There's no informations at all in the Control/Exithippies split 7" released by Paank Lyvet earlier this years. No song titles, no band logos on the cover. Nothing. Which is quite annoying. That being said, I'm glad that Control from Fukuoka are back! I'm pretty sure you've heard endless bands being compared to Confuse. Usually, most of this stuff is just utter crap. But Control is perhaps the band that nailed their city mates legendary sounds perfectly. 6 years has passed since their split with Stagnation and "live to distroy public places" ep came out. But I'm happy to say that their sound didn't evolve at all. Pure Confuse worship perfectly executed from the start to the end. Nothing more, nothing less. While the noisepunk trend faded away few years ago, these guys kept doing their own thing, not caring if it's hyped or not. One of the best band outta japan right now. On the other side, Exithippies. An unique band that usually leave me speechless. I like them when they play noisepunk, but I don't get it when they mix it with techno/electronic music. We tried to do something similar with my grind band in the mid/late 90s. It doesn't work, simply. Well, there's tons of people praising this band so maybe it's simple my problem. But if you want my 2 cents, this ep is worth for the Confuse, ooops, I meant Control side only.
lunedì 10 luglio 2017
I still remember a copy of Nuclear Death second full length "carrion for worm" lp sitting for years in New Zabrinskie Point's metal section. While flipping through records, every time I bumped into it, I always stopped, grabbed it and stared at the cover. It had one of the ugliest yet intriguing artwork ever. It looked like it was drawn by a very disturbed 7 years old kid. Seriously, a creepy long haired dude with a dead cat hanging on his belt that's ripping flesh out of what looks like a dying calf with a human face? And a worm shaped zombie looks at it while crawling out of the soil? They definitely knew how to get my attention. But this artwork was too disturbing for 16 years me so I always put it back and went through the rest of the crates. Then one day, while talking with the drummer of a local grindcore band from back then, he mentioned them as one of their main influences and started praising them. So next week I finally asked to the record shop owner to listen to it. I wasn't prepared for what came outta the speakers. This wasn't nor your average overproduced yankee technical death metal neither classic grindcore. Like the cover, the music was ugly, dirty and with one of the lowest production ever. I didn't like it immediately. It took me several years to finally understand and digest it. Nuclear Death was, and still is, the most unique band that came outta US in the early 90s. Fronted by Lori Bravo (perhaps the first female death metal singer ever?), this Arizona trio assembled some of the most original music at the time. While they never stand out for their musical ability, they created a dark and gloomy atmosphere by lowering down their sound as much as possible. Compared to their debut album "bride of insect" that still show some thrash metal influences, here they tuned down their sound so much to create one of the most depraved atmosphere ever. The only other record that has the same vibe is perhaps Blasphemy "fallen angel of doom", another contemporary masterpiece also released by Wild Rags. Add to that also an original lyrical approach. While everyone was dealing with satanic, horror/gore or political stuff, Nuclear Death went for the darker side of the human mind, its most depraved ideas and perverted thoughts. Something as hard to deal with as their music and artwork. If the word "cult" has been definitely abused in the last few years, well Nuclear Death is absolutely a band that deserve this adjective & status. Scored this copy recently still sealed for a good price.
venerdì 30 giugno 2017
venerdì 23 giugno 2017
Do obscure records still exist in 2017? For the better or worse, long gone are the days when a serious effort, time and lots of dedication were essential to build a decent underground music knowledge. Now every goddamn record is virtually just a few clicks away from you. At this point, the concept of "obscure releases" must be completely reconsidered. And the mere fact that Nemesis "hombre: oveja negra del universo" 7" (originally self-released by the band back in 1987) has just been repressed, would probably answer to my question. If such a forgotten gem from Medellin got the repress treatment, even if in the limited quantity of 300 copies, it means there's a market for it. What once was a well-hidden secret among the collector nerds, now has been democratized for the masses. If this means I can no longer dream to find an OG first press for cheap, then I should be grateful to Epidemia Records for this reissue. Nemesis was a short lived band from Medellin that fits perfectly the ultrametal parameters. Think to a mix of Slayer & Celtic Frost, filter it via south american lo-fi metal production, and you got a solid release. Perhaps not on the same level of greatness of Parabellum, Reencarnacion or even Astaroth, but we're not too far from it. Apparently Epidemia also reprinted the band demo on cd but for some reasons I completely missed it. A must have for all the ultrametal and south american metal fans in general. But stay away if you can't deal with lo-fi production and tons of rawness!
