGi8Xlp6aiZnkaJ2BQdUFOCnwvf33T7naK8XJcJrxqDUdhgsiQ8Zs4N/s3459/cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3443" data-original-width="3459" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQfJjJGoI_sVQ3BcOTgwpaTfHBHOOXh2KmlA7bobO6k0DTQl6XiMVdtxzP-3tiEsWD_RFsi3--OMXCmSEiF4HB7yqLzFeQSCb3tv85VoPuWBZyrssqfaLItkWAkh8CZwLCvNGi8Xlp6aiZnkaJ2BQdUFOCnwvf33T7naK8XJcJrxqDUdhgsiQ8Zs4N/s320/cover.jpg" width="320" /></a></div><div><br /></div>Good thrashcore has an infectious, propulsive energy. The style sits astride grindcore and powerviolence, but hooked to a live wire of pure 80s thrash. Grindcore prioritizes speed, and powerviolence distorted bass and moshpit-forming breakdowns, while thrashcore champions a wry, attitude-driven variety of fleet-footed punk.<div><br /></div><div>North Carolina's Negative Bias bring thrashcore into the 21st century with an extreme, blastbeat-heavy take on the style that still emphasizes light-hearted fun. Following 2021's <i>Speedcore Summer!</i> EP, this full length is crammed with irreverent tunes to get a body moving. With song titles like "Last Days of Profanity" and "Positive Approach", this is an LP filled with extreme music in-jokes that's executed with serious profiency. </div><div><br /></div><div>Much of what I wrote about <a href="https://cephalochromoscope.blogspot.com/2021/07/negative-bias-usa-speedcore-summer-2021.html?m=1">Speedcore Summer!</a> two years ago holds true on this full-length release. This is trebly hangout punk for portable radios and shitty car stereos. It's music for empty pizza boxes and crushed beer cans.</div><div><br /></div><div>As ephemeral as those images are, this is not a slight release. Its runtime is short (sub-10 minutes for 26 tracks) but there's plenty to like here, and it's a release I've found myself coming back to when I need an energy boost. These tunes may go down like a pilsner on a summer day, but you'll find yourself reaching into the cooler for another soon after they're finished.</div><div><br /></div><div><i style="background: 0px 0px rgb(255, 255, 255); border: 0px; color: #656565; font-family: "Noto Sans", Helvetica, Arial, sans-serif; font-size: 14px; outline: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"><b>Negative Bias</b> is available <a href="https://www.rsr-hateape-shop.de/search?q=Negative+bias&filter=0&module=12893495549">on vinyl through RSR</a> and digitally via Negative Bias' <a href="https://negativebias.bandcamp.com/album/negative-bias-3">Bandcamp</a> as a free/pay-what-you-want download.</i></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div>DesiccatedVeinshttp://www.blogger.com/profile/16783531567772825094noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-18302382137701822212023-03-16T22:17:00.000+01:002023-03-16T22:17:02.456+01:00Barren (Belgium) - I (2022)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuib9mHQA4uu-BDhTjQDG4JNbAbwUZ2cMd5L9oDQtGMH__92JTkDxViJYeQFLTLkuHzJ0CmgLn8wbY8z6bIMxJ9cyZ30JNm1hX_louTgDvRUU7Jgi2z131F0o8fCJTgxhDdGKQWLdXC_J5Ki_UuyMz-PX_ynVAOc73eOsQQZjGCjFeYl7DLiKbIAex/s1200/a1754061601_10.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1191" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuib9mHQA4uu-BDhTjQDG4JNbAbwUZ2cMd5L9oDQtGMH__92JTkDxViJYeQFLTLkuHzJ0CmgLn8wbY8z6bIMxJ9cyZ30JNm1hX_louTgDvRUU7Jgi2z131F0o8fCJTgxhDdGKQWLdXC_J5Ki_UuyMz-PX_ynVAOc73eOsQQZjGCjFeYl7DLiKbIAex/s320/a1754061601_10.jpg" width="318" /></a></div><br /><div style="text-align: center;"><i><u> I Against I</u></i></div><div style="text-align: center;"><i><u><br /></u></i></div><div style="text-align: left;"><div><span> </span>I was never expecting much when starting this blog. I didn't even know enough to know what to expect, honestly. <b>Return to the House of Grindcore</b> is a labor of love that is way more trouble than it's worth. In the despondent words of Norman Bates, "A hobby's supposed to pass the time, not fill it." The blog was intended to fill the void of grindcore review blogs that had cease to be and to review releases in an obnoxiously specific way that only interested me. Hopefully someone would find it useful or, at the very least, just read it. However, an unanticipated consequence of writing reviews on my favorite bands ended up being that I would unintentionally be put in contact with the bands themselves. And then in return, be put into contact with bands that knew those bands. Over the recent few years of writing I have been lucky enough to make several connections and friends within the global grindcore community. Although I will more than likely never meet these people, I am humbly grateful for the digital chats that I have had with band members and label founders that have reached out. Likewise, I have had the fortuitous pleasure of reviewing a few of these bands repeatedly. One of which being the mighty <b>Barren </b>from Belgium. Our history goes back all the way to the band's 2021 self produced demo. Even prior to the demo, if I'm not mistaken. It seems so long ago now, but I think it might just seem that way since we are now on the band's sixth release since that initial 2021 digital demo. I enjoy the chronic intertwining of our paths. I feel a very interposed sense of pride when seeing the band's accomplishments and each future addition to their swelling discography. <b>Barren</b>, like so many other <b>House of Grindcore</b> alumnus, are almost like work friends at this point. But how do my blast beat buddies measure up in their first full-length record?</div><div><br /></div><div> <b>Barren's </b><i>I</i> starts where their <a href="https://returntothehouseofgrindcore.blogspot.com/2022/06/split-level-housing-beratedbarren.html" target="_blank"><i>Chainsaw Deth Cvlt</i> split with <b>Berated </b></a>left off—dark, distorted pestilence churning atmosphere by way of guitar veneration and pedal board alchemy. The sound and the songwriting here being similar, yet shadowed in more of a vacuum tube haze. And, if you can believe it, the production has leveled up once again. But the biggest difference with <i>I </i>is that we are seeing the band in the form of a complete vision for the first time and not fragmented into shorter EP's. <b>Barren </b>has already proven themselves with their strength in the studio, both behind the mixing board and in front of it. The band's debut full-length is tasked with applying these strengths to a linear, provocative output that is a testament to the band's talent and growth.</div><div> My immediate reaction to <i>I</i> was that the band has doubled down on their metal influences. I don't recall if I have ever previously categorized <b>Barren </b>as specifically a death-grind band before, yet now it seems like it might be a little more apt. <b>Barren</b> is in a really impressive form here compared to their demo work. Whatever inky blackness of grindcore that makes up <b>Barren</b> as a band,<b> </b>they have dipped themselves into it head first and emerged as an aggressive, unrelenting goliath. The album opens with <i>"Hearth,"</i> a feeding-back, plodding, punishing, Plainview-laden track dripping with misanthropy and malevolence that sets the tone for this sixteen track LP. There is a thick atmosphere that conjures visions of some technologically developed industrial complex that has been left to go to pot. Something that is as old and rusted as it is highly contemporary. A bevy of dark manmade corridors striated with dripping pipes, flickering fluorescents and rusted, sticking doors. And like the Minotaur in the labyrinth, there is also a ceaseless sense of feverish pursuit throughout the album. A stalking ferociousness that is refreshing and exciting. </div><div><br /></div><div><b> </b>As previously discussed in prior reviews, <b>Barren's </b>elevated production value both highlights the band's searing tone of HM-2 humming distortion while flaunting a balanced mix of each instrument and performer. On <i>I, </i>this attribute is expanded tenfold. The mix could have easily been overshadowed by the guitar given the band's HM-2 cult practices, their association in custom designer pedals and general overall chainsaw allegiances. Instead, the guitar is generously balanced in the mix and deals in crunchy riffs and catchy licks flourished of course with metal squeals, dive bombs and pinch harmonics. The riffs guide the songs in a real dynamic yet organic way that really sells<i> I </i>as an entertaining album. </div><div><span> </span>Likewise, the bass is equally present and can be heard throughout the record—the cliché white whale of grindcore. The bass on <i>Chainsaw Deth Cvlt</i> was there, but was arguably fuzzed out towards the background. But with songs such as <i>"Arbiter"</i> and <i>"Piss Stain" </i>the bass is highlighted as a quaking dark and slinky recoil with a crisp growl. </div><div><span> </span>The drums are the bang to the bass's boom. Combined, the two give me that familiar and beloved chest tightening tingle of the sound system of a live show. The kit is a perpetual pendulum of speedy D-beats, chomping blast beats, double bass pedal purée and thunderous tom work. And just like the guitar, the drums are energetic and fully entertaining. Together they layer a dense and rich slab of death-grind brutality. Gone are the melodic swoonings of earlier released tracks like the demo song, <i>"Rain." </i>Now <b>Barren </b>are serving up some gritty, earth shaking sludge and neck breaking metal breakdowns like B-side dirge, <i>"Chosen," </i>among others. </div><div> Just as in all of <b>Barren's </b>prior releases, <i>I </i>has the band's patented dual vocal attack of the oxidized high shrieks and the lower muffed growls. And just like the rest of the album, they are also heightened. At times it seems like the vocals are essentially literal vocalizations. Screeches and roars played more as instrumentations instead of the the lyrics of doom and gloom as they are written on paper. Vocalizations akin to a grindcore version of throat singing. Some songs have what could only be described as a form of harsh vocal harmonization. The singing on tracks like <i>"I Am Not Your Kind"</i> brings to mind a slaughterhouse floor drain and the viscera that is being hosed off and flushed down it. </div><div><br /></div><div> Now, I know that I have gushed about <b>Barren's </b>production ad nauseam by this point, but this album is truly one of the best sounding records that I have heard in recent memory. I have no notes on where or who had a hand in the mixing and mastering. I know the band has previously been very hands-on as far as production on other recordings. But either way, this is the band's best sounding release to date. A critique that the band has probably always received on each subsequent release since they have continued to grow and strive in both songwriting and sound quality. The songs on <i>I </i>are all well crafted and compelling. Again, there is a sense of being hunted and pursued that drives the composition forward. I was pleasantly surprised by how engaging the record was as a whole. Just the sheer weight is impressive on its own. The album's bottom end is so absolutely devastatingly heavy that it puts you in the middle of the songs and makes for a legitimately intense listening experience. <i>I </i>is peak <b>Barren.</b> And it is pretty fucking imposing. </div><div><br /></div><div><br /></div><div>FFO: <b>Mumakil, Nasum, Rotten Sound, Wake</b></div><div><br /></div><div>Listen and/or buy:</div><div><a href="https://barrenchainsawgrind.bandcamp.com/album/i">https://barrenchainsawgrind.bandcamp.com/album/i</a><br /></div><div><br /></div><div><div><i>[Originally posted on December 20, 2022, Return to the House of Grindcore]</i></div></div><div><i><br /></i></div><div><i>For more reviews, Follow Return to </i></div><div><i>the House of Grindcore: <a href="https://returntothehouseofgrindcore.blogspot.com/">https://returntothehouseofgrindcore.blogspot.com/</a></i></div></div><p></p>Return to the House of Grindcorehttp://www.blogger.com/profile/05677205597965126917noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-9583112022294373252023-01-28T23:31:00.002+01:002023-03-16T20:21:31.129+01:00Chadhel (Quebec) - Failure//Downfall (2022)<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAM4jlm-Fo-JPGunCECtgLr24tgxel_kGYptDip1xCm7R6Gnt-HqoLKFy-6t7W0KRf7fRS5Vnu72nA1sFdopUUEwI1h9jczLv4dSj8kT2tbHRXYu0Nrw2M6Em5bH5nYeDWgP44vWJuTZo5e0OPnjlG0dvvR6baoYk_0eU5lfEdnHp24Au6rBGRLLZL/s1400/Chadhel-Failure%20Downfall.