Armageddon (Review: Wölfe / Fifteen Dead 7", 2013)

Free of all the hocus pocus and theatrics that surrounds black metal, Australias nauseating black metal scourge with thrashy underpinnings Wölfe roll with the thunder and chase the storm, tagging along to Crust's native thematic tropes to deliver a sermon of human extinction through the gospel of burst and bleeding eardrums.

Spanning no less than three genres: Black, Thrash & Crust their half to this parable of doom lacks not for muscle, having already sifted through the more uglier and sinister elements of its paternal genres, and forcefully bred them to anamorphic and cruel ends; a complete bastardisation and manipulation to the Venom gene pool that fathered all three genres, Wölfe coming out as a very different species altogether. Their diatribe is split across two tracks: the first more kinetic and traditional in the black-thrash hybrid undertaking even if recycling generic trajectories  whilst the second is somewhat more caustic and mercurial, but both share the piercing vocal rasping, rawness of presentation and general discharge of sonic filth, culminating in a highly cacophonous and belligerent listening experience not to be taken lightly.  

From one branch of the metal-punk hybrids we jump to another by way of Fifteen Dead's enthralling neocrust excursion. Fifteen Dead's meagre titular body count (compared to Death Toll 80k & thousandswilldie) is no means representative of their sonic commitment, crucially equalising the majestically epic with the polluted into one continuous and dynamic form. Their sole track on their half Anti-Theist hooks from the very beginning with its spatial acoustic string work, setting the stage for intrigue followed not long after by more powerful forces that begin to thrive and add great magnitude, smoothly alternating between vibrantly warm, but charged bipolar moods. The band paint an atmosphere astoundingly well, as if personally penning the dirge to humanity, and as someone whose encounters and interest in neocrust are usually a case of misdirection and chance I found myself highly sympathetic to their 5 minute requiem. 

Its a solid 7" that showcases in strong terms the polarity in metal-punk mongrels, with Wölfe bringing a breed of vitriol quite unlike any other and Fifteen Dead fusing grandeur with the acrid. The sleeve art when unfolded doubles up as a poster and a screen printed insert both provide greater physical significance to the product. I would have to if left to my own devices I would of likely have brushed aside the release, but am for the better having gone out of my musical shell. 

Download

Wölfe / Fifteen Dead

Purchase

Drown in Darkness (Review: Water Torture / thedowngoing 2012)

Water Torture / Thedowngoing

Now this shard of wax probably hacked away from an obelisk canonizing the veterans of the post 2009 grind renaissance, pairs together two of the most exciting and exclusive cacophonous grindviolence exploits currently in motion.

Taking to arms first in what will prove to be a rancorous saunter along an ash filled tide of decrepitude and hostility is Buffalo's Powerviolence-Noir nihilists Water Torture. Opening up with a tense snare of circuit bending and belligerently bellowed crashes their digital dilapidation commences the first scour upon a harsh musical wasteland before unleashing their trademark densely heavy handed bass and drums deluge. 

Water Torture have been stomping skulls and drowning souls ever since their Grindcore Karaoke debut just over a year ago, and have been generous in their cyanide laced output ever since. The band have been faithful in their general paradigm, only really dabbling lightly with the variables like production and quantity of noise, and even with the injection of a second bassist on the Sea of Shit split they stuck true to form in keeping their signature tyranny in check.  One hair splitting footnote that has creeped up on me is that Water Torture are on a negligible slant, the greatness of their output in direct correlation to the chronology of releases, their debut still being the best and sadly this being their worst.  Its more of their bass and drum dualism and choleric screams that meld our infatuation with their noxious fumes, this time bleaker than ever, but in doing so blunting their bite and tear factor. However in perspective this poses little to no problem, the depreciation being near minimal and the level of powerviolence they pollute from so high that they still crush all opponents underfoot, and make their half a nebulous showpiece of great acclaim. 

Having resisted being dragged into perdition by their earlier-this-year demonic hellion athousandyearsofdarkness, of which I still bare a few scars from that bitch Beelzebub, thedowngoing return with another snarl at their interfusion of subversive commotion and grindcore bastardry. The abyssal discord they have been known to recklessly excite with wanton turbulence as ever is there, and with a potency to match earlier extractions. Their side of wax titled "Goatsongs" is a continual metal on metal scathe of 7 jagged subtracks that claws out a rusted scream of total despair in an urban waste. 

An evident step in artistic growth and experimentation is visible, the absolute chaos is starting to fall into place and become more defined in its nature, clearing away the sonic blur of cacophony to reveal a vast array of finely honed musical thorns and teeth. This sharpening of focal point by no means detracts from the disruptive  storm of furor that they have become known for, instead it only makes their malintent that more glaring and clearer, the act still being a violent altercation that shows nothing in the way of fighting by the rules.

As the setup goes the only change is the mobilisation of a squeaking rusted guitar tone which tenders to a deeper submersion into the realms of extremity and depravity, adding another solid development to the bands already staggering armament. In fact this addition/alteration has done much to change the outlook of the band, although without a doubt there is an inherently thedowngoing signature within, its beginning to shift away from being a test on the limits and relationship between noise and music, and is starting to develop into a more expressive and perhaps harsher reality. Such a development from what already is one of the my favourite grind acts looks to go deeper down the rabbit hole, the depths of which I could not even begin to fathom. 

Really and truly no one needs this review to affirm what was pretty much a foregone conclusion , the bands names alone being institutions of immense quality, however since I have gone through all this effort I might as well finalise the point that this split is what some might call a match made in heaven, or more correctly hell. Catch them on their NA tour too if you get a chance

Nerve Altar

You Suffer And We Are Why(Review: The Kill, Make 'em Suffer 2012)

The Kill Make 'Em Suffer

Being in the position of a lowbrow reviewer, but a reviewer no less I therefore feel that I bear some sort of crude responsibility in the way of preventing you readers from coming to any harm that may result from reading any content derived from this blog. Mostly it’s to stop us racking up any legal fees from resultant damages (when I said pouring vitriol down your ears to clear the burn left by the album that should not be named, it wasn’t to be taken as literal advice).  Our current warning addressing the highly anticipated full length from Melbournes Grind Syndicate The Kill - Make ‘Em Suffer, symptoms of listening to this tyrannical slab of grindcore hostility range from bleeding fists, burst ear drums and the excruciating exhalation of blood. Auditor Emptor!

Unlike recent favourites who have disappointed, the Kill have only exceeded themselves in offering “Make ‘Em Suffer”  a tour de force that is about as close to shell shock as one can get without the use of military grade explosives.  Its a 19 minute choke hold of music bordering psychopathy, a pulverizing series of afflictions that expressly deliver a stark ferocity in a non-comprising fit of rage, dealing repeated concussive blows to the head. Alongside this ruthless approach of bludgeoning, The Kill desensitize the violence with an antisocial series of lyrical vents that double up as a touch of hysterical spice.

What I find most gripping about the release is the zero-deterioration in its potency, where some bands build up to their optimum momentum or stager around with it, The Kill are at terminal grind velocity from the get go and have no trouble in keeping it going, and no bull shit to pad it out either, just a near 20 minute experience of torrential hate spewing swill. Drums are tight and consistent in delivering repeated sharp bites of percussive turbulence of particular malice being the fracturing kick drums. String work is deeply imbued with a thrashing magnetism, yet remains a grindcore hack and slash affair, stabilising a compelling sound with a precise amount of finesse that really gives the Kill their exclusivity.  Vocals are a heinous set of demonic screeches and without a doubt the most in your face component, and are done with such an intensity I dread to think how many vocal chords had to be surgically “borrowed” to record this, because the only more efficient way of shredding them would be to do so with a grater, which just so happens the type of scream presented.

Production gives a nice stock and chained rigidity to their sound, and the alignment of the three pieces in motion (no bass, no problem) on the volume chart has been done so with much consideration to effectuating an optimum experience, one that is gruesome but firmly pronounced.

The Kill really do hit the nail on the head and deliver what has to be one of the best releases of the year, the thrashing leverage placed so firmly on the deep grindcore fanaticism makes for a fantastically invigorating blood lust.  

Blastasfuk

Flay the Foe(Review: Wretch, The Senseless Violence EP 2012)

Wretch - The Senseless Violence

It’s bad enough that pretty much every animal endemic to Australia is on a direct mission from Satan himself to be as inhospitable to mankind as possible (come on even their birds can kill people, and I am not talking about Salmonella from some under cooked chicken on the barbie) yet this hostility seems to have seeped through and taken some stranglehold amongst the people too, evidenced by the lengthy list of cranial crushing acts to come from an area which will in due course be home to the coolest of post-apocalyptic environments. Thedowngoing coerced the forces of noise and chaos to taint their musical apocalypse, Warsore throw acid in your face with their punk bile, and now upstart spawn Wretch reforge and twist a death metal arsenal to a spewing grindcore grotesquery.

The Senseless Violence Ep is downright squalid, rolling in its own filth only to thrive from its own misery, a continuum of brutality that lambastes the listener’s aural activity with sounds from the most repulsive hideaways of the musical sphere. If anthrax would ever be assigned a soundtrack, the Senseless Violence Ep would be a contender for the title amongst a handful of other decaying diseases. The riffs are choice cuts, nothing but the foulest of the foul, yet still submissive to the rolling and churning of head bang worthy riffs of which plenty are on offer. Full on viscous grind isn’t really present but nor is it necessary, opting to deny the explosive hardcore tantrums of grind for a dank and noxious blooming of bloodlust and stepped up brutality. Final track control clocks things back a few gears, being their dying pestilent breath and bringing a douse of melancholy into the mix; a peachy stylistic variety that plays out well, yet others may perceive as weak.

Its more fleshed out than we expect from EP, doing a lap on what passes for an LP these days, fleshing it out with festered and sore ridden death metal tangents to their deathgrind decay. Good production values give it a nice lift, suiting the play style. Although I personally thoroughly enjoyed it I wouldn’t say it’s one that all can enjoy, given its leniency to death metal mechanisms of demise it may be alienating to thos  who like their classical vibes in grind: short, loud and fast. Yet those who enjoy such fusion will certainly find plenty to chew through and enjoy in dark hearted fashion. 

Faustian Pact (thedowngoing, ATHOUSANDYEARSOFDARKNESS 2012)

I am no demonologist (law qualifying just shy), but employing my contract law knowledge I would imagine the Faustian pact Australia's demonic twosome thedowngoing made with the devil would entail a period of hell equal to the cumulative listening time of their new release: ATHOUSANDYEARSOFDARKNESS , which much to the loss of Matt and Muzz's post life experience will be forever; this infectious siren of destruction is never going to leave your regulars play list. The release name does not only exist as a title but is likely to be prophecy born from this release, I don't think you can come any closer to the Noise/Grind chaos without being absorbed into one of the more torturous planes of hell; although I am more than willing to let this wonder duo give it a go.

Its a follow up from their much loved pandemonium the Untitled EP, and although I had some concerns that the distillation of their collusive noise and grind tumult would detriment the overall projection of their unique and unequivocally unmatched sound, but these fears have been rightfully scorched from existence upon opening the Pandoras box that is ATHOUSANDYEARSOFDARKNESS. This 10 minute snapshot of hell makes their previous release look like a nursery rhyme, and that says a lot since I know no other band on the planet that offered such a deconstructive hailstorm to constitute music(Defeatist were a keen second place in the running order, but kept a safe distance from thedowngoing's trail of devastation). 

Its a serpentine orgy of grind, noise and bedlam that gives no quarter, only pure unadulterated, unrelenting and unforgiving aural punishment in the most iron fisted manner conceivable. It is the very definition of musical sado-masochism, you are meant to feel fear, dread and despair listening to it, yet it brings with it this unfathomable sense of pleasure. They have published lyrics, which I must admit on paper are that riveting blend of intellectual nihilism and poetics if you care to peruse the inside of the case, but externalising them to correspond with their acute shrills and bellows that constitute "vocal output" is a task beyond me, that being said I can't say I ever learnt the finer points of Parseltongue.

No amount of hyperbole, metaphor or personal monologue can give justice to how much I have endlessly enjoyed this release, and if my word means anything I implore you to check it out.

Blogger

Bandcamp