Swarrrrrrrrrrrrrrrrrrrrrrrrrrm / ATKA

Atka Myspace Swarrrm Myspace
Released: Autumn 2010
Release Type: Split, 7"
Label:Ecocentric Records
Genre:Experimental Grindcore

A match made in a mental hospital, German tech-grind wizards Atka pair up with Japanese bizzaro grind masters for this 11 minute blastapiece. Seriously, I wonder if being schizophrenic is as off the wall as these two bands; each one displaying an eccentric and extremely different take on grindcore pushed past its sanity.

Atka cover every possible inch of their side with their noodlely, technically drenched and Dillinger Escape Plan loving track "untitled." The first minute's unrecognizable from the last, and yet it all works. I hate gimmicky technical shit, so thankfully this ain't it. The high-point of song is the last minute in a half which sounds straight out of Murray and Smith's playbook but jumbled with blast beats and varied vocals. Here's a snippit of the song.

A different kind of crazy is what Swarrrm always is. "Maborosi" is a ballad a'la typical Swarrrm (i.e. pretty acoustic guitar paired to gibberish vocals which washout in an avalanche of drums and distortion). "Kono ude ni" is a great track, the best of the split. As always fantastic shifts from artsy/melodic riffs to pummeling blast beats and jazzy sections of harmony between the guitars and bass. Swarrrm still continues to be the most dynamic, powerful and interesting grind band out there; shame on you if you've never heard them before.

Here's that ballad to sooth yourself to sleep

Don't question your sanity listening to this, question the sanity of those who refuse to listen. Swarrrm and Atka are outstanding this time around, so pick it up!

-F

Chainsaw Justice Vol. I- Olde Timey Grindcore

This will be a new installment from the CJ crew, every so often (1-2weeks) I’ll try to compose a mixtape of some particular theme. For the first installment I figured I should do one that has to do with grindcore and its roots. I’d like to say all the bands contributed to grindcore history, or metal history, but some of these I think are just relics of their time (regardless if they’re good or not).

Chainsaw Justice Vol. I -Olde Timey Grindcore

I started in 84, I think the latest I’ve gone is 1990. This was actually really fun to undertake, especially listening to laughable junk that for some reason I actually liked (Deadlock’s one of them). So brace yourself, I’ve chosen to include a lot of demo material from bands and I hope I show you something new. It’s no surprise this is mostly US/UK based(although Japan has quite a presence).

It seems the 1987 becomes the focus of this list.1987’s an obvious choice, ENT’s Peel Sessions, Napalm Death’s Scum, S.O.B’s Leave me Alone, Sore Throat’s Death to Capitalist Hardcore, Carcass’s Flesh Ripping Sonic Torment and numerous demos. I’d like to say Genocide’s (Repulsion’s) 2^nd demo, Violent Death exemplifies the first instance of grindcore as we know it (I haven’t heard pre Scum Napalm Death, but I’ve heard it’s not really like Scum) and that was 1985. The playlist I’ve given is in a rough chronological order (I’ve only paid attention to year). Beyond that I hope you all enjoy.

Interestingly enough, going by Metal Archives (a site which claims to carry only metal, so bands like Sore Throat and Siege aren’t present) shows that in 1984 there was only one release dubbed as grindcore, Genocide’s Toxic Metal demo. Another issue that arises with this method is that bands that might have developed into a grindcore band, or shifted styles are still listed; even if they were a Christian rock band in 85, but did grindcore in 96, so take that into account as well. In 1985 we see 8 releases, only 1 of which is a full length (Rose Rose’s Emotional Disturbance which is really a hardcore punk release). 1986 we see 18 releases, 1987: 29, 1988: 42, 1989: 69, and 1990 there’s 114. For perspective’s sake in 1995 there’s only 212 releases that year and at 2000 there are 358. Unfortunately this leaves out a lot of the power violence/fastcore bands of the 90’s which might have been considered grindcore or whatever. And at 2009 we had 606 releases (8 of which belong to Agathocles alone!). It’s been an odd 20 whatever years for grindcore, for such a short passionate and burning style you’d think the adage “the flame that burns twice as bright lasts half as long” would stand true here, but with technology and the dedicated fanbase grindcore seems to be a staple in the extreme music world.

Here's the play list and quick rundown of each band.

1. "Cold War" - Siege - Drop Dead - 1984

Classic as classic gets in the world of punk and grindcore. Cited by all the big names as their influence, Dropdead stands to be one of the most important (and also great) releases of the extreme music world. Miles ahead of other hardcore acts at the time, Drop Dead was the fastest and harshest thing around.

2. "Horrified" - Genocide Violent Death - 1985

Repulsion before they were Repulsion. Everyone should know the name of the song as it's the title of one of the most important and best grindcore records ever. Don't just take my word for it. I'd say this is the first real example of grindcore. Blast beats juxtaposed with punk beats, so it's not just a crust beat. The riffing's total grindcore- simple sped up thrash riff, that distorted bass tone and Scott Carlson's half hardcore half prototypical death metal vocals.

3. "Evil Mayhemic" - Deadlock -Deadly Intention demo 1986

I don't really know what to say about this. It's a demo, so I won't be too harsh, but jesus christ it sounds like they just learned how to play their instruments a couple of days ago. To be fair the riffs aren't that bad (first sounds like sloppier Hellhammer), just poorly played and I have no idea why it's 3 minutes long (others were longer; I've spared you). Blast beats, simple tremolo riffs and maniacal shrieking vocals. This is the Deadlock from Nuremberg- apparently they just faded out of existence.

4. "Knock Out" - S.O.B - Leave me Alone - 1986

Another Siege like band. Obscure in America, (and the west for the most part) yet extremely influential in the development of grindcore and hardcore. Next to GISM, S.O.B's one of Japan's most important bands in the extreme music scene. Quite big now, but at the time they were only known to the underground and gained exposure due to Napalm Death and eventually a session with John Peel. From their first release, "Knock Out" is blistering hardcore, but if it had been produced heavier could easily pass as grindcore; chosen for it's bridging quality.

