This is just a life, soon enough you'll quit. (Rotting Out, This Is Just A Life, 2009)

First of all, I'd just like to say that this is my favorite L.A hardcore band there is out there. I know, I know, there's plenty better but you can not match the energy they have live. They make you go completely fucking mental. "Positive Views" was the first song I ever heard from them, back in 08, and my first thought was "Holy shit, this is fucking brilliant!" The build up from the drums, Mike's voice practically in your face telling you that your views fucking suck. And almost every track is like this. What I mean by that is not that everything is the same but that it has consistency. It's not your typical "I'm angry at the world" hardcore, it's the "I'm fucking calling you out and you're too ashamed to admit" type of music everyone likes to hear. It's just so perfect. After I bought the complete full length, I was again, very pleased. Mostly because they covered "L.A Girl" by the Adolescents and "I Love Living In The City" by FEAR. The demo was released in 2007 as a 7" and in 2009 it was finally released as a full length. Quick fact: Mike's last show with Rotting Out was last year at Sound and Fury. The band continues on with their former bassist, Walter, as the front man. And they still fucking rule.

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Texan Chop Shop (Hatred Surge, Deconstruct, 2009)

Last night I had a dream that I was standing in the middle of a massive industrial factory. Machines were working tediously all around me while I could hear the grinding of steel and heavy rumble of pumps and levers. The room stretched far as the eye could see and looked as if the walls, floor, and ceiling were made of copper. As I stood there, looking around, a beautiful pale woman appeared from behind the cogwheels wearing only a thorny rose stem used to tie her hair in a loose knot. Her voice then became that of Faiza Kracheni, vocalist of Hatred Surge, but it wasn’t her. Her eyes were closed the whole time as if they were sealed shut and the expression of intense agony on her face was apparent. She explained to me the Deconstruction of the mind, the body, the soul, society, the world, and ultimately, all life. I froze in awe of the sheer force in her tone.

“The world is Out of Balance, Maladjusted to corrupt ways. Harvest until the earth below your feet becomes no more than Dark Circles upon the horizon. Keep believing what you want, but your efforts prove Weightless. Feeding of the gluttonous leaves them with a Big Smile, and causes The Slithering of the rest."


I replied, “I Hate as well as you do, does it make us any different?” I then pleaded with her to spare the lives of humans. She finally agreed to spare humanity on one condition. I was to inform the world of her message through the music of Hatred Surge’s Deconstruct... to spread realization of our true nature through noisy, sludgy, powerviolence. The powerful drumming, catchy guitar and bass work, and male and female vocals (Alex and Faiza) compliment each other in just the right way to make people violently nod their heads in agreement with the primal message of humanity’s eternal destruction and hate. Many seem to think of this band as Insect Warfare's little sister but HS certainly stand on their own and outshine IW in a few aspects. What makes this such a great album is the noisey as fuck production value, which if recorded cleaner would sound less chaotic and powerful. If you want fast Grindy Powerviolence, look no further. Male + Female vocal combinations almost always work out well in PV and Grind and this is no exception, give this record a spin today. “How will I remember this dream?”, I asked the strange naked woman. She replied, “I am the Sleep Terrorizer, this memory will be forever burned into a Skull Cell deep within your head. Keep my message until Infinity.”

Myspace
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(Kill the Client vs Thousandswilldie, 2009)

At 7 minutes, there is not too much one can actual delve into before realising all your arguments and observations have been exhausted before kicking up enough pace, so just like the release the only thing to do is to leave it short and sweet.

Kill the Client  use their 3 tracks to show the listener they still have the Cleptocracy momentum in full swing, and are able to kick more ass than the UFC Heavyweight division combined with chainsaws. Prominent guitar work with an ever uncompromising percussion have been the key features of defining Kill the Client's success, with the vocals adding another layer of awe to the already grindtastic set up. This release is no different to that, and is a nice sign of life and integrity since they last threw out an album back in 2008. Once again strength has been added to the claim that Kill the Client are well on their way to establishing themselves as a Grindcore trademark.

