They must worship Black Flag in Austria, as the first song strikes me as a more metal version of Black Flag; the vocals are howled in a Rollins fashion for sure. But let's face Black Flag is not Black Flag these days, and the Rollins Band is retired, so someone needs to scratch that itch. There is a good amount of sludge mixed in when it comes to the big riffs. The vocals also switch to a snarl midway into the song, which furthers this comparison. The riffs shift to a darker place I enjoy. "Pig Race to the Apocalypse" sounds like they just left the tape rolling and jammed out of the first song. They switch up the riffs in a more metal-than-punk manner, making me reasonably sure this is a sludge bandd with black Flag influence.
On "This Sadness Makes Me Rage," It feels like the vocals are balancing out the more melodic direction the guitars are going by being more abrasive. The song wanders into Jarboe doing a spoken-word section that sounds like his therapist giving him a pep talk, which works for me and makes it the most interesting song thus far. Both groove and chaos are colliding for "No Depression When Dead" as it devolves into a jazz-like din. There is a similar but more nuanced riff paving the way for "Wannabe VIP," which finds a girl taking over the mic. This is the band's third album so they clearly know what they want to do here.
The tense, muted riff driving "Good People Keep Their Mouths Shut..." carries a sinewy Jesus Lizard-ish mood. There is indeed a dash of noise rock in the burly mix of sounds as well. The most punk moment is "the Art of Shit," but even then some sludgy riffs crash in. It is, however, more Stooges than Black Flag, which I appreciate. Even though experimenting with samples gives it a twist, they stay pretty punk on "Cyberdyne Employment Application". This is still tempered with an almost Slayer-like riff. The vocals twist into an Eyehategod-like sneer on the last time; this is not the first time it's happened on this album, but the most prominent. I like what they are doing on this album I will give it a 9.
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The second album by these transgressive New Punka brings a furious chaos that recalls the Stooges "Funhouse" album thanks to the saxophone that adds to the mess. The vocals are angrier than those of your average noise rock band, and these guys lean more toward the punk side of the genre. Almost likea less metal version of Eyehategod.There is something darker about the vocals that keeps it from being solidly punk. They are more purposeful on the second song. "Passed Around" is more obnoxious as they take the temper tantrums past the point of their novelty.
"Hind Legs" not only carries groove, but the vocals are given the space and articulation to let the lyrics stand out. It doesn't matter how good your howling is if they lyriucs are obscured by hate. They jam the riffs out for all it's worth. The momentum builds to a more explosive punch for "Trophy". The vocals are produced in an interesting manner than bring Today is the Day to mind."When Sex is Not Enough" is a great song title but more chaos than songwriting, and it comes acorss as ranting.
"Man Was Meant to Take Advantage" works off the same pounding drone, but it sounds cool. There are more punk bones to "Born For This". The riffs, however, are not as defined as what they do on the title track. The vocals are less howled and more spoken, like King Missile. They close the album with the more fuzzed-out throb of "Beauty is a Hammer"; much like the bulk of the album, they rock out this riff ofr all its worth without any changes to the arrangement. I will give this album an 8.5, despite its simplistic feral songwriting approach, as I appreciate the mood it creates. Out September 11th on Brutal Panda.
This British band thinks of itself as doom; well, perhaps their record label wants to market them as such, as they are on Church Records, but what I am hearing is noise rock. Noise rock is having its biggest moment yet, and I think the new Chat Pile will elevate it to larger stages, so this is not the time to try to jump off that bandwagon for one that has a more settled niche. Feedback squeals and the vocals are shouted as they continue to bang on their instruments into the third song, so the first three songs run together. Granted, the minute and a half "We're Worried About You " is the song that gets lost in the shuffle as the lines are blurred as to whether it is the outro for the opening or the intro for "Being Forgotten" .
I wonder what these recording sessions were like, as it seems like msot are trying to noisegate the feedback where these two want it erupting from every chord and corner of the song. This is carried to extremes on "Collapse". The first darker, more melodic moment is on "For Blood" , though there are still some explosive riffs that take over. 'To Take Life" finds the grooving on a pound that meets somewhere between "Filth Pig" era Ministry and early Helmet. It's more deliberate, making it one of the album's best songs so far.
"The Saddest Holiday" is not far from what they were doing in the previous song. "Ache" is more like early Swans in its bleak pulse. The vocals are barked with a similar anger. It has a more droning nature to it than the other songs. The last track is just ambient noise. I will give this album an 8, now remaking the feel here, but they do have an interesting love of feedback; they get the job done. Sure, fans of heavier noise rock like Karp should find much to love here. This album drops August 28th.
I made the mistake of going into this album thinking I knew what to expect. The mix is what caught me off guard as it has all the elements you expect Steven Austin to use, but he bizarrely arranges these sounds that make me think of the Butthole Surfers, even amid the clanging of the almost industrial manner. The eerie calm of the vocals makes it creepier. "I Got Nothin" is driven by a synth, with whispered vocals coasting over the static pulse. The chorus finds things to get into a more aggressive feeling.
The oddly angular "Intentional Psychological Warfare" finds his harsher vocals collide with a narrative that reflects on how a car wreck changed his life. The guitar splits the difference and goes with an 80s punk feel. It all comes together to make sense of this chaos. Title track jangles like something King Missloe might have done in the 90s, but is attacked by layers of Austin's more scathing vocal assaults. I have grown warmer to horns, if they are used in dark music, and Mac Gollehon, who once played for David Bowie, makes a stronger argument for them, as things unwind with fiendish dissonance on "Secret Police".
His more spoken vocal approach led the way into "Psychic Wound" before the more psychotically snarled vocals come in for the chorus. This song works for what it is, but so far is the first song that might need to grow on me a bit, pretty strong start considering we are now six songs into the album. More frantic drumming drives the sonic exploration that is "The Choice is Yours." It is one of the album's more metallic moments when it comes together.
"Pain and Frustration" finds an out-of-key piano clashing against drums and electronic oddities that are haunting the background. It's a much more convincing picture of mental illness than what other bands like to toy with, as his demons come sneering out of the mirror at him on this one. It builds into a heavier dynamic that is executed with unconventional instrumentation. The album closes with "The Cleansing," a song that finds the drone of a simple yet hypnotic guitar pattern as the perfect accompaniment to his suicidal musings. I will give this album a 9.5, as it's going to take time to grow on me since I went in expecting over heaviness and came away with introspective heaviness. But I like depressing music so this album will win me over.It drops on October 3rd
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I became obsessed with this band's album 'With Love From a Padded Room" to the point that it not only was the number one post-punk album of 2024, but also took fourth place, in the overall best of list, behind 3 of my favorite artists the Cure, Glassing and Taylor Swift, putting them in the top tier of songwriters. This means expectations are high. Rather than conform to expectations on their new album, the band has taken a left turn. It still sounds like them, but rather than the smoky blues noir that set the tone of the last album, there are more synths at the forefront. This is not blindsiding you as they did similar on songs like "Lipstick With No Lips" on the last album; it just takes things a step further in that direction, so I am going to break this album down into a song by song review to fully grasp what is happening here. Before we begin, this is a concept album of sorts about Bella Pink, an online sex worker, who descends into madness.
"Mr. Sentimental"
This song took a second listen to click with me. It's sonically heavy with a dense, shimmering atmosphere. It's sonically heavy, and the intensity is not as brooding. Tony Castrati's voice is just as commanding as it was on the last album, though the more melodic vocals sit back into the wall of sound.
"Saran Wrapped Cash"
Hookier than the first song, the vocals are well-layered. The vocals find a more gripping melody even though they sit back in the reverb of a dark hallway, but it allows the mood to organically flow, and an emotional heaviness to drift in. It's also darker than the first song, which appeals to me. The synths are really well done, creating a nightmarish haze.
"LADIES NIGHT"
Here Tony's baritone muttering sounds like he jsut woke up in a dance club with a hangover that is making his depression worse, but the disco urges are beginning to overcome him. Almost Cure-like guitar haunts the song, before things get confrontational.
"Pay Pigs"
At this point, the theme of the album has unfolded. Things gather a creepy menace as Tony rants in a more abstract manner as the storm builds. A bigger, more cavernous sound overtakes this song, which is heavier than the previous album.
"bedrot"
This song is full of self-loathing and blends the synth ambiance that is shifting in prominence with the album with the kind of scathing yet catchy songwriting that makes this band so endearing to me. The synths shift the mood from the more post-punk feel of the last album to the more romanticized scorn of goth.
