Written by: The Administrator
Before the music journalism Inquisition rakes my haggard frame over hot coals, let me make something clear: I don't make it a practice to read reviews of music I plan to write about. I like my thoughts to be my own, uninfluenced--willingly or no--by what others have said. But some rules are made to be broken, especially when the band's first EP cites, on bandcamp, a god-awful review in lieu of a typical about-us section. Seems like required reading in my book.
Despite what said review will have you think, the duo that constitutes Revered and Reviled Above All Others is not mediocre. Neither is their output boring, nor (my personal favorite) "listless music." While this release's six brand new tracks and accompanying Napalm Death cover admittedly bear a vague mark of maturity in contrast to their previous effort (which are repackaged on the cassette version of Toppling the Rotten Pillar), I am here to wholeheartedly assert that none of those prior adjectives apply. Y'know, in this scribe's humble assessment.
Written by: Volt Thrower
Bootlickers beware: this album is not for you. But for anyone else who wants to see the institutions of systemic racism burnt to the ground, this is the revolutionary anthem for you. Rising from the red of Little Rock, Arkansas, Terminal Nation delivers a brutal sonic indictment of humanity with Holocene Extinction.
Right from the get-go, Terminal Nation establish a catchy death doom sound in "Cognitive Dissonance." Raspy howls devolve into a sickening “bleugh”, which sets things off in a beautiful direction. A crushing mosh call to close out the album opener is a damn fine start. "Arsenic 'Fucking' Death" kicks things up a notch with a tasty grind passage, also bringing in the first pit chant in “extinction of mankind!” If you can listen to this album without getting a single riff/line stuck in your head, I'll paypal you $100 (CDN, so not much). But seriously, this album is just littered with memorable hooks and quotable lines.
Written by: Arzou
Undesiccated’s new release, צֶמַח (tseh'-makh), is...quite odd. The EP is like eating a $4 TV dinner. It’s pretty good, but there’s that inner feeling of guilt and shame knowing there are much more quality and healthy food options out there. Let me try to explain why.
First, to get the blatantly obvious out of the way before even listening to the EP: why do the songs have numbers in front of them? I’m not talking track listing numbers. I’m talking numbers like 29, 32, etc. etc., and in somewhat random order too? I was curious so I dug through their bandcamp and saw that every release was like this. The only reason I can think of this is that the band is numbering every song they made to keep count, but not changing the name of the song when uploading to bandcamp. This sort of lack of care and/or amateurism almost prevented me from listening to the EP all together, and yet I did out of blatant curiosity. Which leads to my next point.
Written by: Arzou
2020 has been quite the year and we aren’t even halfway done with it. For almost six months we’ve been dealing with pain, sorrow, anger, resentment, and of course, political and social issues. So much so that it’s safe to say that most people have felt like they’re going insane! I know I have. I’ve been cooped up indoors for 69 days! (nice). Luckily, grindcore duo Human Obliteration felt the same way and instead of writing countless facebook posts about how shit sucks, they instead released their latest album “Definition of Insanity” for us to eagerly enjoy with our ear holes.
Straight off the bat, if you haven’t listened to this album: do it. It’s 18 minutes long, which is shorter than your average episode of anime. Trust me, it’s worth it, and a much better use of your time. It’s okay. Your body pillow and cheap instant ramen can wait.
Now that I assume you’ve listened to the album we can continue. If you haven’t that’s okay. I don’t forgive you.
Written by: Izzy
If you’re at all into grindcore, you likely recognize this name. If you aren’t into grind you’ve probably never heard of this band in your life--such as the scene goes, the best bands go unnoticed to all but the most dedicated. That said, I am bringing this album to your attention for one simple reason: it fuckin' rocks and you should go listen to it.
Nepalese immigrant grinders Chepang have been blast-beating their way into the crusty hearts of fans ever since their 2016 EP, Lathi Charge. Chepang, however, have only gotten better and better with each release if you ask me (which you may or may not be, but this is my review). As they improved they also got more adventurous, and Chatta continues to follows that trend. It’s 28 minutes of razor-sharp, hyper-focused jazzy grinding madness, split up into a main section that’s 16 minutes and a 12 minute remix B-side.
Written by: Arzou
ACxDC (Antichrist Demoncore, for the cool kids - Ed.) is to powerviolence as Gutalax is to goregrind. Extremely popular but disliked by the fans of the genre. After releasing their debut self-titled LP in 2014, people have been waiting for a follow up either with excitement or baited breath, ready to throw “ACxDC bad” comments wherever they can. Well it’s here, ACxDC’s Satan is King has been released with 15 songs and 23 minutes, and I’ll tell you what: if Satan is King then Satan is one milquetoast dude.