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAM4jlm-Fo-JPGunCECtgLr24tgxel_kGYptDip1xCm7R6Gnt-HqoLKFy-6t7W0KRf7fRS5Vnu72nA1sFdopUUEwI1h9jczLv4dSj8kT2tbHRXYu0Nrw2M6Em5bH5nYeDWgP44vWJuTZo5e0OPnjlG0dvvR6baoYk_0eU5lfEdnHp24Au6rBGRLLZL/s320/Chadhel-Failure%20Downfall.jpg" width="320" /></a></div><br /><p></p><p><br /></p><p style="text-align: center;"><u><i>Chadhel's Model</i></u></p><p style="text-align: center;"><u><i><br /></i></u></p><p style="text-align: left;"><span>You needn't think I'm crazy</span>—plenty of others have worst tastes in music than grindcore. Why don't you laugh at those black metal kids who killed each other over lo-fi fantasy club clout? If I don't like that damned metal, it's my own business; and we're here to discuss grindcore anyhow. </p><div><span> </span> Well, if you must hear it, the last I heard from <b>Chadhel </b>was in <a href="https://returntothehouseofgrindcore.blogspot.com/2021/04/split-level-housing-chadhelassiduous.html">April of 2021</a> after the split 10 inch between them and <b>Assiduous Assault. </b>No, I don't know what's become of <b>Assiduous Assault. </b>I do know that <b>Chadhel </b>subsequently rereleased their side of the split, entitled <i>Welcome To Your Doom</i>, on CD, cassette, and even a small batch of lathe cut records; sans <b>Assiduous Assault</b>, obviously. </div><div> You may recall that <b>Chadhel's </b>forte is a guitar heavy, well burnished form of death-grind haling from the frigid lands of south central Québec—you know <b>Chadhel </b>comes from old francophone stock. </div><div><span> </span>It takes profound art and profound talent to turn out grindcore like <b>Chadhel's</b>. Any mincecore hack can blast around wildly and call themselves the next <b>Mesrine</b>, but only a great artist can make truly outstanding grindcore. Saguenay, Québec never had a greater band than les messieurs <b>Chadhel</b>.</div><div><p></p><div> At present, <b>Chadhel's </b>latest opus comes in the form of their new sophomore full-length album, <i>Failure//Downfall</i>. An album as lustrous as it is technically proficient. As it should be, <i>Failure//Downfall </i>arrived as a refinement and furtherance compared to the previous year's <i>Welcome To Your Doom</i>. Production hereafter is very polished and punched-up, exhibiting a sharp piercing high-end and a thick heavier bottom. Much of this dense weight is due in part to the massively impactful drumming. You can feel each strike of the kick drum and the cataclysmic hacking from the blast beats. </div><div><div><span> As you know the drum work is a crucial component. Aside from just it's violent bulk, it's a tight mangling of blast beats and rolls between the snare and the twin toms. The death metal gnashing of the double bass pedals over the hammering snare is staunch and oppressive. W</span>hile tracks like <i>"Filling Up The Void With Nothing" </i>subdue the pedals into head tottering trots. </div><div><span> U</span>nfortunately, a common trait amongst grindcore kith and kin is the dithering bass guitar. With the exception of some emphasized solos and intros in songs such as <i>"Apostle Of Hatred," </i><i>"</i><i>EatxBlastxDie"</i> and <i>"Degraded Loathsome Faith," </i>the bass guitar on the record is subtle to scarce. The boosted bass during it's moments of significance during mastering was a smart move, but it's quite diminished otherwise; which may possibly be of no concern to some. In spite of this, the bass guitar plays an intrinsic roll in <b>Chadhel's </b>current thunderous production. Like the thick effluence of a dossal fog, the bass can be felt more than it can be outright heard, and when it is heard it grumbles with a dark seething convulsion which only benefits the album's heavy sound. </div></div><div><span> <b>Chadhel's </b>true </span>charm is the guitar, of course. The guitar work is a savage flogging of piercing chords that writhe and throe over themselves like some maimed leviathan. The squealing and mewling discordant chords lurch in alarm amongst the severe and crushing palm-muted riffs. The tarantula-legged fretwork weaves a sinister web of spastic distortion and palpable gloom. </div><div><span> </span>You recall that I had once compared <b>Chadhel's </b>guitar playing to that of <b>Pig Destroyer's Scott Hull</b>, and I still believe this to be true. Yet, I believe <b>Chadhel </b>to be much better as they manage to avoid getting bogged down in an oubliette of riff tedium. <b>Chadhel's </b>tone is that of a very modern tone, much in the vein of contemporary deathcore bands—a tearing sound that digs and bites. <i>Failure//Downfall</i> is much akin to that current genre's sound, even including a manufactured "bass drop" of sorts in the aptly named, <i>"Modern Methods of Aggression."</i> </div><div><span> </span>Much as the guitar, the dog-thing vocals that <b>Chadhel's </b>lead vocalist is baying out through clenched breaths<b> </b>is not too dissimilar to the spattering growls of <b>Pig Destroyer's J.R. Hayes</b>. Yet, thankfully <b>Chadhel </b>offer a variety in vocals with the lower registered duel backing gutturals. This sound and structure of the riffs and vocals is very reminiscent of <b>Pig Destroyer's </b><i>Phantom Limb </i>and <i>Book Burner</i> albums. Specifically, elements of <i>"Loathsome"</i> and <i>"The Diplomat" </i>come to mind. </div><div><br /></div><div><span> </span>Now, <i>Failure//Downfall</i> isn't without it's trials and tribulations. While the album is by far the band's finest work and certainly reaches the greatest depth within their caliber, my qualms are more related to my prominence in being minutely fastidious and obdurate in opinion. </div><div><span> </span>For instance the mix—again being the band's finest—I felt it was possibly, <i>too refined</i>. The cleaner, more polished production, while giving us a clearer view of each instrument, distributes said clarity unfairly. The kick drum as a whole is very triggered sounding and overly high in the mix. </div><div><span> </span>The snare, like the kick drum, has a dull triggered tone about itself that sticks out to the observant ear. The snare sounds as if the strainer release was disengaged leading to a situation in which the kick overshadows the snare during the blast beats. Now if you remember, this similar kit tone can be heard as far back as <i>Controversial Echoes of Nihilism, </i>and is clearly an artistic decision that hasn't been of previous concern. Only now the album's polish has given it more discernibility here. But perhaps this is more my idiosyncrasies than a folly of the studio.</div><div> Now, I’m what the man in the street would call fairly “hard-boiled,” but I’ll confess that what I heard on a track from this album gave me a bad turn. Alas, I was disturbed from that of a song entitled, <i>"Magnifying Prism Of Erratic Behavior."</i> Briefly and fleetingly I heard a sound which somehow set me all in gooseflesh—<i>clean vocals!</i> This was wholly unexpected and never repeated elsewhere in the album. I dropped <b>Cult Leader </b>for this very reason some years ago. As a more puritanical man of grindcore I believe this to be the ultimate betrayal. </div><div><span> Yet, innovative art doesn't shock me, and when a band has the genius <b>Chadhel </b>has I feel it an honour to know them, no matter what direction their work takes.</span></div><div><br /></div><div><span> From it's </span>commencement song—<i>"Wasteland Overlord,"</i> which plays like a peace punk preamble spoken word sample over somberly strummed chords, like an echo from my youth—to it's denouement oeuvre, <i>"Death By A Thousand Cuts," </i><b>Chadhel </b>have birthed a crushing second coming of churning ichthyic blasting despair. Brilliant and blasphemous—<i>Failure//Downfall</i> is a well-established horror-world of sharp, dismally aggressive and doggedly brutal death-grind—in conception and in execution. </div><div><span> And the ending, by God the ending. That obscenely </span>licentious track with it's sordid witticism. An inappropriate, out of context quip, surely culled up by some private jesting to which we aren't privy to. Yes, that epilogue of the entire album is, as you know, well—<i>as if the band wasn't taking things seriously at all.</i></div><div><br /></div><div><br /></div><div>FFO: <b>Pig Destroyer, Wormrot, Discordance Axis, Cthugha, Gur'la-ya, Sheb-Teth</b></div></div><div><br /></div><div>Listen and/or buy: <a href="https://chadhel.bandcamp.com/album/failure-downfall">https://chadhel.bandcamp.com/album/failure-downfall</a></div><div><br /></div><div><i>[Originally posted on January 20, 2023, Return to the House of Grindcore]</i></div><div><i><br /></i></div><div>For more reviews, Follow Return to </div><div>the House of Grindcore: <a href="https://returntothehouseofgrindcore.blogspot.com/">https://returntothehouseofgrindcore.blogspot.com/</a></div>Return to the House of Grindcorehttp://www.blogger.com/profile/05677205597965126917noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-43277041308973875542022-09-26T01:23:00.001+02:002022-09-26T01:23:24.616+02:00Extreme Decay (Indonesia) - Downfall Of A God Complex (2022)<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWRSskMKJazjAhJPKoalc4yi1igvvfOWLVXiLFOJUZteilAxTkw8afM4lD7IYezplVRwBy87y40N0ml45DN5BoSVgOpcvhjHstObSlQpwnULCs0qmRENSSoAF14wT7uTsU6zx6MUtkgjHoCXcpJf0c9YUQKCwbuk8hysOLJUwtVPM5LZQpj7QK47fn/s700/a3537663025_16.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWRSskMKJazjAhJPKoalc4yi1igvvfOWLVXiLFOJUZteilAxTkw8afM4lD7IYezplVRwBy87y40N0ml45DN5BoSVgOpcvhjHstObSlQpwnULCs0qmRENSSoAF14wT7uTsU6zx6MUtkgjHoCXcpJf0c9YUQKCwbuk8hysOLJUwtVPM5LZQpj7QK47fn/s320/a3537663025_16.jpg" width="320" /></a></div><br /><p></p><div><br /></div><div style="text-align: center;"><i><u>Rotten to the Core</u></i></div><div style="text-align: center;"><i><u><br /></u></i></div><div style="text-align: center;"><i><u><br /></u></i></div><div style="text-align: left;"><div> For as long as I can remember, I have always wanted to find a dead body. A human corpse left out to the elements—taut, tanned and broken over the jagged caliche. A half buried human face with the dirt compacted in the nostrils, mouth agape and pouring with stinking earth, limbs floating around in a conspicuous shallow grave. The classic alabaster heap of the impossibly surreal mannequin lying in direct contrast to everything you could ever comprehend. The skeletal remains of an obscured burnt offering in decaying ill-fitting blue jeans, frozen in repose, screaming and decimated. The scattered scraps of the less fortunate left behind by predation: gnawed, splayed and bleached in the sun. An inevitable end fashioned in the worst culmination of violence and dehumanization. Something about the bright white matter-of-fact grounding nature of the experience has always piqued my interest. That morbid childhood curiosity and those vivid daydream visuals are immediately brought to mind by <b>Extreme Decay's </b>latest album, <i>Downfall Of A God Complex. </i>Maybe it's the band's blatant name or maybe it's their corpse ladened cover art, but there is something about their new full-length that gives me breaths of that hot brown, wafting stench of mass decomp.</div><div><br /></div><div><span> <b>Extreme Decay </b>formed in the beginning of 1998 in Malang City in the the East Java province of Indonesia and released a small slew of demos, splits, and compilation contributions. The band's earlier sound combined elements of crust punk and grindcore, much akin to Japan's noise-punk band, <b>Confuse</b>. The band released their full-length album, <i>Progressive Destruction</i>, in 1999 and followed it up with the 2002 album, <i>Sampah Dunia Ketiga</i>. Since then the band has set a tradition of maintaining a decade's gap between albums. After </span><i>Sampah Dunia Ketiga</i>, <i>Holocaust Resistance</i> was released in 2010. Now in 2022, <b>Extreme Decay</b> has returned with <i>Downfall Of A God Complex. </i>A visceral and accomplished release that has positioned the band on the top of Asia's grindcore elite.