"MONET"
I like the tension this song grooves with. The vocals are more venomous. Yet, they still allow themselves room for the ebb and flow of dynamics. Even more goth in the picture of sound it paints than the previous song.
"Pretty In Pink"
The vocals to this one are almost pop hooky, but also sit back into a wall of reverb, which makes them more of a texture.The drummer is really stepping it up on this album, and you gotta give Castrati credit for switching things up, and not replicating his previous performances. There is almost a shoe-gazing feel to the atmosphere built here.
"Pliers"
He drops down into a raspy whisper, going into this one, as the music bubbles up around him. Once again, they seem to be able to take you into progressively darker back alleys of their mind. Things float off into an abstract jam. Luxury Skin's Juliet Gordon lends her voice to this song, and there are other layers of female vocals cropping up that I am going to assume are hers as I have not seen any credit to suggest otherwise yet.
"screentime"
This is more like an atmospheric interlude than a song
"I Have a Key to Your House"
There is a more traditional rock structure to this one, though it is filtered through their dark and depressing perspective, but an explosive chorus. I would expect this to be the lead single if they are trying to reach a broader audience, but such things are mundane concerns to these guys.
"Camgirl"
The title track opens in a confrontational manner and ebbs down into a more electronic pulse a minute and a half in. Imagine if the National took too many drugs and lost their minds, the results might be similar if they fell into the darkest corners of their psychotic musings. They are reaching the point of experimentation here that brings them to a place not unlike Swans or Xiu Xiu. It's not the catchiest song, but the range of dynamics it shifts from compensates for this.
"Sweet Talk"
This one builds up from a deep subterranean sound into an outpouring of passionate anger.
"TARAVISTA"
The album's simplest but most melodically powerful songs with the grace that flows so beautifully.
"Mary Kate and Ashley"
This song wraps up all the element that makes this band who they are and delivers them in a way that honors this new direction and what you loved about them in the past. The chilling, clean guitar tones are darker and more powerful. Things get pretty intense on this one.
"despair"
The last song pulls things together in a very convincing manner; they drone on the sing-song melody that Tony is prone to conjure and soar off into the night with it.
I will give this album a 10 as it powerfully pulls together darkness with an often lighter atmosphere, but blends it into an alluring album that delivers what you want from these guys.
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These guys are on the heavier side of noise rock, but are also smart enough not to just rely on brute force by delving into introspection midway through the opening track, which solidifies my attention. The lyrics are hilarious. They are smart and angry. They set the bar pretty high for themselves, so let's see if they can live up to it. The vocals howl with less malice on the second song, until getting to the chorus, which is a reverse of what they did on the opening track, but I like the tension on the verses. They are raging against the ragers here, and it is lots of fun. Almost like a stand-up set to music. Nobody can accuse them of taking themselves too seriously.
"Zoloft and Blow" sounds like it was conceived on those two chemicals. Their vocalist howls with contempt, likea drunk on the front lawn at 2 am. The drums toss in a casual blast beat as an accent while the guitar deals out dissonance. "Unsuccessfully Trying to Parse Nightmare From Reality" is convincing in its unhinged nature. "Cadaver Resume' is more of a full frontal assault. This displays the lurking hardcore leanings. The stage set for a song called "Running a Cemetery Without a License" should, of course, be darker, so they understand that assignment.
"Cryptid Divorce Court" is basically a punk song. "I'm Very Tired Please Let Me Die" finds him screaming to be left alone as they provide a creepier sonic brooding for him to rant over. "Family Suicide Gun" finds his vocals going back into a harsher place. I will give this album a 9. I love the lyrics, but the delivery can feel like the album is just a substitution of a vocal booth for a drunk tank, but it works as it goes into something that feels real in its disturbing yet endearing nature. Drop September 12th on Brutal Panda.
Comprised of former Atlas Moth members, the Chicago-based band offers a more overt attack on your ears, as the opening track charges at you before locking into more of a groove. The howled vocals ride the manic sonics. On the second, there is more of a deliberate sludge attack going on. While they are more in your face than the Atlas Moth, they do not feel as dark to me. Though you begin to hear a subtle Neurosis influence in the guitars. If you do not feel like getting screamed at, then this album is not for you. "You Seem so Damn Sure" is more tense, as the guitar's lock, the crazed vocal screaming around the taunt riffing.