5. "Never Healed" - Heresy - Never Healed Flexi - 1986

Never Healed shows the pioneering style of hardcore that's just about grindcore. Searing blast beats, quick shouted vocals, and hardcore riffs sped up as fast as they'll go; I picked it just for this reason, to show the bridge between hardcore and grindcore.

6. "Divine Death" - Napalm Death - Scum - 1987

I don't need to say anything about this except maybe my reason for picking it. I've picked it 1. because the B side of Scum has them playing in a metal tunning, showcasing a real shift from punk to metal and 2. The structure is quintessential early grindcore, not abusing the blast beat and trying to figure out how to make the song last longer than a minute and 3. the shrieked vocals and deep growls are exemplary of metal, where as the grunts are more hardcore.

7. "Carry On Screaming" - Extreme Noise Terror - Peel Sessions - 1987

Like Napalm Death, I shouldn't have to say much about the band's significance. This song shows an anomaly of ENT's style as they use a sustained blast beat and move away from their typical d-beats of the time, yet the guitars are playing a typical punk riff.

8. "Psychopathologist" - Carcass - Fleshripping Sonic Torment - 1987

Pretty much the cue for gore-grind, Fleshripping Sonic Torment was eventually reworked into their first album. Downtuned and messy guitars, blast beats galore, demoinc echoing vocals- a huge jump from punk.

9. "Implosion" - Regurgitation - Bathroom's Rule - 1987

Later known as O.L.D, Regurgitation showcase an actually well recorded demo that shows few traces of punk. Heavy sounding, lots of reverb, a very metal solo and the vocals show this, along with Carcass, as the formation of a more death metal influenced grind. The riff around the end shows this for sure. This demo's surprisingly good.

10. "Benedictions" - Terrorizer - Nightmares - 1987

Interesting mix of punk riffs and drum beats which jump to really metal riffs. Feels a lot like a proto-death metal band, who is jsut playing thrash, but added blastbeats making it more grinding. Bad, but listenable production. The basslines are as thrash as thrash gets. The guitar tone and song structure really solidify this as metal, bending the punkness of grindcore to their standards.

11. "Vac Head" - Sore Throat - Death To Capitalist Grindcore (Bootleg, but same material) -1987

A lot more innovtive then I think they ever intended to be, Sore Throat begins the trend of lots of short songs, often a simple measure. Along with structure, the hypercritical and "fuck you" attitude, not to mention the humor of the band would be seen in countless bands after, both grindcore and hardcore (Insect Warfare's S/T, The Locust, Agorophobic Nosebleed,etc). The noisey sections of feedback, clips, and random sections seem to be the root of "noisecore" bands of the present.

12. "The Day Of Doom" - Deathpeed - Possessed By Speed Demo - 1988

Another Japanese act, Deathpeed was a short lived project of now Unholy Grave singer. I actually love everything I've found by the band. Songs tend to be long (this one's 5 minutes) and are written in a very modern kind of way. The thrashy/d-beat beginning which jumps to a very metal blast beat and guitar solo. The riffing throughout jumps from hardcore to a very contemporary death metal style. It's really interesting. I like it more then the 3 Unholy Grave releases I've heard. Reminds me of modern day Effigy, I don't think it's just because they're both Japanese.

13. "Born Backwards" - Assuck - Born Backwards - 1988

Assuck's one of the greatest metal bands ever. Okay, that aside, this demo isn't that good. The production's atrocious which pretty much hampers every other aspect. Beyond that this is totally metal, just faster death metal. Interesting to see Assuck like this.

14. "The Colour of Blood" - Nuclear Death - Bride of Insect - 1990

Really great track, totally grindcore with a very thrashy vibe. The vocals remind me a lot Vio-Lence and Dark Angel (in fact the main riff sounds like "The Burning of Sodom" off Darkness Descends). I think there's a cult following of this band, but it'd seem as they're largely forgotten.

Apparently berevity isn't my strong point, but I'll spare you for Vol. II.



Download

-F

Blood I Bleed - Massgrav - Split

Blood I Bleed MySpace
Massgrav MySpace
Type: CD
Release: 2010
Label: SelfMadeGod

This split presents two bands playing the same genre in different ways. First up is Blood I Bleed, a band who went from Never Heard Of 'Em to Can't Get Enough Of 'Em status in one trip to Grind And Punishment. They play 11 songs, including three from their previous incarnation My Mind's Mine. And they get right down to business. The tone is metal, the approach is thrash, the final product is a relentless grind of hyperblasts over riffs bordering thrashcore. They also have a barrage of crust riffs at their disposal. There's an odd slow passage or two, most notably the final track, and the band gathers their strength between a fair amount of well-placed feedback. Mastered in the middle of the mix are full throated screams with an extra helping of gravel. This is worthy ear candy for anyone who likes the punk side of grind.

Do I dare even assume you have never heard of the next band? Listening to Massgrav is like finding a handful of early 80s 5" punk singles - but unknowingly playing them at 45 RPM. They are not simply tuned like a punk band, they sound like the fastest punk band you have ever heard. They are also accomplished musicians who grind and thrash with the best of them. Conceivably you could call them powerviolence. But that's taking the easy way out. My advice is to press play and go along for the ride. Massgrav is perfect for anyone who likes the grind side of punk.

The packaging is nice if you speak Swedish. Other wise you get full lyrics for Blood I Bleed, some random letters strewn together in paragraph form on the Massgrav pages, band photos and some Thank You's. For me that all takes a back seat to the music and this CD has two great bands playing their distinct brand of proper grind. Support the bands, support SelfMadeGod - buy it here.

Japanische Kampfhörspiele - Bilder Fressen Strom

JaKa MySpace
Type: CD / Vinyl
Release: 2010
Label: Unundeux

As always you get your money's worth with Jaka (their last EP was 19 minutes before the 19-minute bonus track). Jaka have also always been good for writing quality riffs, often penning one-off, throw-away riffs lesser bands would design complete songs around. In their usual realm of punk and grind, these were treats adding flavor to their "short, composed poems" take on grind's micro song format. Bilden Fressen Strom adds a new twist to the formula - featuring 27 songs in 42 minutes (those number are usually swapped) and the name of the game this time around is Thrash. There are three instrumentals - by title - but lyrics are at such a premium that instrumentation was definitely their style of choice during the writing process.