giovedì 15 giugno 2017
A is for Anal, B is for Butt and C is for Cunts. Body cavities always had an important role in naming noisecore bands. Glad to see new bands keeping this important tradition healthy & alive. Here we got indeed Cunts from japan sharing a slab of wax with Anal Butt from USA. SPHC delivers again some noisecore at its best (or worst, it just depends on your point of view). Cunts from tokyo have been around for over a decade and they are part of that peculiar japanese tradition of making noisecore with only vocals delivered via a special microphone that also unleashes a wall of feedback noise & drums. Nikudorei and World indeed immediately come to mind while listening to their side. If noisecore is already a minimalist style, Cunts reduced it to its mere bones. An aural assault that's the equivalent of a caveman hitting a skull with some femurs while simultaneously screaming his guts out. Simply brilliant. Anal Butt from baltimore, who of course won the prize for the best band name ever, are more traditional. Stick clicks, blast beats and noise for 10 or even less seconds. Repeat it for a copious amount of time, close the record with a hardcore stomper, et voilà. We got a masterpiece. No metallic bullshit here, just plain ol'noisecore the way it's supposed to be played, like the forefathers of the genre taught us almost 30 years ago. No song titles for both bands, a cover that would embarrass your girlfriend (or should I better say your mom, since chances you got a girlfriend while listening to this kind of stuff are close to zero) make this even more a modern classic. Considering that it's the debut on vinyl for both bands, I got high expectations for the future! Only 300 pressed.
mercoledì 24 maggio 2017
They must have printed the wrong logo on the cover, that's the only reasonable explanation. A band composed by Joe Denunzio, Matt Domino and Bob Deep Six is essentially the Infest recent line up minus Chris Dodge. I don't know why they have chosen to release this ep under the Exit Unit monicker and, honestly, I don't even care. This is the new Infest ep and it bloody rules. Unlike the last Infest ep "days turn back", which was rejected songs from "no man's slave" recording session, these are all brand new tracks composed and recorded between 2011 and 2015. The sound is crispy and powerful, all the trademark elements that made Infest one of the best hardcore band ever are all here. Those guys are unstoppable. Not only they are touring everywhere in the world, they've been also able, in their late 40s, to assemble the BEST ep of the year. On side A we got eight perfect powerviolence butcheries, played like only the godfathers of this genre can do and dressed with some of the most negative lyrics I've read in recent times. Side B, to maintain another Infest tradition alive, has a long midpaced instrumental stomper that will make you want to smash your head against the wall again and again. This record is basically the most awesome riff ever, instantly outclassed by the following one, for the whole time it lasts. I was about to say that the current state of HC is quite sad if a bunch of old fat dudes has just released the ep of the decade. But, honestly, I don't care. It's nothing new of course but when you've invented a new sub-genre more than 25 years ago and you're still able to nail it down perfectly, you've won everything.
lunedì 15 maggio 2017
Let's talk about a forgotten jewel from the golden era of swedish death metal: Carbonized debut full length "for the security", released by Thrash Records outta france back in 1991. Considering that it's one of the best five album EVER that came from that scene and that Lars Rosemberg from Entombed and Christoffer Johnsson of Therion were part of the band, I cannot really understand why people don't praise it like they should. My guess is that this album is quite peculiar for your average death metal fan. It doesn't follow strictly the classic swedish death metal formula, it goes beyond it. It's full of blast beats (making Carbonized probably the first swedish grind band ever?), riffs are way far from the classic swedish DM recipes and there are a lot of tempo changes and weird song structures in general. The final result is something unique in its greatness. Death/grind with an almost psichedelic vibe going on for the whole album. If you can image a weird mix of Nihilist, Repulsion & Voivod, then you'll get a vague idea of how Carbonized sound. If they were on a bigger label than Thrash, they would have probably gotten all the attention they deserved. Essential classic. Scored this copy easily and for a very good price, too. Later stuff is too weird for my taste, but this and debut 7" are mandatory!