The drumming feels like the most punk aspect of their sound, not a ton of double bass, with the guitars providing most of the metallic energy, and the wild abandon of the vocals falling in a more hardcore middle ground. Though they do drop into a low growl in some spots. Things work best here when they take a step back and allow some room for atmosphere. This brings a more dynamic contrast; the groove on "Darling You Don't Look Well" highlights this as it's the best song so far. The stomp of the song falls somewhere between noise rock and hardcore. "Weaponized Goodwill" rages like someone gave the Jesus Lizard meth. It then flies in an almost black metal direction in places.
"Christian Masth" might be the most accessible song yet, as the vocals have more form and function, and the song's groove with a syncopated throb. "Insect Politics" has a more rock roll boogie, with a more interesting layering of guitar tones. The last song returns to a more punk energy, though not as confrontational as how they opened the album. The album improves the scope of its dynamics, the deeper you dive, I will give it an 8.5
This Richmond band crafts an early 80s hardcore punk that meets at the intersection of Negative Approach's burly bark and the stormy, tribal drumming of Killing Joke. It makes me reflect on a recent conversation I had on the podcast with Sleeping Shaman writer Reza Mills about the essence of the Nopi rock genre and its connection to hardcore, which is very tangible here. I think the main connection here to noise rock is the dense, fuzzed-out tones the string instruments are wielding, which might owe some to Jesus Lizard or a band like Big Business. Though midway into the second song, they divert into a drunken western feel that might have more in common with the Birthday Party or Crippling Alcoholism. If you uare just here for punk intensity, then this might give you pause, but if you just like well-written music with dynamics, then you will enjoy the shift.
The plodding creep of a muscular bass line fuels the title track, that gives the vocals room to muse and ponder the sonic bleakness unfolding before they bring things crashing down into the rougher power chords. When the vocals build they feel more like Rolling here. "Pig" lingers on the feedback and might be the noisiest song thus far. The vocals are more spoken word, a punk version of Jim Morrison in their cadence. "Concern" finds its sonic pendulum swinging back in a more melodic direction, and the vocals are once again more spoken. It brings to mind the '90s solo work of Rollins.
They are more blatantly engaging in a more Negative Approach style of punk for "PR Nightmare." The song, in true punk form, is under a minute and a half. The last song is more syncopated, bringing back the noise rock tendencies. I will give this album an 8.5; it is a great deal of fun, I personally don't see myself giving it more spins as I already own a great deal of music in this vein, but they made the album they wanted to make so if you are into burly punk, then check these guys out.
This band from Virginia plays a very warm and organic version of post-hardcore, which finds the guitar strummed in a more jangling fashion than with any anger vented into the instrument. The vocals carry little malice, as they are simply stated in a plainitive manner. In some ways, they feel more like Sonic Youth in this regard, as there is some attitude in the lyrics that comes through. I can also hear Fugazi as being one of this band's influences. The drummer put a little more sweat equity into the playing of the second song.
A casual exasperation gradually began to creep into the vocals. It is short-lived as there is less tension in a song like "Imposter". There is a boozier swagger to the indie rock shuffle that unfolds here, with some lingering tension in the guitar playing. The vocals are spit out in a more staccato fashion. "Catch As Catch Can" has a more angular math rock feel to the way the riffs bob and weave. The more Fugazi-like tone touches on how the vocals are phrased on this one. There is more emphasis placed on the urgency of the plea delivered, but not punk aggression.
"Navel Gazer" is less focused, though what passes as the chorus is punchier. By the time it gets to "Marble Madness," things begin to run together, and I have to go back and give another listen; there is more of an intensity that carries a stormy feel to it, which I appreciate. "Negative Discourse" finds the vocals finally getting fed up to carry more of a punk weight to the delivery. I will give this album an 8.5; they get the point across it is not as dark or intense as what I normally listen to, but I appreciate what they are doing here.
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The first album this trio has released in 20 years. They emerged from the 90s playing a noisy take on tongue-in-cheek punk. Vocally, they adhere less to punk and shout random thoughts. The comical tone is heavy on the first track. They employ dissonant guitar lines and churn an angular battering under it all. "way the exploding dickhead" works better than the first two songs when it comes to making things memorable, as the chant is infectious. There is more of a slacker vibe to the more deliberate "The Battle of Los Angelsea"; it brings Helmet to mind.