From a purist stand point (read: you have a closed mind and think every band's earlier work is better) a little of the punch and urgency of their earlier songs has been lost. Instead of ten to 45 second outbursts we get songs with body, mind and spirit. In reality, it's a trade off leaving behind an album with more personality. It's a CD that can grace your home stereo system all day long, or, in MP3 format, can get you through your whole commute while you deal with assholes who never learned how to merge...

Bilder Fressen Strom begins with "Die Schlachtung," a five minute song with enough stop-and-go action to make even Antigama blush. It has so many quality riffs that a reviewer working on a word count would simply give up and call it epic. I am a firm believer in transitioning. It's not just "the riff" but how you build up to it and where you go after it. Any one who listened to classic thrash knows what I'm talking about. But if that didn't make sense, just pay attention to what is happening leading into the 1:40 mark and to where the band goes from there. As the tune works to it's inevitable end the only thing I can really ask for is louder bass kicks. The tone is set: it's skin-tight black jeans with white high-tops Thrash time. And there's 37 minutes to go...

There are so many great songs and moments. Take "Supermacht," which meanders through the first half of the track before suddenly morphing into a crossover bordering powerviolence finale. There's the industrial number "Jochbeinbruch" that certain early-90's power houses in the genre are probably furious they didn't write. Then there's "Wie geht nochmal ficken," featuring driving, mid-paced palm-muted riffing that scream out for blast beats. Showing their patient side, Jaka instead offer up an extended, ankle exercising double bass passage that sounds absolutely brilliant by virtue of not being triggered. Another one that comes to mind is "Rentnerparadies," the kind of song that makes kids want to hit up their dads for the car keys and some gas money.

Without question "Bilder Fressen Strom" is their heaviest and most metal album yet. This will probably be the one the band is eventually "known" for - primarily because the songs should appeal across the extreme spectrum. From the punk side, fans of Abscess and Massgrav; on the thrash side, fans of Ghoul and Population Reduction; and especially old school death metal fans: we can all learn German, play air guitar and snarl along. Both disk and vinyl are available directly from the band here.

Paranoid Existence

Shitstorm - Paranoid Existence LP
Format: Cassette / LP
Release: 2010
Label: RSR / Vinyl Rites

This is a back catalog of sorts - the material has already been released on splits and comps between '04 and '08. The big deal here is that the band had to cancel their supporting tour - meaning 100 test pressings are available for sale. The fuzzy image below is #59, now in the property of yours truly. Not sure if they were sold in order (only 41 left! Act Now!) or if the guy is grabbing at random. But there is also a printing of 300 proper albums which are available through other sources. And for those still living in 1989, the cassette was released on RSR.

In other news, the split with Conga Fury is actually going to be released this year as well - after three years of waiting. Two Shitstorm items in the same year? Is the Mayan calendar ending early?

Putting the nix on convenience, the output ports on my mixer shorted so I can't rip this. Luckily for you, these songs are already floating around the interwebs. The collection contains their songs from: This Comp Kill Fascists Vol1, Split with Gentle Art of Chokin', Self Released Tour EP (dig it up) and their split with Sloth (ditto). For those of you who were not with us last year, please listen to and then promptly buy their split with Magrudergrind.

Once you have accomplished this, come back and answer my one question: why is Shitstorm so criminally overlooked? Is it just me? Or is it, along with Gate (who play a similar style and are similarly ignored) all due to a lack of material? It's not because of Torche, is it?

Rotten Sound - Napalm EP

RottenSpace
Type: CD/DVD
Release: 2010
Label: Relapse

Napalm was my excuse to buy a Rotten Sound t-shirt. I'll admit it. After hearing Napalm Death covers, steadily, for the past 20 years I expected little from this six song EP. I was dead wrong. I'll admit it.

The three new Rotten Sound songs are great. The band is faster than ever before. Their tone is as rotten as ever. And their writing skills have struck a nice balance between the three distinct RxSx incarnations (From Crust Til Grind > Exit > Cycles). "Mindkill" has an obvious Exit sound. "Dead Remains" sounds like one of the better tunes from Cycles. And "Brainload" takes every thing to the next level. It's a solid indication that the new album will place RxSx right back on top of the Grindcore heap. It might even be so good the hipsters think it's "this obscure new band from Finland."

So what about those covers? They fucking slay! Instead of covers we get Rotten Sound Renditions Of Napalm Death Classics. Their tone is far deeper and more distorted than classic NxDx and they made no attempt to hide it. The Kill comes and goes. You will recognize the intro but the rest is a distorted blur. Nick Bullen would be proud. Missing Link, from the greatest grind EP ever made (no hyperbole, all truth) gets proper rendition treatment. And saving the best for last, their take on Suffer The Children blows the original right out of the water.

There is also a DVD taken from their Obscene Extreme show in 2007. No, I'm not ripping it for you. Here's the shirt, courtesy of Relapse.

Defeatist - Sixth Extinction

DefeatistSpace
Release - 2010
Type - CD
Label - Willowtip

We all have at least one. That one album, from band X, with three really good songs surrounded by b-side filler. Those are seriously the best songs they ever wrote - yet whenever you want to hear that band you always find yourself reaching for their other CD. Why? Because at the end of the day, it's all about consistency. It's the internet age - if you want to hear those three songs, hit up their MySpace. It's also the instant gratification age and filler is far from gratifying.

Defeatist's latest studio output Sixth Extinction exudes consistency. It also doubles as a Master's thesis in Thinking Man's Grind. There is a steady onslaught of rhythm driven riffs coming at your from song to song - not your typical patchwork 4/4 cookie cutter grind, nor by the numbers death metal riffs strung together seemingly at random. Instead the riffs presented here tend to be longer in duration, well thought out, almost in a progressive fashion. But don't get me wrong - this is not noodling. And the grind staples are in fact present. Standard crust and ripping death metal riffs will show up time and again to trigger your inner head-nod button. They are just not the focal point. In a way, you could almost call this Technical Crust. What ever it is, you will listening to it - and probably learn something if you try to play along.