</div><div><span> </span><i>Downfall Of A God Complex </i>continues with the intensity of modern sounding grindcore that <b>Extreme Decay</b> established with <i>Holocaust Resistance</i> and 2021's <i>ANTIVIRAL </i>EP. Honestly, <i>Downfall Of A God Complex </i>pairs easily with <b>Return to the House of Grindcore's</b> entire roaster. From <b>Fading Trail</b> to <b>SlothPhantomMoth</b>, even the nidorous musical stylings of <b>Blasting Gore Necropsy</b>. <b>Extreme Decay's</b> newest album is a volley of grindcore variegation with shades of black metal, death metal, hardcore, crustcore, crust punk, sludge, goregrind, grind 'n' roll and not to mention that Scandinavian grindcore we've come to appreciate so much here. <b>Extreme Decay</b> has honed a sound that bridges the rawness of the band's roots with the speed and sharpness of their current grindcore peers. A lot of that is in the mix and production as it marries the two perfectly, but most of it is in the evolved song writing and skilled musicianship. The coupling of grave dirt and voracity is the key to <b>Extreme Decay's </b>brand of blackened-Scandi-sandstorm-metal. Dust-core-earthen-grind. The same ambiance that the shambling putrescence of a clay-cracked-face Fulci zombie armed with a machine gun might bring to the party.</div><div><br /></div><div> Straight from the start <b>Extreme Decay</b> open with a digitally moldered, seething hellscape of noise entitled, <i>"Hellcome." </i>A properly done noise-intro that lets out into dark, metal flecked grindcore fury. Fury is where <b>Extreme Decay</b> works best. Songs like <i>"Bastardized Future," "UxDxHxG</i><span face=""Helvetica Neue", Helvetica, "Nimbus Sans", Arial, sans-serif" style="font-size: 14px;"><i>,</i></span><i>" "Burn The Bridges, Pull No Punches" </i>and <i>"Installing The Apocalypse, 99% Complete" </i>are quick ragers that throw up big <b>Nasum </b>vibes. Not surprising considering the band covered <i>"Inhale/Exhale"</i> on <i>Holocaust Resistance</i>. In contrast the band slows things down from time to time in a way that still entertains and doesn't bog down the tracks in boredom. The chugging death metal trot, <i>"Primal"</i> is a headbanging offer to the old gods, complete with solos and all. Album closer, <i>"Dekomposer" </i>leaves us as we started with a pummeling crust-grilled blaster before ending in a sirening wane of doom infused samples and noise. </div><div><span> The musicianship rifled out on </span><i>Downfall Of A God Complex</i> is top-tier compared to anything else the band has put out some twenty years ago and is another aspect that is heightened by the studio production. The thrash guitar riffing is sharp, fast and swings between catchy punk choruses and rapid fire deathgrind speedballs. You can hear the UK '82 guitar tone mud caked and distorted, buried underneath the heavy and crushing metal tone. We're talking devastating palm mutes here, people. The bass guitar is high in the mix and well utilized. Many songs, like <i>"</i><i>Demensia Kompleks," </i>showcase the bass's blown out, subwoofer quaking distortion. It's gnarly, heavy and astonishingly audible. It is the exact bass tone that you would want on an album like this. <span>The drum work is a tumbling rock of lightening quick persistent pace that might not be flashy, but in its understated </span>tenacity controls the trajectory of the entire album. Whether its angling from D-beat tears to sludgey stomps or from blast beats to cymbal emphasized punk kicks, the drums boil the songs into bubbling black gold.</div><div><span> By far, the most diverse and engaging element of </span><i>Downfall Of A God Complex</i> is the vocals. I'm unsure of which members contribute to the album specifically, but I'm willing to bet it was probably most everyone in some aspect. The two main species of vocals are the usual duo of high shrieks and low gutturals. Both of which vary unceasingly in pitch and tone. On any given track they can be mixed with either more panther or more gurgle. The deeper of the vocals often tend to side more on the goregrind side of things—throat croaking, gravel choking, soil teethed, cud chewing moans that regurgitate malice and contempt. Other vocals that show up run the gamut from power violence caveman yells to voice cracking youth crew yelps to hardcore barks and back.</div><div><br /></div><div> <b>Extreme Decay 's</b> <i>Downfall Of A God Complex </i>is a great sounding album that finds the band appearing more lean and mean. I'm very reminded of<b> </b>another band that came back with a bite after a long hiatus between releases—<b>Blockheads' </b><i>Trip to the Void </i>LP from last year. The ochre yellow reek of the extreme decay that consumed my childhood morbidity and still remains unchecked on my bucket list is just as brutal and raw as this grinding <b>Extreme Decay</b> from Indonesia. Yet unlike a stale wasted carcass forced into a premature sky burial, <b>Extreme Decay</b> managed to release an invigorating and fresh sounding album that details a veteran grind band that can still keep up with their modern grindcore contemporaries while still holding onto their roots of eclectic punk and metal influences. The <i>Downfall Of A God Complex </i>is not muddy, but it's definitely not clean. A little dirt never hurt. The <i>Downfall Of A God Complex</i> CD<i> </i>is currently available through <b>Selfmadegod Records </b>and through the band themselves. </div><div><br /></div><div><br /></div><div><br /></div><div>FFO: <b>Nasum, Death Toll 80K, Proletar, Catheter</b></div><div><b><br /></b></div><div>Listen and/or buy: </div><div><a href="https://selfmadegod.bandcamp.com/album/downfall-of-a-god-complex">https://selfmadegod.bandcamp.com/album/downfall-of-a-god-complex</a><br /></div><div><br /></div><div><i>[Originally posted on August 18, 2022, Return to the House of Grindcore]</i></div><div><i><br /></i></div><div>Fore more reviews, follow Return to</div><div>the House of Grindcore: <a href="https://returntothehouseofgrindcore.blogspot.com/">https://returntothehouseofgrindcore.blogspot.com/</a></div><p><br /></p></div>Return to the House of Grindcorehttp://www.blogger.com/profile/05677205597965126917noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-44806972535473081122022-07-04T19:32:00.001+02:002022-07-04T19:33:47.707+02:00Horornisdiphonevalle (Japan)/SlothPhantomMoth (Sweden) - Split CD (2021)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjafo_wFQPNwEi1-sqG-3p82VICk1JzUHB4NkLCO_0b5QUgrZK65w0DlIX4Q2gcKjga6Iu6o5oMlVhLOKaT85S0wwWcFTX6qBKOHMOSZaL-iOpj3GCYbVwpfHMNk5JEqJRuKE7-TEX7gySIniY1h4zKqaqyjsnpqZ44SeeifPBgwuPTmQkWEUoobZnz/s700/a1596444023_16.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjafo_wFQPNwEi1-sqG-3p82VICk1JzUHB4NkLCO_0b5QUgrZK65w0DlIX4Q2gcKjga6Iu6o5oMlVhLOKaT85S0wwWcFTX6qBKOHMOSZaL-iOpj3GCYbVwpfHMNk5JEqJRuKE7-TEX7gySIniY1h4zKqaqyjsnpqZ44SeeifPBgwuPTmQkWEUoobZnz/s320/a1596444023_16.jpg" width="320" /></a></div><br /><div><div><div style="text-align: right;"><i><br /></i></div></div><p></p><div><span style="text-align: center;"><i> </i>Throughout the process of typing up this review, my girlfriend often lies beside me, </span>perpetually cold and curled up under our ironical yet cozy Nuestra Señora de Guadalupe fleece couch blanket while binging through season after season of the 2007 hit sitcom, <i>The Big Bang Theory </i>as part of her current nightly ritual. Her latest observation seems to be that I exhibit several similar qualities to the character of Sheldon Cooper<span face="source-serif-pro, serif" style="font-size: 17.816px;">—</span>a stubborn, socially inept, obsessive-compulsive, chronically phobic, intellectual who finds security in routine and consistency. Before voicing my annoyed objections I quickly had to acquiesce and accept my own neuroses: rigid regularity, hyper-specificity and a strong resistance to any sort of change. My taste in music is no exception. I like my grindcore consistently systematic. Well, as much as a genre like grindcore can be. Speed being king and blast beats being the end-all, be-all. And I don't think I'm alone in recognizing and adoring the singularity of the genre. Yet, these days it takes more than brute force and blurred tempos to stand out among so many great bands and great releases. Sometimes it comes down to what kind of "glitter" is sprinkled over something that makes it glamour.</div><div><span style="text-align: center;"><span> </span>2021's </span><i style="text-align: center;">Tystnadsallergi </i><span style="text-align: center;">is a split release </span><span style="text-align: center;">between Japan's <b>Horornisdiphonevalley </b>and Sweden's <b>SlothPhantomMoth </b></span><span style="text-align: center;">that was released jointly through <b>Esagoya Records, Wooaaargh Records </b>and <b>The Hills Are Dead Records.</b> (And let me assure you that nothing about that title roles off the tongue easily for a Texas music reviewer. Points to both bands on name originality.) Both </span><b style="text-align: center;">Horornisdiphonevalley </b><span style="text-align: center;">and </span><b style="text-align: center;">SlothPhantomMoth</b><span style="text-align: center;"> were previously unknown to me before this review. They are the kind of bands that you won't necessarily find outside of their social media pages or their record label's websites. Always a good sign when searching for any new, worthwhile bands these days. </span></div><div><br /></div><div> <b>Horornisdiphonevalley</b><span face="source-serif-pro, serif" style="font-size: 17.816px;">—</span>from what all I can find<span face="source-serif-pro, serif" style="font-size: 17.816px;">—</span>appears to be a one man noise-grind project from Japan. Right away from the first listen you can tell there's a lot going on and a lot of different influences at play. Some of which can seemingly come out of nowhere. Starting your side of a split with <b>Cab Calloway's</b> 1931 hit, <i>"Minnie the Moocher" </i>before interjecting mid-melody with heavy crashes and spastic blasting is odd, confrontationally odd, as well as comically disturbing. <b>Horornisdiphonevalley </b>are obviously operating from left field with a thick, dark combination of ambient noise, grindcore, hardcore, metal, sludge and the occasional sample-laced-synth-jazz-elevator-music track.</div><div><b><span> </span>Horornisdiphonevalley </b>are much in the vein of <b>Full Of Hell </b>or House alums <b>Bled To Submission.</b> That mix of viscous crude:<b> </b>grinding metallic noise impregnated with whipping thrash riffs and flanked with hardcore breakdowns that are as catchy as they are crushing. This emphasized by the highly adept production value that does an exceptional job of showcasing each instrument with a heavy and meaty intelligibility while also layering them in a nice grime. The versatility of the pulsing guitar work is pounding and fluid, the bass is chunky and the drumming is kinetically manic. Track <i>"虹の轍"</i> presents a melodic aspect in the song writing that is reminiscent of the work of <b>Takafumi Matsubara's</b> and his fusion of high melody in grindcore. </div><div><span> </span><b>Horornisdiphonevalley's </b>use of noise with grindcore is nothing new, but how it's wielded is not how you would typically assume. The band's implementation of watery phaser effects and a sound that is like that of a digital finger running down a plastic comb are used in a way that ripples and bleeds through vocals and sludgier bits to perpetuate tension and atmosphere. Likewise, some overdubbed theremin-esque leads that are not too dissimilar to what is being utilized in Austin's <b>BLK OPS,</b> flutter around like a quivering "hair in the gate" on some vintage celluloid. The wiry chords tangle themselves in with guitar solos if not outright mimicking them. The noise elements are omnipresent, yet not so overbearing that they overshadow the heaviness of the music. Instead, they provide just enough experimentation without diluting that thick sound that is central to the band's core. In some cases, such as <i>"Dive Into Vomit,"</i> songs are built around the ambient noise and audio samples, relying more on the synth elements more than the actual analog music and intermitted blasting. The song <i>"Nightbird"</i> seems to be the audio of what sounds like French dialogue with tranquil music over a looped drum track. It could easily be a lost song from the <b>Mademoiselle Smash</b> section at the end of <b>Affliction's </b><i>De La Révolte A La Révolution </i>CD-R. (A deep cut from the Anarcho punk annals, but very accurate for those in the know.)