Myspace

Metal Archives

Last Fm

Now Thousandswilldie, have somewhat of a less palatable form of Grindcore, but their fast paced scruffy frantic fury certainly burns a soft spot in my heart for them. I would best describe these guys as what would occur if one was to breed Watchmaker's unconventional approach  with Insect Warfare's razor wire barbarity. Moments of musical mess are untangled fluidly, as Thousandswilldie  shift from more recognisable primitive Grindcore to weird and wonderful things, that leaves the listener in bewilderment as to how they pulled a stunt like that off. They certainly confirm all the suggestions their self assigned tag of Eastbayhategrind implies, this is one giant portion of vehement hatred to feast your ears on.

Sadly Thousandswilldie are no longer active, they have however stated that they will be posting on  a separate website all their out of print material, and also unreleased material, but in the meantime I highly recommend checking out their earlier material to get better acquainted with their hateful music.

Myspace

Last FM

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The Agorapocalypse is upon us (Agoraphobic Nosebleed, Agorapocalypse, 2009)

Scott Hull can not only be credited with creating an audio emulation of epilepsy,  but also as being the front man and driving force for some of Grindcore's biggest names.Under Agoraphobic Nosebleed he used a slew of unconventional methods such as electric drums, masses of microsongs, frantic guitaring & vocals alongside manic music videos, carving a new family of extremity in the metal music scene; known to those who relish in his work simply as; Drum Machine Grind.

Agorapocalypse is the latest in a long line of beasts unleashed by Scott Hull and Co, and is by far the most "normal". Normality by no means that Agoraphobic Nosebleed have lost their touch, this beast of an album is untamed and livid as ever, enough to induce you into a raging fit any time someone mentions the terms; drugs or crime.
Abandoning the mass micro song concept, they flex their metaphorical musical muscles into the realm of conventionality with generally songs lasting between a minute and three, and all this across an unlucky number of tracks, namely 13, again breaking away from their infamous barrages of 100+ tracks of mind bleeding mayhem.
I think for the first time in the age of the Compact Disc an album art is 100% representative of the contents that lay within. Symbolising a flurry of narcotic abuse, police brutality, corporate greed and mass media to name an array of topics covered, this enveloping and vivid art drowns the viewer with all manner of social chaos which not only complements the lyrical themes touched upon, but also the way Agoraphobic Nosebleed force feed you their electrifying  360 degree Grind attack, which will deprive the listener of any coherent  line of thought.

Agoraphobic Nosebleed  greatest call to fame was the fact they had a disregard for the rules of music, and perhaps much like Anal Cunt actively sought to create a stigma and taboo attributed to their names in the peaceful world of music. And just like AxCx Top 40 Hits they decided to break their own rules and follow the standards they so actively desecrated and mocked.
The transition from rebel  without a cause to teachers pet has not hampered nor compromised the integrity of the extreme nature of ANb, the addition of female vocalist Katherine Katz has much to my surprise added a thick layer of aggression  to the music which I had no idea existed in the fairer sex. The twinning of the male and female vocalists are ideal, as they proceed to give you a verbal beat down, you come to realise that it is the girl is in fact the harshest of the two, and this is a scary realisation that such a femme fatale has probably  the harshest vocals on the planet.

The drumming has slowed down to a humane level of speed, and the introduction of a drum solo gives the drumming a touch of reality to it, betraying the fundamental digitally triggered fast as fuck rampage of mechanised drums in  their spawned genre Machine Gun Grind. Slowing the drumming down and elongating the songs forced the take on drumming to adapt to a more cohesive and coherent nature, and by doing so the role of the drums has fallen in line with the stereotypical metal drummer experience. However I cannot deny that despite the "degrading" of the role of the drums, the drums are still as kick ass as they always have been and are en par with the best drummers of better Grindcore acts. I can assure for the unconvinced more die hard ANb fans that the drumming will still beat you into a pile of blood and dust, personal guarantee.
As for the guitaring, expect your standard Scott Hull fast picked no bass present guitar only 7/8 string with plenty of amps assault, and unlike the shift in electric drumming his guitaring is one thing us fans will not allow him to go in a break away form, at least not without a universal vote.

Agorapocalypse  although breaking the mould of traditional ANb and lacking in its genre defining nature, it still will bestow upon the listener a considerable amount of unexplainable blunt force trauma alongside a fear of substance abuse. A perfect unison of man and machine on instruments, with the vocals which have redefined the term harsh, this album showcases Scott Hull's ability to kick as much obeying the rules as he did breaking them.