"person person" feels like it is more pounding, a more emotional pulse. Though this does not mean that it has as many dynamic twists as some of the other songs. At times, these guys remind me of King Missle. "the Compotent horse thief" being one of those times. The pace picks up for "kafka-esque novelist franz kafka". "the digger you deep" finds the band indulging in more clever wordplay, as the bass lends weight to the drone of the song. It's like Primus without the funk. This formula works better on some songs than others, as things begin to sound rather uniform by the time we get to "autofocus on the prime directive".
They solve this problem by dialing things back for "not all steeplejacks". Then after this they are back to some times pounding out bouncy grooves , and at other times colliding powerchords against one another to vent frustrations. They veer more in the indie rock side of things for the last song. I'll round this down to an 8, not a hug fan of the vocals, but I get why people are into these guys as they are good at what they do so giving it an 8, as they made the album they set out to make and their fan base should be pleased by it. Ipecac is releasing this May 9th.
The opening track from this Miami trio finds noise rock meeting darker sludge grit. The vocals are a sluggish moan, leaving the entire sound to feel like it was lost in the 90s. Cvlt Nation compared them to Kylesa and I did not hear that until the second song when the vocals of guitarist Lauren Palma took over the mic. The dynamic it is contrasted by on the chorus is not as heavy as Kylesa and feels more like grunge to me, think L7 or Veruca Salt here. I do prefer this over the opening track. 'Medusa" stumbled forward with a woozy blur before the male vocals barked back on "Devils Advocate". This more aggressive stance finds the band falling on the heavier end of noise rock.
There is a heavier stomp on "Break Free' that carries more of a Helmet-like syncopation to power it. The pounding lumber of "Placebo" has a darker Jesus Lizard creep that wins me over and I like how the howl of the vocals works with the swaggering groove making it one of the album's strongest songs. "Snake Eyes" is possessed by a punk recklessness, that might put its message before its sense of dynamics. "Pro-Choice" is better than the previous song as there is more thought placed on how the vocals fall over the music, though it is not the album's best song.
I like what they are doing on "Reflections" though I am not sure what they are doing is enough to warrant a song, it felt like I was just listening to them jam while waiting for the actual song to kick in but, the direction they were heading felt solid. They are back on the more grunge vibes for the last song. I like where they end up going with it as the heavier groove works well. I will give this album a 9, it's solid, if you want something in the sludge meets grunge vein not unlike what bands like Torche used to do, or the Melvins might be another fair point of comparison at times. This album drops on Seeing Red Records on April 1st.
Continuing my streak of reviewing albums my peers in the inner webs chose as their number one picks, this one is coming from Dead Air at the Pulpit, whose list shared some common ground with mine. This album is like an angrier less hip version of Chat Pile with more explosive vocals. They lean more toward noise rock than sludge. The first track is cool, and the second song finds the vocals talking through it a little more. However, the screamed vocals do need something to contrast them. By the time we get to "Don't Try Me" it's clear some of these songs sound the same with this formula, as I thought I was on the third, not the fourth song.
"Fallen" the more punk-spoken vocal is the main narrative where the screaming is relegated to the periphery. Works well enough, but when you compare it to a band like Glassing or Crippling Alcoholism falls short from a songwriting perspective. They catch onto the slinkier Tool groove, with palm-muted guitars by the time we get to "Sate". It's darker so I appreciate that. This carries over into the song after, though to a lesser extent. They are back to business as usual for "Hail Mary" which is angular the vocals play less of an intentional role and feel more incidental.
There is more redneck speculation to the punk lumber of "Let the Blood Pour Out" . The last song stomps with more of a punk feel than metal, as it has a purpose but still carries wreckless abandon in its veins. I'll give this album an 8.5, as it's fun. I could stand to have more dynamic vocals, but that is my personal preference, I think these guys made the album they set out to make, even if it is not the most original thing I have heard this year.
Noise rock became the label that most would define these guys with, though when "Pure" came out in 1989, I remember thinking they played their instruments too well to be a punk band, thought this was a time when music was shifting and the "alternative" label meant something more than a marketing slogan. There is much more of a rock n roll feeling possessing this album. Yow's voice sits back in the mix on the first song, but when he takes the spotlight on "Armstice Day" it's evident he still has his voice. There is a cool tension lurking under the surface of the rock facade.