You see, another similarity ACxDC have with Gutalax is that they are both, despite their popularity, very mediocre. That parallel still reigns true with this album. It checks all the boxes of a good powerviolence album, blistering and skulldenting riffs, slow and crushing sludgy riffs, the ability to confuse grind babies into thinking it’s grind. Should be a good one, right? Well if you think reading a textbook is really fun then this might be the album for you. Despite all the checked boxes it feels like ACxDC really just did the bare minimum and created a bland and tasteless cake able to be consumed by the masses but unable to be remembered by anyone.
Written by: Izzy
Much like the band in question, Methwitch, I will not waste any time beating around the bush. Rather, I'll just throw you immediately into this torrential review, spanning not only the album in question, but also providing a look into the bands previous efforts too, as I felt unable to discuss this album properly in depth without sharing my own short story that goes alongside my initial listen of this album.
Methwitch is a one-man deathcore band led by Mr. Cameron McBride, a guy who’s been around for quite a while and played in a number of different bands I haven’t heard of. However, this latest offering from Methwitch has a especially flavourful addition that caught my attention far more than your run-of-the-mill deathcore group. INDWELL is a noisy, chaotic, and industrial album, but in contrast also has some melodic moments strewn throughout as well. Calling it mathcore would absolutely not be a stretch, many moments bringing to mind bands like Frontierer, Car Bomb, or even The Dillinger Escape Plan (which to even be compared to them is high praise in my book).
Written by: Izzy
Well I suppose it’s time to christen my very first goregrind review, one of the most inhumanely brutal genres out there, so much so even some metalheads fear it! Think you look brutal in your Dying Fetus T-shirt little guy? Wait until you see my Active Stenosis and Sulfuric Cautery cassettes! (Disclaimer: I don’t own either of these bands music on cassette (yet)! So, what a better band to kick it off than the Netherlands' very own Last Days of Humanity!
...Oh wait a moment, I seem to be reading from the wrong script. Today we’re ACTUALLY reviewing one-man Arizonian goregrind act FIRST Days of Humanity. Bad jokes aside, do not let the parodied name put you off from this album. Even if you are familiar with LDOH
and know they aren’t your cup of tea, FDOH are a completely different monster and have carved a place for their own bestial niche amongst the cavernous cave walls of goregrind and gorenoise.
You may have already noticed this isn’t a regular review, well that is because FDOH have yet to put out an LP, and if or when they do, frankly I doubt it’ll be much longer than a standard EP anyways. This band’s projects thusfar have been especially short, more comparable to the average demo length than anything. I mean, their entire discography of 4 EPs and 2 splits is only about 40 minutes. So instead, since I’ve been dying to put out a full-sized review on these guys, we’re looking at the two EPs they’ve released thusly this 2020, Pixel Death and Atrocities.
Another day, another Borborgymus release. I've spoken on the prolific nature of this Wisconsinite one-man (increasingly avant-garde) goregrind outfit before, so we can skip the preliminaries and get straight into the good stuff. Splatter Movie Madness, Hellsmasher's latest, is an overt ode to classic horror and slasher films--in other words: an unexpectedly blood-spattered platter. Y'know, the usual. Medical malpractice, cannibalism, murder by classic deranged slasher baddie, and gory submersion into assorted depravities? All in a day's work. While the majority of projects that deal exclusively in such content tend to feel a little one-note, Borborygmus consistently seems invested in recreating and honoring the cheesy horror tropes of yore. It feels genuine. It works.
Ten minutes is, in the grand scheme, not a whole lot of time to assert yourself. Nor is it much of an allotment if you’re looking to make a profound point. But, despite a tendency to maintain a certain established aesthetic, the world moves quickly in the collective grungy underworld of crust punk, grind, and powerviolence. Bands operating in this arena do not debate--rather, they launch a vicious diatribe and disappear back into the crowd, eschewing reflection or extended discussion in favor of immediacy and brevity. I don’t know why I’m lecturing at this stage, though. If you like this particular flesh-peeling brand of extreme music, you already know the score. All this is to say, then, that on their latest effort, UK’s raging Negative Thought Process stick to this tried-n-true approach, delivering a blistering onslaught in less time than it takes to make breakfast. I know this because, in the course of making breakfast today (and the day before, and the day before that,) I was able to get the full dose of stomping aggression before my toast was done.
We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry!