Hell Bent Review

Hell Bent

Demo EP

Self Released

Dewar PR Haulix

Releasing on Jan 12, 2018

Review by hutch

BUY THIS

Hell Bent hail from Rhode Island. This band conquers by spewing three-ish minute tracks that combine searing elements of thrash, d-beat, crossover, and hardcore – if you need a label beyond “whoah”. Hell Bent boasts the menacing vocals of long time screamer, Aaron Badger, of Straight To Hell, Ulcer, and Paindriver. Other members have spent time in Dropdead and Neon Bitches. Their demo, which is this, was released last year on a very limited cassette version aside from digitally. Kicking off the new year proper, they are repressing with a more expanded run on cassette.

Hell Bent execute furious, dark metal. Six tracks here exhibiting speed-driven riffs with catchy time changes and powerful bass. The brash guitars and pounding drums push and push behind the experienced lungs of Badger. “Yeast” is a blistering opener. The one and a half minute scorcher is just fast; powerviolence/hardcore, again, if you need to slap on a genre tag. “Desert Death Lord” follows with all the same aspects except leaning toward more a thrashy jam, with taut riffs and more dynamic parts in the songwriting. Still blazing. “Canis Lupus Superion” also travels at blinding speed with a crossover nod in the riff; repeating and charging. Badger’s growls are beefy and penetrating. The breakdown ¾ way through gives a good chunky space to embellish in its two minutes. Made for the pit. 

“Bastard Curse of Abraham” starts with a slower trudging pace which gains momentum, then ebbs into the mid-tempo, building the anticipation. After 90 seconds the final minute, spazzes forward again with tight thrash riffs. The great titled “Condemned to Life” follows, with an infectious, energizing into that moves into dark, down-tuned thrash. Badgers commanding vocals are gnarly.  This is a catchy hardcore feeling track, damaging and angry. Pounding fast, the closer, “Scythian Horde” rides that trash gallop for the verse while other parts utilize a sharp charge forward of hardcore speedy riffs and double time drums.

This is a great demo I have been enjoying for over a year. Happy to see it get some wider distribution. The bands mixing of genre attributes are invigorating. I do look forward to a tighter production on a proper release to pull off the trashier parts (I sometimes want the drums to be more crisp, succinct). But this is raw and vicious. It’s a minor criticism that could be fixed on a non-demo release. See these dudes live if you get the chance. Killer honest metal/hardcore with a voracious hunger. And the bite to match.

Silver print on black cassette, deluxe edition comes with an embroidered patch and sticker.

85 incredible metal albums of 2017

METAL: 

Fucking hell. It was a ridiculous for metal and all its hyphenated, nerd arguing, split genres.  This is no order. And i didn't want to split hairs in comparing genres - but then did not want to pick 5 from each.... Basically this is 100 awesome metal albums of 2017. maybe more. i lost count.

I even broke up the spoitfy lists: Part A and Part B

NOTE: if forced to choose a top 10 or 50, I’d have to whittle down and that would leave some great shit out. Also – I am not a musician – sometimes ‘best’ to me means impact and energy; not technical proficiency.

DIRTY BLACK N ROLL:  8

Craven Idol The Shackels of Mammon Dark Descent (next level noise evil gritty metal)

Malleus Storm of Witchcraft Blood Harvest - Boston madness! Probably my #3 of the year.

Midnight Sweet Death and Ecstasy Hells Headbangers -  little different, slower songs, still amazing

Goatwhore Vengeful Ascension Metal Blade - another banger from them! Just flawless

Tombstalker Chaotic Devotion Boris 7” - only wish there was more. Black metal foundation with Thrash Rock – well produced. could be my #2!

Implore Subjugate Century Media - drums are like if Jerrys Kids played satanic metal. Caustic delivery, BM riffs.

