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: The Administrator
First things first: Fullmåne's Lurking in the dark is a lo-fi affair--the rawest application of punk-infused black metal you're likely to find whilst trawling through the underground. This is, indeed, a self-described "dark and dirty snapshot of night time drifting, paranoia and drugs." As such, it's only appropriate that we acclimate ourselves accordingly. Prior to starting in, then, let me find my scratchiest quill, my faintest ink, and my poorest quality parchment. I'll remove my cloak as well--better to write with the lingering threat of frostbite. Oh, and let me shut off the lantern for good measure. In the case of today's EP in question, I think it would be better if I worked by the light of the moon.
There, that's settled. Now I'm ready. Are you ready? Good.
Written by: Volt Thrower
“In the novel, Frankenstein's creation is identified by words such as 'creature,' 'monster,' 'daemon,' 'wretch,' 'fiend' and 'it.'” Thanks, Wikipedia, for describing this album cover so that I don't have to. I know these guys don't take themselves too seriously, and I mean no disrespect to the artist, who upon a cursory search has some really nice artwork, but this is just too cheesy. Maybe I'm just a lame grouch, taking it too seriously. And I get that they're going for the old school sci-fi horror covers look, which are usually cheesy, but just slapping the antagonist of each song onto the cover, feels like a bit of a blunder. Let’s hope that the tunes are out of this world.
The album itself is a bit of a mishmash of songs, a new tune in the album opener and title track, two reworked songs from their 2017 demo For God Snakes, and a couple other tracks that the band has had in their back pocket for a while, giving them a little modern touch.
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.
In the course of trawling through independent review requests that slid down the sluice and plop into the promo pit, a rough-n-tumble process, of sorts, has formed. After sampling tracks, this slumbering invariably breaks submissions into vague categories, as to maintain a little bit of order 'round this joint.
The first category: "that was good, I want to examine this further and could be easily persuaded to write about it.
The second category: "that was decidedly not good, if anyone writes about it, it shan't be me."
The third category: "that was outstanding, I must write about this immediately."
Said third classification is exceedingly rare, but when it makes an appearance, it is a wonder to behold. Extensive intro aside, let me assert that "Black Seas," the latest single from Toronto's so-called "Satanic Blues" peddlers Demonchrist, is a track that makes me want to drop everything, run to the scriptorium, and sharpen my quill.
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.
The Captain is back! As always, we welcome him back into the Sleeping Village with outstretched arms and a worried grin. This time in the ol' wringer, the good Captain reviews...a ska album. Not our typical fare, but, like, there's skeletons + fire on the album cover, so that surely counts for something. - Ed.
Written by: Capt. Graves
A little known fact about me: I was in a ska band for eight years. I did this to fool everyone into thinking I was a fun loving human, and not the Decimator of Worlds. Hobo Chili are my family, and I'm glad to see they have released a new album--and that it's their best to date (well, maybe except the guitar playing).
Hobo Chili is known for their anthemic song writing, and they deliver in spades on Salt of the Earth. This funky, punky, ska-infused madness is surely an album you want to put in your repertoire.
Salt of the Earth kicks off with some driving bass and super tight horn hits. Layered instruments in a punk rock fueled frenzy. Then we get into a bit of a surf vibe, and Latin swing. Notably, the horn section is really shining on this album.
Take even a cursory glance at the gloriously garish cover art before ye, and this much is exceedingly clear: Long Island's own Gorilla Wizard know how to have a good time. Their debut album, Tales From the Cauldron, is a bombastic and rip-roaring piece o' work, through and through. If you're not in the mood for high-energy fun, this wasn't made with you in mind. Don't really know what else to say.
Chunky grooves and contiguously crunchy riffs rule the roost. You know what I'm talkin' about--the kind of sasquatchian chest-beating riffs that lumber into the swamp and then back out again, dripping and covered in gunk, without a goddamn care in the world.
As much of the album operates according to this simple but effective guitar-driven approach, any tracks I would consider standouts simply apply the formula most egregiously. "Smashosaurus," "Maple Crunch," and "Black and Blue" are perhaps the most memorable moments, and the best introduction to Gorilla Wizard's jubilant brand in general.
At Ye Olde Sleeping Village, it's a little odd for the vultures (and other carrion-feeders) to spend time occupying any locale other than the maggoty plague-pit. Thus, imagine our surprise when a Turkey Vulture rapped, Poe-esquely, on the door of our hallowed scriptorum. It presented a package before taking gangly flight--and so, here we are, new Turkey Vulture demo track in hand. How apropos. Funny how it happens, but what can we say? Music promo is an interesting world these days.
For those of you not in the know, Turkey Vulture are a duo out of southern Connecticut with little regard for genre barriers or convention. Their singular brand of metal-by-way-of-punk-by-way-of-americana is informed by a motley cast of characters--not least among them being Dolly Parton Herself. We reviewed their two-track this summer, and, despite having very few songs indeed to grasp in grubby hands, we’re always impressed with whatever Jessie May and Jim Clegg have cooked up. The latest, an acoustic cover of folk ballad “In The Pines,” is no exception to this rule.
Lest ye readers read the forthcoming praise and subsequently turn upon us scribes in our lofty ivory tower, brandishing pitchforks and torches whilst profusely bleeding through wretched earholes, let me make something clear. Treading Water, the debut LP from Milwaukees’ two-man grind unit LIFES, is not a pleasant listening experience. Both in conventional and unconventional sense.
Treading Water is a brief but pugilistic cacophony, a squealing and burping punk-ridden grindy mess. LIFES carry themselves with the boisterous aggression, powerviolent attitude, and hardcore gravitas of Iron Lung or Dropdead, combined with the wild grinding invention of (my personal scene faves) The Locust. But sonically, the closest comparison I can draw is the vocal delivery of Liberteer's Matthew Widener. That said, both Zak Rudnik and Dave Holochwost handle vocal duties; I'm not sure which is which. Both are pretty damn excellent, it should be worth noting, and no matter who is roaring, the message comes across clear.
We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry!