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Showing posts with label Earache Records. Show all posts
Showing posts with label Earache Records. Show all posts

Friday, 1 April 2011

Second Dish of Abuse (Wormrot, Dirge 2011)

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Dirge, possibly holds the title of the most looked forward to Grindcore release ever, period, even more so than the rumoured debut release of a super Grindcore band featuring the Pope, Trevor McDonald and Conan the Barbarian. Literally when Dirge was released, every rss feed and every tweet before my eyes all stated the same two things: a) DIRGE HAS BEEN RELEASED OMG! b) OMG DIRGE IS AMAZING! So expanding on conjecture b, here is my following review.
I hardly feel words are sufficiently powerful enough to describe in depth the raw explosive feel that Dirge offers in its inhumane rampage of powerviolence on speed approach to grindcore. If you thought you knew bands who played fast, think again, I am pretty sure that Dirge, laps your fastest track a few times over as a warm up run, before it then proceeds to tear it to shreds with its superior grind bashing fury. 
Dirge is basically what would happen if you mixed a heavy influx of Insect Warfare's torrential top heavy grind with the screaming frantic uzi rampage of Hellnation, spiced up a tad with a small vibe of Magrudergrind. The Grindcore formula of Abuse has become heavily distorted with much weight and emphasis on an excessive spewing of Powerviolence, perhaps best described by the band themselves with the track Overpowered Violence, with the fantastic execution and dynamic of Abuse being the only keepsake. In fact I am pretty sure Wormrot's song naming policy on Dirge, is part inspired as a descriptive title to its upscale brutality, Meteor to the Face and Ferocious Bombardment are all words I would of used to describe this release, had Wormrot not beaten me to the chase!
Fuck traditional song development, and threading rhythmic sectors, interloping verses etc This is grind, the way it was meant to be! Wormrot chuck at your face a furious cacophony composed off  hundreds of fast paced riffs and endless beats, all the whilst screams of primitive emotion are belted out throughout, as for what is stopping the release from tearing apart the space time continuum located around your speakers, certainly stumps me.
The extensive drum work of Fitri's dexterous bash and smash rampage is worthy of grindcore commendation giving that barbaric ferocity a sophisticated demeanour that gives the tried and tested blast beats a more fruitful yield to the tradtional bang bang bang approach employed by many a band. While Rasyid jumps from one crushing punk oozing riff to another in quick succession, with Arifs hell bent screaming in probably the most passionate masculine screaming I have ever heard. Imagine the final theartre scene of Godfather 3, and replace all that sadness with pure Ichor and aggression, double its power and you probably are somewhere just shy of understanding the blistering fury that is vehemently yelled out at sensory shattering proportions. How that man is able to talk or not induce a heart attack as he screams, is beyond me.
Punching in just over 18 minutes across 25 slices of over the top powerviolency grind, Earache have really put out a release worthy of being equal to their early back catalogue, and perhaps this amazing piece of Grindcore will be a wake up call, and pave the way for a reconnection between the genre defining label and its former disenfranchised adherents. 
However I all know what you really came to read this review for, in fact all you have already heard Dirge, and you search something specific amongst this review, you search for an answer you are not quite sure yourself and are looking for someone man enough to take up the mantle and answer it, and that something is "Does this trump Abuse?" Quite simply personally I feel it doesn't. Call me a drunkard, blasphemer, or claim I am suffering from a hallucinatory state from listening to Dirge too often, if that softens the blow for you, but either way personally I prefer Abuse. Not that this release is far from Abuse, its right up there in the kick ass factor infintiy quadrant, but I feel Abuse just had a sort of better dynamic going for it, this despite all the intense craftsmanship seems very rushed and not thought out 100%. However I do feel it perhaps not just to compare the two, each play on very different styles, this one being a more rapid contortion of irksome punk orientated noise, and abuse being a more progressive flow of  colossal proportions. 
Dirge regardless of if you prefer it to Abuse or not is undoubtedly a fantastic release, that offers an intensely amazing amount of quality that many a great grind band, hardly achieve in their lifetime. The galloping drums, raw passionate yells and lightspeed riffs all come together fantastically well in establishing some of the most fast and heavy grind there is on the market, so brace yourselves lads and ladettes, your second serving of Abuse is here, and this little bastard doesnt like to play nice!




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Friday, 17 December 2010

Alternews: Wormrot Update

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Originally stolen from Earache News, but worth sharing.
Original Article.


WORMROT ENTERING THE STUDIO IN JANUARY TO RECORD NEW ALBUM, "DIRGE"

The critically acclaimed grind act, WORMROT will be heading into Singapore's TNT Music Productions  this January to record a brand new album entitled DIRGE. With this being the full-length followup to ABUSE, the band promises to bring their breakneck grind tones to grim new lows. Frontman, Arif Rot is highly excited about the band's new material and wants the world to know about it:

"We are definitely stoked to get this album out. We are working extra hard on this one. EXTRA FUCKING HARDER THAN ABUSE. We are currently in the rehearsal studio still writing songs and making some minor adjustments and what not. If you are digging Abuse and also from our latest split with I ABHOR, then u might dig the new album. We'll be in the studio for "DIRGE" first week of January. NEW YEAR WITH A NEW DOSAGE OF GRIND!"


WORMROT's new album, DIRGE is due out in Spring 2011.

MetalSucks
Axl Rosenberg called ABUSE one of his top 15 metal albums of 2010. "There were other awesome grind albums this year which easily could have made this list" says Axl"but nothing felt quite as furious as Abuse."

WOMROT's own Arif Rot also created his own 2010 best-of list for MetalSucks. Read it here:http://www.metalsucks.net/2010/12/15/the-best-metal-albums-of-2010-as-chosen-by-metal-musicians-themselves-part-iv/
The Metal Injection crew braved the tight spaces and absolutely insane pits of WORMROT's October show atArcheron in Brooklyn, NY to deliver raw, up close footage of the band grinding it out at what they said was one of their favorite shows of the tour. Start by watching "Intro" here:http://www.metalinjection.net/tv/view/5857/wormrot-intro-live-15

WORMROT
's debut album, ABUSE, is available now worldwide featuring 23 tracks of pure grindcore. Get the album now in North America along with several exclusive mercy and vinyl combos athttp://earache.com/uswebstore/index.php/cPath/667_674_733.

ABUSE
 is also available now on iTunes with 34 (yes, 34!) bonus tracks:http://itunes.apple.com/us/album/abuse/id363581828

Keep up-to-date with all WORMROT news and info at:

MySpace
 - http://www.myspace.com/wormrotgrind
Facebook - http://www.facebook.com/pages/Wormrot/237638635639
Twitter - http://twitter.com/Wormrot
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Wednesday, 10 November 2010

The Internet is Gay (Anal Cunt, I Like it When you Die, 1997)

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Without a doubt the most vulgar and callous band on the planet are Massachusetts(spelt correctly first time!) home grown abomination;  Anal Cunt. The name of the band goes back to the ancient Buddhist riddle of "What is the most stupid, dumb and yet offensive name possible?", and it took a bunch of pill popping drunkards to come up with it, and then attribute it to their band.  Little did they know how fucked up the band would become, as it began its head first plunge into depravity. Fronted by the most notorious man in music and with the exception of politicians, lawyers, dictators and serial killers probably the most notorious man on the planet; Seth Putnam. If I was to write every single messed up thing this guy ever did, and everyone he has ever pissed off then I would have to take out a publishing contract and release it as a biography. All you need to know is Seth Putnam  is obnoxious and extremely political incorrect, and he transgresses this offensive attitude into his band, and for all this vulgarity we love these guys and hold them with great esteem!