Moral Void Deprive Translation Loss - straight forward, no frills. Stripped down brutal ugly metal. Fast as fuck. Songs like “Bereft” and “Dust”: clear black metal, but its thicker and more captivating to me

Wormwitch Strike Mortal Soil Prosthetic – again just such a great blend of styles. Punches hard

THRASH – Dbeat and Misc...whatever i can't keep up with all these distinctions: 10

Kreator Gods of Violence Nuclear Blast *brutal from the best

Power Trip Nightmare Logic Daymare - #1 with Loudwire, MetalSucks Readers + Writers, BangerTV Viewers; #37 Decibel – below Converge, Integrity and some others. I have loved these dudes from day one. Cuz i love hardcore and metal and all in between.

Iron Reagan Crossover Ministry Relapse – infectious and energetic after many listens – simple formula that works. Momre hardcore than thrash. Took a friend who hadn't heard them yet. He's 43 and said "this is the new DRI! This is perfect." I prefer this to new MW.

Lurking Fear Out of the Voiceless Grave Century Media played this frequently. Swedish supergroup (holy fucking line up) that grabs its opportunities and nails it.

Vallenfyre Fear Those Who Fear Him Century Media side project get d-beat/swede Death fusion – loved it all year.

Blood Feast The Future State of Wicked dirty underground – blackened thrash stood out to me Love this album after repeated listens

All Out War Give Us Extinction Organized Records - Decades ago, hardcore guys unabashedly made a Slayer record. No one matched their ferocity. They are back. Classic line up delivers best LP in years.

Wilderness Dream Paralysis Rise Creator Destructor -  raw sludge USDM with vocals llike Human Fuirnmace of RIngworm - i listen to this a lot. Great band.  2-3 min songs. Probably one of my favorties, i just know it is not technically superb or whatever. But actually it is rather fucking sick! Good hardcore feel like Ringworm or All Out War.

HON MEN: 

Odious Icon Planet of Immense Decay Negative Vibe - new thrash but not too clean, little darker smoking tracks. I love the tuning and tone. Just uh, again, not ground breaking. Maybe it's not thrqash and I want it to be more thrash. It's not polished enough or guitar focused to be 'pure thrash' which IS WHY I LIKE IT. Still worth a listen or five. @ - 3.5 min songs and a heavy hardcore sound, just with death metal vocals.

Havok Conformicide Century Media - little choppy for me – but when the go forward, they do it well. Been a band I liked for awhile

Warbringer Woe to the Vanquished Napalm

Witchery I Am Legion Century Media -- very like a Skeletonwitch – just blends thrash and black metal so well.  Produced clean and fierce.

DOOM:  14

With the Dead From Love Rise Above - droned out cavernous despair, Lee Dorrian‘s nihilistic perfection. Triumphant!

Spirit Adrift Curse of Conception 20 Buck Spin - glorious. Better than Pallbearer to me. Clean Vocals; spot on 70s riffs with crafted intentional doom

Loss Horizonless Profound Lore - painstakingly slow – but gorgeous. Epitome of melancholic funeral doom

Paradise Lost Medusa Nuclear Blast - back. True doom, growled lyrics. Continue their upswing of the last few years.

Beast Maker Inside the Skull Rise Above - from the look to the hook; riffs and lyrics and aesthetic make this one the best records in years on a stellar label. 

DOOM Hon Men:

Demon Eye Lies and Prophecies Soulseller Records - NC's finest hit the target with their third brilliant LP.

Elder Reflections of a Floating World Stickman 4x 11 min songs then 2 9 min. Crafte dwell – great rhythms and guitars. Bluesy at times – like early Graveyard… Lots of layers of sounds. Smart men

Bell Witch Mirror Reaper – always liked these dudes – and now a 83 minute one track. Epic (a duo) – with drummer/vox guy died – Adrian Guerra and got a new, first time drum/vox guy Jesse Shreibman

Temple of Void Lords of Death Shadow Kingdom - monolithic plodding but death metal riffs

Unearthly Trance Stalking the Ghost Relapse - another staggering return.

