Christian Mistress – Possession

•January 24, 2012 • Leave a Comment

Christian Mistress’s debut “Agony & Opium” was one of my favorite releases from 2010 and that album was played a lot throughout the last year or so. It was an excellent piece of retro fueled metal and it’s follow up has been highly anticipated.  The promo recently came across my desk and after listening to it several times, I have to admit it’s probably better than their debut. It has a similar sound to its predecessor, but there are a few things I noticed that set it apart.

The first thing I noticed was that while that classic sound with a rough edge is still there, the album has a crisper, louder overall sound. The next thing I noticed was that the bands musical chops have improved. Their musicianship was obvious on “Agony & Opium” but here, they sound tighter, more developed and the songwriting is more dynamic. As with their debut, it’s the voice of singer Christine Davis that really brings the album to another level but even that has improved.  She seems much more comfortable here and her vocals blend with the music, almost as if it were another instrument.

This is by far, one of the better releases I’ve heard in a while. My taste in metal tends to lean towards Black Metal these days, but an album like this reminds just what traditional metal has to offer.

Panopticon – Social Disservices

•January 24, 2012 • Leave a Comment

My wife works in the assistance department of San Bernardino County and it’s interesting to hear her talk about the services they provide as well as the people that come in for help. Now, I’ve always supported programs that help those in need and I believe it’s in the countries best interest to help those that are in need, however, it’s painfully obvious that these social programs are not managed in a way that would truly help people improve their lives, instead, they simply help people get by and in the long run, they are actually a disservice because these people fail to learn how to support themselves and it ends up becoming a perpetual cycle where generation after generation remain in poverty. I truly believe that a country is only as strong as its weakest members and thus, we need to help those in need, but we also need to provide education and incentives to encourage self reliance.

While I’m not familiar with the Social Services programs that are suppose to help children with physiological and abuse issues, I’m familiar enough with government programs to know that they probably don’t work. Austin Lunn, the mastermind behindKentucky’s premier black metal band, Panopticon obviously is very familiar with these programs and their vast failures, so much so that he dedicated his latest release, “Social Disservices,” to the issue. Being a black metal release, you can’t really understand the lyrics, but it’s still obvious based on the titles, the ambient sounds that bridge the songs, and the sheer emotional power behind them that this is a subject Austin is passionate about.

The album includes a lyrics sheet, as well as an essay regarding the failures of children’s social services, as well as discussing his involvement and provides a little hope.  The album plays out similarly. It’s a long and darkly emotional road, one that takes many difficult twists and turns but by the end, there is a feeling of hope at the end of a long dark tunnel.

I know I might say this about a lot of albums, but “Social Disservices,” is a beautiful record.  The album is harsh, distorted and full of demented, tortured vocals, yet, the varied instrumentation found throughout, particularly the strings, and the occasional angelic back-ground vocals combine to create something that is heart wrenching and full  of rage, but full of beauty as well. The music is heavily rooted in Black Metal, but it full of so many other elements, such as doom, post-rock and folk. There is a lot of instrumentation here, particularly for a one-man band and it’s all recorded perfectly.  The drums have a very lush, organic sound to them, especially in the last few minutes of closing track “Patient.” This album, to me, is a prime example of the limitless potential of Black Metal. Often times the genre gets stuck in the basics, but when a band incorporates all of its influences, Black Metal can be the most powerful of all genres.

This album came out a few months back but unfortunately, I didn’t get a chance to hear it until just recently.  Had I listened to it sooner, it would have secured a high spot on my Best of 2011 list; it would have been a strong contender for the top spot. Austinhas a new Panopticon album already done and being mastered called “Kentucky” that I am really excited about.  It’s supposed to be a tribute to his home state and is heavily infused withBluegrass. If it’s anywhere close to “Social Disservices” it’s sure to be on my Best of 2012 list.

Earth – Angels of Darkness, Demons of Light II

•January 16, 2012 • Leave a Comment

Like most extremes genres of music, Drone does take a commitment and it’s not meant for the casual fan, but for those of willing to take the journey, the rewards are there.  Personally, it took me awhile to really embrace drone., sure, I could appreciate the musicianship of bands like Earth and Sunn 0))), but I just wasn’t willing or ready to sit back and let such slow paced music flow through my headphones, I always wanted something heavier and faster. But thankfully, due in large part to “Monoliths & Dimensions“ by Sunn 0))), I finally invested the time listen and I’m better for it.  This music, when done right, has the power to open your mind and evoke an emotional response and Earth is a band that knows how to do it right.

Having virtually creating the Drone genre, in the early ‘90s, Earth has been one of the most prominent Drone bands around. Their early work was heavy and full of distortion. However, after returning from a 9 year hiatus with 2005’s “Hex or Printing in the Infernal Method” the band has sharply moved away from the feedback drenched drone of earlier albums such as “Earth 2” and the music has taken a moreAmericanainfluenced turn. This is still drone but with a softer, more emotional quality to it.

It was on last years “Angels of Darkness, Demons of Light I” that Earth finally hit their stride in this new direction.  It is a masterpiece and one of my favorite albums of 2011. The album was in my top ten, but looking back at the list, it easily could have been in the top five. 

Continuing where they left off, Earth returns with their much anticipated follow up, “Angels of Darkness, Demons of Light II.”  Part I was a powerful and emotional record and much of what made the record work is back on Part II, which makes sense considering both albums were recording during the same sessions.  Part I was full of thatAmericanainfused drone, but towards the end, the improvisational side of the band started to emerge and this record continues in that vein.

The songs are stark and are allowed a lot of room to breath. As usual, the drums are sparse and move at a glacial tempo. The cello is present throughout every song and it really gives the songs more depth, particularly on “Waltz (A Multiplicity of Doors)”. The bass is simple, but it provides a solid foundation for each song. The guitars have that Southern tinge to them and at times, feel very bluesy.

The music has a very emotional aspect to it and as I’ve listened over and over again for the last week, I’ve found that my mind drifts away into an almost meditative state.  The music is very relaxing and hypnotic but never boring.

PELICAN Announce New EP

•January 11, 2012 • Leave a Comment

Thunderous  post-instrumental outfit PELICAN  have announced the long awaited follow-up to their sprawling 2009 full length What We All Come To Need, a new four  song EP Ataraxia/Taraxis to be  released via Southern Lord on April 10. With members now residing in separate  cities, the EP represents a new chapter in the band’s evolution with a  reenergized focus on composition and the utilization of the recording studio as  a creative tool in the songwriting process, yielding one of the most diverse  efforts in the band’s prolific discography.