Between the odd riffs, and changes in tempo ranging from patient sludge to frenetic grind, there is both an illusion of space within the music and also some odd holes and down beats to fill. Enter drummer Joel Stallings. The drum work here is nothing short of phenomenal. With beats, rhythms and cymbal work as eccentric as the riffs themselves, Mr. Stallings comes through with full marks. So many other drummers would have blasted or rolled double base through this album. While we do get plenty of blast, thrash and d-beats, it's actually the rhythms, fills and transitions that help make Sixth Extinction such an exciting album.

Defeatist use a guitar tone and distortion much closer to crossover than death metal, so they have a distinct punk feel to the music. The bass is very low but you can hear it dribbling away at many points throughout the album. So far as production goes the stereo guitars dominate the mix. Behind them is the rhythm section with the vocals taking up all the space that is left. The vocals are shouted out, with some grunts and snarls for emphasis at certain points. If the vocals had a more sizable amount of the bandwidth I'd imagine they would wear on many listeners, but where they are is prefect.

I think this is an album for everyone. It is thinking man's grind, so not everything may get it the first time around. If you are a guitarist or a grind aficionado, pop this in and enjoy the ride. For those who prefer having their asses handed to them as opposed to the more subtle forms of punishment, my recommendation is to play the album once before listening. I like "Dawn of No Light" and also side with Brother Atanamar about the two-riff interlude "Death Holds Her Brood" and "Warning" as some of the better songs. Individual songs however might not be the best way to go on Sixth Extinction - for best results, set aside 27 minutes and listen to the whole thing. Then go buy it here. Get the t-shirt while your at it.

Jesus Crost - 010

Jesus Crost Space
Release: 2010
Format: CD
label: Bones Bridage

The two leisure activities that interest me the most in life are listening to grind and watching football. And I'm not joking: I intentionally work nights so I can be awake European hours, I have every "soccer" channel DirectTV offers, and I schedule my vacations around World Cup and the Summer Olympics. Either I am not alone or Jesus Crost figured out the path of least resistance to my wallet - Wear your team's kit, toss a football on your album cover and describe yourself as "Hooligan power violence."

010 is 23 songs in 15 minutes. The closest similarity I can think of, from a song writing stand point, is Japanische Kampfhörspiele. Like Jaka, the songs are more like haiku, each with their own themes and intentions. And Like Jaka the band write quick hitting, catchy riffs that lesser bands would design 3-minute songs around. There is plenty of stop-and-go action, groove, variety and just enough aggression to live up to their hooligan moniker. A good example of the band's more patient side is "Parasit" which is up on their MySpace. You can also hear "Wurfloch" and "Gonorrhoea" while you are there to get a good grasp of their ADHD side. For everything in between you have to get the CD.

One of the reasons I enjoy this album so much is how short it is. I will be the first to admit how I would like the band to expand on their riffs. But there are so many notable ones, and they are spaced out well across the 15 minute run time. It always seems like the good ones come back around just in time to keep me listening. Also, for any one who was turned off by the bonus tracks on Tot, rest assured, 010 does not have continuity issues. This one is highly recommended. It may not change your world but I doubt many will dislike it.

Now, unless anyone else minds, I'm off to watch the Tenerife - Real Madrid replay while I kill the seven hours until the Premiership kicks off.

Come What May

So last night I saw Magrudergrind and Misery Index kick off their tour here in the states. The local openers were horrible and my friends and I suffered through walks in the cold to convenience stores just to avoid them (although one named Shotgun to the Dome was quite tempting just due to their name). All things aside, nothing was truer when Jason Netherton claimed "we should be opening for those guys [Magrudergrind]."

Misery Index formed out of the ashes of Dying Fetus, who at it's heart was a good death metal band who knew how to get people moving. While earlier works like Overthrow, Dissent, and Retaliation showed some wicked breakdowns and slams, they were more about the grind than anything else. Unfortunately, that all changed with Discordia which showcased a sterile production, longer songs, and an overall generic vibe that we come to expect from relapse death metal. Tendencies that couldn't be forgotten from the slam days of Dying Fetus became more apparent and the music watered down into super cleanly produced death metal metal which a touch of grind. A real shame, as I love Overthrow.

They played two new songs from their upcoming album, and it was much of the same. Slams in between blasting sections and a strong chorus like effort to get people moving. It works well live, as I enjoyed myself, but I can't say I'm too excited for their latest.

Maybe it's because they were picked up by Relapse, a label who's done well putting extreme metal into the market (Baroness, Pig Destroyer, Mastodon, etc) but I don't know how fair that is as Jason and the boys were always accustomed to bigger labels (Nuclear Blast, etc). Whatever the reason is, it's a real shame.

So here's to you, Misery Index, in 2001 you were a better child, and grindcore now, seems to have less of a footing here in America, we can only hope you bring it back someday.

P.S. Yes, Magrudergrind kicked ass. Even though I'm not the biggest fan of their latest but they really tore it up. The energy's still there and I'd gladly see them a hundred times over.

Download

-F

And for those who are interested, here's the setlist for Misery Index.

Infanticide - From Our Cold Dead Hands

MySpace
Release: 2010
Type: CD
Label: Willowtip

Dear Emetic Records,

Thank you so very much for not releasing the latest album by Swedish grinders Infanticide. I know your decision must have hit the band pretty hard initially. It might have even caused them, for the Nth time, to question why they ever got together in the first place. But in doing so you also helped further prove the old adage that "Good things come to those who hate." As, instead of waiting around, seething and potentially splitting up - the band, in true DIY fashion, got pissed, took matters into their own hands and found a label willing to distribute what is indeed a must-have album.