Northless Last Bastion of Cowardice

Tongues Hreilia I, Voidhanger Records

Omotai A Ruined Oak Ruined Carnage - AZ trio of dirgy punk-doom; rebellious, smart, weighty

Ditch and The Delta Hives in Decline Battleground Records – killer sludge doom – about to tour w/ 

Conan

DEATH:   12

Cannibal Corpse Black Before Red Metal Blade - a fuckin monster. thank you, CC

Necrot Blood Offerings Tankcrimes - yep. nailed it. Dark and evil.

Acephalix Decreation 20 Buck Spin - another great one from all these Necrot and Vastum related people.

Dying Fetus Wrong One to Fuck With - Relapse Nasty. Powerful. Genre defining; heavy but clean production with the weird guitars (not a musician but that high pitched noodling)

Obituary s/t Relapse - mid-paced, hardcore like - and fucking great. Listen to it a bunch.

Exhumed Death Revenge Relapse *Concept album of drunken serial murders. Great LP

Cannabis Corpse Left Hand Pass Season of Mist - call them a joke or whatever. But as ecibel review said - other bands lauded as genius rehash (pun intended) subjects of war or Satan again and again. SO their thing is weed. The music is bonkers.

Incantation Profane Nexus Relapse - just a personal favorite. so grimt, just down and dirty death metal. More on thick riffs and loos production than tech wonder.

DEATH Honorable Mentions:

Decapitated Anticult Mystic *tops Blood Mantra, killer record overshadowed by horrific claims - now vindicated.

Extremity Extremely Fucking Dead 20 Buck Spin 3 chicks & a dude; member of Vastum (Shelby); Swedish style. 

Entrails World Inferno Metal Blade  - down to the logo, this is intentional Entombed worship – handled flawlessly. (Gruesome: Death / Entrails: Entombed)

Black Dahlia Murder Nightbringers Metal Blade – Death Metal that the HC kids love

GRIND:   6

Haemorrhage We are Gore Relapse - From Japan. Been around awhile but this is their most realized release.

Friendship Hatred Southern Lord - scary shit from Japan

Expulsion Nightmare Future Relapse *literally Exhumed Matt Harvey + Repulsion Matt Olivo. Add Danny Walker of Exhumed, Intronaut, and Phobia. Damn find grind.

Phobia Lifeless God Willowtip - classic road dawgs snuck in the under radar to gift us this gem

Lock-Up Demonization Lifeless  - All Star line up (Nicholas barker, drums, Shane Napalm, Kevin Sharp – brutal Truth, VC) this is when Death/grind gets fun and invigorating. Angry and political. Big death metal stomps and breakdowns.

HON MEN:

Complete Failure Crossburner Season of Mist - sludgy dark spazz grindcore. Nasty

SLUDGEY/NOISE: 5

Ledge Cold Hard Concrete Translation Loss - Heavy Chicago shit, tough plodding like Harms Way – dude from Spine/Weekend Nachos – doom/industrial hardcore. Heavy and ugly and depressing suicidal shit.

Primitive Man Caustic Relapse. Sometimes I am in the mood – sometimes it’s unlistenable. Ugliest doom out there.  Misanthropic

Iron Monkey 9-13 Relapse - reconstituted with new/old members as a trio – but captures the spirit and sound. Gnarly.

Livid Beneath Shroud The Earth Erodes Prosthetic - oomph. slow as molasses. and fucking good.

HON MEN:

Rig Time! War Innerstrength - pretty much straight hardcore (like this year's great Left Behind) but they like Eyehategod too. Smart social lyrics.

Blackish:  Note the "ish" 5

Low Estate Covert Cult of Death Flenser – best new surprise for me. Chaotic metal + splashes of AmRep/NY noise. Unsane meets black metal; rough n tough and low-fi.

Cloak A Venomous Concept Season of Mist - this split a lot of people this year, but most endorsed and gave at least a 7/10. I enjoyed this immensely and they are getting big tours now. Well deserved on a well crafted album. Good production. Not first wave black metal, but not that symphonic shit. Thick riffs still played with well rounded production. But structure is often black with a classic metal feel. I like it much.