The four new songs  highlight the manifold sonic strengths of the band by delving into moments of  triumphant melodic rock, smokey doom, ambient soundscape, acoustic desert-folk,  and minimalist electronics. In contrast to the EP’s origin as the product of  four different recording studios, including stints with engineers Sanford Parker  (Twilight, Circle of Animals, Nachtmystium) and Aaron Harris (ISIS), the  carefully crafted track listing boasts a cohesive narrative flow, lending the  release an epic feel worthy of a full album.

Ataraxia/Taraxis Track  Listing:

1.  Ataraxia

2.  Lathe Biosas

3.  Parasite Colony

4.  Taraxis

PELICAN is supporting the  release with a two-week run of dates in Europe and the UK, including coveted  spots at Roadburn and Dunk! Festivals.

PELICAN Upcoming Tour  Dates:

4/06/2012  Dunk! Festival  – Zottegem,  BE

4/07/2012  The Garage – London, UK w/  Chelsea Wolfe

4/08/2012 Vudu  Club – Birmingham, UK w/ Chelsea  Wolfe

4/09/2012  Brudenell Social Club – Leeds, UK

4/10/2012  Stereo – Glasgow, UK

4/11/2012  The Ruby Lounge – Manchester, UK

4/12/2012  The Haunt – Brighton, UK

4/13/2012  The Cooler – Bristol, UK

4/14/2012  Roadburn Festival – Tilburg, Netherlands

4/15/2012  La Maronquinerie – Paris, France

4/16/2012  Jubez – Karlsruhe, Germany w/ Tombs

4/17/2012  Bad Bonn – Dudingen, Switzerland

4/18/2012  Magnolia – Milan, Italy

4/19/2012  Feierwerk – Munich, Germany w/ Tombs

4/20/2012  Cassiopeia – Berlin, Germany w/ Tombs

4/21/2012  Nosturi – Helsinki, Finland

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Earth – Angels of Darkness, Demons of Light II

•January 10, 2012 • Leave a Comment

Just got the promo to “Angels of Darkness, Demons of Light II”, the upcoming new album by Earth and have been listening to it all morning…man what a beautiful record…I’ll have a actual review up soon.

Poison Idea – Darby Crash Rides Again – The Early Years

•January 9, 2012 • Leave a Comment

I only got into punk and hardcore within the last 8 years or so, which means I missed out on a lot of the classics.  However, I do get to discover  these “new” bands all the time and it’s refreshing to find out about some of the highly influential groups that have existed over the years.  

Poison Idea is one of those bands and until now, I had never listened to them. Our friends over there at Southern Lord, one of the best labels in extreme music these days, recently announced that they will be re-releasing several seminal titles from Poison Idea’s catalog throughout 2012.

January 31st brings us the first of the series, “Darby Crash Rides Again – The Early Years.” The album consist of 29 tracks, including the previously unreleased “Boner’s Kitchen” demo, the complete “Darby Crash Rides Again” demo, the complete uncut live-on-the-air set from the 1983 KBOO radio benefit, and outtakes from the “Record Collectors Are Pretentious Assholes” recording session.

Much of this material has either been out-of-print or never before officially released! All the recordings have been meticulously restored and mastered by Jack Control at Enormous Door Mastering. The booklet contains liner notes, old flyers and previously unpublished photos from the band’s beginnings.

As I said, this was my first listen and initially I was a little deterred by the poor quality, but these tracks are taken from 30 year old demos, so I quickly got over that and was really impressed.  The music isn’t technically proficient, but they have a defined sound that meshes punk and early hardcore, it’s easy to see why these guys have been influential. I’m really looking forward to hearing all of these re-issues over the year.

Nails & Skin Like Iron – Split EP

•January 3, 2012 • Leave a Comment

Nails’ “Unsilent Death” was one of my favorite hardcore albums from 2010 and I’ve been waiting patiently for their follow up. With that full length due sometime in the first half on 2012 on Southern Lord, this self-released split 7” with San Francisco’s’ Skin Like Nails is a nice little piece of wax to pass the time with.

The first two tracks are excellent examples of more modern hardcore from Skin Like Nails.  Both tracks are melodic and energetic, fierce but not brutal. If you’re not familiar with this hard working band, this is a good introduction.

Personally, I prefer my Hardcore with a little more bite to it, so it’s the two tracks from Nails that I’m interested in and they don’t disappoint. Nails always bring a relentless barrage of hate-filled fury and this is brutal Hardcore at its best. “Annihilation” at 2:51 is a bit long for a Nails song, but over its duration, the band tackles all aspects of their influences from Punk, Grind to Hardcore and even a little Sludge. At just 24 seconds, closing track “Cry Wolf” is one of the most brutal half-minutes on record. You can call this stuff Crusty, Violent, Devastating, Brutal, Furious, Face-Pummeling or any one of those catchy Hardcore Buzz-words,  but most of all it’s simply  mesmerizing and it makes me long for their next full length!.

Brother Ali – Writer’s Block

•January 3, 2012 • Leave a Comment

My first post of the New Year and it’s a good one! 

A brand New Year and a brand new Brother Ali track….a great way to start out the year. Not sure if this means a new album is on the horizon but I’ll take whatever I can get from the one of the best MC’s in the game. This time he comes at with a track produced by Jake One.  Personally, I haven’t been a big fan of Jake’s work in the past and I really love the way Ali sounds over beats by Ant, but I have to say this track works.

Here’s the Youtube video:

Check out Ali’s Facebook for a download.

2011 in review

•December 31, 2011 • Leave a Comment

The WordPress.com stats helper monkeys prepared a 2011 annual report for this blog.

Here’s an excerpt:

A New York City subway train holds 1,200 people. This blog was viewed about 5,500 times in 2011. If it were a NYC subway train, it would take about 5 trips to carry that many people.

Click here to see the complete report.

2011 Wrap Up

•December 29, 2011 • Leave a Comment

I posted my best of list a few weeks ago and meant to go back and expand on some of the selections, but with the holidays and a debilitating pinched nerve in my back, I just never got around to it. However, before the New Year rolls around, I wanted to make a few comments.

As I look at my list, I’m pretty satisfied with it. SubRosa is still my favorite album, but I did leave off Weedeater and With Mountain, both of which deserve to be in the Top Twenty. Also, I think So Hideous My Love should probably have been higher. Their album “To Clasp A Fallen Wish with Broken Fingers” was released on vinyl earlier in the year and was recently issued on CD.  This is truly a beautiful record, its mix of harsh, post-rock infused black metal, hardcore and classical makes for a powerful listen.