ANb@Myspace

ANb@Official

ANb@Relapse

ANb@LastFM

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Zaphers' Second Review (Thallus, Sell My Soul, 2009)

Oxymoron is a concept often entertained when hearing the term Melodic Death Metal. It is in some ways fair and just but in other cases just a narrow minded observation of a genre with a rich history. Granted that the Death Metal genre, a breed of music built on its repugnant riffs and equally repugnant subject matter, is not often known for its melody mainly because it has none. But as art is in a state of constant motion this changed, forging Melodic Death Metal attempting to add musicality to a genre that had the musicianship to handle it.

Delving deep into this genre will reveal Thallus and their 2009 album Sell My Soul. The band was first introduced to me under the name Moss with their sublime “Hail to Carcase”. I was initially disappointed whilst studying the track listing to see the song was noticeably absent. But the albums closing track “To Pay Tribute to the Dead” is a reworked version of the aforementioned song. It lacked the originals raw power and like the majority of the album sounded disconcertingly clean. The oxymoronic comparisons return to consciousness when the technically stunning guitar melodies stand side by side with the raspy Max Cavalera-esque vocals, evoking more of a jumbled mess of conflicting styles than a unified and tightly formed band. The transitions between the melodic guitar work and main riffs are rough despite their quality, they stand apart rather than compliment one another. 

The bands rhythm section also turns in a varied performance. The drums have a consistently strong sound but are equally mundane. At times they verge on painfully simple such as on track “Depression” the opening sees a reliance on double bass with the song patterned with simple beats before returning to the double bass work. The drums know their place on the album; they provide a powerful sounding undercurrent but fail to break through into anything of great talking point. It allows the guitars to take the place they deserve, stealing the albums praise with their constantly strong work. The bass serves as a close 4 stringed doppelganger to the drums work. But it at times succeeds in breaking through the mould and stuns with flurries of varied bass fills. The bass appears uniform until given its chance, where it stands as an equal to the guitars artistic flair, an unbalance in the album that is ignored with relish.

The albums track titles are a mystery. A mystery caused by the bands Eastern origin. Originating from China and singing in their mother tongue, a bold and respectable move from the band with countless bands choosing to sing in English over their own language. From a clueless Westerner perspective the lyrics are completely lost. The songs titles are the only clue into the songs subject matter. “Purgatory’s Gate” and “To Pay Tribute to the Dead” evoke epic imagery when compared to simple titles such as “Depression”. But the songs are all crafted in the exact same way. No emotion or imagery is built up in the music itself. The songs all have technical brilliancy but lack any feeling that could potentially portray the same thing that the lyrics might do. The lack of imagery in the music makes the language barrier more apparent. The bands power is in their twin guitar lead. The storytelling should be done trough them rather than the vocalist whose voice is distracting in a technically brilliant band. 

The band undeniably brings musicality into the Death Metal genre, but it is glaringly apparent that it is far from its origins. The melody stands apart from the heavier sections rather than them being interweaved as equals. Both sections are good, mainly on a technical level but they fail to gel and as a result do no compliment each other. They highlight the oxymoronic problems in the Melodic Death Metal genre. Melody and the furious style of Death Metal is a hard thing to blend. The band has elements of both and does them well, but they do not attempt to take advantage of the unique nature of this hybrid genre. They have the musicality and musicianship but something vital is notably absent.

Thallus@myspace

Thallus@MetalArchives

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Ascend into Blogger (Dying Fetus, Descend Into Depravity, 2009)

My love for the more extreme ends of the metal genre can be traced backed to being a young teenager and discovering a band known as Dying Fetus;  they were much heavier than anything I had ever heard and it was a love at first listen. Since then Dying Fetus have always had a special place for me, and have always impressed me with their music. I find that generally people are divided by Dying Fetus, they play a strong brutal sound, but then go technical and people feel that this has negated the harshness of what they had just player, while other listeners  having a general abhorrence for any form of technical playing. Luckily for me, I quite like the manner that Dying Fetus juxtapose the technical moments with those of pure audio terror, and I think they are one of few bands who have successfully manage to pull it off.