Chaos Moon Eschaton Memoire Blood Music/Fallen Empire - 6 - 10 minute tracks, produced not tinny but still with early black metal aesthetics. Grandiose atmosphere with muted production, i guess. Ebbing and flowing song structures. Dandy. Double bass insanity with high tones meandering - i have it as background music and i suddenly realize how depressed I feel.

Tombs The Grand Annihilation Metal Blade - another bomb ass record by these Brooklyn dudes. SO full. It takes many listens to appreciate, I feel they are one of those bands who set the bar so high early - that in their 4th and 5th LP you're like "yeah, of course it's awesome". But then you don't dive into it. I need to dive into this again.

Scour Red Housecore - I don't really know if the TRVE KVLT BM scene poo poo these cats as tourists - but i think it's amazing musicians killing black metal. Phil Anselmo [Vocals] (Ex-Pantera, Superjoint, Down, Arson Anthem), John Jarvis [Bass] (Fulgora, Pig Destroyer), Chase Fraser [Guitar] (Animosity, Continuum), Derek Engemann [Guitar] (Cattle Decapitation, Unmerciful, Covenance) and Adam Jarvis (Misery Index, Pig Destroyer) on drums. Jarvis is one of my favorite drummers. I think its big and focused and fucking dark.

SPLITS:  3

Livid/No Funeral Live Fast Die Recordings - ugly satanic doom

BLK OPS/Cave Bastard accident prone - black metal doom noise

Hands of Orlac/Wandering Midget Cruz Del Sur - 15 min doom songs but super good)

STONER ROCK: 4

Summoner Beyond the Realm of Light Magnetic Eye - dudes can write. Big bendy riffs with thundering delivery. Witness the madness. 4 - 6 minutes tracks with clean vocals mixed evenly. It ain't pop. It ain't Mastodon or Sword - but hella approachable. Solemn and heavy shit.

Here Lies Man Here Lies Man Riding Easy – riffs, fuzz; stoner rock with afro-beat rhythms. One of the most original albums this year. Thin Brown Sabbath doing original tunes.

Atomic Bitchwax Force Field Tee Pee Records Stoner Rock per se but done on hyperspeed in 2- 3 min songs. Killer riffs, guitars blazing leads, spaced out 70s jamming.

Duel Fears of the Dead Heavy Psych Sounds - dusty desert tunes for muscle cars and Harleys. Love it. One of my faves this year. More 70s rocking than others in this list. If Earthride didn't growl or tune as low at times; then they switch to boogie a la Trouble / The Skull. Dark and occulty.

Honorable mentions:  16

Integrity Howling… Relapse expanding their sound. Solid LP, love the addition of Dom Romeo. I loved it. Then I was bored. Some straight USBM stuff, some hardcore, then the slow and 'profounbd' spoken shit. Metallic. Felt like a collection of songs rather than one cohesive album. But ya know, divebombs.

Unsane Sterilize Southern Lord - what an album! great stuff. could use slight more variety - but still a crusher. This sits in this list more becauseit does not have peers, less than its quality.

Darkthrone Arctic Thunder - pretty good. I'd like better production. I like their classics of course. But I also love FOAD, Sardonic Wrath, Cult is Alive, Dark Thrones and Black Flags. I like variety and their experimenting. So with this, i just wish it packed more of a punch. But I will certainly throw it on.

Taake Kong Vinter Karisma - its hard to top Striden Hus

Pallbearer Heartless Profound Lore - a damn fine record. may be i am just have a stick in my craw over the hipster hype. But i also get kind of bored. and it's super polished music and clean singing. Again, i am not a musician so maybe i miss the genius.

Ufomammut 8 + Godlike Snake Neurot – Italian doom guys; psych mind expanders. Samples, electro, noise static and riffs. I know it's amazing but after 7 LPs of this (and EPS) you have to be in the right space. And again. more elctro shit in this one. Still brilliant.