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More punk attitude seeps into "Grind". The guitar tones feel brighter and more organic, they are not playing with the same pent-up aggression they gave their 90s a subtle metallic edge. "What If ?" is driven by a creeping introspection that serves as a fitting counterpoint to the rowdier "Lord Godiva". This finds Yow coming closest to his famous howl, as for the first four songs he has kept the mood pretty civil. "Alexis Feels Sick" is closer to what I want from these guys as it has an unhinged mood with an inner darkness smirking at you.
Things got back more to a frantic syncopation, before tightening the reins into a groove for "Falling Down", which might not be as explosive as their earlier work, but is still effective. "Dunning Kruger" is much more rock n roll, it would have almost fit on rock radio in the mid-90s. The band themselves said this was some of their hookier songwriting, so this must have been one of the songs they were referring to. Not what you go into this album expecting if you are measuring them against the past but it works. "Moto(R)" bleeds from a similar vein as the previous song, a little happier than what I associate with these guys, and not as catchy as "Dunning Kruger"
By the time we get to "Is That Your Hand?" they are beginning to bore me, but then I really like "Swan the Dog" as it has darker more melodic leanings and is a great example of how they can bring the sound we expect as fans and marry it to these more mature rock leanings the album goes into. These guys have been critical darlings for the bulk of their career, so you are going to read a lot of inflated praise of this album, I like the album but wish it was darker, and the more rock n roll direction takes some getting used to at times, so I will give it a 9, which is still better than the bulk of rock music coming out these days.
There is a line between being ambitious and indulgent. A 21-minute song opening the album crosses the line. Sure having the sonic power to create an attack like Swans is an improvement for the band, but I am never going to listen to a 21-minute song more than once, there are just better investments of my listening time. I mean maybe if you are just sitting around getting high you have that kind of time to spare, I just don't have it. Ten minutes into the song things have a very powerful ringing sound as things both drone and groove at the same time. This album is full of dichotomies so if you do not appreciate clashing concepts it might not be for you. 15 minutes into the song things take a turn and build into a noisy almost black metal blasting ambiance.
"This is Not a Prayer " also highlights the band's weakness which is the limited range of Micheal Bearden's voice, it just stays in an ugly scream. I get that this album is a catharsis to rant about his bulimia, but there are plenty of musicians with equally disturbing disorders who still make melodic music that balances out the setting of inner rage with wider dynamics. The double bass of the drums adds a more metallic drive to the song. The sludge-tinged noise of the band does stir up a particular sonic space. They are choosing to be abrasive. It is the weapon they are using in this confrontation. Things are less post-punk and begin to cross over to hardcore on this album. Despite the addition of Interpol bassist Brad Truax, they are more like Black Flag and less like Joy Division on this album.
Everything works better as a whole on "Clemency". Even when the vocals gurgle and yell into the syncopated punches it fits, similarly to the Jesus Lizard but not as dark. "Permanent Embrace" finds the music shift from a syncopated tension that could almost be found on a Tool album to blast beats and buzzing guitar when the song accelerates to its peak. So, the obnoxious vocals counterpoint the sonic heaviness. Musically this is pleasing to me, and in some ways an improvement for the band, but with the more produced and polished sound to have the vocals just squawking with no clear purpose, makes me around this down to an 8. This makes the album still a great piece of musical art, it just depends on how high your threshold for abrasive vocals is. It rubs my persona tastes the wrong way as the strong vocal is a make or break for me. Vocals might be something you tune out if the guitar is hefty enough in that case the album with work for you. It drops on Dias Records.
This Brooklyn-based Pysche rock band has been pushing the bounds of genres since the late 90s. It may be how their art is reflected in the general state of the work but there is a heavier attack to the tension their jams are creating going into this album. They are four minutes into the opening track before the vocals come in. They are still bringing a lush wall of sound that carries a droning chaos. This is their 17th album and it's clear they know what they are doing, but need to work off a kind of formula to get there. Improvisation is part of their DNA, and the songs have that energy while still being constructed into something with form and function.
While the first and the last songs indulge in more of an expansive experimental sound the bulk of the songs stay around the three-minute mark as they are driven by more of a reckless punk energy. "Spill" carries the 90s post-hardcore rough edges. The ambiance that is a by-product of their churning guitar sound creates an organic noise-rock vibe. "Strange' flirts with their more punk tendencies, though it is heavier and layered with a broader range of sounds than punk bands employ. They do have an original sound, but not devoid of influence as Dinosaur Jr-inspired guitars drive "Here it Comes". Though the darker more introspective title draws off jazz moods.