Stop at Nothing, Grotesque Impalment  and most importantly Destroy the Opposition  established Dying Fetus as a top rate band who are more than capable of putting out good music. Sadly War of Attrition  was generally terrible, although I did enjoy it was felt not just by myself but the metal community it was nothing to its predecessors. In a bold move by
Relapse Records, they decided to put their faith once again into Dying Fetus, and put the upcoming release Descend Into Depravity  as their poster boy for the record label for the latter of 2009, a number of music videos were recorded and plenty of money was spent advertising it. So the big question must be asked did it pay off?


Descend Into Depravity  certainly was a come back to form by force to the Destroy the Opposition era, much like after the fall of Rome a period of decline existed only to be swept away by the Renaissance, well this certainly may be seen as Dying Fetus' rebirth. Dying Fetus have gone back to the glory days of Destroy the Opposition but with a twist, they have decided to follow a more traditional metal formula of solos, conventional structure,sweeps and melodic overturns. There is one time when I did question whether this new formula had altered the integrity of a death metal sound, and had created some generic metal sound with heavy elements creating a very undesirable effect,named: Hopeless Insurrection this song is the third on the album and ironically "hopelessly insurrected" from the solid amazing impression from the first two songs. Luckily this song is the only bad apple in the barrel and the rest of the barrel are certainly up to scratch and well beyond the quality of your average song.

 We certainly see that Dying Fetus have been rehearsing religiously, the tightness, precision and speed of what they play  puts the form of most titans of death metal world to shame. As aforementioned Dying Fetus have looked back at the roots of not only their own music, but of the genre, and have also looked to the peers for guidance there exists a faint but strong presence of Decrepit Birth. A constant and well established orthodoxy in Dying Fetus is the vocals of John Gallagher (alongside him being an original member), I cant think of any vocalist who sounds more raw and brutal and this is a strength that Dying Fetus have used on every release and Descend into Depravity is no exception.  The bass and drums have been moved as much into the foreground as the guitars, breaking away from guitar-centric War of Attrition  and into a more coordinated assault. The three work together in synch and compliment each other so well, it begs the question can guitarists, drummers and bassists work together without bickering (those of you in bands know what I am talking about), I shall reserve judgement for now.
Considering Fetus once had one of the worlds greatest drummers, Kevin Talley they have done an excellent job of gaining a replacement who comes near to the break neck speed, ingenuity and flexibility of one of his many predecessors. I never thought I would see the day that I said that the bass is as active,varied and free as the guitar, luckily Sean Beasly  uses this new found freedom to compliment and accompany Gallagher's fine guitar
Your Treachery will die with you and Ethos of Coercion are certainly the best tracks on the album and highlight best everything that this release implements, and would recommend to even the most avid Dying Fetus hater. At times there is a feeling of mediocrity and sluggishness, but such instances are short lived and destroyed by the vocals of Gallagher heralding the oncoming of  a tri-unionised instrument genocide.
Before I end this review, I most reiterate with heavy emphasis how tight the playing is, I am yet to hear a band that can top it.
This release has all the hallmarks and makings of what could of been the best release of their career, sadly there are just those little elements that don't give it that completeness we desire. To me it seems that the experimentation was a good idea, but they need to refine those ideas a bit more. Overall this release is by far much better than most releases out there, and is an amazing album that I think everyone I know should own a copy of. Additionally I would go far to say as the 2nd best release they have put out, so hopefully with a bit more practice and comfort with these "new" elements, Dying Fetus will have in their grasp a strong chance of toppling the legacy of their predecessor and create one of the best albums in all of Deathmetaldom.

The Official Dying Fetus Webpage
Dying Fetus @ myspace
Official Forum @ Metal-Realm.net
Dying Fetus Official PureVolume

And Just for a bit of Nostalgia

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Trekkie Grind?(Gigantic Brain, World 2009)

Space and Science Fiction are topics that have been blurred in the every day hayday of media and science frenzy of the last and current centuries, so much so that we have become somewhat desensitised to it, and it stays very much in the periphery of our mundane lives. However the topic is one that if we payed a bit more attention to, will fill us with fascination and intrigue. One such artist to do so was Gigantic Brain, originating not from Area 51 but Virginia this innovator of music collides the realm of sci-fi into  a dark void we like to call music.
Starting off in the year of the discovery of Sedna  and the discovery of water on Mars (2004), Gigantic Brain have created some quasi-cybergrind which has brought a wave of originality in the Grindcore genre. In addition to its contribution to shifting the defining borders of the Genre, it has influenced Short-Lived Grinding legend Parlamentarisk Sodomi, to set up his own attempt at it: Psudoku although I doubt Psudoku captures the Universe theme as much as he intended.However Gigantic Brain certainly does, this one man and machine really lives up to his promise to take Grindcore to the Stars.