Thanks in part to the law of unintended consequences, your decision has single handedly provided the band with the exposure they deserve. Now there is world-wide distribution, which means the album will always be available. Now there is a marketing department with the skill and budget to get the word out. Now there is the potential for a huge tour with some of the best grind acts in the world. And if that was not enough, at the same time you managed to make life for this reviewer ungodly easy. Instead of having to explain (to those not fortunate enough to know) just how Infanticide sounds and what the production is like, I can now sum it all up in one quick hitting sentence fragment: Mastered by Scott Hull and released on Willowtip Recordings.

That's right, kids: Willowtip. And I couldn't think of a better home for "From Our Cold Dead Hands." So what is it? In a nutshell, it's 26 minutes of some of the best D-Beat focused Swedish Crust Grind of the post Nasum era. And if I said the same thing about label mates Afgrund it's because Infanticide play a grittier version of the same game. The foundation is d-beat crust. What they build on this is constantly changing, both in cross genre riffing and tempo. There are 40-second attempts to break the land speed record, two minute mid-tempo excursions and every thing in between.

I am always a "whole is more than the sum of it's parts" guy when it comes to grind albums. But a few songs stand out as being representative. Two-riff wonder "Lifeless." The proto death metal intro of "A Worse Today," accurate right down to the traditional polka beats. The blistering "Shitfaced and Armed to the Teeth" comes to mind with it's one line manta, "I'm Your God Now." The track I enjoyed most the first time I spun the disk was "It Ends Here," featuring an extended thrash intro that leads into trade offs between full-speed ahead grind and classic death metal.

This album is guaranteed to put up a good fight for control of your CD player. But what really excites me is anticipation. Having Infanticide on Willowtip means I get to anticipate a US Tour with other bands releasing albums this year: Maruta and Defeatist. Seriously, send me the fliers. I will blanket Seattle for that one.

You are strongly encouraged to buy the album here (wink, wink). For more good times check out their debut, "Extinction Scheme" (nudge, nudge). And the Sonic Punishment 7" EP is mandatory for anyone who owns a record player (Say. No. More).

The Mail Order Blues

I'm singing 'em. I prefer funk though, so I called in Clyde Stubblefield to play drums.

So here we are approaching the ides of February and I have no new tunes. What gives? One mail order got lost by the US Postal Service. The other order was a screw job. I placed the order, then got an email two weeks later stating they didn't have any of the items. They convinced me to wait two weeks while they tracked everything down and then admitted failure. Sad times. But when it comes to international mail order I follow the same rule as I do for gambling: only risk what you are able to lose.

So what have you been listening to? Do you ever go through rough times, when new music manages to evade your every attempt to track it down? When I encounter these phases I usually revert to the classics. The same is true here. Been listening to 80's punk, mostly Subhumans, Discharge and early DRI, along with Bolt Thrower "Realm of Chaos" and Godflesh "Streetcleaner." But between all of this, I get around to my favorite grind band from Poland: Suffering Mind. Poland has quite the grind scene - worth spending an hour between The Archives and friend jumping on MySpace. Off the top, there is Ass To Mouth, F.A.M., Dead Infection, and a certain Squash Bowels.

SxMx is an intense experience. They play raw, dirty crust grind at the speed of hate. The punk influence is strikingly obvious. There is little bullshit, little filler and when they do slow down, it's actually rather welcoming. If any one is looking for a quality, motivating, get up and fucking grind CD, "At War With Mankind" is the one for you. Seriously. Downloading is not enough. That is one to own. Below is all things SxMx. I know the band will probably hate me for this, but they tend to release their tunes on vinyl which is fastly becoming the red-headed step child of media formats. They need to get heard somehow... Shouts to Keep The Grindcore Alive for the Destroy Mankind EP. That's the only one I can't find a physical copy of.

destroy mankind ep
at war with mankind
asshammer split
lycanthropy split
wojtyla split

Vaginal Bear Trap - Slow Jams

VBT Space
Release - TBC
Type: Mp3 / CD (maybe?)
Label - TBC

The first images that come to mind when I ponder what a vaginal bear trap might look like are humorously disturbing. It can't be made of metal or plastic or else only a starving bear would come within a mile of it. And who wants an emaciated bear skin rug? So what else could it be?

Fucked up imagery and cool name aside, Texas three-piece VBT is a good band. Beyond the grind essentials they bring a little bit of everything to the table on Slow Jams. A fair amount of March, Stomp and Groove. Some Thrash breaks tossed in for good measure. Lots of double bass. And more palm muted riffs than you can gnash your teeth at. So yeah, best of luck pigeonholing these guys into any sub genre. The music grinds. No question here. I never read the lyrics, so I'm not sure what the subject matter is, but if the seriously awesome song titles are any indication then a gore tag may be in order. "Abortion, Apple Pie & D-Beats," "Menstrual Gravy" and "Climaxipad" spring to mind.

I have only nice things to say about the music presented here. The production is great. The riffs keep moving and the band is tuned much closer to thrash than to death or gore - so the bass stands out and their crust/punk bits have more credibility. I enjoyed "Eternal Hangover," "Abortion, Apple Die & D-Beats," the short but sweet "Crystal Meth Mountain" and "Stream." The old-school, proto-death metal vocals are also a plus.

The only issue I take with VBT is in their sample selection. I know this is a personal thing. Some will laugh at them. Some will enjoy them. And who knows, maybe they jive with the lyrics. I simply hate where most of these samples came from. To me they're incongruous. But I really do like the tunes so I'm going to get the CD (if it's ever released). And if the band doesn't mind, I plan on ripping it, removing these samples and burning a proper disc.

A band-sponsored download is available here. Get your jam on.

No Gang Colors - This Is Your God EP

MySpace
Release: 2010
Type: MP3 / CD-R
Label: Self Released

I don't get around to music like this as often as I should. It's two distinct things living together in harmony. On one hand, it's a three way, no holds barred grudge match between hardcore, industrial and metallic crust with Double Picked Riffing as the impartial referee. On the other it's effects heavy, we recorded this in the middle of an empty warehouse, extreme ambiance. The combination is interesting, expressive and worthy of repeated listens.