</div><div> </div><div><span> </span>Unfairly and almost always Swedish born grindcore bands will have to come up in the shadow of fellow countrymen turned possibly overhyped grind legends, <b>Nasum</b>. Swedish grindcore trio, <b>SlothPhantomMoth </b>happen to be such a band. An impossible comparison not to make given the music similarities and of course, geography. And I know I'm constantly citing and referencing Scandinavian grindcore, but that's only because it's such an immediately recognizable and distinct sound of grindcore, not to mention it's also some of the best grindcore in the world, frankly. Fortunately and well deservedly, <b>SlothPhantomMoth</b> also happen to fall into this category. </div><div> <b>SlothPhantomMoth,</b> like their Norse brethren, dole out some of that straight to the throat style of grindcore: constant, abrupt and breathless. Just like another commonly cited <b>Return to the House Grindcore</b> band<span face="source-serif-pro, serif" style="font-size: 17.816px;">—</span>Switzerland's <b>Mumakil</b><span face="source-serif-pro, serif" style="font-size: 17.816px;">—</span>they are part of that grindcore subset that are enthralled with blast beat battery and snare worship. The sort of bands that incessantly blast with little desire to entertain much of anything else. <b>SlothPhantomMoth </b>carry on the tradition on their side of <i>Tystnadsallergi</i>. Their vocals are high to mid-range strangled screams that are barked in that <b>Rotten Sound/Nasum</b> cadence and every so often fall into a less extreme hardcore yelling. The drumming<span face="source-serif-pro, serif" style="font-size: 17.816px;">—</span>that aforementioned, unabated blast beating which only really brakes to pound out whatever mid-tempo or fast as fuck D-beat chomping the song structure requires, to then only pick it back up again soon after as if it were an inevitable compulsion. Those metronome-like hammerings shift in accordance with the guitar's heavy plunges and speeding, needling, bumblebee buzz saw riffs. The bell-shaped production with it's high tremolo riffing and low bottom end gives credence to each of the instruments. One of which surprisingly being the bass guitar which is agreeably audible with its warm booming in the background. </div><div> Tracks <i>"Perished Life" </i>and <i>"Rena Händer, Slät Hud" </i>give insight into some of the band's broader influences. Both tracks, among others, peek into the metal side of <b>SlothPhantomMoth. </b><i>"Perished Life" </i>has that pseudo <i>"For Whom the Bell Tolls"</i> intro, calling to mind an 80's thrash influence. While the intro to <i>"Rena Händer, Slät Hud" </i>sounds more like modern metal or hardcore as it bounces forward before<span face="source-serif-pro, serif" style="font-size: 17.816px;">—</span>like both tracks<span face="source-serif-pro, serif" style="font-size: 17.816px;">—</span>devolves in a swirl of guitar, cymbals and snare. Yet unlike <b>Nasum</b>, <b>SlothPhantomMoth </b>do not indulge in the predilections of metal bloated dawdlings or waste time with solos or melody. Opting instead to keep songs lean with bridges and breakdowns kept to a minimum. Squeezing in the catchiest and most divergent riffs where they can. </div><div><br /></div><div><span> </span><i>Tystnadsallergi </i>is ultimately a successful split in the fact that it brings together two different subgenres of grindcore that effectively compliment each other well despite being on opposite sides of the grindcore spectrum; as well as both bands being markedly impressive in their own right. While both bands can be compared to more popular predecessors, <b>Horornisdiphonevalley </b>and <b>SlothPhantomMoth </b>do more than prove themselves here. <b>Horornisdiphonevalley</b> are wonderfully dirty, distorted and at times disjointed. The saturated sonic blasting is dark and thick with adequate amounts of avant-garde to keep things interesting. From the opening track through the band's final track, a take on a <b>The Kill</b> cover. (No easy feat.) In turn, <b>SlothPhantomMoth </b>brandishes an understatedly epic version of razor-sharp brutality that is intrinsically catchy and perfectly pummeling. As far as a long play split, this is a highly recommended international co-op of heavy acclaim. </div><div><br /></div><div><br /></div><div>FFO: <b>Full Of Hell, Feastem, All Pigs Must Die, Afgrund, Axis of Despair</b></div><div><br /></div><div>Listen and/or buy the album:</div><div><a href="https://esagoya.bandcamp.com/album/tystnadsallergi-split">https://esagoya.bandcamp.com/album/tystnadsallergi-split</a></div></div><div><a href="https://spmsounds.bandcamp.com/album/tystnadsallergi-split-with-horornisdiphonevalley">https://spmsounds.bandcamp.com/album/tystnadsallergi-split-with-horornisdiphonevalley</a></div><div><br /></div><div><i>[Originally posted on April 25, 2022, Return to the House of Grindcore]</i></div><div><br /></div><div>For more review, follow Return </div><div>to the House of Grindcore: <a href="https://returntothehouseofgrindcore.blogspot.com">https://returntothehouseofgrindcore.blogspot.com</a></div>Return to the House of Grindcorehttp://www.blogger.com/profile/05677205597965126917noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-39566826606238484532022-06-05T08:04:00.000+02:002022-06-05T08:04:32.561+02:00Triac (USA) - Pure Joy - Numb Grief-stricken Animals (2022)<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC9r-15nMwMqa_ZAihNzShkfW3VQ_GITyy_Z_DEwxP3Xs3h-PGxfjLsXu4znKLJ6APL0EacSy9L4AJNVBmfE4FJOKciu4FdAvp0S53WBllJC3k8CSMoSLmq8ol0zpIzRhZUoVyZ9CMghxkpYF161Nh_edl25QJln0LT0PUyzSJia87le5cY8V4r_jR/s1400/cover.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC9r-15nMwMqa_ZAihNzShkfW3VQ_GITyy_Z_DEwxP3Xs3h-PGxfjLsXu4znKLJ6APL0EacSy9L4AJNVBmfE4FJOKciu4FdAvp0S53WBllJC3k8CSMoSLmq8ol0zpIzRhZUoVyZ9CMghxkpYF161Nh_edl25QJln0LT0PUyzSJia87le5cY8V4r_jR/s320/cover.png" width="320" /></a></div><br /><p></p><div style="text-align: left;"><span style="font-family: inherit;"><span>No two bands hit their peak at the same time. Some bands release a perfect album early in their career, chasing that high for the rest of their output. Others take several releases to truly hit their stride, crystalizing into their best form after years.</span></span></div><div style="text-align: left;"><span style="font-family: inherit;"><span><br /></span><span>Baltimore, Maryland's Triac is an extreme example of the latter, releasing what is easily its finest material 19 years into its existence. </span><span id="docs-internal-guid-d758908d-7fff-58b4-2a55-28971b249869" style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Since 2005's </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Dead House Dreaming</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, the band's sound has blended elements of sludge metal and noise rock with grindcore in ways that have varied with each incarnation of the band. The songs on </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Pure Joy - Numb Grief-stricken Animals</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> are a hyperspeed, hyper-focused version of that formula, still recognizably Triac but honed to a knife's edge.</span></span></div><div style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span>There are few grindcore albums where each instrument stands out the way the guitar, bass and drums stand out here. Kevin Bernsten's guitar is angular and nimble, occasionally delivering searing solos. Tim Mullaney's bass is monstrous, deep and corrosive and a standout among standouts. Jake Cregger's drumming can be textured and subtle or fast and punishing, depending on what the situation calls for. There are fills and solos, but seamlessly transitioned into some of the record's most violent moments.</span></span></div><div style="text-align: left;"><span style="font-family: inherit;"><span><br /></span>Vocal duties are shared between Bernsten and Mullaney. They deliver a host of midrange barks, howls and shouts. Intense and careening, they match well with the controlled chaos of the instrumentation.</span></div><div style="text-align: left;"><span style="font-family: inherit;"><br />Much of the record is relentless, with blasting tracks like "Pure Joy" and "Coughed Up" only pausing for brief tempo changes. Songs like "Loathsome" and "Grief-Stricken" showcase more of the band's noisy, atmospheric side, with seasick guitar lines swaying against pounding drums, and sludgy bass stomping alongside roiling feedback. However, even these moments give way to blistering speed.</span></div><div style="text-align: left;"><span style="font-family: inherit;"><br />Everything across this album's 16-odd minutes is original, expertly delivered and devoid of excess. Every off-kilter riff and tortured bark is exactly where it needs to be. This is Triac's definitive statement as a band, and essential listening. </span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /><i><b>Pure Joy - Numb Grief-stricken Animals </b>is available digitally or on CD <a href="https://triacgrind.bandcamp.com/album/pure-joy-numb-grief-stricken-animals">via Triac's Bandcamp.</a></i></span></div>DesiccatedVeinshttp://www.blogger.com/profile/16783531567772825094noreply@blogger.com2tag:blogger.com,1999:blog-1115855963624513833.post-59953742782319598122022-05-26T20:15:00.000+02:002022-05-26T20:32:23.376+02:00Mortify (Japan) - Buzzsaw Sickness EP (2022)<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7yQ2d6vMFpR3B7eBAHIrtc5OvZXyavUT1UdjyQTKGeLcWb4Uv6a98Pfpk9ECDSFpsOXUIfX7n8RgzwsAUHgIBdp5lxQ8MCuCO7yL9aMOzNQZd-9VGcbTn1zZ8JWcd7a-X5RhA-JzybnLrEAY3W9amMDF8VfqGmdkvX84zcwuIpvj9suCq7PoFzxwy/s1417/cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1417" data-original-width="1417" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7yQ2d6vMFpR3B7eBAHIrtc5OvZXyavUT1UdjyQTKGeLcWb4Uv6a98Pfpk9ECDSFpsOXUIfX7n8RgzwsAUHgIBdp5lxQ8MCuCO7yL9aMOzNQZd-9VGcbTn1zZ8JWcd7a-X5RhA-JzybnLrEAY3W9amMDF8VfqGmdkvX84zcwuIpvj9suCq7PoFzxwy/s320/cover.jpg" width="320" /></a></div><p></p><p dir="ltr" id="docs-internal-guid-78cf194d-7fff-e557-5542-6fdae1fa638c" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" id="docs-internal-guid-78cf194d-7fff-e557-5542-6fdae1fa638c" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Single-mindedness can be a virtue. In art, variety and creativity is often praised above all else. But there is also value to be found in iteration. Some creators excel by finding a few component parts they favor and exploring their every possible permutation. </span></p><p dir="ltr" id="docs-internal-guid-78cf194d-7fff-e557-5542-6fdae1fa638c" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Japanese grindcore band Mortify is the fruit borne from such single-minded iteration. Self-described as "Swedish HM-2 buzzsaw grindcore," the band melds the iconic tone of the Boss HM-2 guitar pedal (known for its use in 90s Swedish death metal) with vocals that alternate between midrange screams and goregrind gurgles and relentless pounding drums to create brief, urgent old-school grind. Its subject matter doesn't deviate much from the template set by Repulsion in the early '80s: the frailty of the human body, as evidenced through sickness, decay, dismemberment and the ravages of toxic chemicals and radiation, and the depravity of humanity and the social condition.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Songs like "Stomach Churner" and "Chemical Plant" sound exactly like you'd expect, and that's a compliment. This isn't some goregrind carbon copy, but there's something familiar and comforting about the hyper-specific mix of influences here. This is a warm, fetid blanket that a certain sort of denim patch-vested grind fan will love to curl up with.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">It would be hard to argue in favor of <i>Buzzsaw Sickness </i>against Mortify's longer releases like </span><span style="font-family: Arial; font-size: 14.6667px; white-space: pre-wrap;"><i><a href="https://mortify666.bandcamp.com/album/grotesque-buzzsaw-defilement">Grotesque Buzzsaw Defilement</a></i> or<a href="https://mortify666.bandcamp.com/album/stench-of-swedish-buzzsaw"> </a></span><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><i><a href="https://mortify666.bandcamp.com/album/stench-of-swedish-buzzsaw">Stench of Swedish Buzzsaw</a>. </i>However, the EP does serve as a sickening sampler of what the band does best, as everything is well-recorded and there is no filler to be found. Mortify is pure iteration, and there's joy to be found in that.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><i><b>Buzzsaw Sickness </b>is available digitally or on CD from Obliteration Records <a href="https://mortify666.bandcamp.com/album/buzzsaw-sickness">via Mortify's Bandcamp.