2012 looks like it could be a good year.  In the first quarter, we’ll see new release3s form Lamb of God, Earth, Pallbearer, Orange Goblin, Christian Mistress, Corrosion of Conformity and Saint Vitus. Ancestors have their new one scheduled for an April release and Volto has been recording.  But really, all I need is a new Tool record to make my year, so hopefully their new one will see the light of day in 2012.

As for SilasLikesMusic, I’ve some new plans and a new project in the works that will hopefully come to fruition in the early part of the year. In addition, Obscene is making some moves that could prove to be very beneficial. So 2012 could be a great year.

So have a happy and safe New Year, I’ll see you in 2012.

Best of 2011

•December 7, 2011 • Leave a Comment

Not that anyone really cares about what I think, but here is a list of my favorite albums of 2011.  

I’ve probably listened to more than 300 hundred new records this year and for most of them, I gave a quick listen and filed them away, but there where sixty-six records that’s actually kept me coming back.  My criterion for this list is fairly simple: Did the album keep me coming back. Based on that, I then looked at which albums kept me coming back more than the others.  As for my top pick, it’s the album that was consistently on my play list from the time it was released, the album that I always kept going back to.

#66 – Miles Davis Quintet – Live inEurope1967- Best of the Bootleg, Vol. 1

#65 – Amebix – Sonic Mass

#64 – Ambrose Akinmusire – When the Heart Emerges Glistening

#63 – Altar of Plagues – Mammal

#62 – All Pigs Must Die – God Is War

#61 – Across Tundras – Sage

#60 – Admiral Browning -BattleStations

#59 – Archgoat – Heavenly Vulva (Christ’s Last Rites)

#58 – Grieves – Together-Apart

#57 – Disma – Towards The  Megalith

#56 – USX – The Valley Path

#55 – Premonition 13 – Premonition 13

#54 – Rêx Mündi – IHVH

#53 – The Atlas Moth -  An Ache for the Distance

#52 – Avichi – The Devil’s Fractal

#51 – NunFuckRitual – In Bondage To The Serpent

#50 – Blood Ceremony – Living With the Ancients

#49 – Shabazz Palaces – Black Up

#48 – Hail Mary Mallon – Are You Gonna Eat That

#47 – Echtra – Paragate

#46 – False – Untitled

#45 – Heartless – Hell Is Other People

#44 -WitchMountain- South ofSalem

#43 – Russian Circles – Empros

#42 – Rue – Thorns

#41 – Mournful Congregation – The Book Of Kings

#40 -Moab- Ab Ovo

#39 – YOB – Atma

#38 – Bosse-de-Nage – II

#37 – Lindi Ortega – Little Red Boots

#36 – Brotherhood of Sleep – Dark As Light

#35 – Primus – Green Naugahyde

#34 – Starlicker – Double Demon

#33 – Atriarch – Forever the End

#32 – Ash Borer – Ash Borer

#31 – Serpentcult – Raised By Wolves

#30 – BassDrumBone – The Other Parade

#29 – Astronautalis – This is Our Science

#28 – Sonny Rollins – Road Shows, Vol. 2

#27 – Dead in the Dirt – Fear

#26 – True Widow – As High As The Highest Heavens…

#25 – The Body & Braveyoung – Nothing Passes

#24 – Caïna – Hands That Pluck + Old Songs New Chords EP

#23 – Giant Squid – Cenotes

#22 – Slim Cessna’s Auto Club – Unentitled

#21 – Scroobius Pip – Distraction Pieces

#20 – Wolves in the Throne Room – Celestial Lineage

#19 – So Hideous, My Love – To Clasp A Fallen Wish with Broken Fingers

#18 – Infestus – ExIst

#17 – Mastodon – The Hunter

#16 – Batillus – Furnace

#15 – Grayceon – All We Destroy

#14 – Blut Aus Nord – 777 – Sect(s) & 777 – The Desanctification

#13 – Dark Castle – Surrender To All Life Beyond Form

#12 – Junius – Reports from the Threshold of Death

#11 – Morne – Asylum

#10 – Burzum – Fallen

#09 – Leviathan – True Traitor, True Whore

#08 – Wolvhammer – The Obsidian Plains

#07 – Earth – Angels Of Darkness, Demons Of Light 1

#06 – People Under the Stairs – Highlighter

#05 – Opeth – Heritage

#04 – Loss – Despond

#03 – Freddie Hubbard – Pinnacle- Live & Unreleased from Keystone Korner

#02 – Cormorant – Dwelling

#01 – Subrosa – No Help for the Mighty One

Feersum Ennjin Record Release Party

•November 18, 2011 • Leave a Comment

Last night, Mike and I went down to Silverlake for the Feersum Ennjin record release party.  Feersum Ennjin is the new project by Paul D’Amour, the original bassist for a little band by the name of Tool. It was held at a little bar on Glendale called the Cha Cha Tavern.

As we were in Silverlake, we had to first head over to Leela Thai, my favorite Thai restaurant.  I really love this place, great food and you can bring your own beer.  So we had some Heavenly Chicken and Egg Fried Rice and washed it down with a few bottles of Stella.  Good times.  If you’re ever in Silverlake, do yourself a favor and hit up Leela Thai.

Next we went up to Cha Cha’s.  We were a little early, so we ran into Rockaway Records, a great little used/collectable Record store.  Nice spot, I’ll be going back down there when I have a little extra money.

Around seven, we rolled into Cha Cha’s and quickly got a glass of Stella. We got the chance to talk to Paul and his wife.  Really cool people, very down to earth.  We also met a few of their friends, one is from Process Media. We talked with her about a recent book they published called “Go Ask Ogre.” The book is made up of letters written by the author to Ogre from the band Skinny Puppy.  It sounds like a really good book.  They also recently released a documentary called “The Source: A Documentary” about Father Yod, the Source Family and Ya Ho Wha 13. Another of their friends wrote the script for the Lamb of God video “Ruin,” which is my favorite video by them.

Later, Danny Carey, otherwise know as the greatest drummer in world, showed up.  He played drums on a song from the Feersum Ennjin album.  As some may remember, we’ve ran into Danny a few times over the last year, but this time, Paul’s wife made a point of introducing us to him.  Really cool!

So it was a really good night in Silverlake.  It was an honor just to be invited to the party and the fact everyone was so friendly and welcoming just made it that much better.  The Feersum Ennjin record is really good and I recommend you go pick it up as soon as it gets released next week.

