Written by: Blackie Skulless
Like I always say, discovering a blackened thrash band from South America is a fast way to grab my ear by the lobe, being an easy sell. Yet, some do just a little (or a lot) more than others, and Mayhemic is a fantastic example. Having formed in 2018, last year saw the Chileans’ first full-length hit the ground, entitled Toba. Considering this is named after a massive volcano in Indonesia, the music couldn’t be more fitting. At first glance, one could lump Mayhemic into the endless sea of bands that go for this exact same style. It’s a swift blow around the thirty-five minute mark, making speed and aggression its main aims, coated in a finish that’s just the tiniest bit clear without ruining the dirty foundation. Yet the delivery alone goes the extra mile, crushing up some of the meanest outbursts into tiny, dense, riff-sandwiches that hold the weight of an anvil. Pairing with that is a vocal snarl sounding like Millie Petrozza, but perhaps even nastier, to complete the general feeling of being trapped under smoldering hot magma.
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Written by: The Administrator
Sometimes, the album cover tells you all you really need to know. And if we're being honest, "sometimes" becomes "frequently" when we're dealing with the comfortably miasmic realm of stoner doom aesthetics. So. Prior to hitting play, there was no doubt in my mind what War On Drugs by Mexican duo High Grind was going to sound like. Smog-thick riffs. Phlegmy vocals. A little swirling psychedelia. It was frankly quite inevitable that I would enjoy the soundtrack accompanying this weed demon bacta tank imagery. I'm pleased to report that I do very much enjoy War On Drugs. It does absolutely nothing new, but when it comes to stoner doom, I'm generally quite happy with a band that sticks to the bulletproof established formula. Give me mammothian riffs that lurch about like--to quote Rolling Stone's 1972 review of Black Sabbath's Vol. 4--a "giant prehistoric plant learning how to walk." Give me indistinguishable lyrics via throaty howls wrenched from the sludge. Give me stupored groove and the warm embrace of fuzz. Honestly, every track here is a good example of what High Grind offer, but check out the embedded "La Guerra Contra las Drogas" below for some particularly downtrodden riffage. 
Written by: The Administrator
If MEGAFAUNA doesn't represent the perfect antithesis of easy listening, I shudder to think what else could have possibly earned that designation. Indeed, in my review of MEGAFAUNA's unsettling and engrossing Venator, released back in April of 2024, I wrote that the project is "not a light nor carefree listen." I also called it "unabashedly weird and intense" and referenced both an "uncomfortable urgency" and a tendency to nail a sense of "terrible disassociation that paradoxically makes you hyperaware of your physicality." In short, I liked Venator very much, and found MEGAFAUNA's articulation of anxiety, fear, paranoia, and depression to be quite poignant. I Owe This Land a Body similarly presents an intense soundscape, leaning into a lonely and foreboding eeriness. This is, after all, an album explicitly exploring the notion that "how dying is the last decent thing we can do." A sense of profound despair implicitly and intentionally seeps forth from the Megafauna corpus, and this latest isn't exactly a cheery listen. With that said, I Owe This Land a Body is less immediately jarring than Venator, and even manages to undercut its own sense of unease with some unexpected bright spots. 
Written by: The Administrator
I'm no expert, but I'm fairly certain it is impossible to look at this album cover and imagine it attached to anything other than some comically distorted and trippy psychedelia. Y'know, the good stuff. Terra is the debut album from Acid Arno, a self-described "loud trio" out of Berlin, and the three track contained within do not disappoint when it comes to rich fuzz and expansive acidic leads. I'm in love with this poetic and extremely apt description lifted from their promo material: Terra combines "layers of bowing deep fuzzes, lysergic delays supported by stone primal percussiveness set down in a dilated dark-trip composition." If that isn't enough, their bandcamp description states that they are "grounded to space." And yeah. I couldn't agree more. All of this is exceedingly accurate. Well said. 
Written by: Blackie Skulless
Bütcher are a Belgian act that has been around for decades, despite the first full-length record not hitting until 2017. They may not have sold me right away, but their second album titled 666 Goats Carry My Chariot absolutely blew me away (I mean really, how can a title like that not?) Considering their borderline parody-meets-evil speed metal with a blackened hue, I figured there was enough room for strong continuity. Enter the latest release, On Fowl Of Tyrant Wing, which does exactly that. From a foundational standpoint, Bütcher retained the exact same attitude that cemented their identity before this time around. Obvious odes to classic metal bands with tongue-in-cheek themes that you can still take a little seriously are very present. The frontman’s notable shriek-singing is still here, kicking out harsh passages that have a burning atmosphere without getting too raspy, and an emphasis on strong leads still takes precedence. Interestingly, what’s different now is that the band lays off the blackened tropes a bit. 