Rope Sect Personae Ingratae + Proselytes Caligari Records / Iron Bonehead – dark, macabre rock

Godflesh post self Avalanche - I loved the return last year with Lit - but i just didn't get tiime for this. Still growing on me.

Sepultura Machine Messiah Nuclear Blast - best Derek Green yet; trashy, gnarly. I just wish they would just change their fucking name. But Machine Messiah is a great album. I definitely appreciate the cerebral lyrical shit; I liked A-Lex and Dante concepts. This is cool too. Often i just want them to play faster - like it needs to move forward, sometimes they reside in the stale bounce too frequently ("Alathea"). But i do like the layered percussion on "Resistant Parasites". Andreas and Paulo still kill. New kid on drums is nasty. Green's voice is commanding.

Cavalera Conspiracy Psychotic Napalm surprisingly good – old tight chaotic thrash – better than average – better than expected still a 3/5. Max's lyrics are still that of a ten year old tho. I love him in Sepultura - never git into SOulfly - i liked Nailbomb - i liked last CC and this one.

Converge The Dusk In Us Epitaph - meh, another genre challenging, boundary pushed milestone. meh.

Full of Hell Trumpeting Ecstasy Profound Lore - aggressive. and different. sometimes just too abrasive for me. And i was on that early bandwagon, i ain't fronting. It's good as fuck.

Old Iron Lupus Metallorum Good To Die Records - Bad Ass sludge. Really good, just not ground breaking

Belphegor Totenritual Nuclear Blast -  Love these guys. Back again. satanic thick Blackened Death Metal; super fast drums with staccato plodding riffs on the opener. Then others are just thick USDM.

Shambles (Thailand) Primitive Death Trance Blood Harvest 

MISC:

Quicksand ? not for me... yawn... 25 years later and it's an indie shoegaze album. Best part of QS was the dense tension, the pressure  and frustration. I would not expect them to make  QS part III. Use a new name!

Electric Wizard Wizard Bloody Wizard Spinefarm  - fine 60s rock but decidedly average

Melvins A Walk with Death & Love Ipecac - I will always love the Melvins. Best part is if you don't like this one, next year will be another installment in their supreme legacy. Still rocking this as i work once in awhile. But doesn't grab my nuts. I'll try again and maybe change my opinion. Again - just did not give it enough time yet.

Best of 2017 Hip Hop

HIPHOP - not in specfic order - but pretty damn close.

Check this Spotify list - 3+ hours of tracks from these and many others - including singles from favorites not listed here.

OC + Apathy Perestroika Dirty Version – My best of. Hands down Aps rapid delivery of complex bar structures contrasted with OC's laid back, casual style plays beautifully. Ap made 90% of the beats - find samples and quotes and that continually support the Perestroika theme. It's a genius boom bap album. Plus, guests like Slaine on "Tomorrow is Gone" with all telling 3 stories of their Northeastern homes is genuine. The opener is the best, an unstoppable banger, killer beat with AP's nastiest verse. But songs like "Whats It All About" addresses society's and personal stress over a seductive piano solidiofy the sincerity of this project. Peppered with classic Boom bap like "Soviet Official" (a soulful head nod) , "stompcrushkillmode" w/ Celph, and "Covey Leader to Raven" just as bragadocious gold. "Winter Winds" is relelntless with Ap's verse and the vocal loop for the verse and ODB sample in the hopok.

Slaine + Termanology AntiHero Brick/ST records: ..probably #2 for real. vicious lyrical ability by both and multiple syllable schemes. When you have been doing this for as long as these two - as skilled as these two - you cultivate killer support: Preemo beat with Bun B and Everlast; Evidence beat; Statik beat with Madchild + DJ Revolution; and that's tracks 2, 3, and 4. Other names include beats by more Statik, Willy Loman, Psycho Les, Arcitype, and DC the Midi Alien; MCs include Chris Rivers ("Bringing Much Terror" - Oooohhh!!!! pure banger), Ill Bill, Nems, Ea$y Money, and Ras Kass. But Again here you get mind bending wordplay of Slaine and Term on top of their vivid storytelling.