To elaborate on that, the guitars take center stage in the production. The band's aggression comes directly from the amount of space their riffs take up. Then they add samples, effects pedal sounds and feedback as a means to focus this. The drums are sparse yet powerful in that industrial, almost sequenced way. There are few blasts and a little more mid-tempo double bass. That minimalist approach to drumming adds a nice contrast to the riffs.

Some of the sound-scapes they create, like Who Fed My Indian and the last half of Chicago Churches could run on for a few minutes longer and no one would complain. It's like they wrote a full album and then intentionally trimmed it down to a bite-sized sample platter. I would have been happy with the full length, but their idea of brevity sits well with me.

I enjoyed this thoroughly. The first track serves as an intro. It has a lot of static and a lo-fi feel, like it was recorded separately. The EP proper is tracks 2-6 with the final song, Darkman, serving as outro filler. In my opinion, This Is Your God should have ended with the closing sample in Chicago Churches. I think it would create a more rewarding listen. Also that would be six songs in 10 minutes which is about right for an EP. Either way, I look forward to some more from these guys.

There is a band-sponsored download here along with their back catalog. Give them a chance.

Onset Of Serious Problems - Oblivions EP

OOSP MySpace
Release: 2009
Type: Mini CD (limit 50) / Cassette
Label: Cantankerous Records

Where is the line of demarcation? Where does powerviolence end and grind begin? For me it has always been a matter of tone. A band that "sounds" punk is powerviolence; a band that "sounds" metal is grind. It obviously runs deeper than this, and being a sloppy band helps, but in a nutshell this has always been what drives my decision making process. Then again, it's all pretty much academic once the music starts. So while it may not liven up the conversation, maybe it's best to keep things simple: labels mean shit, just listen to the tunes.

Where am I going with this? Enter one of Indonesia's best kept secrets: (unless you've never heard of Proletar, in which case this is the second best kept secret) Onset Of Serious Problems. This two-man destruction unit fucking grinds. They know how write proper intros. They string together crust riffs like seasoned veterans. They know how (and when) to thrash. And they've got plenty of double bass. All the ingredients are in place to state firmly that these guys are a grind band. But two glaring things stand out to change my mind. The first is their tone. Guitarist/Vocalist Wahyu uses a tone that distinctly "sounds" like the brand of punk that evolved into mid-90's powerviolence. The second element comes from the vocals. Wahyu screams his lungs out like an Indonesian Issac from ManMadePredator era Leng Tch'e.

The EP is seven songs in eight minutes. Considering it's a mini CD from a band I've never heard of on a label I'm unfamiliar with, I'd say the production is stellar. In true EP fashion, track one, Mass Obliteration, sets the tone with a brief and familiar instrumental intro. This builds up through three different drum beats and then the Onset begins. OOSP never mess around when it comes to riffs. They seem to be always changing. Some are brought back later in a song, or exchanged verse-chorus-verse style, but nothing sticks around long enough to wear out its welcome. The drumming from Bondie follows along, constantly changing up between punk/thrash, blast and double bass. It's an old punk's dream come true. Those non punk, non-powerviolence fans among us might be a little bothered by what could be considered monotonous vocals. Anyone demanding variation in this regard will be disappointed. Those of you who can look past this will be duly rewarded. I absolutely love it. If Wahyu ever figures out a death growl, look out world. Either way, this is a band that with a bright future.

I'm not sure about the CD's availability. You will have to email/pester Cantankerous about this. You can mail order the cassette from Rescued From Life. In the mean time, check them out here. And definitely follow their MySpace for updates. They have a split in the works with Goner, who are another band worth checking out.

A Tribute To Nasum

Nasum Space
Release: 2009
Type: CD/2 LP
Label: Power-It-Up

Someone far smarter than I am put it better. Anders Jakobson was no slouch either. Simply put, Nasum is the gold standard when it comes to penning quality grind riffs. Grab a random CD and see for yourself - all of their material speaks directly to this greatness. And you only need to play the Imitation:Flattery game for about 20 seconds to see the band's lasting contribution to the genre. I am also of the belief that you cannot fuck up a Nasum song. Go ahead, call me a fan boy. I truly hold this belief. Fealt this way going into the Tribute and that opinion has held through repeated listens. Of course I am not saying Depeche Mode would do a nice cover of "Worldcraft" or that Nine Inch Nails could do "Shaping The End" justice. I'm talking about metal bands with a punk vibe.

I will, however, be the first to admit that I have not listened to all the bands represented here. I'd never even heard of a few before getting the CD. One of the things I enjoy most though is that the bands played these songs in their own style. I can only assume the bands I am unfamiliar with followed suit. For example, Rompeprop preserved their march/stomp groove and pitch-shifted (to the point of indecipherable) vomit vocals on "Disappointed." In a way, it's kind of ironic, since Disappointed is lyrically one of Nasum's better songs - a scathing rant about something we all share in common: flaky friends we just have to turn our back on.

The main point of satisfaction for me comes in how well Inhale/Exhale is represented, it being one of my top five grind albums - something I find odd, seeing that I prefer double bass, thrash riffs and crossover bass lines in my grind. It's your classic "exception proves the rule" example. But the play list is broken up well, so it's not an Inhale/Exhale tribute, nor a chronological history of Nasum. It's 53 tunes laid out with the sole purpose of getting you up off your ass for an hour. Seriously, how many grind bands have you heard who don't even have 53 songs, let alone 53 good ones?

In this light the whole CD passes my test. Given the degree of hype surrounding the release from it's inception I would argue that all the bands did a great job. The songs are as varied as the bands so I'm pretty sure everyone will have their own favorites. Some classics get the lo-fi treatment while others are over produced to the point of using static as an extra instrument (won't spoil the surprise by giving examples). I particularly liked Poostew's rendition of "Doombringer" and Dead Infection's "Think" in their Swedish meets Bolt Thrower tone. Never heard either band before this.