Written by: The Administrator
The promo email for NODINE's Amateur Land was unexpected but far from unwelcome. The artist behind black metal outfit Ainor switched gears and now makes rap/trap/experimental hip hop under a new moniker, released via Syrup Moose Records? In the world of artistic development, that's an exciting switchup. My interest? Considerably piqued. While the genre tags may imply a shiny polish, this isn't clean stuff from a production standpoint--it feels like the rap equivalent of a classically homegrown bedroom black metal project. That, my friends, is by no means a bad thing. Amateur Land feels homegrown in the best sense, providing an eclectic spread that feels tangible and human and raw. There's some trap, some borderline rage-fueled horrorcore, some minimalistic boom bap, and requisite let-me-get-a-braggadocious-one-in-real-quick freestyles. Every track brings something new to the formula, giving the whole affair a very exploratory feel, almost like NODINE is attempting to map complex terrain via the light of glowstick. In a world where artists are all-too-oft trapped in a trademark aesthetic, I find significant value in a deliberately eclectic collection of sights and sounds. It can make for a jarring listening experience, but consider: being jarred is good.
Welcome to the second edition of DEMO(LITION) DERBY, a relatively new column dedicated solely to demos. Bolstering our underground cred since 2024!
Written by: The Administrator
Upon receiving permission to injudiciously trawl the depths of the Sleeping Village's promo pit for demo tapes, our hardworking Pit Herder caught and subsequently presented a writhing haul. A legendary catch. Turns out there's a lot of 'em, folks. It seems like demos are all we're eating these days, and so here is a brief writeup of one of my recent favorites. tethered is a quartet out of London, and this very strong 5-track demo indicates that they are intent on hitting the ground running. Leaning into an overtly emotive DIY aesthetic, tethered state that they are attempting to "bridge the gap between some of the more introspective elements of mid 90's emo and the raw energy of hardcore." In this particular scribe's opinion, they have nailed the execution, and they inherent rough-around-the-edges demo quality only exemplifies their success. This is some vehement and impassioned stuff, particularly in the case of vocalist Rose's intense delivery. Her singing reminds me of an overexposed polaroid, bringing both a sense of nostalgia and a timeless overblown emotive rawness. Take, for example, the strained and vicious "shred." The refrain of "no more patience no more peace" feels like spite incarnate, and the following verse is vengeful in a way that feels both sharply targeted and extremely real. Rose's delivery is hurried, leaving very little room for breath between words, which in turn leads to some heart-palpitating urgency. This trend of energetic emotion is displayed through the demo, and the instrumentation often matches the forward thrust of the vocals. On this note, the drums are notably present across the short breadth, a leading factor in the overall forward momentum of the tracks. On opener "torches," for example, I initially found myself following the drums more than the guitar, which almost serves more texturally. That's not to discredit the riffage, however--I particularly enjoy the jarring guitar work on the spirited "motorhinder." All told, tethered have good reason to be proud of this demo. It is well-constructed, rough and raucous without feeling over the top, and feels exceptionally heartfelt. I'm looking forward to hearing more--should they release an official debut, I'll certainly be checking it out! tethered - demo was released digitally August 19th, 2023, and saw release on cassette via strictly no capital letters. Find it here! 
Written by: The Administrator
As a pseudo-mediaeval scribe raised off the grid, I wasn't exactly allowed video games at home as a child. However, if I saw Epilogue's artwork gracing a PlayStation disc at a friend's house, I would have, without a doubt, been suitably enraptured. Look at those colors! The implied sense of movement and perhaps, if you use your imagination, even a little chaotic violence! The allure is strong. Judging the book by its cover aside, I am familiar with 18 Slashes' game. 2023's excellent Jawnnobyl was a dark synthwave masterclass as far as I'm concerned, and ended up taking the crown as my favorite electronic album of the year. Created as the soundtrack for a game that does not exist, and admittedly operating at a much higher bitrate, every 18 Slashes release is nevertheless imbued with an endearing nostalgia. Stefan Schneider has found a delicate balance between explosively frenetic fun and a specific yearning for the irreplicable childlike glee associated with experiencing a new game for the very first time. Anyways, this was originally going to be published as a mini-review, but I have far too much to say. Let's blow away the word count parameters and just go for it, shall we? 
Written by: The Administrator
In lieu of a lengthy intro, let me just state that Toronto's own Tumble have absolutely knocked it out of the park with this debut two track EP. Bringing proto-metal groove and a vivacious energy to the retro hard rock aesthetic, this three piece makes a strong opening statement with Lady Cadaver. Side A is catchy and frenetic in a fashion that is instantly gripping. The central riff is an absolute doozy. The vocals fit the mood and vintage vibe like a glove, dusty yet not without a subtle bite. There's a delightful sense of momentum. With all that said, the track's arguable strongest suit is the unexpected drum solo that slots neatly into the back half, providing an exciting and dramatic moment in the midst of a song that, for all intents and purposes, was already quite exciting and dramatic. When the riff comes back, reinvigorated, one can't help but smile. 
Written by: Blackie Skulless
After actually waiting over a whole year to put out a new full-length, Haunt have come forward with album number six! Considering the rate, I have taught myself to enter new discs without any preconceived expectations, but I’m thrilled to report that Windows Of Your Heart brings forth a little more memorability. While 2021's Beautiful Distraction was still a solid disc, that was my main qualm outside of its title track. Stylistically I wouldn’t really call this one anything much different, but its execution is interesting enough. From the gate, you get a bit of a refreshed feeling from opener “Mercenaries.” The speed metal boost that’s brought forward breathes new energy, especially with the way it fills in the gaps with softer clean guitars. Similar energy exists on “No Control,” though I will admit that this one doesn’t utilize repetition as well as it could have. That isn’t utilized too heavily throughout the album as a whole, though. |
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