</a></i></span></p>DesiccatedVeinshttp://www.blogger.com/profile/16783531567772825094noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-13487737467123378002022-05-15T11:15:00.002+02:002022-05-15T11:41:37.358+02:00Days of Desolation (Belgium) - Circles (2022)<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcqH4y7dLnorU-9SuUdeAvq4qitXEgQmuqFKX70c73GMd6DrtSU4LJn_ZNN_PCHXp6y7wiS-vop1jRErM1g_7mjwx14H0OessFKAQAE2WQhd23IB0J8pgcBJ-BToGJSHkfbAlFF88sxHmjJgMTTyu1gWc-RS-qDi97GXL_gZsSTUwe81SOXPeNq5kZ/s2048/cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcqH4y7dLnorU-9SuUdeAvq4qitXEgQmuqFKX70c73GMd6DrtSU4LJn_ZNN_PCHXp6y7wiS-vop1jRErM1g_7mjwx14H0OessFKAQAE2WQhd23IB0J8pgcBJ-BToGJSHkfbAlFF88sxHmjJgMTTyu1gWc-RS-qDi97GXL_gZsSTUwe81SOXPeNq5kZ/s320/cover.jpg" width="320" /></a></div><br /><p></p><p dir="ltr" id="docs-internal-guid-85e53e77-7fff-e35b-42e4-48dc5ad3237d" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Since grindcore's early days as a genre in the 1980s, there's been a surprising amount of stylistic variation afforded by its simple component parts. Seminal albums like </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">World Downfall</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Disgrace to the Corpse of Sid</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">From Enslavement to Obliteration</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> and </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Reek of Putrefaction</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> sound vastly different despite being released within the same 2 year span. In the decades since, the genre has mutated continuously, adding and discarding elements with each new group, scene and sub-sub-genre. Multiple distinct offshoots can even be seen among individual discographies.</span></p><p dir="ltr" id="docs-internal-guid-951cd61f-7fff-e261-0fb7-9da2bacda2b3" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Days of Desolation began life playing a crust punk and d-beat forward strain of grind. </span><span id="docs-internal-guid-c8184baa-7fff-927a-1dfa-08223eebc647" style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">That sound isn't entirely absent on </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Circles</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, the band's 2nd LP since its 2013 self-titled. But 9 years later, their music is more intricate and heavy without sacrificing on speed.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The album is mercilessly fast in a way that will satisfy hardened grindcore fans, but there's a significant amount of orthodox metal influence present throughout. That influence sometimes manifests as the nu metal intro riff of "Moths to Flame" or the straight up dueling leads of "Bone Unto Brine". Other times, it comes in the form of an unabashed death metal melodicism that buoys the instrumental portions of many tracks and appears prominently in the closing songs on the record. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">This is technical, professional metallic grindcore that's as likely to find its way into mainstream outlets' year-end lists as it is those of niche grind blogs. The extreme level of polish that necessitates will drive off listeners who come to grind records for blistering punk immediacy. However, those looking for a record with as many clearly discernible riffs as blastbeats will have a lot to sink their teeth into. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><i><b>Circles</b> is available digitally via <a href="https://daysofdesolation.bandcamp.com/album/circles">Days of Desolation's Bandcamp</a>. It is also available on vinyl in the USA via <a href="https://www.rtcrecords.com/product/days-of-desolation-circles-belgian-import-green">Rotten to the Core Records</a> or in the UK via <a href="https://grindfather-prod.myshopify.com/products/days-of-desolation-circles-12?_pos=1&_sid=cda755d8b&_ss=r">Grind Father Productions</a>.</i></span></p>DesiccatedVeinshttp://www.blogger.com/profile/16783531567772825094noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-58858005859535709462022-04-29T08:29:00.003+02:002022-05-15T11:17:00.310+02:00Suffering Mind (Poland) - Lifeless (2022)<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrT00_W3oJUlm73TSL_x0p3MUZ5LjSy-OTRCs944BtY4mG0wQjPsBgTGvfTHA1x7y1k5mgZ06bdUqNlsgxVs4Djma5_LHLHRx62-BzYLygNG8uTrx7eNJ8bhO155JoZT9LwC1XxFmWa0xZtHofrZPSDpS-V8RI4IqjdJxSvbXEkoM1VHUTqYtWlddK/s1649/cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1649" data-original-width="1649" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrT00_W3oJUlm73TSL_x0p3MUZ5LjSy-OTRCs944BtY4mG0wQjPsBgTGvfTHA1x7y1k5mgZ06bdUqNlsgxVs4Djma5_LHLHRx62-BzYLygNG8uTrx7eNJ8bhO155JoZT9LwC1XxFmWa0xZtHofrZPSDpS-V8RI4IqjdJxSvbXEkoM1VHUTqYtWlddK/s320/cover.jpg" width="320" /></a></div><br /><p></p><div>Poland's Suffering Mind have been active since 2007, and have made their name playing ferocious, unpretentious sledgehammer grindcore with an explicitly anti-fascist political bent. They've released music across an array of physical media formats, and frequently release splits and compilations with years between full-length albums. This release is their first full-length since 2014's <i>Waste Farm</i>, and that distinction understandably comes with some expectations.</div><div><br /></div><div>The moment the album's intro dialog sample ends and the band blasts into life, it's clear those expectations will be more than met. This is Suffering Mind at their essence. The recording sounds full and vital, while still feeling scrappy enough to maintain the necessary DIY spirit. This isn't the band's sellout record, nor is it one where a 15-year-old band loses their touch after all these years.</div><div><br /></div><div>On the A side are 15 tracks in 8 minutes and 45 seconds, the bulk of the track listing save the single track on the flip side. It's a sprint, with unrelenting, tin-snared drumming and a cascade of guitar riffs in place of a starter pistol. That sprint is spurred forward by deathgrowled lead vocals punctuated by tortured high screams and the occasional midrange bark. </div><div><br /></div><div>The B side closes with an 8 minute, 16 second-long track sound collage, with dialog samples, noise, and sporadic blasts of grind. While it may not be what the average listener signed up for on the A side, it's an easy listen and doesn't wear out its welcome. I can't see myself picking it out to play on its own. I also didn't skip it during my listens, though, which I can't say for all atmospheric pieces appended to the back of grindcore albums.</div><div><br /></div><div>Suffering Mind are still making heartstopping independent grindcore while managing to not sound like they're retracing their steps. This isn't a record with narrative theming or innovative stylistic integration, and it has no need to be. It's got blasts, it's got riffs, it's got growls and it's got everything it needs.</div><div><br /></div><div><i><b>Lifeless </b>is available on vinyl from 625 Thrash via <a href="https://tolivealie.com/store/index.php?main_page=product_info&cPath=3&products_id=2999">To Live Lie Records</a>' webstore. It is also available on vinyl via <a href="http://www.psychocontrol.com/index.php?p=productsMore&iProduct=4156&sName=SUFFERING-MIND-Lifeless--LP-(PSYCHO-085)-INSOMNIA">Psychocontrol Records</a>' webstore. It is available digitally (split into 2 tracks for A and B side) via <a href="https://psychocontrolrecords.bandcamp.com/album/lifeless">Psychocontrol Records' Bandcamp</a>.</i></div>DesiccatedVeinshttp://www.blogger.com/profile/16783531567772825094noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-77772507218127114782022-04-27T08:59:00.005+02:002022-04-29T23:54:12.002+02:00Twin Tombs (USA) - 4:23 7" (2022)<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQdaB504QKEDahAgcx90GJcAa1ka4radhJK5drk7Kqb1TeY0HBzOqeGIqWR0uFa3C6MN_Zgn8fJLwvvpbkxdgzTWBKTjZzfLnrhLwT55AttBOJPDbQf_l893Bp1__c3eEep46c-57zGgPtfFbWJX20SYvRgjVICjE6w_mC7PGQMGcph_khIyC7rJpO/s1500/cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQdaB504QKEDahAgcx90GJcAa1ka4radhJK5drk7Kqb1TeY0HBzOqeGIqWR0uFa3C6MN_Zgn8fJLwvvpbkxdgzTWBKTjZzfLnrhLwT55AttBOJPDbQf_l893Bp1__c3eEep46c-57zGgPtfFbWJX20SYvRgjVICjE6w_mC7PGQMGcph_khIyC7rJpO/s320/cover.jpg" width="320" /></a></div><br /><p></p><div>Minneapolis' Twin Tombs play a fast, vicious, feedback-drenched brand of grinding powerviolence. Barely a moment is wasted on this EP's brief runtime. 9 tracks are crammed into less than 5 minutes, and by virtue of the breakneck pace the band manages to cover a lot of ground.</div><div><br /></div><div>The vocals span a number of styles, including a midrange bark, traditional powerviolence shout-screaming, death growls and the occasional high screams. The guitars have a trebly punk tone, and the drums are snappy and reserved when they're not outright blasting. The production is minimal and dirty, suitable for the material, and at times instruments blend into each other before resolving in a wave of feedback.</div><div><br /></div><div>Furthermore regarding the recording methods, the album was recorded in one day in the band's practice space. Despite this, the material is tight and focused. Brief sprints like "Wrath" and "Serial" shine just as well as longer tracks like "Poser/Filth" and closer "Tumor".</div><div><br /></div><div>This is a memorable release even beyond its brief length. It speaks promisingly to what a Twin Tombs full length would sound like. Keeping this level of ferocity up over a full length may be a challenge, but it's worth coming along for the ride to find out.</div><div><br /></div><div><i><b>4:23 </b>is available to buy digitally via <a href="https://twintombs.bandcamp.com/album/4-23">Twin Tombs' Bandcamp</a>. Lathe cuts released by Praticed Hatred Fanzine are sold out.</i></div>DesiccatedVeinshttp://www.blogger.com/profile/16783531567772825094noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-33771205399873863262022-04-25T02:10:00.001+02:002022-04-25T02:11:34.684+02:00Vile Species (Greece) - Demo (2022)<p style="text-align: center;"> </p><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNehoNsXxKvH-lTWStbRb16XAHpXYjDt3cWhrwqBc_urLPYacztDFgO8s-jYtDxwbQhm9zAlXiU9V-DJzGxNXMIuXK_FFUMFIMZBAM30MGCy2L-ePmvSxnk6mo0zrYuUbd86BR76-xxlq6sQSDq8F7oWbGSPlnbKxppiKkjIWksL8AQtfOiYrUE7Rw/s700/a0446458811_16.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNehoNsXxKvH-lTWStbRb16XAHpXYjDt3cWhrwqBc_urLPYacztDFgO8s-jYtDxwbQhm9zAlXiU9V-DJzGxNXMIuXK_FFUMFIMZBAM30MGCy2L-ePmvSxnk6mo0zrYuUbd86BR76-xxlq6sQSDq8F7oWbGSPlnbKxppiKkjIWksL8AQtfOiYrUE7Rw/s320/a0446458811_16.jpg" width="320" /></a></div><br /><br /></div><div style="text-align: center;"><i><u>Untitled</u></i></div><div style="text-align: center;"><i><u><br /></u></i></div><div><br /></div><div><span> </span>Straight outta the cradle of Western civilization, Athens' <b>Vile Species </b>have recently been creating a catalog of crusty, old school grind with an output of five releases in just the past two years. Most notably with Sacramento's <b>Human Obliteration </b>whose 2020 LP, <i>Definition of Insanity</i>, had a somewhat conspicuous release. As a band, <b>Vile Species</b> have been cultivating a sound that combines the unembellished riffing of crust punk with the heavy blasting and keened edge of Scandinavian grindcore. The band can shift from one influence to the next in a matter of seconds. Pivoting from thrashy tremolo picking to stripped down crust punk riffs that sound like they are right out of the <b>Disrupt </b>playbook. Vocally, the band offers a standard truculent trifecta in that of the scratchy highs, a mid-range guttural snarl and some overly deep roars that make up a majority of the songs. Think dueling vocals between <b>Shane MacLachlan</b> and <b>Barney Greenway </b>with a healthy amount of rasp.