Without a doubt this is my favourite release by Anal Cunt, song titles are akin to the simplistic early teens humour where you could add the words is gay or sucks to any noun and you would get a few chuckles out of it. Still generally a incoherent rambling of guitars and drums like early A.C., you will catch the odd injection of song structure and "melody" to their short burst of songs. Aside from their infamous brand of noise and offensive humour, the most recognisable trait of A.C. is Putnams piercing shrills, where he screeches out all manner of profanity and insults in quick successive bursts, having listened to this release so often I manage to pick up a crude sentence here and there, and as expected only foul mouthed insults seem to leave Putnams lips.
They have dropped their frequent racist ruse, which I believe is more to create stigma and notoriety than actual any far right ideology, only on one occasion have I spotted a racist statement in this album, but generally the theme has been left out. Featuring the only known fan musical tribute to the legendary child's game Hungry, Hungry Hippos, A.C. have altered their humorous lyrics from the down right offensive to include general absurdities with plenty of You do this, or that is gay and so and so is this and that, they offer unique sense of humour that which may not accommodate for all, but for those that still remember the days of early teen absurdism then this one for you, providing of course you can take a whole 42 minutes of predominantly homophobic ranting.
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Saturday, 17 July 2010

Death Metal Master (Bolt Thrower, Warmaster, 1991)

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War does not determine who is right - only who is left.
Amongst the idyllic and picturesque surroundings of Coventry, lurks a bellicose jingoistic machination, manned by a crew of 5 and  named after a table top game there is no escape from its mud/blood laden  rusted cogs of war when heaved into motion, beware the onslaught of Bolt Thrower.
The ancient Greeks who possessed a Bolt Thrower of their own, would often write songs  and construct structures glorifying warriors and victories long gone. Bolt Thrower drag out this Hellenic ethos and bring it forth to the modern age, however the modern age is a place of grim industrialised mass murder, the age of mind and muscle is long gone and we have entered the age of the megaton and what better sound track to reflect this than Old School British Death Metal.
With the guitars chugging frantically away, accompanied by artillery blasts from the drums and a bass line that will literally give you shell shock, Bolt Thrower perfect their unique and far too often overlooked creation of the fan assigned genre of "War Metal"(Trust me this is the real deal not your silly folky finnish battle metal), which no other band on this war ridden planet has been able to match.
The qualities that make this band and album unique or unconventional are numerous, however there are some which are of better note than others, one in particular from experience. Whenever I show my friends the music I love I always get the same generic answer "I like the guitars and drums, but I cant understand the vocals which ruins it for me", certainly a reasonable answer well finally I have ace card to throw their way, Bolt Thrower are completely comprehensible! And yet somehow they preserve that low bellowing inhumane vocals that I love, this achievement certainly is one which makes me idolise Bolt Thrower. In addition to a paradoxical result of comprehensible-death metal vocals we actually are assaulted with some great morbid poetic lyrics which would make the likes of Wilfred Owens consider a career shift, check it out.
Cenotaph
Alone you stand - The final parody
Destined to silence - A memorial to mortality
Carved in stone - A tribute to the dead
For nameless victims - Whose litany is unread
Never Forgotten - War's memory lingers on
A dark reminder - To mankind's oblivion
This solemn image - Constructed with resolution
A monument - To war's terminal conclusion
Cenotaph

Impressive qausi-nihilistic-patriotic lyrics, especially for death metal who nowadays focus to much on ridiculous sickening sexual and violent acts.  Another little known fact that the bassist Jo-Anne Bench is considered either the first or one of the first females to be in an extreme metal band, a title which holds a great amount of prestige to it. Her bass is fundamental to this album, although the guitars are highly down tuned and may be confused for bass, it is the bass that give it that dark and resonant articulation that completes the barbarity of war edge. As aforementioned the guitars are down tuned , but expect to hear technical moments that are graceful to the music, but sound like the agony and distress of the nameless dead soldiers dying in puddle of their own blood. The percussion varies from your doomy slow paced march, to a coordinated blitzkreig. The production value has a fuzzy tint which rounds off the war theme to a tee, I can think of only a handful of examples where instruments and production conjure up images synonymous with the lyrics.
Warmaster  is an album worthy of its name, and is a perfect musical expression of war: a collection of savagery and misery and somewhere deep amongst the piles of soldiers unknown lies a icon of glory and fame.