Sonny Rollins – Road Shows Vol II

•November 9, 2011 • Leave a Comment

Sonny Rollins is a musical genius, I still remember the first time I heard “Freedom Suite,” I was blown away, it is such a powerful and beautiful record; and it was an excellent introduction to one of the greatest jazz musicians of all time.  His body of work is as extensive as it is amazing and influential.  What’s even more impressive is that at 81yrs old, he is still out there playing and is arguably the best saxophonist alive.

In 2010, to celebrate his 80th birthday, he staged a concert at Carnegie Hall

The event featured a who’s who of jazz musicians, including Bassist Christian McBride, drummer Roy Haynes, trumpeter Roy Hargrove and guitarist Jim Hall, along with his band: guitarist Russell Malone, bassist Bob Cranshaw, drummer Kobie Watkins, and percussionist Sammy Figueroa.  The highlight however, was the first onstage meeting of Rollins and jazz legend Ornette Coleman. Although longtime friends, they had never shared the stage. 

Luckily, these performances were captured and are now presented in Volume II of his “Road Shows” series.  Featuring four tracks from the Carnegie Hall show and two tracks recorded a few months later inJapan, this is a spectacular performance.

At 80plus years, Sonny is at the top of his game and hopefully we’ll hear some new compositions from him soon.

Techno – Circa ’92

•November 8, 2011 • 1 Comment

There was period in early 1992 that I really got into to Techno. At the time I was under the delusion that I was a DJ and I had a close friend who DJ’d with his brother. Together we did a few back-yard parties and a couple of small raves. It was a fun time.  I was a hip-hop head and it was a different scene and some of my friends use to mess with me about it, particularly because the rave scene was full of day-glo and had a hippyish vibe to it.

In reality, I’ve always felt that techno was a natural progression of hip-hop.  The production style is the same, drum machines, break beats and samples are the foundation for both and many of the drum loops used in techno are simple classic break beats speed up. But much like Miami Bass and so-called hip-house, Techno was shunned by the hip-hop purists.

I wasn’t heavily into techno for a long time, maybe around nine months and I moved on, but I’ve always maintained an affinity for the songs I listened to at the time.  Recently, I was going through my record collection and came across a stack of techno records. I went through and ripped them to MP3 and have been listening to them a lot over the last few weeks, it’s been bringing back some memories.  It’s funny, my 13 year old daughter who’s into scremo and punk actually likes most of the songs.

So in celebration of my rekindled love of classic techno, here are my top ten favorite songs from my record collection. 

Acen – Close Your Eyes (Metropolis Remix)
This was always one of my favorite techno songs.  With its Beatles, LL Cool J and Public Enemy samples, it exemplified the link between Hip-Hop and Techno at the time.

Cold Sensation – Control The Universe (Space Mix)
With the opening line “When the Sun Rises in the West, Our Time has Come”, this song was an instant hit with us.  I was really big into West Coast underground hip-hop and this fit my mindset.

De Euromaster – Amsterdam, Waar Lech Dat Dan
This was some classicRotterdamstyle techno, heavy and fast drum betas, full of distorted baselines and harsh electro. Rotterdamwas, to me, kind of like the punk version of techno, simpler but faster and cruder. I’ve always liked the simple harshness of this track, no real melody, just organized noise.

Electroset – How Does It Feel (Original Mix)
This is based on “Blue Monday” by New Order, one of my favorite songs from the ‘80s, this song was around for a while, but it seemed to take forever for us to find it on vinyl. I finally came across a bootleg that had another hard to find classic,  the “Hey Jude” sampling “Jude…On A Ragga Tip” as the B-side.

Messiah – There Is No Law
This is probably hands down, my favorite Techno track of all time.  It captures the chaotic nature of the music. Everything about this song was perfect to me.

The X Men – Return of a Simple Song
This song, while a classic, is a little cheesy.  Using the theme from the Tetris vide game, it was the epitome of techno at the time.  The musicians where trying to make memorable tracks by using the most outlandish samples.  This, along with the Smart E’s remix of theSesame Streettheme song, stand out the most in that sense.

Pleasure Game – Le Seigneur Des Tenebres
With is hallelujah choir sample and its Indiana Jones sample, this is my favorite of the slower tempo’s techno tracks.

Pro 1 Team – Pitbull
This is a classic and it was pretty creative. If I remember right, I first heard this song on a mix by DJ Barry Weaver. I was a fan of DJs like Doc Martin and Ron D Core, but I remember Barry Weaver always have some of the most interesting mixes.  Once I heard this song, I ran to a record store and found this, its just a white lanel with the titles written in pen on it.  Not cover, it just came in a paper slip.

RotterdamTermination Source – Poing
This is anotherRotterdamstyle song, but instead of just distortion, it uses the boing sound of a spring as its main rhythm. A little cheesy and very repetitive after a few seconds, but at a rave, it would always get the crowd moving.

Sequencial – Psychotronic (Long Demon Mix)
Probably my second favorite Techno song behind “There is no Law.” The baseline and the synth driven rhythm line was perfect. The “God of Hell-Fire” sample was always cool to me as well. The “Bells of Freedom” remix was cool with its bells and MLK sample.

So there you have it, some of the best Techno Circa 1992. I’ve listened to some of the more modern techno and other forms of electronica, but none of it seems to have the energy and sense of rawness that made these songs so good.  Much like Hip-Hop and Punk, it would seem to me that Techno’s best days are far behind it.

SO HIDEOUS, MY LOVE…

•November 8, 2011 • Leave a Comment

I really like this record, it’s got a great sound with its lush strings and horrific screams over a post-punk/black metal freak out….it’s only been available on vinyl, so now all you still stuck on Digital can now experience this record:

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
SO HIDEOUS, MY LOVE… License EP To China’s Pest Productions
 
Due to overwhelming demand, Play The Assassin has licensed the CD rights to SO HIDEOUS, MY LOVE…‘s epic To Clasp a Fallen Wish with Broken Fingers EP to the Chinese label, Pest Productions. The CD will be unleashed on November 25 with newly updated artwork. Play The Assassin will have CD copies available for sale at http://www.store.playtheassassin.com.
 
The band is currently writing their first full-length tentatively scheduled for release in May of 2012. In the meantime, SO HIDEOUS, MY LOVE… will be playing shows throughout the Winter in the Northeast. Stay tuned for dates and details.
 
…………………………………….
 