</div><div><br /></div><div> Like the spring loaded plunger on a pinball machine, these Greek grinders shoot into their latest release with a throaty, blown out growl before opening up into a barrage of blast beats and slingshot riffs. The band's perpetual careening is only diminished by a head bobbing breakdown that bumpers its way back and forth before sliding past the flippers and into the gutter and exiting in a mere eighty-seven seconds. Thus completing song one of <b>Vile Species' </b>newest four song 2022 demo. A five minute shot of bare-knuckle grindcore that is straight to the point and does not waste time. With each of the songs being labeled as "Untitled" along with their corresponding track number, we are presented with either the band's raw and unfinished works or an artistic commentary on the futility of presentation. Regardless, <b>Vile Species </b>presents a fast paced, punishing assault of semi-low-fi blastcore that feels familiar and welcomed. </div><div><br /></div><div><span> Being that this release is a demo, one cannot </span>critique its production or superficialities too harshly, but there were a few things that did draw my attention. Foremost, the guitar tone seemed especially underweight in the mix. The lower fidelity itself wasn't wholly unexpected, but the guitar resonance was. At certain points (<i>"Untitled 3"</i>) the band could have been mistaken for a bass and drum ensemble — albeit the best-case scenario of a bass and drum ensemble. It's just that the mix and distortion waver in their solidity and sometimes reduce the actual guitar to an unostentatious fuzz. Searching for the appropriate tone has been something of a constant plague for the band as the guitar sound has been drastically different on each of their releases. Liner notes indicate that mixing and mastering was done in-house and seems like an easily remedied problem in the future with the acquisition of outside mastering. But a lot can be said for DIY ethics and self-production. Not to mention that punk ethos is everything. Nonetheless, I am well aware of the meritlessness of "white gloving" a demo, so please do not let the above criticisms color this release overly negative. </div><div><span> </span></div><div><span> </span>Spiritually and metaphorically, <b>Vile Species</b> are that aggressively provoked dog on the other side of the fence when you are walking down the sidewalk. You know it's there, yet you fail to hear the huffing gallops quickly closing the gap. Then suddenly and unexpectedly — THWACK! The mongrel slams into the fence. The impact shakes the barricade from its foundation and cracks the wooden planks. Through an already excavated dugout under the torn slats ejects the crocodile-sized head of a barking, snarling, blue furred K-9 killer. Its face ivied in veins and rippled in taught muscle. Desperately snarling and snapping in a lusty attempt to tear out the softer bits of flesh from around your jawline and genitalia. Its red-meated, serrated jowls foam-filled and heaving. Its bright white fanged teeth mawing through the dust. Its pale hazel eyes rolled back and full of splinters, glinted with a vicious and berserk unabated desire to maul. A dramatic analogy, yes; but that's how <b>Vile Species</b> operates. The band's "attack" is a major key component in what makes their brand of grindcore so ruthless and enjoyable. Their explosive compositions hit their marks and don't let up. <b>Vile Species' </b>2022 demo are those sentiments dirtied and distilled. It's their not-so-idiomatical grindcore pound of flesh, if you will: "no more, no less." </div><div><br /></div><div> <b>Vile Species'</b> 2022 demo cassette tape as well as it's 5 inch clear vinyl version are currently available on the band's Bandcamp page. Vinyl pressing courtesy of <b>Helldog Records</b> and <b>Nostril Bush Records</b>. </div><div><br /></div><div><br /></div><div>FFO: <b>Phobia, Blockheads, Human Cull, Mumakil</b></div><div><b><br /></b></div><div>Listen and/or buy:</div><div><a href="https://vilespecies.bandcamp.com/album/demo-2022">https://vilespecies.bandcamp.com/album/demo-2022</a><br /></div><div><br /></div><div><i>[Originally posted on March 28, 2022, Return to the House of Grindcore]</i></div><div><b><br /></b></div><div>For more reviews, follow Return to</div><div>the House of Grindcore: <a href="https://returntothehouseofgrindcore.blogspot.com/">https://returntothehouseofgrindcore.blogspot.com/</a></div><div><br /></div>Return to the House of Grindcorehttp://www.blogger.com/profile/05677205597965126917noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-49912982517829738072022-04-07T20:11:00.001+02:002022-04-12T17:35:31.292+02:00Backslider (USA) - Psychic Rot (2022)<div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><p dir="ltr" id="docs-internal-guid-1d4c0e97-7fff-7a95-02d4-99f321c9ed96" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx6CSz5AlMInQaP-63v0kH_OSKzSLbUQXX2KLBOlglVMH4buQ7igWql3AjWHqTiCag3wDysJ3K7AZmGLWXmWbvmeSE_z6VZTzwsAFNetg8sjc6tHz9tjmMYnTSkacz4Xtr4bqFotgtVaz7Y4P7-u_Quj-DLoOXF9ovjcHo1Kl2GlZOqVZocdwP9l__/s3000/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="3000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx6CSz5AlMInQaP-63v0kH_OSKzSLbUQXX2KLBOlglVMH4buQ7igWql3AjWHqTiCag3wDysJ3K7AZmGLWXmWbvmeSE_z6VZTzwsAFNetg8sjc6tHz9tjmMYnTSkacz4Xtr4bqFotgtVaz7Y4P7-u_Quj-DLoOXF9ovjcHo1Kl2GlZOqVZocdwP9l__/s320/cover.jpg" width="320" /></a></span></div><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span><p></p><p dir="ltr" id="docs-internal-guid-1d4c0e97-7fff-7a95-02d4-99f321c9ed96" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></p><p dir="ltr" id="docs-internal-guid-1d4c0e97-7fff-7a95-02d4-99f321c9ed96" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The color films of Italian horror pioneer Mario Bava are vivid to the point of unreality. A rainbow of lighting gels coming from unnatural locations, bright red dressmaker's mannequins and brighter blood, fog-drenched soundstage forests and cobweb-laden crypts. </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Psychic Rot</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, the latest from Philadelphia's Backslider, is the Mario Bava movie of powerviolence albums. Unnerving, psychedelic, filled with detail and shot through with sudden violence.</span></span></p><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A range of styles comprise the sound here. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Tracks like "Corpseflower" and first single "Psuedomessiah" brim with blasting powerviolence, while leaving room for some midtempo bits and some moody spoken word. Opener "Asymmetric Torment" and closer "The Floating Door" deal in burly, groovy metal of a sort that's been present on past releases, but more distinct and fully-formed. Pieces of punk, metal, noise and other stylistic flourishes are fitted into each other across the record in a way that doesn't feel forced or busy.</span></p><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Acting as organizing principle to those disparate pieces is that this is a </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">great</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> sounding record. The heavy sections are warm and full, speedy sections are sharp and clear, and nuances of effects and electronics don't get lost in the feedback and distortion. Backslider have always had a hybridized style, and that's accentuated to great effect here. </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Psychic Rot</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> amplifies and highlights its component parts in a way that makes each one pop.</span></span></p><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The material here has roots in similar places to a lot of other extreme music acts, but the approach is uniquely Backslider. Like Bava's striking visuals, this is a vivid, stylized work that stands out from its peers. It's the kind of album that sets a band onto a new phase in their career, and it feels primed to launch them into prominence in the extreme metal scene.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><i><b>Psychic Rot </b>is available digitally via <a href="https://music.tolivealie.com/album/psychic-rot">To Live a Lie Records' Bandcamp</a> or on vinyl via <a href="https://tolivealie.com/store/index.php?main_page=product_info&cPath=3&products_id=2940">To Live a Lie Records' webstore.</a></i></span></p></div></div>DesiccatedVeinshttp://www.blogger.com/profile/16783531567772825094noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-3107973031518161802022-03-06T22:45:00.002+01:002022-03-06T23:47:34.591+01:00Durian (USA) - Scare Tactics (2021)<p style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh_iEYa0HPODNEICN767uyLHz0TUgMMGn5cCcjJHRioaWiyuB-DJsq2VYB5tjmXwxe2Kjacvtv0oIZonQFaRA-RJsNiNHbK17I1T12Fcq1aEAGa2WDmrI9gf2S6QEljjHP4OBITvYh5HRkORhaxE9leB9p0F-OOQ0jH20rox6ApoSF-SQbD7C7kuiIaQg=s700" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEh_iEYa0HPODNEICN767uyLHz0TUgMMGn5cCcjJHRioaWiyuB-DJsq2VYB5tjmXwxe2Kjacvtv0oIZonQFaRA-RJsNiNHbK17I1T12Fcq1aEAGa2WDmrI9gf2S6QEljjHP4OBITvYh5HRkORhaxE9leB9p0F-OOQ0jH20rox6ApoSF-SQbD7C7kuiIaQg=s320" width="320" /></a></p><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><i><u>The Fear-mageddoning</u></i></div><div style="text-align: center;"><i><u><br /></u></i></div><div style="text-align: center;"><br /></div><p></p><div><ul><li><span><u>Chi·me·ra</u> /kīˈmirə,kəˈmirə/ - (in Greek mythology) a fire-breathing female monster with a lion's head, a goat's body, and a serpent's tail.</span></li></ul><ul><li><u>Du·ri·an</u> /ˈdo͝orēən,ˈdo͝orēˌän/ - an oval spiny tropical fruit containing a creamy pulp. Despite its fetid smell, it is highly esteemed for its flavor. It has been described as the most foul-smelling fruit in the world. Its aroma has been compared to raw sewage, rotting flesh and smelly gym socks.</li></ul></div><div><span> <span> </span></span></div><div><span><span> </span>Keeping in mind my comments in my </span>previous <a href="https://returntothehouseofgrindcore.blogspot.com/2022/01/return-to-house-of-grindcore-top-10.html" target="_blank">article</a> about my favorite releases of 2021 and how challenging it was narrowing down that list due to the volume of commendable releases that came out last year. <b>Durian's </b>latest release, <i>Scare Tactics</i>, falls right on top of that category. And speaking of categories, where to start with <b>Durian </b>as a band? As an OCD lifer, categorization and specificity are my day in, day out. But <b>Durian </b>tend to tip-toe in and out of classification and genre ever so slightly. And getting into the weeds with subgenres can be exhausting, even for me. Nevertheless, <i>Scare Tactics</i> sees the band's patented punk permeated power violence painted grind evolving into a bulkier, burnished brick of blatant grindcore brutalism. </div><div><br /></div><div><span> </span> New Jersey's <b>Durian </b>was founded by members of the now defunct and highly revered grind-violence band, <b>Chainsaw to the Face.</b> And as the sun started going down on <b>Chainsaw to the Face</b> in 2015, it rose on <b>Durian </b>starting with their 2016 basement recorded demo. Right away <b>Durian </b>cultivated a sound that didn't so much rely on power violence's juxtaposition of fast blast beats and slow slogs. Instead opting to blend revved up and spastic punk riffs with angled and staggered arrangements. Set into motion by mass and speed. But what immediately stands out, even at the most preliminary cursory listen, is the bass guitar work. The inclusion of bass in the mix of grindcore material is almost something of an industry running joke. Commonly not even being included at all depending on the band. <b>Durian </b>features not only competent and articulate basslines, but actually holds them to the forefront. Especially in the band's earlier EP's. Combine all of this with proficient song writing and structure and you have a recipe for a real dynamism that makes for a truly energetic listening experience. A standard that the band has been perfecting for the past five years and six releases. </div><div><br /></div><div> 2021's <i>Scare Tactics</i> marks not only <b>Durian's </b>first full-length, but also an evolution in the band's brand of grind-violence. The sound this time around seems to lean more towards the grindcore side of the grind-violence duality. But without forsaking the power violence necessities. E.g. tracks like <i>"Maslow's Dog" </i>and <i>"Committed to Ignorance</i>.<i>"</i> Rather this album is a hulking powerhouse that is somehow nimble enough to wield that weight with total malleability. The guitar is a thicker, heavier driving force and is now moved up in the mix. This is literally instrumental in showcasing songs like <i>"Compulsion."</i> A song that has some really interesting riffs and patterns. The song basically operates like a wind-up toy that has burst into flames and keeps violently grating itself to pieces. Likewise, the very next track <i>"People Are Alike All Over"</i> incorporates skipping hardcore two-steps, blast beat bursts of AK-47 fire and metallic snare stampedes. A style that propels the entirety of the album through zigzagging twists and turns. Ultimately the bass guitar is toned down on this album. Not diminished. Just more evenly distributed in the production. In fact, <i>Scare Tactics </i>is probably one of the most level and balanced mixed albums you are likely to hear in the genre, ever. The bright slinky spring wound bass, the Tilt-A-Whirl/shotgun shell guitar riffs, the poppy crack of the snare drum and the three-tier combination vocals coalesce in a way that really makes the LP shine.