Mohicans fuse together obvious influences into an alchemy of
unique music. Heavy, down-tuned metallic hardcore is what Mohicans play.
Blatant doom and sludge adoration, but the prominent pounding drums propel a
two-step hardcore punk pace. The urgency is immediate, eschewing the typical
long duration of indulgent slow doom. Five tracks are below two and a half
minutes. The vinyl 12 inch (available in 180 gram) fits all six tracks on one
side. *(with the b-side silkscreened!).
The music is angry and raw, being spat and sweat out by this
San Francisco trio. The groups is never afraid to delve into a rock sound or a
searing solo. The Kyuss/Mastodon feel can take center stage, as in the album’s
opener, “Eagle”, or the track, “Road”. But just as you adjust, the stool is
kicked out from under you and the pummeling of frantic drums rushes forward.
The production drenches the riffs in fuzz and feedback, possessing a stellar
live feel. The drums are pushed up in the mix, clear and dominant. The vocals,
which shred the larynx of vocalist Chris Palomarez, are pulled back which adds
an omniscient, foreboding quality. His clenched fury is admirably delivered.
The penultimate track, “Bixbi”, breaks down on a bouncing bass line and
continues in the trios catchy waves of bobbing tones. The song then returns to
thrashing.
Palmarez also recorded the drums I keep applauding. Live,
the band is comprised of Justin Shearer on bass and David Sahlem on drums.
Heavy thunder and destructive intensity are Mohicans’ core strengths. This music is ugly. This music is
adversarial. Melody sneaks in sporadically (but calculated). It is used
sparingly to balance the down tuned dirge. Mohicans execute a sinister beauty
here as precision noise and rash rants spewed over thick ass riffs.
RIYL: Wolvhammer,
Spinebreaker, Baptists, Eyehategod, Black Flag, Generation Of Vipers, Black
Cobra, Bison BC, Doomriders, Conan
Yuppicide
- Revenge Regret Repeat
Interview by Hutch.
Dead City Records - December 2015
Yuppicide
started in 1988. The mid-Nineties’ albums brought in that NYHC bounce with a
rugged punk and Oi! sound. They were hard to define but always confrontational.
Not preachy, but creatively defiant and antagonistic to the listener, they were
political and socially-minded via personal keyholes. Their lyrics represented
larger issues through myopic stories. Their main three albums Fear Love,
Shinebox, and Dead Man Walking hold a revered position in the hall of NYHC.
Their live show, with a flair for costumes and unbridled energy, secured their
legend. Dead City Records released their demos again, and their full anthologyin
2010. That was their story until some reunion shows and a 2012 EP woke their
audience from the dead. Revenge Regret Repeat was released on December 5th
of 2015. Their sound is honed and more focused on this full length. Yuppicide
are still pushing boundaries and addressing issues instead of generic slogans.
This may be their fiercest work yet. Vocalist Jesse KFW Jones and guitarist Steve
Karp took time to answer my questions.
It’s 2015. A new Yuppicide full length. How
does that feel?
Jesse: It feels
great. It took us a while to get the songs written and ready to record and
actually a few were still being tweaked in the recording studio. It is great to
finally have it out and in the hands of the people that want to hear it. When
we were working on the American Oblivion
EP back in 2012, we considered holding off and waiting until we had enough
material for an album. But, we weren't sure how long that would take. We're all
busy with family and work responsibilities outside of the band, so writing material
can be a slow process.
Steve: It
feels F*ING AMAZING. We defied the odds and created a masterpiece.
Was there a different or specific mindset
going into recording this?
Jesse: We
discussed different approaches, more for the recording style, but we decided to
try things and then decide if we wanted to work on it more. We do our best not
to let outside opinions influence what we do. Our producer, Glen Lorieo, had
some great ideas. We have a very democratic approach where everyone can voice
their opinion. But, the player has the final say on their instrument. We didn't
all agree. There were some edits that we weren't all happy with (poor Glen),
but over we are really happy with the results.
Steve: I
think we really wanted to learn from the process of recording American Oblivion and expand and improve
on that. We really wanted to create something we in the band are really stoked
on.
Can you tell me about how long it took to
write this? And then recording process with Glen?
Jesse:
Some of my lyrics precede us reforming as a band. I have always kept note books
with ideas and snippets. Whenever we are working on new material, I will
revisit those notebooks and see if anything sticks. The song that became “You're
Gonna Get It” was originally something Steve was playing around with for
another project. He had lyrics for it, but was cool with me rewriting them. I
wrote a whole set of lyrics that in the end still didn't work. So, I rewrote it
again, as it is now. We came up with some additions in the studio.
Steve: We
started kicking around new songs pretty much right after American Oblivion. I think we really got serious and productive in
the second half of 2014, especially once we committed to the idea of releasing
an LP. We started talking with Glen about recording a few months before actually
nailing down recording dates. He had ideas having just finished the incredible
Caught In A Trap LP (Good Night, New York;
also on Dead City). We had ideas having had time to digest American Oblivion and listen to CIAT’s Goodnight, New York. Once we actually started recording, it went
pretty well. I’m glad we took the time to bounce ideas off Glen ahead of time.
When it came time to do the guitars, I went back to 1990. I hauled my entire
live rig into the live studio and we recorded 99% of the guitars in a monster
eleven hour session. The actual entire recording process took a while, because
we were really nitpicky with the album. There was a lot of back-and-forth with
all the band members in regards to lyrics and arrangements and things like
that. Glen should really wear a tall, pointy hat because the kid is a wizard
when it comes to engineering and production.
Jesse: It
was great working with Glen again! We got to know each other recording the American Oblivion EP and now we're friends.
We recorded the drums and guitars at Frequency in White Plains NY. The rest, we
did in Glen's home studio in Harlem. I worked with him a lot, going in multiple
times to record a couple of songs at a time. We would play around and
experiment. He was really open to trying things and had great suggestions. He
also brought the 'science', which means he could fix my fuck ups, for which I'm
grateful.
You have kept your sound – solid writing,
catchy and hard!
Jesse: The
core band is the same: Steve, Joe, Myself. Jay brings a great drum sound to it.
He's always played fast and hard. I'm using all my usual techniques. I try to
come up with vocal hooks, if they make sense. Steve has never stopped writing
and it shows.
Steve:
Thanks! Truthfully, that’s the only way we know how to write. We write what we
know and what we like. We’re our own toughest critics. We seem to suffer from a
kind of “musical multiple personality disorder”. We have bits and pieces of so
many different kinds of music that fall under the bigger umbrella of
“punkrock”: Oi bits, d-beat bits, garage punk bits, US ’82 hardcore bits,
2-tone bits.
Have you been playing shows since American Oblivion?
Jesse: We
have been playing mostly local shows every few months. With our limited free
time, we had to decide to work on new material or practice for shows. We didn't
play a lot while writing the record. Now we excited to play the new songs out.
Steve: We
have. We even toured Europe quickly to promote American Oblivion in 2012. Since then, we played sporadically. We
made a conscious decision to try and not play out during the process leading up
to recording and during the recording process itself. We really wanted to stay
on track and get the LP done with as little distraction as possible. Well,
outside of the unavoidable “distractions” of work, family and all the other
“40-something” obligations that get in the way of being old ass punk rockers! I
think we noticed that the less we played live, and the more strategic we
were/are with gigging, the more we appreciate it and hopefully the less people
get tired of us playing.
What does 2016 hold for Yuppicide?
Jesse:
We're going to Europe for 10 days in March, and Dead City is trying to set up a
mini East Coast tour as well.
Steve:
Seeing if/how people respond to the LP, for starters. Then, we are getting out
and playing a bit. We have a European tour booked for March 2016; ten days in three
or so different countries. And, of course, the continuous process of trying to
balance the band with work/spouses/family.
I love the lyrics to “Insolence”, but I
actually might be one of the people you are trying to motivate. It’s rough out
there; to balance a proper wage and feeling fulfilled.
Jesse: The
lyrics on “Insolence” were a collaboration between Steve and me. It is about
being frustrated and unhappy in your work and personal life. Steve wrote the
original version. I think it was written from a very personal perspective.
Corporate cubicle life is a reality for a lot of us. So, the lyrics are aimed
at ourselves as much as anyone else. The second verse, which is more about
personal relationships, was suggested by Joe Keefe (our bassist). So, I wrote
about how we stay in toxic relationships because we're used to the misery. And,
yes, that's from some personal experiences as well!
Steve:
Tough? I think it’s impossible. But, someone knowing that fact is half the
battle. I’ve found that it’s necessary to separate oneself in a sense; to seek
‘fulfillment’ from one’s own interests and pursuits, and then to treat a job
like a job. Let’s face it, a lot of the people that one can work for, don’t give
a damn about their workers. We’re replaceable cogs in their eyes. We take that
frustration and channel it into our music and lyrics and artwork. That’s what
fulfills us. A paycheck is a paycheck. It pays the rent or mortgage. It puts
food on the table. Money really ruins everything, especially when it comes to
creative pursuits like art or music. Which is why we always pay for the
recording process ourselves, so, that we’re not beholden to anyone to how we
want to create our songs or do our graphics. We have complete artistic control
and freedom. We never worry about whether a song will sell, or an album will
sell, because we have day jobs. The music is our hobby. We get to create stuff
without compromising to/for anyone outside of the band. Luckily enough, we have
the good fortune to work with John (Franko) from Dead City and Bader with
Cupcake. They trust us and believe in who we are and what we do. They have the
same passion for the purity of the music as we do.
With the socio-political critique in full
swing (“Political Game”, “Spread the Infection”) how do you feel about our
county’s current climate?
Jesse: I
wrote “Political Game”. It is mostly about how lobbyists control legislation.
They donate huge sums of money and do back door deals so that the congressmen
end up with high paid jobs at the corporations. But, its also about the fact that
we now have two governments in this country: the one you vote for, and the
other one. That doesn't change and that controls security and foreign policy.
Steve:
Sometimes, I’m hopeful because there seems to be a groundswell of people fed up
with living under a corrupt government and tired of a system designed to enrich
the wealthy and keep us worker drones in a perpetual state of fear and anxiety.
People who seek answers and ask tough questions and aren’t afraid to buck the
status quo. And then, at other times, things seem hopeless because of the
apathy of the masses and how willingly people let fear allow themselves to fall
under the spell of kooks like the religious right. People who want to set our
country back hundreds of years and openly pursue policies of bigotry, misogyny,
racism…..
Jesse:
Steve and I collaborated on “Spread the Infection”. The song is about how
quickly people stop thinking for themselves and fall in line, especially when
motivated by fear. I think what's happening now with how people are reacting to
the refugee situation is a perfect example. What's really surprising is that
Presidential candidates aren't even fact checking themselves now. They're just
saying whatever crazy ideas they have and people are agreeing with them. It
would be hilarious if it wasn't terrifying.
Police Violence? Presidential candidates?
Minimum sentences? War on the poor? So much fodder to vent about.
Jesse:
Police Violence. I think there has been a core perspective shift in how the
police are being trained. At one time, they were seen as an asset to the
community (probably not by everyone, but in general). Now, it seems they are
there to control the community. Also, if you are being arrested and resist in
any way, even in a small way, they can assault you, maybe kill you, and most
likely, get away with it. The militarization of the police is terrifying. They
are being sold surplus military equipment by arms dealers and they are finding
any excuse to use it. They often lack the training to use it as well.
Steve: Too
true. We try and balance our lyrical content with political and personal
subject matter. I guess for some people, we’re too political, and for others,
not political enough. Then again, with a confrontational name like “Yuppicide”,
you kind of know you’re not getting an album of pop-punk teenage love songs.