“The black metal flows seamlessly along the string instruments who carry timeless melodies. Amidst that fury is intense screaming and vocal attacks that speak through layers of darkness and emotion.” — Blow The Scene
 
“…this album kicks ass, and deserves all the attention its been getting for its individuality.” — Alternative Matter
 
“…when looking at an album with this much personal impact all I can really do is share my experience and hope you take the time to listen to this masterpiece and go on your own journey of fantasy and nightmare.” — We Love Metal
 
“This band is honestly pretty damn good. For a while I wouldn’t come near them because the name makes them sound like something that I just wouldn’t be into. Far from it, this is truly magical music.” — American Aftermath
 
“a unique blend of blackened hardcore with a touch of post-rock and classical flair, which makes for some truly cathartic music. Emotion pours out of every note as furious tremolo picking and string instruments paint somber bursts of melody under throaty and passionate screams and blasts. The band’s latest EP To Clasp A Fallen Wish With Broken Fingers is my personal introduction to the group, and it’s quite the first impression.” — Heavy Blog Is Heavy
 

People Under The Stairs – Highlighter

•November 4, 2011 • Leave a Comment

PUTS are one of those groups that have been around fro a while but I always kinda forget about.  Every one of their albums has been really good, but they just weren’t the memorable to me.  I don’t think it was their music, it’s always been more my mindset at the time.  Unfortunately, their records seem to come out at times when I’m not feeling hip-hop. But luckily, I’m in the mood for some good, quality hip-hop right now and I’m really feeling their new record “Highlighter.”

According to the press release, “Highlighter’s outside collaborators comprise a group of influential LA indie-rock producers, engineers and live players featuring everything from full string sections to vintage vibraphones & keyboards.” When I fist read that, I thought of Sage Francis’s last record “Li(f)e” which was produced by various indy rock musicians, so I expected something more in that vein. But “Highlighter” is far from it.  It’s really a Hip-Hop record in that classic vein.  Full of dope drum breaks, creative sampling and an overall groove that propels the album along with a funky vibe.

This is a really solid album and honestly, it just might be the Hip-Hop record of the year!

Archgoat – Heavenly Vulva (Christ’s Last Rites)

•November 4, 2011 • Leave a Comment

I know Metal, particularly Black Metal has always had a predominantly anti-religious, primarily anti-Christian, stance, but judging by the cover art and song titles, Archgoat take it to the extreme.  “Heavenly Vulva (Christ’s Last Rites)” is a crude, crusty low-fi deviant “onslaught on the blind, deluded fraud worshippers and knee-bending whoremongers who follow the path of the Liar!”

However, regardless of your religious beliefs, if you like heavy, old school black metal, you should be able to appreciate “Heavenly Vulva (Christ’s Last Rites).”  The riffs are heavy and the drums are pounding. The vocals are low, growling rants and even if you can’t understand a word they are saying, their hatred is obvious.

Defiled, invasive unsanctified Black/Death delivered in a corrupt, vile and demonic fashion, these anti-epiphanies embed themselves in the sacred flesh, spilling blood from the demised dog’s quivering body, funeral bells chiming as paradise is ransacked and the deceptive lie of centuries is exposed.” This quote from the press release pretty much sums up the new EP from Archgoat  So if you like your metal heavy, furious and full of blasphemy, this is for you.

Immortal Technique – The Martyr

•November 4, 2011 • Leave a Comment

Free Download

 

I typically don’t care much for a lot of that East Coast Hardcore Hip-Hop, most of the time it just seems forced and overall just sub par. However, I’ve always loved Immortal Technique. He falls into that hardcore style, but he never seems fake or forced, and more importantly, he always has something to say.

On his latest release, “The Martyr,” he continues to impress.  Over interesting and creative beats, he continues to drop knowledge. When so many rappers are bragging about their cars, going to jail for gun violations and drinking sizzurp or whatever it’s called, its refreshing to see an emcee follow in the  grand tradition of groups like ublic Enemy and BDP, especially these days when protests and other actions are a necessity.

While all of the songs are good, one track stands out.  “Civil War” features Chuck D, Killer Mike and Brother Ali.  It’s a great song and all the emcees show up.

This is the type of record that should be winning awards, but because it actually has a message and will force you to think, it will sadly be ignored by the masses. So go download it and burn for your friends!

Blut Aus Nord – 777 – The Desanctification

•November 4, 2011 • Leave a Comment

In music, particularly the more extreme genres of metal, there are bands that take beautiful music and make it harsh and than there are those bands that take music that is harsh and angry, and they make it beautiful. Blut Aus Nord falls into the later category.  They take this dark and heavy music and inject a sense of beauty that makes the music so much more powerful.

I first came across the band a few yeas back when they released “Mort.”  That’s an exceptional album and at the time, I was really just starting to explore metal and it was one of my earliest forays into Black Metal. It was a great place to start because it showed me that the music didn’t have to fall into a specific category and it really opened my eyes.  Since then, I always wait with anticipation for their next record.

This is the second release from the band in 2011 and the second part of their “777” trilogy.  The album starts where “777-Sect(s)” left off, but it quickly moves into new territory.  This may be a Black Metal album, but it is one that is heavily influenced by industrial, gothic, new wave, post-rock and various other elements. Mostly mid-to-lower tempos with few blast beats, the guitars are rarely in the forefront and the vocals are few and far between.

This is simply another incredible release from an amazing band and, along with the “777-Sect(s)”, it’s a strong contender for album of the year.

The Body & Braveyoung – Nothing Passes

•November 4, 2011 • Leave a Comment

I really like “The Waters of The Earth Turn to Blood,” the last album by the Rhode Island experimental doom band The Body.  I know that some people out there hated it and hate The Body, typically calling them a hipster band, but personally, I thought it was a refreshing take on doom metal and it’s an album I listen to on a regular basis.

The Body have toured with the Braveyoung, a post rock band from South Carolina recently and now the two groups have released “Nothing Passes,” a collaboration between the two bands.

This is another excellent work.  It takes each bands unique sound and combines it, creating a new sound.  The first song, with the completely original title of “Song One,” starts things off with several minute of droning feedback and violin loops. The next song, which also sports the creative title “Song Two,” starts off with some low feedback and a xylophone loop, with choir vocals coming in around the two minute mark, drums coming in a few minutes later and the instantly recognizable vocals of The Body’s Chip King. This song is the most reminiscent of anything the Body has done before, but it is still something a bit different, thanks to the contributions of Braveyoung. Next up, “Nothing Passes” jumps right back into the drone, with nine minutes of feedback, modulations and loops. The closing track, “The Vision” is pretty much a gospel track, as only these bands could create.  Acoustic guitars backed by a low wall of feedback and distortion, a choir in the background and the soulful, yet somewhat haunting lead vocals with lyrics about an angelic vision. This is a really beautiful track, very ethereal and moving, its quite a bit different from the rest of the album, but it in no way sounds out of place.