</div><div><br /></div><div> <i>Scare Tactics</i> illustrates a current <b>Durian </b>that has matured in the ways of symmetry and production. While bolstering their grindcore beastliness and simultaneously doubling down on the power violence undertones at their core. Their churning and fragmented song structure is explosive and exciting. The band skillfully rounds off the edges to a genre made-up of abrupt and angular songs and they shape them to flow smoothly and seamlessly. If I were a blogger writing a series of grindcore music reviews under the fictional narrative of living in a decrepit homestead, I would explain that <b>Durian </b>play a subtle and sophisticated version of grind-violence. In which they have cracked the code on how to flawlessly marry the two genres. As well as the fact that <i>Scare Tactics</i> is a talentedly crafted, highly vibrant addition to the band's discography. If I were debating this album with friends in-between sets at a local show, I would explain how the first half of the album sounds like <b>Code 13</b> doing <b>Fiend </b>covers. While the second half reminds me of a scenario in which <b>Despise You</b> crossbred with <b>Magrudergrind</b>. (I maintain "<i>Façade" </i>is proof of this.) But if I were simply recommending this LP to an interested party, I'd say this is an absolutely fun album by the best band you've never heard of. </div><div><br /></div><div><br /></div><div>FFO: <b>Chainsaw To The Face, Six Brew Bantha, Phobia, Dropdead </b></div><div><b><br /></b></div><div>Listen and/or buy:</div><div><a href="https://duriangrind.bandcamp.com/album/scare-tactics">https://duriangrind.bandcamp.com/album/scare-tactics</a></div><div><br /></div><div><i>[Originally posted in January 31, 2022, Return to the House of Grindcore]</i></div><div><br /></div><div>For more reviews, follow Return to </div><div>the House of Grindcore: <a href="https://returntothehouseofgrindcore.blogspot.com/">https://returntothehouseofgrindcore.blogspot.com/</a></div>Return to the House of Grindcorehttp://www.blogger.com/profile/05677205597965126917noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-5562965191402856752022-02-25T08:43:00.002+01:002022-04-12T17:35:41.083+02:00Diploid (Australia) - I AM YOURS. AND I AM HERE AGAIN. (2021)<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiz01D5nSMplqGM7j_D5aP7TLEPTRr_X9alNqyKVtvKKWaULOvQvvxlQ8LaLk-RdCS0fHjuqjZxbgC7TI8D3AprfAQ21kzlGJ3zMEAswFOk_SD_JKVujuY6UgLyAiWv70PADbQ2kRro1zS5ukcUwZYFS80CG95M596aV1JuSjYuFBschiUVDcCuEMiW=s3000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="3000" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiz01D5nSMplqGM7j_D5aP7TLEPTRr_X9alNqyKVtvKKWaULOvQvvxlQ8LaLk-RdCS0fHjuqjZxbgC7TI8D3AprfAQ21kzlGJ3zMEAswFOk_SD_JKVujuY6UgLyAiWv70PADbQ2kRro1zS5ukcUwZYFS80CG95M596aV1JuSjYuFBschiUVDcCuEMiW=s320" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Degradation and collapse, from the individual level to the societal, pervades the music of Diploid. Active for over 10 years, the band has explored these topics via lyrical themes such as mental health and suicidality, serial murders and mass shootings, genocide, and war. Set as backdrop to these explorations is a hybrid of musical styles incorporating grindcore, hardcore, noise and other extreme music subgenres.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Recorded during a 100-day lockdown resulting from the ongoing COVID-19 pandemic, I AM YOURS. AND I AM HERE AGAIN., the band's third album and second in two years following 2019's Glorify, is the most direct sonic impression of its chosen subject matter yet. Claustrophobic, lurching, explosive, alienating. A listen through the album leaves one feeling akin to its minimalist cover art: an upturned figure engulfed in a sea of blackness.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><div style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Tracks like "Empathy", "God's Injunction" and "There Was Nothing to Drag Out" showcase the band's take on straight-ahead grindcore, and "Disease Carrier", "Scorched Earth" and "Failure to Deradicalise" intermingle that style with stomping hardcore. Taken on their own they're great, and they're some of my favorite moments on the album. Diploid can bang out skillful grinders all day, but those aren't what lends this album its unique character.</span></span></div><span style="font-family: inherit;"><br /></span><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Atmospheric moments of trudging, doomy hardcore, noise, electronics and voice samples blend to mirror the bleakness of the album's recording circumstances and subject matter. Opener "Falling" is a plodding, minimal tone piece with scream-spoke vocals and the most discernible lyrics on the album. Closing trio "Relapsing Exhaustion", "Incomplete Skyline" and "Active Shooter" abandon speedy punk altogether, favoring looping electronics, echo effects, beats and the occasional eruption of sludge.</span></span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;"><br /></span></span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="white-space: pre-wrap;">At this point in their discography, I consider every new Diploid LP a must-listen upon release. This album matches 2019's excellent <i>Glorify</i> in being a nuanced, thematically resonant piece that demands the listener's full attention. While not a breezy listen, it's an engrossing, rewarding one, and one of the best releases of 2021.</span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="white-space: pre-wrap;"><i><b>I AM YOURS. AND I AM HERE AGAIN. </b>is available digitally and on vinyl via Diploid's <a href="https://diploid.bandcamp.com/album/i-am-yours-and-i-am-here-again-2">Bandcamp</a>.</i></span></p></div><p></p>DesiccatedVeinshttp://www.blogger.com/profile/16783531567772825094noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-78115291815886199622021-10-30T03:56:00.002+02:002024-02-17T05:47:37.896+01:00Fading Trail (Finland) - Count The Days (2021)<div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiK6ylOv3oxof31KFsG-kI4LYnjZ-usouy-AaZH1Rp7NGgS3HjuSX4D8PHwmzznjPvt_CLSfC6hQ7WJwV_UWIT27oH_OrcEc8ko8L9sdkaCsPLCKh9mYdE82KbTu7eJuAdlj7X-l7oO-fGFR3kvvTdNsP1gt88hkq82B2euKAaXl5ZR6xK5jmW3-g3m=s700" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiK6ylOv3oxof31KFsG-kI4LYnjZ-usouy-AaZH1Rp7NGgS3HjuSX4D8PHwmzznjPvt_CLSfC6hQ7WJwV_UWIT27oH_OrcEc8ko8L9sdkaCsPLCKh9mYdE82KbTu7eJuAdlj7X-l7oO-fGFR3kvvTdNsP1gt88hkq82B2euKAaXl5ZR6xK5jmW3-g3m=s320" width="320" /></a></div><i><div class="separator" style="clear: both; text-align: center;"><i><br /></i></div>"And they beheld the vicious </i></div><div style="text-align: center;"><i>spectacle that loomed before them, </i></div><div style="text-align: center;"><i>draped in the finest of carnage, </i></div><div style="text-align: center;"><i>twisted in the foulest of horrors. </i></div><div style="text-align: center;"><i>Flesh made augur. Atrocities made omen. </i></div><div style="text-align: center;"><i>And they knew then that this land </i></div><div style="text-align: center;"><i>was barren of all clemencies. </i></div><div style="text-align: center;"><i>Another glorious day in God's country."</i></div><div style="text-align: right;"><i>-A</i><span style="text-align: left;"><i>nonymous</i></span><i> </i></div><div style="text-align: center;"><br /></div><div><span> Much like many European cities, Helsinki is a modern capital founded atop the ashes of war, great fires and the bones of over a thousand victims of the Black Death during the plague of 1710 that decimated some two-thirds of the then population. Today the world finds itself weathering its own modern plague and putting life into an eerie parallel. Finnish death-grinders, <b>Fading Trail</b>, have taken it upon themselves to channel those themes of pestilence, death, abhorrence and ruination into their new debut full-length, <i>Count The Days;</i><b> </b>set to be released on <b>EveryDayHate Records</b> this November.</span></div><div><span><br /></span></div><div><span> In 2019, <b>Fading Trail</b> released a criminally overlooked, absolute scorcher of a demo EP on cassette via <b>Bloody Scythe Records</b>, entitled <i>Ground</i>. The cassette tape consisted of seven minutes of the tried and true Nordic grind traditions: overly ferocious vocals, drilling lead guitars and pummeling fast drum work. A majority of the tracks on that release hovered around the one minute mark and were straight up blasting death-grind lightning; save for the last track, <i>"Chorus Of Vultures." </i>That lengthier song, making up some forty percent of the demo's entirety, had the band slowing things down for a minute and a half outro that incorporated doom drenched riffs as well as the fledglings of experimentation with noise. And it's that song that <b>Fading Trail</b> seems to have extrapolated on when writing <i>Count The Days.</i> </span></div><div><span> In <i>Count The Days</i>, <b>Fading Trail's </b>evolution sees not only a healthier internalization of the harsh noise, but also displays more shades of black metal. The chimera of grindcore, death metal, black metal and noise is a trending concoction that seems to be the budding face of grindcore modernity. Think <b>Full Of Hell</b> meets <b>Rotten Sound.</b> But as <b>Full Of Hell's</b> sound seems to have become bogged down in genre bending mystic incantations and ritual experimentation, <b>Fading Trail </b>have opted for violent malevolence. If there has been some kind of extreme metal magic manifested gateway opened, then <b>Fading Trail</b> is the beast that clawed its way out of it. </span></div> <i>Count The Days</i> has doubled down on everything the band established in <i>Ground</i>. The vocals have intensified from an even-keeled, throaty scraping to now<i> </i>paint peeling shrieks and howls. Lyrically, a little more intelligible than before, the vocals sound more controlled and are wielded with tactics of precision and command as opposed to just the strumming of another instrument. Definitely a mark of the band's more metal leanings this time around. There's an air of ferality, yet a possession of some sinister awareness. <div><span> </span>Like the vocals, the guitar work evolved into a more formidable force. The riffing is noticeably sped up and has chords changing and shifting as soon as they land. Layer these with the breakneck speed of the blast beat drumming and it's an absolute melee. We hear more depth in tonality and technique from the guitars. The needling, black metal tremolo leads that were the bulk of <i>Ground </i>are still present and are finely sharpened. We're also witness to some of the crunchiest palm muted riffing and trudging distorted doom knells that you're not likely to hear on just any grindcore record. But the most obvious addition to <i>Count The Days </i>are the searingly fast, micro-short guitar solos that appear as if from nowhere. These sudden boiling scales flash up with an intensity that would have <b>Eddie Van Halen</b> spontaneously combust in his grave. </div><div><span> </span>The bass is widely utilized in fast asides that snap open and closed in tandem with the guitars to redirect songs from tempo to tempo. Its mean and distorted growls of negative shine can be heard throughout the album with both boom and bite. Not too dissimilar, the drumming is present in impact and weight. The crack of the snare resounds in the protracted metal segments as it does in the unbridled sections of blasting. You can feel the footfalls of the kick drum as well as hear the mechanical contact. </div><div><div><span> The biggest </span>accomplishment I can give to this release is the songwriting itself. <b>Fading Trail </b>knows exactly what they're doing. The hybridisation of so many elements is done flawlessly. The band never over stays their welcome at any point in the structure. Headbanging, mid-tempo trots are used effectively without dragging down the songs. Same with the doom. Same with the intricately haunting moments of guitar that trickle in from time to time. Same with the newly added harsh noise that eventually crescendos the album with transcendent hideous sprawl. But the mainstay principals of grindcore are always priority. Holding back the guitars as they edge to an almost melodic turn, only to instead, hastily draw in the reins and unleash an onslaught of savage movement. </div><div><span><span> </span>Not mincing words, this album sounds so fucking good. <i>Count The Days</i> rides the fine line between death/black metal and grindcore in a way that pays respects to all genres involved. Each instrument is present and accounted for and given their time in the sun. I was pleasantly surprise to find that <b>Rotten Sound's</b> own <b>Keijo Niinimaa</b> mastered this album </span>at Chaotic Doom Cave Studios in Finland. Adding more clarity to the above mentioned comparisons and collations. The results being a crisp, gloom-torn assault of death-grind devastation. If you're not blowing out your speakers while listening to this, then I don't know what the fuck you're doing. </div><div><i><br /></i></div><div><i>Count The Days </i>set to be released on November 18th, 2021 on <b>EveryDayHate Records.