Those of you who have heard Gigantic Brains earlier stuff, know how well he encapsulates a Cyber Grind, with intense machine blast beats and that evil eeriness which has become his trademark. This album takes a more peaceful approach, I don't even know if this release falls under the stigmatised title of Grindcore, but whatever category you wish to place this release under will not negate the fact that this is one hell of a release. I see some the tracks as a computerised version of slow and calming classical music which features a constant atmospheric background that gives it that "Space" feel to it. Occasionally he breaks away from this formula and brings in a ferocious and short lived Grinding track that  are greatly similar to his previous tracks on prior releases. 17 tracks of ambient cybergrind totalling a total just short of 33 minutes. Unlike most Grindcore bands but similar to many ambient artists he uses the keyboards predominantly; slow but profound. The stylistic and atmospheric attributes of this album are by far unique, and it would seem that his experimentation has payed off, he still retains the outer space theme, but has opted instead of using a hard line aggressive approach to polarise this and take things the calmer route, and he has done so without sacrificing the space theme. Many tracks feature no vocals and use the emotive musicianship to give it predominantly the calming aura or the bellowing horrors of it. When vocals do appear they are greatly varied each track has a different alien so to speak belching, screaming or murmuring.

I am in bewilderment as to how you can really capture the essence of the universe into musical form, simultaneously I am in awe in the fact that Gigantic Brain have done so with such high quality not just on this release but every other release to date. With a combination of keyboards, electronic drums, computerised sounds, infrequent guitarist and estranged vocals, Gigantic Brain at no point falter in producing such an Amazing sound.
For the die-hard Grindcore fans, this may be seen as a bail out by Gigantic Brain by producing sissy music. I do not belong to this school of thought, this release does not lack in musicianship and takes a break often from its more peaceful approach to unleash a tornado of some of the heaviest and finest Grindcore, Gigantic Brain proves he can do melody alongside brutality and I believe this is what he wanted to encapsulate in this album. Perhaps World is a musical metaphor for what people will observe on our world, a companionship of peace and brutality.
Rating 92/100

Myspace

Last FM

End Note: I will be posting an Interview I did last week on here soon, In the process of removing the background music, so don't worry Salvage the Flesh I haven't forgotten or opted against putting it up, just trying to make it audio-able.

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Behold the Swiss Success!!!!!!!!!!! (Mumakil, Behold the Failure 2009)

I don't know how Switzerland is perceived to the rest of the world, but to paint a racist but idyllic picture it is pretty much: Mountains, Lakes, Banks and Mumakil. To my knowledge (which is very limited) nothing happened for a long time on the Swiss Grindcore scene, well not anything to my knowledge that got International recognition. This was up until a bunch of Tolkein fans let loose the beast we call Mumakil.
I first heard Mumakil way back in 2008, with their split with Misery Index, nicely named Ruling Class Cancelled. I then bought myself their Customised Warfare Album and thus established myself as a "fan". Then in 2009 sitting in our comfy armchairs/desks/beds we were unbraced for a Grinding Explosion of this magnitude and terror of the release of Behold the Failure.

 Before we even touch on the music, I love the title of the release,  it has that deep anti-something witty vibe to it. To reference Grind and Punishment the jokes really would of written themselves had the release been terrible, just as well it wasn't. The elephant thing in the album art is a metaphor as to how this album will pave its way to success, by pure animalistic force, stampeding, impaling and crushing all those in its path.
The song writing compared to other albums has become more fluid, than previous releases, influences in this new found creativity definatley has Nasum written all over it. However I also reckon that Misery Index have taught them a thing or two, in all respects from drumming, guitaring and vocals, although having said that I am the only person who thinks so out of the people I have asked so maybe I am going insane, and if I am insane I blame it on this album, too much moshing and head banging.