Blu + Exile In the Beginning: Before the Heavens FatBeats

Classic, funky, west coast hip hop – sample driven and bluesy. Multiple instruments sampled here, piano, strings, and horns. Blu embodies smart lyrics passed through sick flows. His lyrics are descriptive (with a phrase like "takes more than water for a flower to grow" while still talking drugs and guns in community; so not hippie shit. Just insightful. Gives mad respect to old school). Great to here new Compton stories what aren't rehashed from what we grew up with. "On the Radio" is a classic jam that will get you nostalgic while appreciating a fresh breath. 

Sean Price Imperius Rex My favorite rapper. riP! At first i didn't deep dive because it felt like a posthumous release, kinda clunky. I still think a few songs in the middle with avg guests and beats i would drop; but considering sentimentality and P’s bars, i have been rocking this frequently! Beats by Nottz, Stu Bangas, 4th Disciple, Alchemist and Marco Polo. plus some new dudes.

MC Eiht + Brenk Sinatra + DJ Premier – which way iz west Year Round Records

We have all waited for this for years, it was disappointing to hear it would not be all preemo beats (feels like this happens.) But I was a huge fan of the Brenk EP Keep It Hood. So here he get hood legend, Eiht, banging over dope beats with great guests like Bumpy, WC, DAZ, Chill (CMW), and the greatest surprise, Lady of Rage murdering her 16. Amazing LP here.

Planet Asia + Apollo Brown Anchovies Mello Music Group - Apollo reinvents himself while still concocting tracks with his formula. Samples galore but this exhibits a minimalist approach from Apollo; sparse elements as the foundation is perfect for PA's flow. Planet Sia is in my top 10 - and i never tire of his lyrics even as he bangs out 2-3 LPs each year. "The Aura" is sublime. "Panties" is the jam. "Deep in the Casket" kills. Fly Shit.

Kool G Rap + MOSS Return of the Don Clockwork -smooth '70s soul with a GOAT top5 telling gangsta stories.  

Muggs + Mayhem Gems from the Equinox Soul Assassins -spooky, dark; classic Muggs with killer bars by Mayhem. I have loved every Muggs collabo and this solidifies the legacy.

KOSS Born to Live Slice of Spice …obviously. Ad for this read: “I just use turntables, vinyl and an MPC, That's it." Belgium producer with a soul drenched touch. Guest include Masta Ace, Keith Murray, Blaq Poet, Craig G, Ruste Juxx, and Torae. even more.

Pawz One Pick Your Poison Pawz One Music / Dopeshit Music -  actual guitar bass and drums here - playing funky tunes with energy and punch. "Wish You Weren't Here" is great specimen, add his Pawz bard, a redman sample for the hook and ill scratches. Love hearing Mykill Myers on a track - so cool. "Front to Back" bangs as the album's opener. Loved Pawz' Face the Facts and Def by Stereo. The dopeness here is pushing the boundary like 90s Too $hort, MC Breed, and even NWA. Remember real instrumentation? Goats? Roots? (discounting intro, interlude, outro) There are 12 tracks only 5 have guests. So Pawz shows he can carry an LP. But when gets the guests.... hot damn. Shabaam Sahdeeq (jazz soaked trumpet and guitar), El Da Sensei, King Magnetic + Cheif Kamachi, Talib Kweli + Main Flow, and the Myers track - which is a rollicking funk fest with horns and piano over the best and a sick hook with Das Efx and Artifacts' sample. 

M-Dot Ego and The Enemy EMS Produuctions - Boston vet delivers the full package here. Check my review here. 

Blacastan + Stu Bangaz The Uncanny Adventures of Watson & Holmes Brick Records / Brutal Music - whether on his relentless mixtapes - Master Builder Patr II - or Blac Sabbath or on AOTP or DGZ - Blacastan stands out with storytelling, bars, and personality. Having a consistent producer on an entire LP helps this cohesive project. Great follow up to the first installment. Stu's style of MPC chop and loop sampling gets heads to respect his game.

Your Old Droog Packs oooohhh, I love his laid back style; smokey and jazzy. His EP hooked me. This full length begins with a bold track, "GKAC". It's brilliant. Then "Bangledesh" and "Grandma Hips" back to back - is way too fonky. Dude can rap.

Edo G Freedom 5th & Union - The lord of Boston just keeps doing Edo; nasty flow and social commentary with multis. Great beats. I'll buy everything this man ever releases. 

Roc Marciano Rosebudd’s Revenge Marci / Fat Beats 15 tracks - only 2 guest verses. Roc has been doing this! From The UN to his solo work like Reloaded, Marcberg and Marci Beacoup, his unique style - like he needs a translator and demands repeated listens - he creates worlds and one of the most original styles. Plus, his beats are ridiculous - matching his sparse and minimal wordsmithing. No one here is a super name, but he exploits each opportunity to spit straight fire.

King Magnetic Everything Happens 4 a Reason King Mag Music - AOTP and solo vet from Philly, comes with a captivating album. Not the best rapper, but King has bars and killer beats which are thick and funky. Sampling the trinity, horns, keys, strings. This is east coast boom bap for 2018. This road dawg's subjects are heartfelt, down to earth, while still being hard.

Thirstin Howl III Skillmatic (self) 2018. Are you kidding me? TH III returns with a full on classic. You have to adjust to his flow and delivery style -  but beats bang and he’s entertaining as fuck.

HONORABLE MENTIONS: not in order

Fokis Underground with Commercial Appeal

Madchild The Darkest Hour

Rock Rockness AP

Ruste Juxx International Juxxe – grimy and gritty – boom bap – all collabos with varied MCs from the world)

Masta Killa Loyalty is Royalty

Heavy Metal Kings Black God White Devil - Ill Bill and Vinnie Paz return with metal themed tracks putting Goretex on most tracks. 

Skyzoo The Peddler Themes

Showbiz + AG Take It Back

WuTang The Saga Continues 

Raekwon The Wild  *"Can't You See" is top5 single of this year.

Wordsworth Our World Today

Nutso REDSunday

Local Mu12 comp Everday People

Milano Constantine The Way We Were

Alpha Faktion Creative Control

PMD Business Mentality

Phat Kat + DJ Dister The S.O.S. Project

EHPC Best Of 2017 Oi Punk

It is in a relative order but i am not (again) scrutinizing the top 5 or whatever. These are all killer records. I definitely did not get to hear all the resurgence in real Oi! had to offer. Bet we try. I  think our list is solid.

PUNK/OI LPs:
Fuerza Bruta Verdugo Foreign Legion Chicago youths took the over world (literally - with shows in Europe) with their first LP. This bastard piece of wax sold out in minutes, instantly demanding a second press - which then sold out. Great shows in NYC and Minnesota and Chicago assert their brash fast style of gritty Oi the respect it des\erves. Sung en espanol. amazing debut.

Templars Deus Vult Randale/Pirates Press The Lords of the Sword return with a collection (of unreleased tracks) of their signature sound recorded over the prior decade. Cool vinyl packages and a flexi companion helped this fucker sell quickly. I had thought we would only hear from the mighty Templars on split 7"s . But thank christ the vaulted these tracks and gave us a proper LP. Fantastic.

Short Days s/t Destructure/No Glory Records beauty of an LP coming from Lille, France. Find on bandcamp and download for free. It's the one with cover art from Jim Jarmusch's Mystery Train. Melodic punk with a tough back beat; like sped up French Oi. Produced just enough... Many repeated listens. Solid back catalog too. Stellar work.

DDC Unite and Conquer Rebellion big sound, superb production. These dudes definitely stepped it up considering I have enjoyed there prior EPs and splits. The guitars have a metallic crunch; add that to robust drums, and the songs are fast and tight. You get riffs, leads and catchy parts with gang vox. Adult lyrics push this beyond any token tropes of the scene.