This album won’t change the mind of all those haters out there, but it really is a good album.

Leviathan – True Traitor, True Whore

•November 4, 2011 • 1 Comment

I’ve known about Leviathan for a while, as anyone who is into black metal should; but in all honestly, I’m not really familiar with the music. I do know that as the long running solo project of Jef Whitehead, otherwise known as Wrest, Leviathan has presented some of the most influential black metal in the American scene but personally, I’m more familiar with his work with Nachtmystiam and more importantly Twilight.  The last Twilight album, “Monument to End Time” is a masterpiece, partly due to the sompelling drum work by Wrest.  So with his involvement with those projects, along with some of the press I’ve read recently and the fact that “True Traitor, True Whore” is coming to us from Profound Lore (aka. the best and most consistent label around these days), I’ve been pretty excited about this record.

Now before we get started, there is that little issue of Wrest’s arrest and his upcoming court date stemming from accusations that he beat, strangled and raped his girlfriend, charges that he vehemently denies. There has been a lot of talk in the blogs about this over the last several months and many so-called fans have abandoned him and many in the press have vilified him. Personally, I prefer to stand by that ‘ol American adage of innocent until proven guilty and I only bring up the issue because of its bearing on “True Traitor, True Whore.”

As you may have guessed from the title of the album, it was inspired by his recent troubles and Wrest lets loose his rage with all abandonment.  I have seen some question his innocent based on this anger, assuming that someone expressing this level of rage must be capable of those crimes, and while there may be some truth in that, it’s also very likely that someone being falsely accused of such crimes would justly be full of rage. Regardless, it cannot be argued that Wrest has taken his demons and focused them into a cohesive and powerful piece of art.

The press release from Profound Lore calls this album “the most controversial metal album of the year and ultimately, the death blow to what is considered nowadays U.S. black metal.” Now I’m no expert on U.S. Black Metal, or even a good judge of what would be considered controversial, but I do know good music when I hear it and this is most definitely good music!

The music here is heavy and very much rooted in classic Black Metal but the progressive influence is prevalent. With other bands, such as Nachtmystium, the progressive influences have taken a forefront to the Black Metal core, but with Leviathan, the prog influence is there, but it remains an influence and not a new direction. There are moments of post-rock/metal and doom, there are some punk elements and there’s even a little acoustic guitar thrown in there, but at its heart, its remains true black-metal.

As with most black metal bands, the vocals here are used more as an instrument of terror. It’s difficult, if not impossible, to decipher the lyrics and as he has also refused to print the lyrics, the true meaning of the songs may remain lost on the listener, but his anger and emotion is obvious.

The way these songs move from heart wrenching fury into softer, more melancholy passages and back into the rage allows them to convey a sense of absolute anguish and while these may be his own emotions put to music, these songs have the power to grab the listeners soul in way that forces you to confront you own demons. Like all great music, it can truly be a cathartic listen.

This is really an exceptional record.  Where other one-man Black Metal acts have run out of steam after a few releases, Wrest seems to be getting better, which just goes to show just what a talented musician he is. If he is guilty of the crimes he has been charged with, he should be punished…severely, but if he is innocent, I sincerely hope the courts find in his favor, so that we may continue to enjoy his work.

Rêx Mündi – IHVH

•October 31, 2011 • Leave a Comment

 

There are a lot of Black Metal bands popping up these days and, as with any genre, most are lacking something, but occasionally one comes along that’s figured it out, which brings us to Rêx Mündi, a fairly new band from France and their debut album “IHVH”. The band released the demo version of the album in 2005 but went back and reworked/re-recorded the album for a professional debut.

Full of chants, demonic screams and religious sound bites, the album falls strongly into that classic anti-religious stance prominent in metal, but while there are some satanic moment and influence, the overall vibe of the album is more esoteric and spiritual, with some heavy Qabalahic influences.

Musically, it covers a lot of bases, from the slower, Burzum-like passages to moments of post-rock atmospherics to heavier and faster Darkthrone trashing…but if I had to pick the closest reference point, it would probably be Deathspell Omega.

The only disappointment here would be the production. The mix seems off a little and while I know Black Metal likes to keep it Kvlt, this sounds more like amateur mistakes as opposed to intentional low-fidelity. But don’t get me wrong, the quality of the music is strong enough to overcome and the production does not ruin the record. 

This is another excellent release and according to the band, it’s the first of what will likely be a trilogy.  In recent interviews, the band has commented about how the record was recorded and some of the changes planned for the next record, so I can’t wait to hear what the next one sounds like.

Wolvhammer – The Obsidian Plains

•October 31, 2011 • Leave a Comment

Imagine sitting next to the window of a little shithole apartment, looking out over a crusty, urban landscape.  The buildings are crumpling, covered in barley legible graffiti, with the bricks permanently stained by the toxic sludge in the air. Police sirens constantly blaring in the distance, interrupted occasionally by the booming thunder of gun shots. Barely legal youngsters selling their body and soul on the corner.  A crushing feeling of despair permeates your soul. The perfect soundtrack to this little scene would be “The Obsidian Plains.”

The latest release byMinneapolis’s Wolvhammer, “The Obsidian Plains” is a rage filled journey into the urban jungle. It’s dark, depressing and full of rage, but with moments of the kind of melancholy that can only come from living within a dreary, polluted cityscape.  Like many black metal bands these days, Wolvehammer allows various influences to affect their music, but where many of these bands have failed, Wolvehammer succeeds, primarily because they have allowed their rage to remain in control.  Sure, I like a lot of the more introspective, progressive black metal bands, but at times I just want to rage, I want to let my demons go and with its sludgy crust filled take on black metal, “The Obsidian Plains” is that type of record.

This is another string contender for album of the year, but beyond that, it’s sure to be my sound track throughout the winter.

Upcoming Releases

•October 31, 2011 • Leave a Comment

Some good news for fans of great metal, two important bands have announced release dates for their new records.

Up first, On January 24th, Lamb of God returns with their latest “Resolution. Lamb of God is one of the best bands around today, and Chris Adler is one of the top drummers in the world, so this is a much anticipated release.