I can only think of two complaints. Neither one really bother me, nor would having knowledge of them prevent me from buying this in the first place. Number one: How is it, with such a vast discography to choose from, that two bands ended up covering Corrosion (The Arson Project and Sanity's Dawn)? Couldn't one of them do The System Has Failed Again or Burning Inside? The other is regarding the inlay card: It folds out like a 7" split. The inside is a map of the Earth, in red, with your standard black and white death and destruction artwork around the edges. The continents are littered with falling bombs with band names written on them. At first I thought it was all fancy, with each bomb falling on where the covering band is from. But no, it was just thrown together.

Those two points aside, did I mention the songs kick ass? Check it out here. Buy it here. Do it for Johnny. Wolverines! Whatever your mantra: go get it.

Comp Crazy Finale - This Comp Kills Fascists

Fascist Killers Space
Release: 2008
Type: CD/LP /7-7" Boxset
Label: Relapse / Deep Six

Timeless. Instant Classic. Oldie But Goodie. Terms of endearment proof positive not that the collective output of the music industry is a pile of coal stacked higher that Mt Everest - which it is - but that the footfalls of scouring music fans creates just enough pressure to form gems worthy of us scratching the surface for. And there is also a fourth, equally important category which happens to be the subject of this review: Iconic.

Just think about the number of bands who went from relatively unknown to releasing an acclaimed album within a year of this comp. Without looking at the track list we know Maruta signed with Willowtip and released In Narcosis. Weekend Nachos, then a powerviolence act, signed with the mighty Relapse and released the hardcore masterpiece Unforgivable. Spoonful Of Vicodin went from virtual obscurity to releasing their back catalog, a new album, and if that was not enough, found themselves touring Europe - and along the way sharing a few stages with Insect Warfare on their farewell tour. And of course ASRA, who went on to release the punishing The Way Of All Flesh before calling it a day.

And the goodness runs deeper. Grind godfathers Brutal Truth used the comp as a catalyst for their comeback album. Kill The Client, Insect Warfare and Magrudergrind make an appearance. It's essentially the Who's-Who of Extreme Metal Yesterday, Today and Tomorrow, on one CD assembled by probably the only man with enough clout in the industry to pull it off: our favorite Defense Contractor, Scott Hull. Rarely has one comp served as a springboard for so many bands to launch themselves squarely into the extreme metal mainstream. But that can be said another way: rarely are so many quality bands available with new material when the right producer comes knocking. It was the perfect storm, and as luck would have it, we the fans are able to reap all the rewards on this iconic CD. Cheers, Mr. Hull. I appreciate you.

It does exactly what it says on the tin. Listen at your leisure. Own this fascist killing comp today. The packaging is top-notch: each band gets their own page on the inlay card - and the CD itself features George Bush sucking a dick swastika. And vinyl? Worth every penny, plus shipping. Cheers.

Comp Crazy pt 2 - Obscene Extreme 2009

ObsceneSpace
V/A - Obscene Extreme 2009
Type: CD
Release: 2009 (?)
Label: Obscene Productions

I don't know where this came from. I didn't order it - didn't even know it was for sale. Hell, is it even for sale? Who knows. But to whoever left this on one of my turntables, to stare back at me in the morning like it was my hand-picked disk de jour, you are not getting it back. So don't even ask.

To put it simply, Obscene Extreme 2009 is the business. You have to stick your arm in past the elbow to find the end of this horn of plenty's offerings: 36 different bands (all of whom attended the festival) playing 39 songs in 72 minutes. I half expected to see something along the lines of "arranged by DJ Bullet Belt" on the inlay card. It runs like a meticulously selected iPod shuffle list. Like a radio set some college kid spent two days arranging. It works because the disk has it all: thrash, powerviolence, grind, death/grind and a brutal version of each along the way. Even triggered brutal death grind for that one guy who likes to get a headache from click track blast beats. Oh, and a few unreleased songs, like the lead off track by Municipal Waste.

But what sells it from me is the song selection. I have a few of the albums and splits these songs were taken from: they did not choose the best song but instead the song that best represents the album. So if you like what you hear from a band then you are assured to hear 2-3 other songs on their album you will like even more. Does a number for justifying the expense, should ye be so inclined...

It also did me a favor. I particularly enjoyed the bass assault of Spasm and the accident at the intersection of Powerviolence and Grind that is Slavebreed. Maybe you will be so lucky. Find yourself a new band. Give your thanks to whoever left this at my place.

Playing the waiting game

Two years ago Power-It-Up announced a Nasum Tribute. I love tribute albums. One reason is that contributing bands tend to use their own sound and approach to the songs they cover. Another is that these compilations invariable contain a few bands I have either never heard or completely forgotten about. So tributes are a great way to rekindle interest in older bands while sparking interest in the new breed. And seriously, how can you fuck up a Nasum song? Seriously. Flash forward to last September, two years and five updates later, we get word that it's a double CD and the release date is November 2k9. Yet here we are, with seven days left in the month - and nothing is for sale. But the promos have been shipped out, and know what that means: it's out there, right now, in some lucky fuck's CD player. That also means you can download it. Sure enough, a quick search yields torrents and download links a plenty. But the point is that here we are, us Nasum fans yearning for a fix, playing the waiting game... Dear Power-It-Up, my credit card is standing by.

For the past six months, at least, on Inhume's Myspace page there is a message that makes every fan take notice: New Inhume Album in 2009 on War Anthem Records. Checking the War Anthem web page gives additional information: the new album is due in November 2k9. This is starting to sound familiar, isn't it? Well, here we are, with a week to go and there's only an cover and a few songs to drool over. I was not much for the early Inhume records. Brutal Death Featuring Blast Beats is not my style. But Chaos Dissection Order is the business. Here they not only incorporated proper grind but showed an understanding of the genre. Add to this that the split with Mumakil showed every indication that they are continuing down this path and you have my full attention. So where is it? Even an update along the lines of "be patient" makes the waiting game much easier than silence. Dear War Anthem records, my credit card is standing by.


In other news, Rotten Sound just signed with Relapse and will release an EP in March '10. This might be a good move for them. Already being established, they should be able to hit the studio and do things their way.