Mumakil still maintain that high level of the tainted word "brutality", but have gone a better way about implementing it. in their previous releases a unwanted presence of deathcore, however I do forgive them for this, I believe they have always striven for a noise that was unruly and malicious sound, and sometimes you walk the wrong path before getting on the right path. So the shift from Deathcore to Grindcore is what I think has spelled Mumakil's success in this album, and something I hope they will keep to heart in future releases. This audio terrorism lasts a total of 35 minutes across 27 songs, which satisfies my over 30 minutes of grind madness before I call it a good album(many exceptions to the rule). Everything is top rate in this release, all instruments and vocals are what I would call Grinding Perfect, although criticized for having a lack of creativity and the same sort of sound throughout the whole of the album, I am not holding that against them, probably against my better judgement, I like what I hear and I don't want it to stop, screw experimentation and releasing the inner creative spirits keep it as it is: savagely rampaging on your ear drums in such a way you crave more and scream "Mumakil release another!"
Rating: 90/100

Record Label 

Myspace

Last Fm

Encyclopedia Metallum

Band's Own Site 

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Grindvirus Alert! May result in Compressed Innards!

The Difference between the virtual world and the real world is that those who frequent my blog and don't know me in person believe me to 100% English, well this is a falsehood I am infact 50% English and 50% Polish. The Grindcore scene in the U.K is quite big, not big enough to be mainstream but big enough to have a recognisable following, most be people know of Carcass and Napalm Death, even if they are unaware of what Grindcore is. However in Poland Grindcore seems to be very much a minority within a minority, you have the occasional metal fan, and then out of a possible 100 metal fans you might get one person who likes Grindcore. This is really a crying shame because Poland does put out some good grindcore and metal for that matter (I am a big Vader Fan). And this review will be about the Epitome of the Polish Grindcore scene(No reference to fellow Polski Grinders Epitome intended)

Grind Virus is contagious, there is no doubt about it, once you hear it, you just can't stop playing it, then you go forth and recommend it to your friends who in turn repeat the cycle. The Grindcore Epidemic takes form. These Grinders date back to 1994, thus not old enough to be in the Old School, nor new enough to be  in the New School, to my knowledge there is no term for this middle strata so I will use the term "Mid-School"  to describe these sort of groups. In my opinion they often are the Cadre of Grindcore, they take the best elements from the innovators and pioneers and mould it into something else, and they lack the impurities that have tainted the good name of Grindcore (i.e Deathcore).

Unlike some early grindcore and hardcore bands who strive to achieve a sound which was faster, louder and heavier than anything else, squash bowels have opted not to follow this route. The core element they do possess, is something I can't really put a word on it is sort of like a slow paced groove that still retains the most pure grindcore, it is catchy as hell. They are a sort of early Gore-Grinding Carcass incarnate which has opted instead of going on melodeath or death 'n' roll route, to refine their sound to a alternate better approach. For those of you who have read my review on Jig-AI here, you may be aware of my general loathing of most Gore-Grind bands. However Squash bowels try not to sound the most sickest and demented sound on the planet, they try to stay true to the essence of music and just write stuff the best they can.

The sound possess that underlying raw very heavy metal feel to it, everything they do is nothing new or unique to the genre put what they amalgamate together is just amazing. For a Grindcore release, the song lengths are quite long the shortest being 1minute 28 seconds, but the songs tend to be about 2 minutes in length.  At no point the songs are felt that they have over extended themselves or repeat themselves, each song is crafted uniquely and barrages your ear drums with the finest Grindcore.
The vocals are your typical 2 types one growly and one screamy, add in your clotting bass line, your earth shaking drums and a hell of lot of shredding and you got yourself one hell of a catchy tune.

I often think that most reviewers and listeners tend to forget the importance of production value, talent is talent without a doubt and regardless of production value you can tell whether something is amazing or shit. However I like to see production value as a metaphorical amp,by being good you amplify how good or bad the release is, by having minimal production value you leave it to the more unprejudiced person to unearth the hidden treasures. The production quality in this is most definitely praiseworthy it really does give this release an additional amazing edge. On a side note I do love some bands particularly in death metal that sort goes well with that amateur minimal production value, check out some Cannabis Corpse, recorded in the blokes Kitchen.
It is a tear up between Squash Bowells, Wormrot and Napalm Death as to my favourite album of 2009, I am trying to remove all personal national bias I may possess, and even so it is a tough one to call. In short this has to be the most catchy Grindcore release I know, it aint fast nor brutal but it still is in the finest Grindcore you can treat your ear drums to.
Grind Out
Rating: 96/100

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