 

 

 

 

 

 

 

 

Next up, on February 28th, we see “Possession”, the sophomore release by Christian Mistress, one of my favorite bands. You may remember that “Agony & Opium” was one of my favorite releases from 2009.

 

 

 

 

 

 

 

Sounds like 2012 is gonna be a good year!

Feersum Ennjin – Interview with Paul D’Amoure

•October 18, 2011 • Leave a Comment

I’ve been a fan of Tool for quite a while now and while there later albums are excellent and are full incredible musicianship, their first two records have a rougher quality about them.  Those albums are backed by heavy, sludgy baselines provided by the original bassist, Paul D’Amour.  Paul left the band in 1995 as the band began working on “Ænima.” He went on to form Lusk, who released one album, “Free Mars.” After Lusk, D’Amour began working on film scores and in 2005, he started a new project, Feersum Ennjin.  In November, their debut album will be released. Paul graciously took some time to talk to us about the project.

 

After leaving Tool in 1995, you released the Lusk album “Free Mars” in 1997.  Since  then, you’ve worked on various film and television scores.  What are some of the projects you did?

I have worked on a number of independent films as well as studio films, I really enjoyed scoring the film “Insanitarium” which was written and directed by my friend, Jeff Buhler.

It was kind of a twist on the zombie theme with some proper blood and guts scenes! Peter Stormare was in that one, he is such a great character actor, along with a bloody appearance of Olivia Munn.

I have also managed to get a few Feersum Ennjin tracks into some films as well. The song “Safeway” was recently used in the film “The Stepfather”.  That was an interesting challenge because  the director had me start the scene with the original track then morph it into score and then back to an instrumental version of the original.

Will you continue your movie/television work?

I definitely will be doing more film work, though I am really trying to pour most of my energy into Feersum Ennjin right now. I am also working on getting prepared for an  upcoming gallery showing of my photo art , some of which will be used in the packaging for this Feersum Ennjin album.

How does scoring a film differ compared to writing music for a band?   

Film scoring is such a unique art form, very different from writing music with a band.

It’s an amazing experience to feel how powerful the music in a film can be. By just changing a couple notes or sounds you can dramatically alter the entire emotion of a scene.

Being on stage and playing or writing with a band is a much more physical experience for me than film. It’s also more about an individual connection or perception where as music for films is more about serving the scene or the directors vision for that. It’s cool to be able to put your ego up on the shelf for a minute and be a musical servant. I love the balance of being able to do both things.

The band’s name comes from the book “Feersum Endjin” by Scottish writer Iain M. Banks. According to Wikipedia, Lusk was influenced by another book by Banks. What is it about his writings that inspire you?

I am not sure to what extent Lusk was influenced by Banks though we did do a video for the song “Backworlds” loosely based on one of his books called “The Wasp Factory”. He definitely has a really unique dark perspective that has resonated with me on some level.

What was about “Feersum Endjin” that inspired you to name this project after it?

I really liked the concepts of spirituality colliding with technology which transpire in the book. I guess I feel that way about music sometimes, the way we use these technological tools to create something beyond ourselves. Mostly I just liked the sound of the words, a very Japanese alien warrior quality about it…Ha!

Can you explain what the Feersum Endjin is?

In the book “the Feersum Endjin” is a piece of ancient technology that the people are trying to activate to save their dying planet.

Maybe that’s the REAL purpose of this band!

I believe you wrote and recording most of “Feersum Ennjin” yourself. Do you prefer to work alone or as part of a band?

The songs on this record were recorded over several years and in every possible scenario, so I am comfortable in most situations so long as good things are happening. It’s good to have other people around pushing things but it’s also good to have some solo time to really flush ideas out. Also I would hate to torture anybody with all the bad ideas it takes to get to the one good one.

Lusk has what is often called a more psychedelic sound to it, whereas this project is more rooted in hard rock, with a somewhat sludgy vibe.  What prompted you to move back towards a sound similar to what you first explored with Tool?

When I left Tool, I really had a lot of growing to do as a musician and had a hunger to explore as many different sounds and creative possibilities as I could to broaden my palette. I think eventually I started coming back around to some of the heavier darker sounds that may be associated with Tool. I guess that is a part of me as well.

The sound of this project is ever evolving, as you can hear on this record, so who knows where things will go from here.

What are your plans with Feersum Ennjin? Will it become a full time project? Will you be touring for this project?

Yes, things are really falling into place and there is a lot of momentum behind this band right now. We are hoping to start playing some live dates soon!

Any last words?

Why, who ordered the firing squad? Don’t I get a blindfold and a cigarette first?

Freestyle Fellowship – The Promise

•October 18, 2011 • Leave a Comment

Circa ’93, I came across a little song called “Hot Potato” by a group called the Freestyle Fellowship. It was wacky and fun, but it was also innovative and it showed some superior lyrical skill. I was enthralled with the group and quickly gathered up everything I could find and they never disappointed.  Their first album, “To Whom it May Concern”, while no masterpiece, was a solid record. However, “Inner City Griots” was an absolute masterpiece, one that is stilled played on a regular basis almost twenty years later.  Between various solo albums, guest appearances and the highly acclaimed “Project Blowed” compilation,. The group consistently impressed me for the next several years.  

But alas, things change and at some point, they lost their appeal.  It could have been my growth and changing taste, but at times, there later releases seamed a little lazy and they lacked that spark. But being the obsessive fan I am, I always check out their releases which brings us to their latest album, “The Promise.”

I can honestly say that I’m actually somewhat impressed. “The Promise” is a solid album.  The album is full of creative songs, inspired lyrics, and moments of genius.  It’s got some of their trademark harmonies. It’s got some straight-up lyrical gems.

The main disappointment is the production. Gone is that sample heavy, jazzy vibe of “Inner City Griots.”  Unfortunately, that’s a problem across the board with Hip-Hop.  Sampling is the foundation of the beat and since sampling has been demonized, its hard to really do it like it was back in the day, so the music suffers. But enough of that rant…The beats on “The Promise” are, with some exception. more in that electro style that has permeated the west coast lately. The Fellowships vocals have always been heavily rooted in Jazz, and it has long been its own instrument and that’s why their earlier work was so ground breaking because everything worked together so well. So paring their vocals with more standard hip-hop productions styles has some limitations.

That said though, as emcees, these guys are at such a caliper that even with some slightly sub-par production, they still shine, which ends up making this a pretty good album, their best since “Inner City Griots.”