I like the ringing sonics of "Salt" it grooves like an acid trip. The acid really begins to kick in for the last song creates an atmosphere with a droning groove and plenty of noise to throb at you. It works off this with the vocals not coming in until two minutes into the song. I can appreciate the moody vibes it gives off. I will give this album a 9 , they accomplished what they set out to which is unique despite leaning in more of a punk direction.
I've always considered Steve Albini a punk rock Frank Zappa, though noise was his weird. To normal joes, I explain him as the dude who produced "In Utero ". My first inclination I would almost be inclined to tell you I appreciate him more as a musician than a producer than I remember I really like the Neurosis albums he produced so then I would have to retract that statement. I think what his death will take from this world the most is his willingness to speak his mind and voice opinions that challenge mainstream thought. He would come out and explain his dislike for dance music in a manner that got the point across without apologizing for his disdain. In the days of people shouting gatekeeper like it's a negative connotation, instead of what it is quality control, we need more Steve Albini's in this world.
Here's a list of the albums Albini produced that matter here at Abysmal Hymans
Pixies - "Surfer Rosa"
the Jesus Lizard - "Pure", "Head", "Goat", "Liar" , "Down"
Pigface- "Gub"
Helmet- "Meantime"
Fugazi- "In On the Killtaker"
PJ Harvey- "Rid of Me"
Nirvana- "In Utero"
Burning Witch- "Towers"
Neurosis - "Times of Grace", "A Sun that Never Sets" , the Eye of Every Storm", 'Given to the Rising" , "Honor Found in Decay" , "Fires With Fires"
Bloodlet-"Three Humid Nights in Cypress Trees"
Leftover Crack- "Fuck World Trade"
Made Out of Babies- "Coward"
Trash Talk- "s/t"
Ebsend and the Witch- "New Nature"
METZ - "Strange Peace"
Code Orange- "the Above"
and if you have never checked out his music this is a good place to start
When saxophone opens a post-punk band's album you know it's going to be different. I was not expecting them to sound like Romeo Void's "Never Say Never". Their new wave ways continue to pay homage to the 80s on "Default Parody". The first two songs have worked off a quirky angular jangle, and going into "zig-zag" they are going to have more to prove What is at stake? Well, it's bad enough to be a glorified tribute band but if you can only cover one song it's even worse. Do they pass the test? It's more of a lateral move as they take the same theme and play it more aggressively.
From this point, the songs begin to run together until they allow the song some room to breathe on "Talking Radience" , though it sounds like Grimes covering Romeo Void instead. "Talking Radience" sound bass line was ripped from a pre-Purple Rain Prince song, Yes, I know the song, but I am going to make you guess. There could be decent songs buried under some of this chaos. By "Concrete Lilly" this is beginning to lose my attention. It's not until the odd groove of "Lipsync" that I pay attention once more. They casually hit you with moments of abrasion.
By the time it gets to the end of the album, I might not be sure what I heard though I expect it was a noise rock band trying to cover Romeo Void in the style of freeform jazz. I will give this album a 6.5, as feels generous enough considering it was terrible from a songwriting perspective, but when thought of as a deconstruction of new wave music, or an anti-rock take on the 80s there might be more substance to it. If this is something would keep in regular rotation, you might also like doing coke in coffee shops and getting fisted in the bathrooms of art galleries, which is fine as long as you know who you are.
After an 8 year wait, the Atlanta band is back with their biggest most polished album yet. This more refined, could even be thought of as more accessible. The Spinal Tap-like cycling out of drummers finds them with drummer number five Douglas Barrett behind the kit. A great deal of the punk sound has been shed, for hooky syncopation that feels more anthemic. The manic energy of "Heironymous Bosch Was Right" finds the band still retaining some of their punk DNA. I suppose when it comes to 90s radio's definition it still fits, as it is at least as aggressive as Bad Religion. After repeat listens it begins to grow on me.