We’ve made a career, so to speak, out of rubbing people the wrong way. That’s
not going to change anytime soon. The issues you mention are not new issues by
any stretch. Since this country’s inception, there has been a constant struggle
against centralized control and individual freedoms. There’s always been a
class war. There always will be a desire to keep the masses under control with
fears of internal and external threats.
Jesse: Regarding
Presidential Candidates, most of them seem like caricatures. Many have no
political experience. Ignorance and arrogance seem to be the most important
qualities. As a voter, if your apathy makes you opt out of the process, then
you may have just helped a nut job win. Also, the penal system in the country
is out of control. It is a huge business. 1 in 99 people in America are
incarcerated. Three strikes policy creates a slave labor situation used to
compete with countries without minimum wage.
So I have sampled that George Carlin bit; so
has hip hop artists. What is so universal about it? And why don’t we learn
anything from it?
Jesse:
George Carlin was able to communicate very intense and alternative ideas to a
huge audience. He was able to camouflage revolutionary ideas with his more
general criticism of modern life. Jay (our drummer) felt that the sample was
over used, but I felt people should still hear it. Can a comedian change your
mind? Can a song? I think they can chip away and hopefully eventually something
shifts.
Steve:
It’s universal, because it’s true. Every word of it is true. Carlin’s delivery
is spot-on because he doesn’t sugarcoat it. People hear it and agree. Then, do
nothing to change because it’s easier to complain then to actually do anything
about the status quo.
Did you see any Black Friday fights on the
youtube or social media? Comments about these disgusting plays of materialistic
consumers fiending for scraps in true BREAD AND CIRCUS form?
Jesse:
There are so many of these videos, and sadly what happens mostly is we just
judge the participants. But, it is a system of materialism the plays into greed
and gluttony. We all play our part in that. It is always depressing to
experience people behaving badly, people abandoning their humanity, trying to
fill the ever growing void with more shit and empty promises. But, unless we
are doing something very different, maybe we should focus on just improving
ourselves first, and have a bit more empathy.
Steve: As
Americans, it’s hammered into us since birth to consume, consume, consume. Very
few people stop and wonder if this mindset is wrong. Plus, anyone who questions
the “consume, consume, consume” mindset is immediately ostracized. It’s
shameful, but it plays right into the hands of those who want to keep us
helpless and docile and controlled. Rather than fix something yourself, just
throw it out and get something new! You HAVE to have the latest and greatest
whatever-the-hell-it-is!
Sarcofago are legends, and also unsung. Standing in the
shadows of another late 1980’s Brazilian metal band, Sarcofago released a genre
defining album, INRI, in 1987.
Through the next ten years, and a few member swaps, they released four more
albums. INRI remains the Satanic
monolith that you might not have heard. Admittedly, though, for Die…Hard, when I see “1985” and “demos”
in the description, I get a little worried about sound quality and repetition.
Repetition is unavoidable when compiling these types of
projects. Greyhaze, via Brazil’s Cogumelo Records, treats us to two early
demos, and some random tracks off of single release demos. The treasure here is
the two demos, Satanic Lust and Christ’s Death. Yes, some tracks here
appear two or three times. So, maybe only a true die hard will appreciate the
incremental progression. But, in the days of digital libraries, one can always
only keep what they want.
As the album starts, the production is a little tough here. This
is the first demo. The drums sound like a hammering construction project
executed in the next room. The poor man’s King Diamond wail in the beginning of
“Satanas” is jostling. But, then, every other vocal is gruff and evil. The
guitar sounds great. The guitar tone on “Nightmare” is treacherous. The drums
fit better, plodding and menacing. Even the roughest demos here are still
killer; never too muddy or quiet. The production increases in quality as the CD
goes forward. “Satanas” third appearance is tight as hell, with even
production.
The demo exposes the mastery and influence of Sarcofago.
This is the sound black metal purists would kill Christian babies for. I
personally like more thickness in the production, a little more chunk in the
guitar. But the sound and brutality of this A side cannot be debated. The listener can make rapid connections to
bands like Hellhammer and Mayhem hearing this. The miscellaneous demo tracks
are hit or miss. Some tracks can be skipped (“Alcoholic Coma” for one); but
when “Black Vomit” kick in, it does so with a feral delivery and blistering
tempo.
Christ’s Death
demo sounds a little worn from the original tape. But, the playing and
recording come with more balls and relentless fury. The tracks are fast. By
this time, Sarcofago had a vision and were not meandering in sound.
“Desecration of Virgin” is brutal as hell, with a few leads, and a present bass
line. The demonic growls and bullet driven drums remind the listener to
Sarcofago’s learned status in extreme metal. Again, by the time we get to this,
we have heard some tracks multiple times. But this version of “Satanic Lust”,
whoo! Finally, a bass!
This is a damn fine record. I do not think you have to be a
diehard fan to appreciate this. You can pick and choose which versions you like
best. All are sinister. This is savage metal. These dudes do not always come up
when talking the history of metal. That’s a shame. Greyhaze gives us a chance
to explore the beginnings and foundations of legendary tracks.
When a single producer works with an emcee for an entire
project, the album always stands above the rest. There is a thread that runs
through the album, a cohesive angle that broadens the impact. Statik Selektah
has never made a bad beat. Simplicity is never his prolific output in the last
years with consistency and potency, rivals Apollo Brown, Marco Polo, DJ JS-1
and more. Enter in TYP-Ill, a LINY, veteran MC that carries his past on his
sleeve. Flourishing on the mic and over Statik’s funky string and piano
concoctions, TYP-Ill brings fierce street stories and bragadocious skills.
Sometimes, he has a delivery and voice exactly like Chino
XL. Less focus on metaphors and wordplay, Typ-Ill still carries venom. His
strength is embedded in his detailed story telling. Obviously when TYP-Ill
talks of his service and the impact on his constitution it holds sincere
gravity. The weight of those experiences will shrivel most nonsense MC’s trite
hood tales. However, TYP-Ill is quick to tell his stories of drugs, ladies, and
debauchery just as quickly. The vivid painting which Ill’s lyrics and syllabic
mastery depict matches some of the rap game’s best.
The bombastic feel of the soulful 70’s flare of “The Hustle”
is captivating. Statik’s use of sparse, deep piano and pitch-bent female,
emotive vocals and long brass notes and the wailing, wandering electric guitar
all coalesce to enrich Ill’s story of having to slang to survive. This track is
as colorful as any Scorcese flick. “Onyx” combines some funk and a PE type siren
over raucous drums to motivate TYP’s retarded energy as he harnesses chaos with
rebellious lyrics. TYP goes in and spazzes.
Songs like “Dog Tags and Duffel Bags” and “Soldier” again
garner intense facets to create blistering racks. TYP and Statik team up over dark
beats. From sparse strings plucking to a dense, heavy Hammond organ, Statik
gets heavy, emotional beats from opposite approaches. Statik shows he is a
master here. He can utilize many approaches to confront the listener. I believe
his guidance had to be a factor in TYP-Ill hone his abilities.
A skilled, tongue bending lyricist, TYP-Ill gains respect
through a weathered life. But his genuine sincerity and mature humility are the
engrossing factors. Combined with Statik at the paragon of his game, and a
myriad of funky ass drums, Veteran’s Day
is a vicious, moving album.
Carrying the torch for Buffalo Style hardcore, Malfunction
unleashes their first proper full length. Harsh riffs with thunderous drums,
Malfunction kill it here on Fear of Failure. This is their first new material
in two years. Tempered by years of touring (Terror, Bane, Backtrack, Turnstile,
Harms Way), the band has become tight. Recording again with Jay Zubricky at
GCR, they then grabbed Taylor Young to mix (Twitching Tongues, Nails, Xibalba)
and had Fear of Failure mastered by
Paul Levitt (Turnstile, Darkest Hour). The result is a brutal thrashing
comprised of two step parts and breakdowns.
We’ve listed the talented dudes behind the album. We have
certified that Malfunction is steeped in a synergy from touring relentlessly.
The band has recently signed to B9. All planets align. A rough, raw guitar
sound with thick riffs ensures the metallic crunch is delivered with a vicious
blow. They had a demo and a great seven inch and appeared on some comps, but
this mammoth full length crushes far beyond their earlier material.
They have a
big sound here, building stress and strain with songwriting that pays off for
the listener. The mixing highlights the drumming which is balanced perfectly. From
the hi-hat to the kicks to the snares, all aspects provide a foundation of
low-end splendor, while pushing the songs forward.
The lyrical content is negative and angry, as should be
expected. Cold and isolated, Buffalo is not known for the happy times.
Loneliness, betrayal, loathing, all of these elements push the narrative of the
vocals in each track. Anxiety and disappointment are fodder to churn up jaded
growls while chugging rhythms and tumultuous mosh parts. Dark atmospheres and
maturing songwriting filtered through the top production in the game ensure
this band delivering the best example of what metallic hardcore can be. Fear of Failure will get those crowds
going as Malfunction ours with Terror and Code Orange through December 19th.
It’s comforting to be wooed by a band not on your
predictable radar. Park Sparrows is such a band, perched to remind that I love
good music. This is awesome music. Park Sparrows relish in down-beat, solemn,
atmospheric gritty punk. A solid two step rhythm with an undeniable catchy
swing lies in the pith of these five RVA dudes. Park Sparrows deliver a sincere,
mature sound.
The morose tones,
accompanied by somber and self-destructive lyrics, hit home for any weathered
punk or hardcore kid turn old guy. The gang choruses and “whoah-ohs” capture
the feel of any 90’s streetpunk band, inviting depressed and downtrodden to
join along, after the shot is finished. Harnessing harmonies, Park Sparrows let
the snare charge forward and the raw, open chords set the tone. Regret soaked
lamenting mirrors the fast paced reminiscent lyrics.
Images come to mind, battling catharsis through these
speakers: The golden hue of streetlamps igniting the crest a damp, autumn
morning; a bracing wind cooling off the whiskey sweat on your forehead when you
walk home at two a.m.; some old guy typing to force poetry in punk rock. These
images are there. The lyrics for Spark Sparrows cut straight into the gut.
There are talks of break-ups that finally heeded the extensive harbingers, and
shouldering all of the blame. “Horoscopes” reflects on getting out of the
hospital immediately, despite better judgment and sound medical advice. There
is true depth in the words sung here. Freeman Martin’s vocals have a hardened
lesson touching each syllable.
“I’ve never been one
for waiting and I’m not staying here tonight”
This doesn’t sound like a demo. I wish they would have just given it a name.
I d o not see any level of production pushing this to another level. The open
live sound, fits perfectly – and the mixing gets all the kicks and cymbals,
the off notes and string highlights and bass level where they should be. Again,
the choruses and backing vocals are placed strategically for emotional impact.
But if this is a demo, let’ get to the new EP or LP! Steeped in RVA history,
members spent time in quite an eclectic array; Wheelbite, Freeman (which was ¾
of Avail), Murder Weapon, Dead Serious, Scarlet, The Hotdmans, Strike Anywhere.
Some of those sounds apply here, some don’t but these are seasoned vets playing
punk for its own rewards. Shows are quickly amassing and hopefully the word
will spread.
“I heard you’re wondering if I’m doing well/ would it make
any difference if I was going through Hell?”
RIYL: Strike Anywhere/Inquisition, Avail, Leatherface, Epic
Problem, Good Riddance, Only Crime, GC5, Whiskey Rebels
Released: 21 August 2015 digital; October 30, 2015 for vinyl
A stellar metallic hardcore album came out of Florida
recently. 6131 has expanded the sonic-scape of their roster with some softer,
more palatable bands. But Blistered hold down the heavy. Blistered killed it
with their EP, Soul Erosion, a year
and a half ago. Recorded by Kevin Bernsten (Red Death, Noisem, Pulling Teeth,
Mindset).
Blistered rip through each track of The Poison of Self Confinement with conviction and their unique
take on metallic based hardcore. Songs have section and true song writing, not
simply drop-tuned breakdowns. The most alluring factor, and the key to
Blistered’s power, is that their music creates and atmosphere. Blistered does
not simply rely on a heavy chugging riff to display their power on The Poison of Self Confinement.
I am not trying to subvert the impact of those breakdowns
and riffs. Each element is persistent and makes any fan salivate. With the
tracks all three minutes or under, we do not have to sit to any tech-dude
indulgence. The mission is brutality. Drawing from the nineties’ European (Liar,
Length of Time, Down My Throat, Arkangel, etc) and Florida scenes, Blistered
balance that unravelling guitar line that bandies with a bombastic drum fit.
That call and response of thick riffs and harmonies made those aforementioned
scenes so distinguished and Blistered captures that best aspects. The band can
play Slayer sipping lean. But Blistered will also charge forward with a fast
part peppered into their homages of the breakdown.
“Into the Dying Light” exemplifies this notion. The bouncing
of the floor toms rumbling gives the song an anticipation build, not simply
resting on the up and down chugga chugga riff. The closer, “Death At Heaven’s
Door” rips forward at ludicrous speed only to stop and pummel the instruments
for two killer breakdowns. “Caustic Promise”, “Lust for Vengeance”, and “Lash”
are other favorites. It’s hard for any one song to stand out as the entirety of
The Poison of Self Confinement, from
start to finish, is a crushing piece of work. Vicious and strong, the music
revealed here is a peak above today’s hardcore landscape.
RIYL:
Peers: Homewrecker, Forced Order, Twitching Tongues, Xibalba,
Downpresser, Homicidal, King Nine, Power Trip
Influences: All Out War, Disembodied, Morning Again, Culture,
Damnation AD, Earthmover, Integrity
Digital – September 19, 2015; Vinyl - October 9, 2015
Vengeance consists of members of Floorpunch, Underdog, Blacklisted,
Reign Supreme and others. They took nine tracks into the study and recorded
with legendary NYHC producer, Don Fury. Hard and heavy, Fans of Manipulate,
Terror, and Backtrack should pay close attention.
Killer riffs and heavy stomps fill Vengeance’s resume.
Nothing new in the genre, but done with sincere venom and ferocity. Marc Zeveny’s
bass (Floorpunch, Endeavor, Anger Regiment) rattles with the resurrected sound
of the Breakdown demo. Fury gave the entire spectrum a thick, full sound. Songs
range from ten seconds, a minute, to three minutes. Vengeance fill time with
spastic fits that move into breakdowns. Pepito (Blacklisted, Reign Supreme)
spews pissed growls of warnings and hate drenched venting.
Vengeance strip it down to doing right. It’s all about execution.
This pissed off hardcore, honed and unfettered. Typical song titles, “Pushed
Too Many Times”, “Your Pride”, One Sided Friendship”, and “Brotherhood” show
not a regression but a statement of getting back to the roots. After some of
these band members’ resumes, some post-hardcore, expansive sounds, I am
positive these dudes wanted to just put out ill fucking hardcore. Mission accomplished.
If DIY street cred was currency, Todd Burnette could retire
today. His past includes Deathreat, His Hero Is Gone, Severed Head Of State,
Tragedy, and Warcry. These hardcore bands were uncompromising, heavy,
down-tuned and furious. They all claimed a stoic hardcore stance fettered by
unrelenting DIY ethics. In Nightfell, Burnette is joined by Tim Call on drums, who
has an impressive roster of metal bands to his name. Nightfell released
Nightfell’s debut, The Living Ever Mourn,
with Southern Lord and McCall’s own Parasitic Records. Call spoke on the pros
and cons of this. “The response was positive. I am not sure how much of a push
there was behind it. I co-released the vinyl on my label, which is more of an
underground entity. I don’t do a lot of big promotion. My releases tend to sell
at a moderate pace, as people hear about them through word of mouth. I have
noticed more interest in the first record since the tracks for the new one have
been streaming.”
Now Nightfell unleashes their second offering, Darkness Evermore, on 20 Buck Spin.
Joined in the studio by cellist, Julia Kent, Nightfell churn up some intense
d-beat black metal. Use whatever fusion of genre titles you wish, the impact is
still as resonant. Heavy, dark, cold music that can trudge glacially and the
spark into incendiary speeds. The cynicism is palatable on each track, demining
this existence. Burnette’s guttural growls are lower than ever. The weaving
dark harmonies of Tragedy are present. That element is cool, but Nightfell
truly stand apart from any project either member has done. Heavy and powerful.
The staccato rhythms enveloping the first track’s ending are
a belligerent delivery until we return to the cello. Atmosphere and brutality
are priority in Nightfell. That is accomplished and surpassed. The opener, “At
Last”, is a sinister ten minutes. Forging through “Cleansing” is demonic growl
embedded in a swinging riff and thrashing drums. Brad Boatright’s mastering and
Evan Mersk’s mixing present all instrumental factors as equal weapons.
Savage misanthropy backed by heavy distortion and whiplash
beats, Darkness Evermore is a bleak
statement on the desperation of today’s world.
The album holds respites of disconcerting plucks and vibes. But, this LP
consistently returns to the meaty, dreadful morose sounds. The eight to ten
minute durations give Burdette and Call ample time to destroy with reckless
abandon. The building of tension and venting is continuously rewarded with a
tenacious delivery. Stark and cold while avoiding the thin, tin production of
trve kvlt BM is refreshing and welcomed. Thick low end chugging breathe new
life into this loathsome genre.
White Jazz is a
new band from three quarters of Rise and Fall, giving nods to Minor Threat with
Greg Ginn type lead attacks. In “Bliss”, White Jazz are cultivating aggression
into sweeping waves of exhaustion and release. With “Gutter Rainbows”, Noise and
chaos copulate while filter through pedals of MC5 + Rollins Band + Dicks. There
are many influences. But this erects itself to be adored by a vast spectrum of
fans. The riff is the pith, but many other factors pack a pretty deep bite. The
throat of the vocalist is as impactful as any snare or guitar string. These are
not songs as much as they are four dudes beating their instruments to vent the
frenetic swarm in their heads. Lo-fi, DIY recording adds to the dangerous
aesthetic. Listening to this is like listening to the burning of an altar.
Boasting from members of Skin Like Iron and The Hope
Conspiracy, LIES play the hardcore of
Infest, Haymaker, and Extortion until it bursts into rocky noise. This is dirty
and gritty. Lies exhibit a bitter restraint while fusing Motorhead and Negative
approach. “Deny Me”, the second track is a blitzkrieg of off timing drums and
furious barking, powerviolence or what have you. It is noisey hardcore that is
vomited upon the two inch tape until we get that breakdown. It is catchy and
will have VFW hall floors absorbing blood. Lies have recorded what the internal
dialogue of a mapless Mid-Westener navigating Boston’s downtown.
Throat is a quartet from Turku, Finland. Their approach
could be best described as noise rock. When I label a band “noise rock” the
usual litany of AmRep and Touch & Go bands get listed. And while these
influences are present, supplemented by a strong NYC post-hardcore vibe, there
is songwriting here that uniquely stands. Throat cultivate tension and
aggression, ebbing back at times to scrape the anxiety from their flesh.
The stripped production constructs a feeling of a menacing,
large room. The instruments rain noise and tumult into your ears. The drums and
vocals, echo from the far corner; chaotic strings of guitars pull you in varied
directions. The production relishes the live feel of the band. Listeners get a
calculated, thin feel of razors and wires instead of a big thick feel.
Time changes are Throat’s main weapons. Throat employ these
sections of songs to stretch tethered emotions. Certainly at times, a rocking
groove runs. Often though, Throat retreat into hollow vacuums of slow,
purposeful whining and plucks of the guitar. The average song is about four
minutes. This gives Throat enough time indulge but not overstay the listener’s
welcomes.
The beauty of Throat is in the ugly discomfort their songs
emit. The cover of Short Circuit, shows an illustration of a girl about tp
compete a circuit between and outlet and herself with a bobby pin. She has a
look of fear on her face, yet the impending motion will be completed. That
cautious harbinger, founded in the certainty of the tragedy, reiterates the
feel of this record. The listener knows from the first notes that this
adventure will elicit sharp, slicing memories, but the listener will continue.
Hell of a record.
RIYL: The Jesus Lizard, Godflesh, Helmet, Stillsuit, Shift,
Quicksand, Cows, Melvins, Pissed Jeans, Drive Like Jehu
Black Speed is quite the appropriate title. The title fits
because the sound of Throaat is from the era of Black Metal being speed punk in
the coarsened vein of Bathory, Hellhammer, Mayhem and especially Venom. Hell,
Throaat even covers Venom here. They are a power trio creating disturbing,
violent metal. They have a few EPs and demos, but this four plus cover tracks
is brutal and evil in all the right way.
The production is on point in letting the feral beast snarl
and gnash without suffering from muddy quality. “Coven” embraces a cold
breakdown. The drums smash along as a winding solo boasts bravado. And dare I
say, a melodic part is teased before thrashing to the end. Slower parts meander
through the EP to add power to chugging
riffs. Throaat also speed it up when needed. While paying homage to the great
of leather clad Satanists, Throaat inject their own, err, venom into the blood
of the listener. Black Speed is not
mimicry or copies of classics.
The balance of medium paced riffs bursting into speedy
damage is exemplified on “Explode”. This b-side opener is a treacherous
rager. Sinister growls of devious plans
and intentions slither through the speakers. Chains rattle as the jangly bass
driven “Rampage” charges forward. The bellows grow deeper and the spirit is
enveloped by an even darker force. Faster and colder, the vision of Throaat
comes to full fruition on this beast.
RIYL: early Slayer, early Metallica, early Bathory, early Venom,
early Death Angel, Tormentor (Hungary), Motorhead, Razor
“It was one hundred percent intentional to go much heavier
this time,” Shanda Frederick replies to my question, asking the obvious. A Dracula is a low-tuned, full-sounding
doom concept album. Demon Lung exhaled on hell of an album with The Hundredth Name in 2013. A Dracula is a masterful doom album
released from a gestation of maturity and focus. “Our first album,” continues
Frederick, “we didn’t know how to achieve that. “We were intense this time.”
The relationship spawned from producer, Billy Anderson, and
the band sharpened the intent and attention of all involved. Anderson’s steeped
experience was a guiding light. “This time during writing process, I talked to
Billy. We have a friendly relationship. He knew what we wanted to achieve. He
was aware of us emotionally. He gave us this epic sound.”
The sound is epic. Thick, sludgy riffs steeped in horrific
atmosphere are the product of all elements syncing during four months of
writing. Frederick reports while writing, hanging appropriate paintings and
playing old horror films in the background. Of course, Demon Lung also used
great metal narratives to guide their mentality. “We listened to other bands to
set the mood. King Diamond. The way he
will stretch a whole story for an album is inspiring. Iron Maiden. They do a
lot of concept songs about history.”
The direct inspiration for A Dracula is Alucarda by
Mexican horror director, Juan Lopez Moctezuma, in 1977. Frederick explains the
process. “We come up with a story. We discuss scenes and emotions. Then they
start writing riffs. They record video their hands writing the riffs. We compile
themes, what lyrics fit with what song. The film was a starting point but we
adapted the story from fit to our ‘end of the world’ agenda and changed some
characters.”