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Thursday, 15 April 2010

381 Reasons why ENT Rule! (Extreme Noise Terror, Damage 381, 1997)

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Extreme Noise Terror are exactly what it says on the tin, they are a rampaging sound which is sure to upset many neighbors and possibly get you an ASBO. However despite this I am determined to keep my ENT playing at a volume which really creates some sort of sonic boom or wind, In fact my original statement is an exaggeration, my Neighbors are pretty cool and never complain about all manner of audio rape that emanates from 3/4 of the occupants of my household, and the council have never bothered us at all, only political activists posting all manner of shit through our letterbox, has pissed me off.
The 90's seems to be where it was as, at least I seem to suffer some sort of irritable Nostalgia which makes wish I was born about a 15 years earlier so as to appreciate and be present at the birth and growth of Grindcore. However the other half of me, which is probably more correct that the epitome of Grindcore lays in the future, not only do we have many of the early releases available to us legitimately or illegitimately, and in addition of being able to hear the historical archives of Grindcore, we have the new absolutely killer releases by bands such as Squash Bowels and Wormrot, and even the old bands are producing killer material.
1997 was a year similar to the present, relativley high unemployment, mass disillusionment with mainstream politics, a constant looming terrorist threat to name a few. However it was not all doom and gloom, for starters an amazing album was released called Damage 381 by Extreme Noise Terror.
For those of you who are not really familiar with ENT, they are basically one of the Founding Fathers of Grindcore and Crust-Grind, and a inspiration to a countless number of bands, both in the Punk and in the Grindcore genres. These old timers are veterans of the genre and have always maintained a high quality number of releases.
 This release has a number of interesting facts behind it, firstly the title of the release is called Damage 381 because the title track is 381 beats per minute, pretty damn fast if you think about it, thats just over 6 beats a second. Screw your crappy 220-320 bpm speed metal, this is what it is all about.  This is also the only release to feature the legendary Barney (Vox on Napalm Death) as the vocalist(The vocalist pictured is not Barney, but Phil Vayne I beleive). It is also their first release which was not Crust Punk, it is pretty Death Metal like, with no clear borrowings from Punk. In addition to this, to my knowledge I am the only person online to have reviewed this album.
All the tracks are the finest death metal, disregard whatever perceptions you have about early death metal, this band don't fit the general mold of death metal that existed at the time, they tear up their own brand of death metal that is invigorating and full of energy. The drumming is always top knotch, and plays the slower and fast pieces with a perfect precision, and occasionally releasing a furious bellow of heavy beats, that really immerses you into the tracks. The guitarist or plural I can't tell, also  ranges from standard riffs, solos and more complex rhythmic pieces, and pulls it off with a high level of professionalism, and refrains from doing what many technical death metal bands do and show off their musical talent at the cost of creating a good well grounded song. Barney's vocals shine through in this, very similar to what he uses in Napalm Death, but at times with that more coarse edge. When I say coarse edge it is that more fitting with the music and again adds another layer to the already smashing release.
Across the 10 tracks we have an half hour assault of some of the best British Death Metal on offer. The album features an instrumental which  is 45 minutes long and absolutely will tear up whatever room it is being vented into through your sound system. Although a fast and furious fury of an album there are time it slows down to prevent the release sound from a constant noise or drone. A track that definatley needs mention is Punishment Solitude, this is in fact my ring tone, and at 1 minute 15 seconds, with its speed and aggression I am convinced is more of a Grindcore song than a death metal song, but the rest of the release is without a doubt a fine Death Metal album. The following track is an absolute killer, Icon of Guilt and really is the elite of the album.
Damage 381 is UK death metal at it's finest, Extreme Noise Terror seem to be unhindered by their roots in Punk or early Grindcore, and have shaped a fine death metal album. The only element that is borrowed from Punk and Grind is the high level of Politisation and the poetic of sorts lyrics and song titles.I would hope given the political parallels with the situation in today and the 90's that this could be a catalyst for similar releases by other bands., but perhaps this is wishful thinking on my part. Get this release pronto, you are neglecting one of the greatest release from our small Island.
Rating 88/100
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