Then there are arena-rocking riffs that hold more common ground with Rage Against the Machine on "Hostage Therapy". Though overall this is a display of the more intentional display of songwriting, as these songs are all catchy as hell recalling the days when music was both fun and dangerous. Lyrically this album displays a great deal of growth as every verse is a clever commentary. "Back When I Was Savage" is the most straightforward song so far, and feels like it could have been left over from the sessions of their previous album.
"Sicko" is convincing in its angry stomp that creates a compelling groove, lyrically it makes you wonder if he is yelling about the Covid days. 'the Death of a Stuntman " is one of the album's most smartly written songs. Lyrically it might be inspired by Christian's day job working in the movie biz in Atlanta. If you are looking for the more rough around the edges sound of the band's previous work the closest you are going to come is "Everyday is Legday". It sounds at times like a less radio-friendly version of an angrier Foo-fighters. "Imposter Syndrome" uses the squeal of feedback as window dressing for Jesus Lizard-like tension. This is the band's strongest work to date and is a portrait of a punk band that grew up into a full-fledged rock band. I will give it a 9.5, the closest they have come to perfect.
This New York band plays a beautifully depraved style of noise rock, that is dark and burly. The darkness comes from the honest lyrics that provide a commentary on human filth in the big city. The sonic equivalent to drinking booze out of an ashtray. Like much of the noise rock genre at its heart is punk rock, it's just played with a more calculated recklessness. The Sonic Youth influences feel like it's from the "Goo" era, it provides a more rock swagger to "Wilkinson's Sword". The songs seem to reflect themes of sexual assault, and the toxic perspectives such things give root to like engaging in self-harm as a coping strategy. This is a love song to the miniature scalpels she used to cut herself in church.
The drummer is clearly into metal as they are not afraid to employ double bass. Black Metal is also an influence in the tremolo-picked guitar that often haunts the background of these songs. "The Donkey" carries a deliberate stomp and lyrics exclaimed in a more spoken narrative fashion. The guitars sound like they are falling apart around them as they are abused by the pounding. "Presidental Welcome" is more of an odd interlude. "Energy Crystals for Healing" is more pummelling in its intentions toward your ears. The blackened punk vibes continue on as the undercurrent. "Downhill Racer" exudes even more angst as it pounds more relentlessly, almost burying the song's nuance in its wake.
When they relinquish any restraints and just pound their instruments, they also lose some of the finer points of their songwriting that made them effective. "the Weaversville Home For Boys" finds them return to storytelling. This time it is done with a brooding tension. This song touches on the heavier side of grunge closer to the zip code of the Melvins. Despite getting too rowdy for it's own good when viewed in the context of punk rock, this album is pretty effective, and their sense of storytelling gives them their own identity apart from the rrroit girl rock of the 90s this evolved from. Taking all this into consideration I will give it a 9. This is being released on Brutal Panda.
This Canadian band is onto something. Or perhaps they are on something. Both sentiments are valid here. They play a crazed chaotic take on doom. This could also be called psychedelic. But all too often using those terms makes it sound like everything is a carefree fun time on drugs. That is not the trip this album is on. Which caught my ear and made me want to write about it. This project is four albums into their career so know where they want to head. The second song finds them coming to their senses and writing an alternative rock song that shares a great deal of common ground with the Melvins. It is an influence you may or may not be able to unhear, as it carries over into "Icy Ground". It is moodier and more subtle and keeps its brooding at bay as if heavily medicated.
There is more rock n roll swagger to "Arjuna's Hunting Hand". They kick into things with burlier grit for "Lowdown Animal". I like the raw attack of this song, combined with the anxious plea of the vocals. Often they wander into angular passages that would have felt like noise rock if these guys were not as moody as they are. Lyrically they are darker than they are sonically. Things get gritty and tense not unlike Jesus Lizard. There is a darker groove for "Burrowing Down the Spine". It creeps more like an older Tool song but without the metal.
"Pin Prick" has a more metal attack with its sharp riffing. However, this is also not unlike something the Melvins might do. "Immovable" is darker and more melodic. It pulses with a creepy vibe, with heavier guitars mixed as a pulse in the back. The heavier riff the song builds into reminds me a little of older Soundgarden. I appreciate the gradual build-up of intensity. "Hammer Comes Down" is a little more Tool, though I am referring to when Tool used to rock out rather than being pondering prog machines. This is a very solid album, I appreciate what is being done here, and recommend if you are looking for a hybrid of noise rock and stoner rock. I will give this one an 8.5.
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