Shanda Frederick examines another inspiration as we discuss
the harder sound and her vocals approach. “Candlemass. I use them vocally. I
like their approach. I get the comment that I sound like a man.” That comment
does not insult or bother her. “I prefer that. It feels natural.” Frederick
grew up with her dad. Her father’s friends, older men, represented the bulk of
her human interaction. She worked at her dad’s office, a construction business,
where she dealt with even more men. She elaborates, “My first band had a forty
year old guitarist. I am comfortable around older men. There is no sexual
pressure. They can see me as an individual.”
Female fronted bands, especially in doom metal and psych or
stoner rock, are common now. There becomes a thin line of being respected and
being an object of desire. For the female, it can be a double-edged sword. “The
situation can be a hard time for fans, not relating to a female perspective. I
convey deep emotions. I definitely struggle with double-edged sword. I want not
to be treated as one of the guys, but receive the same level of respect.”
Frederick notes that her band and her audience are thankfully
constructed of different types, though. Well, and she consciously does not
portray the sex object. “I am fortunate with my guys. I don’t put out that sexual
vibe. So, I don’t reap that attitude. I wear long dresses. I cover my boobs. I
am feminine, not sexual. People treat me delicately.” That has its downside as
well, back to the double-edged sword. “People assume I can sing, like my skills
aren’t valued. They think, ‘you are a woman, of course you can sing. They say
it as if I didn’t work hard to achieve this talent. But, that is how it is in
the world today.”
Frederick relays the opposite impression. She notes that she
always could sing. Her mother pushed her with musical theatre and chorus. After
multiple karaoke sessions in her late teens, her friends pushed her to sing. “I
was horrible live. It took a year and a half to be comfortable in front of
people. I was twenty-one. It was a hard process.” That fortitude is ingrained
in her constitution, though. “I just go out and do something until I can do it.
I am not afraid of failing. Everything is a learning process.”
That process of working through an endeavor and accepting
that time is needed to hone the product is portrayed in this album. A Dracula is a sculpted script. Each
track, expertly improved and molded by Billy Anderson and the band, represents
a plot point in the arc of Alucarda and her love, Justine. They triumph and are
resurrected to reign in Hell and demolish the Earth’s inhabitants. A dark,
frightening atmosphere champions this cinematic album. Prepare for the wrath.
The trio, Doomentor, slip us two songs via Iron Bonehead.
Over twelve minutes of raw doom metal bless this vinyl. The crew cultivates a
mysterious aura in reputation and sound, wearing cloaks on their first LP or
not at all here. As if emitted from a cursed castle during Walpurgisnacht, an
organ opens up with a haunting tune. The one minute-plus intro dives into
“Maligne”. “Maligne” has a swinging, thrashy feel. The production is extremely raw, appreciating
a lo-fi aesthetic. The music is fast,
galloping, riff-loving metal. “Nocturniae Monumentalis” is side B with nearly
eight minutes of slower but menacing metal.
They describe themselves as “black occult imperial doom
metal hell”. That could sum it up. They list influence like Trouble and Manilla
Road. Certainly, those bands are applicable for a foundation. But, this music is
much darker and infuses nuances of thrash and speed metal into the mix. There
are elements deriving from Venom, Hellhammer, and Motorhead. This is stripped
down doom. The vocals are low growls and sneers. And they should be. I don’t
want this sung. Even a Wino approach would detract from the sinister punch
Doomentor packs.
This is a great seven inch. The songwriting and execution is
bad ass. I do wish for a higher quality of production. I get the sound they are
going for, but the low end needs more of a punch. And while the cymbals are up
in the mix, lower toms should be more present. I don’t need clean by any means.
But doom should have big thick fuzzy bass, in my opinion. Their self titled
embraced a thicker feel while maintaining the savagery and raw grit. I still
recommend it.
Foreign Legion have been representing Welsh streetpunk/Oi!
since 1984. After a few names changes, they finally settled and got to cranking
out consistent records in 2001. That is when the Major Accident split LP was
released. Then, they had a full length, again on DSS. 2007 saw the strong,
Death Valley on Durty Mick. Other great splits with Red Alert, Suburban
Lockdown, Riot Company, Paris Violence and Cervelli Stanki show their tenacity.
Well, they throw a quick two songs here (after another solid LP, Light at the End of the Tunnel, KB
records) for The Shame.
Social and political concerns are the basis for these feisty,
pissed songs. Foreign Legion are calling attention to the disarray and
dysfunctional society that plagues all cities globally. A cry for people like
us that see the issues, these tracks should incite disdain. The strong back
beat harnesses the focus. This material boasts thicker guitars and more
ferocity than Foreign Legion’s prior output. The intensity is stronger and
enticing!
RIYL: One Way System, Menace, Major Accident, Brass Tacks
The Shame:
Tough, gritty and angry Oi! here. The Shame come from Tulsa,
OK. “Cross the Line” is gruff track, pledging allegiance to defiance. This
track is fast. Tight guitar chords propel the beat forward. This will certainly
get people singing along.
“Faded Glory” is not just a drinking song, but a “let’s
drink” rally cry to lament. The tone of the song, the guitar chords, and the
pace bring a solemn feel that is in line with needing just one more shot of
whiskey to go with the pint. The chorus is catchy and morose, in a nostalgic
fashion. The feeling is perfect for an old skinhead who is reminiscing about
the days that weren’t so caught up in daily grind and respnsibilty. Get a
friend and hoist a pint.
On Anthrax’s, Sound of
White Noise, they used a sample of Griffin Dunne in My Girl, saying, “Be
dangerous unpredictable and make a lot of noise”. I don’t think a cool quote
validates seeing such a sap filled film like that, but it sure could be the
creed of Loud Boyz. These DC dudes are releasing their full length, Tough Love, Hard Feelings. The band is
tight as hell, but still harnesses danger, unpredictability and well, yeah,
Loud Boyz make a lot of noise.