</b></div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjB72-ijaD-WDWleFWw6AxzJIgNfpKsDfLb13biLHT6aJ77kM-I33TmJXVqeQMWoK73sdTrq94O1UuM58dnHA04fmuG2BEiNY9b_o3pYHGIXJGD8ngk6HQYyk-GeNQg9Rrb9hqLy5QGb5uTH35Zc5KOQqaDxUrLGh4-KHLurxXEjSopkvZ2F6L9yDlksw=s768" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="768" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEjB72-ijaD-WDWleFWw6AxzJIgNfpKsDfLb13biLHT6aJ77kM-I33TmJXVqeQMWoK73sdTrq94O1UuM58dnHA04fmuG2BEiNY9b_o3pYHGIXJGD8ngk6HQYyk-GeNQg9Rrb9hqLy5QGb5uTH35Zc5KOQqaDxUrLGh4-KHLurxXEjSopkvZ2F6L9yDlksw=w200-h200" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"></td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"><div><p style="text-align: left;">FFO: <b>Full Of Hell, Bain De Sang, Saintbreaker, Rotten Sound, WVRM</b></p><div style="text-align: left;">Listen and/or buy:</div></div><div style="text-align: left;"><a href="https://everydayhate.bandcamp.com/album/count-the-days">https://everydayhate.bandcamp.com/album/count-the-days</a><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>[Originally posted on October 12, 2021, Return to the House of Grindcore]</i></div><div style="text-align: left;"><br /></div><div style="text-align: left;">For more reviews follow Return to</div><div style="text-align: left;">the House of Grindcore: <a href="https://returntothehouseofgrindcore.blogspot.com/">https://returntothehouseofgrindcore.blogspot.com</a></div><div><br style="text-align: left;" /></div></div><div class="separator" style="clear: both; text-align: center;"><br /></div>Return to the House of Grindcorehttp://www.blogger.com/profile/05677205597965126917noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-44046894709736166592021-08-18T01:07:00.004+02:002021-10-30T03:38:30.039+02:00Noisy Neighbor (Texas, USA) Self-titled EP (2018)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjF4rJu_jsQK_wZPWwuWQXIYUG4yWgaL2mqk8LbZe8aRpanrkK_d_FC0STEXa2JENNFNfA0Vy6FKNTv-fkTHbVzxvp1d17PWM5W2N2PZ0N78yl2rhe3cow4vQlEVlJFlBNcW7ok-xTzYU2MwPXP2IFbPk9HGNQPGMX3ZQLVzTJXr-owpJBWKq9a_AhZ=s700" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjF4rJu_jsQK_wZPWwuWQXIYUG4yWgaL2mqk8LbZe8aRpanrkK_d_FC0STEXa2JENNFNfA0Vy6FKNTv-fkTHbVzxvp1d17PWM5W2N2PZ0N78yl2rhe3cow4vQlEVlJFlBNcW7ok-xTzYU2MwPXP2IFbPk9HGNQPGMX3ZQLVzTJXr-owpJBWKq9a_AhZ=s320" width="320" /></a></div><br /> <p></p><div style="text-align: center;"><u><i>Covet Thy Neighbor's Noise</i></u></div><div style="text-align: center;"><u><i><br /></i></u></div><div style="text-align: center;"><u><i><br /></i></u></div><div style="text-align: left;"><div class="separator" style="clear: both;"><span> </span>After my divorce my first apartment was a one bedroom on the ground floor. The apartment itself wasn't bad. It was newly renovated and spacious for the price. My first full day there was raddled by a gentleman hammering in the apartment above me. Hammering something. Constantly. This continued most weekdays. On the weekends his wife did what I could only audibly deduce as step aerobics. At 6 AM. Without fail. Every Saturday and Sunday. It wasn't that bad in the grand scheme of things, but fuck lady. </div><div class="separator" style="clear: both;"><span> </span>Now imagine you've recently moved into an affordable duplex and you find that on the other side of a shared wall your neighbors were crack cocaine enthusiasts with a penchant for ruckus. A gaggle of crack heads toiling away in a pit of squalor reside next door to you. Banging, shouting, fighting, the repetitious thumping of loud music. Activities that seem to have no purpose other than to promote an all too particular brand of racket at the most inopportune times of night. The illicit goings-on that are routine right outside your door. That visceral yelling that comes with violent addiction. Horrible, yes. And we haven't even gotten to the dude that shits in the bucket in the basement.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><span> </span>Birthed from this urban annoyance is one of the best grindcore bands that South Texas has to offer. San Antonio's <b>Noisy Neighbors</b>, formed in early 2018, have quickly made a name for themselves across the Lone Star State. Their self-titled E.P. is pretty much what I'd consider a perfect grindcore record. It's unrelenting and full of blast beats. Officially/unofficially, this is the best release of 2018 and here's why:</div><div class="separator" style="clear: both;"><span> </span>Opening track "<i>Caffeinated Demise</i>" starts the E.P. off with a heads up in the form of a Shao Kahn sound clip that sets the mood perfectly. From start to finish <b>Noisy Neighbors </b>are throwing minute to a minute and half start/stop grind combos. </div><div class="separator" style="clear: both;"><span> </span>Immediately what grabs my attention is the drumming; both in talent and tone. <b>John Katastrofe </b>(the crack head neighbors were his neighbors)<b> </b>is at the top of his class as far as grindcore drummers. Fast and relentless blasts are overflowing from this EP. What we have here is quintessential modern grind drumming made popular by the likes of <b>Bryan Fajardo </b>and <b>Dave Witte</b>. What really drives <b>John's </b>drumming home is the mix. The drums are at the forefront of the entirety of the EP. They sit just on top of the rest of the music. The snare is bright, the cymbals are crisp, the bell is blazing and it's all right there and nonstop. The drums sound industrial. Not like <b>Ministry/NIN "</b>Industrial" but like factory machinery industrial. Like if somebody taught a WWII 50-Cal machine gun to play <b>Maruta </b>drum covers.</div><div class="separator" style="clear: both;"><b><span> </span>Shane Elwell </b>carries the rest of the band on this recording, playing both guitar and bass as well as doing a majority of the vocals. If the drums are the bright and shiny of the band, the guitar and deep vocals are the grimey. But in the best way. <b>Elwell </b>brings a nice tidal wave of noise and dirt that <b>John </b>can surf through as the noisy squall bears down on the coast. They both pair well and, in tandem, create a very driving sound. The song writing doesn't vary much (mostly because it doesn't need to) aside from EP closer "<i>Perilous Demise</i>" which is the only song to break the two minute mark and infuse the smallest bit of melody while some how doubling down on the blast beats. </div><div class="separator" style="clear: both;"><span style="font-weight: bold;"> </span><i>Noisy Neighbors</i><b> </b>was recorded, mixed and mastered at <b>Beer Break Studios </b>and I love the choices made in the mastering of this release. It makes me really interested in future projects engineered by the studio. They obviously understood the sound that was needed here. I was talking to <b>John </b>after a show recently about this very subject. He and the band were very pleased with the sound of the record and the fact that I had such high praise about the drums in specific. Trying to squash any doubts he might have had, I said something to the effect of "If you don't like the way this is mixed, you don't like grindcore." And I'm extremely adamant about that. If you don't like this, you don't like grindcore.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">FFO: <b>Insect Warfare</b>, <b>Kill The Client</b>, <b>PLF</b></div><div><b><br /></b></div><div>Listen and/or buy: <a href="https://noisyneighborstx.bandcamp.com/album/s-t">https://noisyneighborstx.bandcamp.com</a></div><div><br /></div><div><i>[Originally posted on June, 08 2021, Return to the House of Grindcore]</i></div><div><b><br /></b></div><div><div class="separator" style="clear: both;"><span style="background-color: white; font-family: Arvo; font-size: 17.6px;"><span style="font-size: 17.6px;">For more reviews, follow Return to</span><span style="color: #656565; font-size: 17.6px;"> </span></span></div><div class="separator" style="clear: both;"><span style="background-color: white; font-family: Arvo; font-size: 17.6px;"><span style="font-size: 17.6px;">the House of Grindcore: <a href="https://returntothehouseofgrindcore.blogspot.com/">https://returntothehouseofgrindcore.blogspot.com</a></span></span></div></div></div>Return to the House of Grindcorehttp://www.blogger.com/profile/05677205597965126917noreply@blogger.com0tag:blogger.com,1999:blog-1115855963624513833.post-5940750730743589762021-07-22T07:01:00.005+02:002021-07-22T16:50:56.504+02:00Negative Bias (USA) - Speedcore Summer! (2021)<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVoTzz27NtRUnXORs_Q9LucoCbSb0jZ7vppiiLYdHespR_Kb6iORLIvTaHxK1EZ_EobPS51eYSyj667K0NM2qaN34V8KfVAvulsNbNFgDZ4N1vIRM1xMgj6_DxZ9kLMraDVJb_Ixuc3KY/s1500/cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVoTzz27NtRUnXORs_Q9LucoCbSb0jZ7vppiiLYdHespR_Kb6iORLIvTaHxK1EZ_EobPS51eYSyj667K0NM2qaN34V8KfVAvulsNbNFgDZ4N1vIRM1xMgj6_DxZ9kLMraDVJb_Ixuc3KY/s320/cover.jpg" /></a></div><div style="text-align: left;"><p id="docs-internal-guid-e9567171-7fff-f0a2-0178-1aea025f7587" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The idea of "fun" extreme music can be a contentious topic. It brings to mind years of parodic side projects and experimental fusion bands, or themed bands like <a href="https://www.discogs.com/artist/316217-Crom-2">Crom</a> and <a href="https://www.discogs.com/artist/1519230-Attack-Of-The-Mad-Axeman">Attack of the Mad Axeman</a>. But Negative Bias, a North Carolina trio composed of members of Priapus and Pizzahifive, may have cracked the formula with this sunny, speedy debut release.</span></span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The band deals in trebly, lightspeed punk heavily influenced by fastcore and thrashing hardcore. This album was recorded live in the studio, and that energy is what propels the release. The snarling midrange lead vocals and the backups crackle with life, and the drumming is snappy and focused.</span></span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Opener "Lil Goofer" sets the pace as a flailing, excitable 16-second rager. </span>"Poolside at the Hotel Cecil" is a riffy thrasher with dueling lead and backup vocals. The title track (second longest on the album) builds churning, fist-pumping momentum until exploding in a burst of speed at the halfway point. </span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><br /><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">No track on </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Speedcore Summer! </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">even hits the 45 second mark. The mission here seems to be to have fun, play fast and get the hell out. And honestly: mission accomplished.</span></span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">This music recalls the sweat and fun of live music and hanging out with friends. It's an old punk tape on a car trip, or a backyard barbecue that's also a house show. It's there, it's gone, it leaves you with a smile on your face.</span></span></p><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><i><b>Speedcore Summer! </b>is available digitally via Negative Bias' <a href="https://negativebias.bandcamp.com/releases?fbclid=IwAR0pEofUjg2DQagQo0of1gVenG0nlb0esdM1w45biqTmoh_y094iLqizhW4">Bandcamp</a> as a free/pay-what-you-want download.</i></span><br /></span></p></div><div style="text-align: left;"><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"></span></p><br /></div>DesiccatedVeinshttp://www.blogger.com/profile/16783531567772825094noreply@blogger.com0