The Third Of The Storms (Review: Aksumite, Prideless Lions, 2012)

DIY tape label Colloquial Sound Recordings has had a pretty flawless track record so far, putting out a number of highly original black metal inspired releases in the relatively short period of time since its conception. Aksumite, the label’s flagship band, is comprised of two other CSR artists (from the equally great A Pregnant Light and Obliti Devoravit respectfully) and managed to bring both punk and black metal fans alike to their knees with their debut  tape last year, ‘The Gleam Of Wetted Lips’. After a couple of short demos, anticipation was running pretty high in certain circles for the band’s second full-length, and let it be known now that ‘Prideless Lions’ delivers in spades.

Unlike many of the black-metal-meets-punk-rock albums currently doing the rounds, ‘Prideless Lions’ is a very diverse listen, from the galloping Venom-on-steroids of ‘Via India’ to the anxious stop-start riffing of ‘Brazen Ape’, Aksumite manage to cover a lot of ground and prove they’re not just one-trick ponies pounding out the same recycled Hellhammer riffs ad infinitum. The song structures here are pretty interesting (especially considering they’re all mostly under the 2 minute mark), keeping you on your toes with a number of captivating ideas, unexpected revelations and, of course, some of the most raucous riffs in the business. ‘Priory of Aksum’, for example, begins as a psychotic ‘A Blaze In The Northern Sky’ style rampage before giving way to a riff that sounds like a glimpse into an alternate universe where Celtic Frost formed in Washington DC circa ’81, whilst fist pumping closer ‘The Gilded Goat’ brings to mind Aura Noir jamming with Discharge on a wind-swept mountain. ‘Ezan’s Right Hand’ melds menacing old school doom with break-neck thrash, and includes a lengthy, cryptic outro complete with distant banshee wails and haunting tremolo riffs.

Just like all the other Colloquial Sound Recordings releases, the production has that fantastic practice room vibe. Everything is clearly audible, but swathed in a warm organic fuzz that gives the album a raw, live atmosphere. This is even further enhanced by the ever-present yet extremely comforting tape hiss, and in all honesty, cassette appears to be the perfect medium for CSR’s releases, as black metal especially seems to benefit enormously from the intimate idiosyncrasies of tape. The guitar tone here is fantastic, bringing to mind 80’s hardcore punk more than it does the harsh, trebly qualities of a lot of black metal, which makes the more BM inspired sections sound particularly fresh and energetic.

‘Prideless Lions’ sounds tighter and more focused than the band’s previous efforts, with the vocals especially sounding more confident and passionate than ever before. Whilst evidently taking a large ammount of inspiration from the past, the band still sound like a breath of fresh air, and have more in common with Venom’s debauched sense of fun than they do the elitist posturing of much of the lesser acts that followed in the wake of black metal’s second wave. Aksumite have seemingly achieved the impossible; a perfect blend of punk rock and black metal without sacrificing the integrity of either of those genres. If you’re a fan of Celtic Frost, Discharge and latter-day Darkthrone, then this is a must-have, but you’ll have to be quick! This tape has been pressed as a limited run of 100 copies, so head over to the Colloquial Sound Recordings website now if you want to get your hands on one. Just keep those painkillers ready, because your neck is gonna be sore by the time this tape has finished...

Colloquial Sound Recordings

The Prince And The Pauper (Review: Human Waste/Chetwrecker, Cacophonous Grind Storm, 2012)

Split releases can sometimes be a bit of a mixed bag; at their best, they’re a satisfying and horizon-broadening combo of two separate bands that coalesce into a single unified listening experience, but sometimes an unbalanced pairing can leave one of the acts totally outshined by the other. This recent cassette split on DIY label Thrash Mouth Records promises a ‘Cacophonous Grind Storm’, and, to its credit, half of it delivers this and then some.

Despite their generic name (a quick Google search reveals some German goregrinders, an Italian grind band, a bunch of Swedish crusties and a Spanish tech-death outfit with the same moniker), San Franciso’s grottiest sons Human Waste are a true force to be reckoned with, delivering a rancid barrage of filth that spews out of your speakers like a gutful of vomit hitting the pavement after several days of heavy alcohol abuse. After a sample of what appears to be a particularly irate war veteran embarking on a desperate rampage, ‘Left To Rot’ begins with an anarchic and sloppy introduction, before eventually warming up into a no-nonsense Insect Warfare style clusterfuck. This doesn’t let up at all as ‘Return To Nothing’ crashes into your cranium at warp speed directly after with barely a pause for breath. The proceedings grind to a halt as ‘Swarm’ lumbers into view like a severely intoxicated tramp that’s just cornered you in a dark alley, but this doesn’t last long as within seconds we’re launched straight back into an absolutely devastating succession of blasts and shrieks culminating in a crusty groove that would have Extreme Noise Terror foaming at the mouth, before coming to an abrupt stop. Human Waste take no prisoners here, barging in, ransacking your eardrums and then fleeing off into the night just as quickly as they came, like a bunch of dirty, no-good grind marauders with careless disregard for anyone’s personal safety. In other words, this is the kind of good, old-fashioned pissed off grindcore that’s sure to get your pulse racing and your first pounding. Bravo!

Unfortunately Chetwrecker are left standing in the dust by this display of grinding Armageddon. Their crude, super lo-fi take on powerviolence is not totally devoid of charm, but ultimately feels a little half-arsed. Call me spoilt, but their faster sections never seem to reach the same face melting fury as many of their contemporaries, and their slower segments are almost completely lacking in drive and power. These guys utilise that angry Neanderthal vocal approach that normally fills me with joy but even these sound slightly lazy here. Tracks like ‘False Thesis’ provide a reasonable amount of blastin’ entertainment, and some of the song structures are suitably schizophrenic, but it doesn’t help that the band are bringing virtually nothing new to the table, and there are dozens of similar sounding bands out there that are doing this kind of thing with way more intensity than these guys. Whilst Human Waste wasted no time in grinding you into submission, Chetwrecker’s material seems pretty flabby by comparison; if they’d trimmed away some of the fat, their side of the split may have seemed more appealing. It’s hardly the worst powerviolence release I’ve ever heard, but I can’t really give this a thorough recommendation given the vast number of other like-minded acts out there that are way more worthy of your time (the recent To The Point 7” being a prime example).

All things considered, this isn’t a bad split at all, and is probably worth it just for Human Waste’s side alone. Both bands have made their respective contributions available for free via their Bandcamp pages, and you can also pick up the tape for a measly 3 dollars through Thrash Mouth Records (but not if you live in the UK, frustratingly enough!) I know I’ll definitely be keeping an eye on Human Waste, and only time will tell whether Chetwrecker will blossom into a band of the same calibre or not.

Thrash Mouth Records