Joe Pesci - At Our Expense

Joe Pesci MySpace
Release: 2009
Type: CD
Label: Bones Brigade

I'm like a 3-way split when it comes to bands named after thespians. One part of me doesn't care, another doesn't get the appeal and the third is waiting for an all-female band called Mary Elizabeth Mastrantonio. In the end it's all about the music, right? Joe Pesci the band has nearly everything we have come to expect from the actor: short songs, a pissed off attitude and an uncompromising approach. The only difference is that any project the actor signs his name to is going to have a production and marketing budget big enough to feed Sudan until the Mayan calendar ends. Conversely "At Our Expense" sounds like it was ripped from vinyl by holding a boombox to the output speaker. Like all poorly produced albums though you can increase your chances or enjoyment by turning it up a notch or three.

Just don't crank it up too loudly because, ironically, the few samples this album contains are actually mastered properly, i.e. twice as loud as the music - so you'll blow your ears if one of those pop up unexpectedly. That is really the only downer. Your ears adjust to the production just in time for a sample to fuck up your equilibrium and you have to adjust all over again. But let you be warned: any one who passes on this because it sounds like it was recorded in a caravan is a pretentious bastard.

The band serves up 17 helpings which is a solid number in most necks of the wood. Since the band's motto is Play Fast Or Don't, it should come as no surprise that this one is over mere seconds after the run time hits 15 minutes. It's quite a ride though. As the play list breezes by you get the impression that Joe Pesci could easily play any brand of extreme metal. They play throw-away slam riffs at light speed, crust at ridiculous speed and just to prove they have more than a cuisinart in the engine room, they twist out crossover riffs at ludicrous speed. The better riffs are of course subjective. For my cup of tea take for example the Assuck meets Discoradance Axis riffs in Sticking My Carbon Footprint Up Your Arse and at the end of Funkhouser. Or the wicked death metal riff that appears out of nowhere in the middle of Mindless Zombified Fucks. Not to be outdone, you can have both of those examples in one compact, 51-second helping that is Hyper-Real.

But don't stop there. Call it Fastcore. Call it Powerviolence. Call it as you see it. The whole point of At Our Expense is speed and attitude. Your best bet is to make full use of the 'repeat' button on your media device and go along for the ride. Check Joe Pesci out here, go buy it here or here, and then tell your friends about them while you wait.

Sylvester Staline - split with FUBAR

Sylvester Staline MySpace
FUBAR MySpace
Release: 2009
Type: CD
Label: Bones Brigade

("We smoke this marijuana in your honor, Satan.")

This next band the Chainsaw Justice crew offers for your listening enjoyment comes to you with the 206-grind Stamp Of Approval. The great thing about them is that who they are depends more on your opinion of the genre than on my review. The long version: They Grind too much to be considered Powerviolence and they are far too Punk to be considered Grind. The short version: they are Stoner Punk Grind. Ladies and gentlemen, it is both my extreme pleasure and distinguished honour to present to you: Sylvester Staline. If you like punk, second-wave powerviolence, weed and a healthy slathering of blastbeats then look no further. If you don't then you can leave.

Right. For the adventurous who remained, you are going to love this band. Of the many things I dig about this EP, what stands out the most is the impression that it was all recorded in one take. You know what I'm talking about: an almost-live production, organic drums and a steady dose of feedback. Feedback rings in the EP, it fills the gap between songs and chimes in each channel when ever a guitar pauses. Through its sonic mesh the drummer clicks his sticks four times and another song is born. Of course, there is only one guitarist, so there were at least two sessions required to get the stereo effect. But all the songs "feel" like they were captured live, like the band packed themselves into the same room, pressed "record" and let it rip. Just based on hearing this EP I can safely assume they kick major ass live. All they need is a modicum of stage presence - the songs will do the rest.

The vocals are ejaculated rapidly in that monosyllabic powerviolence style. Think early Magrudergrind meets ManMadePredator era Leng Tch'e. So far as lyrics go, don't worry about the fact that you can only understand four words. Here is a basic primer: smoke weed, and if you don't smoke weed, fuck you. Take "Get Revolutionary" as an example:
Politicians are twats, they don't smoke weed
Police is shit, they don't smoke weed
Get revolutionary, smoke weed.

The riffs follow suit, either keeping pace with the lyrical presentation or taking the two-step approach, covering the full gamut from classic punk licks on to proper grind and all the way to fastcore. The whole set list, from front to back, is focused and energetic. It's music more commonly associated with skating, running from cops after tagging a billboard or trashing a house during a kegger. But for Sylvester Staline, it's the perfect backdrop for a bong session. Yet sadly, it's just an EP. The track list breezes by. There are stand out moments, like the beginning of "Through the Eyes of Weed," the crossover riffing of "Problems in Life," the grinding fury of "Legalize It" and the metallic crust in "Get Revolutionary." These moments are not entirely enough though. For best results I recommend listening to the EP straight through. Repeatedly.

And when you've had your fill of Sylvester Staline, let the disk spin on to track 18. Here begins FUBAR, who offer a nice contrast of style and approach - which is the whole point of splits if you haven't figured out already. Their production is a little murkier but that is essential: they have to make room for three vocal styles and a graduate of the G.C. Green School Of Bass. In 12 songs they cover all the angles of the genre, from classic punk minimalism in "Crawling" to the head-on collision of hardcore and crust in "Not Even You." The staple is loads of deep, distorted, almost out of place but fittingly just right bass. When they want to, FUBAR is as intense as anyone. But they pick and choose their moments, opting to focus their songs around the vocals. In this sense they have an old school approach to song writing. Not verse-chorus-verse but patient. I like it. FUBAR is the type of band who could open for Abscess and if the scene kids were not paying attention they would think Abscess came back and played an encore set.

I enjoyed both bands. They play the same type of music in two distinctly different ways which makes questions of who "won" the split rather meaningless. It's an apples to oranges discussion, like arguing between Exploited and Black Flag. Sure, someone is going to do it, but you know they love both bands and just want to play devil's advocate. You are formally invited to check it out. You are then strongly encouraged to buy it. I've had only good experiences with Bones Brigade. Great people.