Freddie Hubbard – Pinnacle- Live & Unreleased from Keystone Korner

•October 7, 2011 • Leave a Comment

I really love Jazz.  I mean, I really, really, really love Jazz. When I listen to it, it just seems to make the world a better place.  When I’m down or frustrated, a little Mingus, Coltrane or Coleman relieves the stress.  For me, it’s the classics that really do it.  There is some really good, modern stuff out there, stuff that is really innovative and sounds incredible, but it just doesn’t have that little something extra that the classics have.  

My favorites Jazz instrument has always been the trumpet, sure, I love the bass, you can’t have a great record without that bottom end, but there’s nothing quite like having that trumpet weave in and out along with the rhythm sections. Now Miles Davis I, with little doubt, the most important trumpet player in jazz and I love his music, but for my money, I’ve always preferred Freddie Hubbard, his playing is so soulful and his compositions speak volumes.  

Another thing I love is discovering new music, stuff that’s been previously unavailable or stuff that’s pretty rare. So it was with immense pleasure that I came across the new release “Pinnacle- Live & Unreleased from Keystone Korner.” This is a new release of some nearly 30 year old live performance by Freddie Hubbard atSan Francisco’s Keystone Korner Jazz club.

It features performances of some of Hubbard’s classic pieces, such as “The Intrepid Fox” and “First Light.” It also includes a beautifully executed take on Coltrane’s masterpiece “Giant Steps.”

For a 30 year old live recording, the sound is incredible. The recordings are taken from the personal archives of club owner, Todd Barkan. This release comes in an excellent package that includes detailed liner notes by many of the contributors, as well as lots of photos from the period.

Any fan of Jazz should own this album!

East of the Wall – The Apologist

•October 5, 2011 • Leave a Comment

When I listened to “Ressentiment” the last release by theNew Jersey’s East of the Wall, I wasn’t that impressed.  It was one of those albums I listened to once and then out it away and forgot about it.  This is not to say the album was bad, but at the time, it just wasn’t something I was into. But regardless, when the promo for their new album, “The Apologist” came across my desk, I wasn’t really that excited, but in my all-consuming obsession to always be the first to hear new music, I jumped right in.

Boy, am I glad I did.  This is a really good record!

The press releases call them a “Prog-Metal” band and for East of the Wall, thast a fairly good description, They throw in a variety of influences, from stoner riffs to jazzy breakdowns; from post-metal/rock to crunchy sludgecore, it’s just an all around amalgamation of what’s great about metal these days. But with all the influences, they still manage to be their own band and not just followers.

Many times, when a band tries to throw too much into the mix, it just doesn’t work, but in this case, the fact that it works so well is a testament to the individual talents of each of the band member.

This is simply just a great record!

IDES OF GEMINI Sign With Neurot Recordings

•October 5, 2011 • Leave a Comment

I’m a big fan of Black Math Horseman, can’t wait for their next album. One of the best parts of the band is vocalist Sara Timms.  So when she released the EP for her side project, Ides of Gemini, I was pretty excited and I really liked it.  It’s got a great sound. In addition, I think Neurot is one of the best labels around.  They’ve put out some great releases over the years.  As such, this press release is some really good news. 

IDES OF GEMINI is a collusion of musical forces precipitated by the haunting and inimitable vocal prowess of singer/bassist Sera Timms, also ofLos Angelesdark-psych alchemists Black Math Horseman. The compositions are the long-simmering mental fallout of veteran music and film journalist J. Bennett (guitar/backing vocals), who has spent most of the last 13 years writing for such publications as Decibel, Terrorizer, Revolver, Alternative Press and Thrasher. The third and final corner of the triangle is Kelly Johnston, whose martial drumming techniques and soaring backing vocals literally brought IDES OF GEMINI to life as a performing entity.

Last year, Timms and Bennett recorded and self-released IDES OF GEMINI’s four-song EP, The Disruption Writ, which was anointed “My Favorite Demo of 2010” by the highly influential music blog Invisible Oranges. Lyrically, the songs detailed the terrifying permanence of dismemberment in all its unsettling forms: psychological, emotional and physical.  Musically, though?  Someone on the Internet called it “dream doom.” Nobody likes to be pigeonholed, but IDES OF GEMINI will gladly take up temporary residence in that particular nook for the sake of shorthand. Which is to say that “dream doom” will do the trick for now. And now is nothing if not fleeting. Mostly because IDES OF GEMINI are about to record their full-length debut, set for release via Neurot in the Spring of 2012.

“It’s all about that moment—that moment when a piece of music comes seemingly from nowhere and is exactly what you were looking for, but you didn’t know it,” says Neurot boss and Neurosis guitarist/vocalist Steve Von Till. “I remember the moment when Ides of Gemini warped my brain. I received an email from Scott Kelly in May. The subject heading was simply, ‘J. Bennett’s band is killer!’ and had a link. I had known J. for a while as a stalwart supporter of all that is good and heavy out there, but I had no idea he made music. I clicked the link and was completely hypnotized for the duration of the demo. As soon as it ended and I realized I had been completely captivated, I replied to Scott’s email: ‘Totally fucking killer.’ Then I immediately emailed J. and told him how awesome I thought it was. A few conversations later, and we were working together.  It was beautiful and meant to be. Ides of Gemini is amazing!”

“We’re not religious people, but getting the nod from Steve Von Till and Scott Kelly is like getting onstage only to find Moses and John The Baptist in the front row, wearing your band’s t-shirts,” Bennett enthuses. “And we don’t even have shirts yet, which makes it all the more incredible. The point, though, is this: The impact Neurosis has had on our psyches over the years is immeasurable. ‘Honored’ doesn’t quite cover it. But before anyone gets too excited, I should also probably mention that we sound nothing like Neurosis.”

http://idesofgemini.com
http://idesofgemini.blogspot.com
http://idesofgemini.bandcamp.com
http://www.neurotrecordings.com

http://www.facebook.com/neurotrecordings

 

Dead in the Dirt – Fear 7″ EP

•September 23, 2011 • Leave a Comment

Southern Lord brings the hardcore once again with “Fear,” the debut release from Atlanta’s Dead in the Dirt. 

“Fear” is a 7” EP that revels in its filthy, grindcore fury with a brutal intensity. Fast and heavy with healthy doses of blast-beats, crusty riffs and bellowing, torturous screams. With 10 songs spread over a 7” EP, it’s quick and furious, just the way gridncore should be.

“Fear” will be unleased  on September 27. Pick it up the Black & Grey Splatter version at Southern Lord.

You can also stream it via BrooklynVegan right here.

 
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