Raw and raucous, a flood of influences crash my mental, but
the island of originality stays solid at the core. The grumpy stalwart in me
despises when someone tells me they like “punk” and then names some clean,
polished production band on a major label and an image. Loud Boyz are young and
celebrate many elements of Oi, Glam, rock, and fifty shades of punk. Pure
intent fuses and patches and slaps together these pieces without caution to
complete their body of sinister music.
Tough Love, Hard
Feelings is a heavy album mostly. But it is an angry album thoroughly. The
songwriting on certain songs, “Hard Feelings”, “Loud Boyz in Love”, “4 The
Ladies”, conjures the speed and tense frustration of 90’s streetpunk. They have
the ethos and appearance of an art space band. Certain songs will lend to that
crowd. In the end, this is all DIY punk. “#goodluck” will bring out the kids
for the pit with a vicious breakdown and sing along. Songs rip through speakers,
with a dirty twang and impressions of relentless beatings. “World is a Cage”
kills too.
The live feel of the production approach retains the classic
punk sound of this band. “Knives” kicks off the album with a Bad Brains’ Black Dots feel, with supplemental gang
vocals that will enrage a live crowd. The sweat will manifest on your
headphones. All five members push their limits. While the band has no real
boundaries, they never indulge. They never get too weird or veer to
experimental. A catchy strum is the foundation for most songs, but a harsh
feral feel is what you’ll remember afterwards.
Expect that this band
will light up shows, from VFW halls to basements. But they have the potential
to be bigger. They will make that decision. Their vision and sincerity is
palpable. The authenticity of the urgent need to spew unfettered truth in their
manner is undeniable. Keeping it this real will let them do whatever the hell
they want. They can go a different, more indie way, a la Iceage or Cerebal
Ballzy, or stay this clinically insane and ravage hardcore shows.
RIYL: Fucked Up, Cerebal Ballzy, Blue Bloods, Deep Sleep,
Cloak/Dagger, Pissed Jeans, Night Birds, Coliseum, Stiff Little Fingers,
Whiskey Rebels, 86 Mentality, Nerve Agents; 77 punk, early 80s LA hardcore.
Rowdy rock and roll from one of my favorite band names. Bad
Engrish finally put out an album of older (but unreleased) material. No Passing Trend contains thirteen tracks of
fast-ass punk blaze through this piece of wax in less than thirty minutes;
including a four minute track, a bonus track and a cover of “Harry May”.
Production is solid. The guitars have that UK82 crunch without
getting mired in dark feedback. The instruments are recorded in a crisp
fashion. The elements can be distinctly heard, just not kept up with. The drums
are backbone here. And they are played in a fury. Jangly bass lines and
exciting guitars will push circle pits and colored spikes top bounce and rush
the stage. “True Breed” is a fierce track. This shows a more focused song in
the bunch.
Not here to contemplate too many deep inquiries, Bad Engrish
profess titles like “Pogo Power” and “Fish & Chips” and “Oi!’s not Dead”. Songs
of drunken mayhem, friendship and their underground subculture are all
subjects. Bad Engrish does slip in lines disavowing politics, but has a line
about a woman’s right to abortion. There are fun rebellion songs; more a “fuck
you” than a debate – more Blanks 77 than The Virus. “You Hate Me” is straight
forward, but will always be a sentiment of each punk and skin at heart.
Rebel Sound, via Pirates Press, put out some sweet vinyl
here. The choice of a white twelve inch with black and red splatter or Red with
black waves gives a vinyl lover some hesitation. The LP received an honorable
mention in Pirates Press Record of the week blog for May 8th, 201. The band
played MidWest in May and is touring now with Sniper 66. I am sure they are fun
band live. The album could use a touch more serious lyrics, and maybe a few
time changes in the tracks – but that is my opinion coming from Oi! and
hardcore. For the spikes and bristles crowd, this is a great record.
RIYL: Cobra, Towerblocks, Oxymoron, The Krays, Blanks 77,
Lower Class Brats
Pressing info:
50x Black Vinyl
325x Heavy BLACK Splatter on BLOOD RED
125x Heavy RED(ISH) and BLACK Splatter on WHITE
Glory Days
Glory Days
Aggrobeat Records
7" EP, vinyl; ABEP019
Fresh off a split with Dead End Street (Italy) and the Oi! Against Racism LP Comp, Glory Days
now have their own EP on Aggrobeat records. These kids from Poland deliver a
rough (and welcome) version of Oi! They take the early English sound and mix
with a good dose of the French sound. Their sound is loose and tough, with hard
back beats and harsh guitars.
The song writing here loves the English style guitar intro
of building the anticipation of the songs. When the songs kick in, they do so
in a raucous manor. Good songwriting with catchiness (but not melodic)and sing
along phrases keep feet tapping and fist pumping.
“The Line” feels like the most honed song. The beat is
faster, the guitars are crisper. The crowd inducing chorus will get fans
singing and beer spilling. The middle has a great breakdown with a slow but
bracing solo.
B-side wins again
was a Chuck D phrase; and I must apply it here. “Out of Sight” starts with a
ripping beat. The energy is charged and direct. The middle employs another
tense breakdown the builds to a gang chorus. The guitars are intentionally
sparse but impactful. The track is tighter than the A side.
Glory Days is a
stand out EP with great skinhead soundtracks. The songwriting shows effort and
thought. There is room for some improvement that a strong producer and the time
of a full length could certainly bring. That said, this is from a demo last year. An album worth of these quality of
track would be called a classic. Classic sounds and tools ensure that the
needle will drop on this at a drunken part or a bitter basement night solo.
Pour a pint and sing along.
Mohicans fuse together obvious influences into an alchemy of
unique music. Heavy, down-tuned metallic hardcore is what Mohicans play.
Blatant doom and sludge adoration, but the prominent pounding drums propel a
two-step hardcore punk pace. The urgency is immediate, eschewing the typical
long duration of indulgent slow doom. Five tracks are below two and a half
minutes. The vinyl 12 inch (available in 180 gram) fits all six tracks on one
side. *(with the b-side silkscreened!). 