Concealed Blade s/t Beach Impediment - played this frequently. noisy and rough - fast tunes.

Roadside Bombs Rise Up Pirates Press - catchy and passionate Cali punk. Loved it. One of this year's best. "War on Love" and "45" are brilliant (catch those 7"s for some added vinyl love). Also peep "Nowhere CA", title track, and "Don't Bother"

Duffys Cut Killers on the Dance Floor Oi The Boat - sweaty mod, max R n B, punk Oi! whatever. Another brazen record that gets you moving. Love this.

Sweet FA Mission Accomplished Rebellion Records - stripped down Us Oi! like the late 80s/early 90s. Side project here, members of Legion 76 and Thunder and Glory. I fell in love with this one quickly.

Victory SOS Pirates Press Records, Longshot Music, Oi! The Boat Records, Rebellion Records

Tops of 2017.  Hard charging Oi!, they keep the speed of their other releases

The Abductors Coming Home Arrest Records - They pull back on the Negative Approach style but remain angry and tough. They had some more writing and musicality to their rambunctious cynicism. Good mix of CT hardcore and punk. Working class venting, done quite well.

Concrete Elite Iron Rose Rebellion / Longshot - I have been a fan since day one. They kill live. Their records are great. Little bit weird on the death metal growl for vocals, but once you adjust you realize these cats have stepped it up again. Best material to date.

The Struggle Endless Pirates Press - Experience and grit from members of Major Accident, Gimp Fist, and Crashed Out give us a smarter, mature Oi album. Very listenable, solid Oi Rock and Roll from elder statesmen.

(Not OI PUNK):

Cloak/Dagger I Want Everything Self Release - One of my favorite bands return. Not sure why it's self-released but thank christ they got this burner out. Taut, frantic paranoid punk.

Exit Order Seed of Hysteria Side Two - ex-vox of Leather Daddy, this sonic chaos is played searing and sincerely. Packs a punch!

Piss Test s/t Dirt Cult - dark and twangy, some twisted pop hooks but mostly just ominous punk a la Night Birds, Adolescents, OFF!.

Career Suicide Machine Response Deranged Records - look who's back! suprise punk hardcore fast and dirty from these Canadian fuckers. Blazing record.

Moral Panic Moral Panic Slovenly Records - Punk rock n roll. Greasy and low-fi, snotty and catchy. Grab it.

HON MENs:
Razorcut Common Enemy Longshot / Contra
Al and Brod deliver another solid LP - with two ladies in the band. Strong Australian Oi here.

Toxpack Schall & Rausch Napalm Record – they brought a grand sound through stellar songwriting and big production. Interview here. It’s a metal album by skinheads

Grade 2 Break the Routine Contra - hadn't quite listened to their prior stuff, just seemed like young punk. I was wrong. This is clean and crisp production, but also these dudes have grown older and better; mature and thoughtful songwriting and stellar musicianship. Powerful punk even if a little polished. Spain.

Gimp Fist Never Give Up On You Sunny Bastards - not quite uo there with the classics of theirs - but they announced they were done and we've gotten two LPs since. Still solid songwriting (a la Cock Sparrer) for these guys. Always something to like.

Lillingtons Stella Sapiente Fat Wreck Chords - Wow. Way beyond the years of simple (intentional) Ramones mimicry. This has mood and atmosphere driven by new angular guitar lines. Dark and some Joy Division influence. Follow me here... Parallel to third Tiger Army in that bring in new influences to their prior routine adherence to said sound. After repeated listens for a review, this album grew and grew on me. I genuinely enjoy it. Spooky; lyrics of secret societies and conspiracies. I was watching a lot of X-Files this fall when this dropped between Halloween and waiting for season 11.  And some great fast tunes too. try "K6" "Night Visions" "They Live" "Night Crawlers"

OLD GUYS: i don't know if they're 'top' but it's good to here from tall these guys.
GBH Momentum Hellcat; Varukers Damned & Defiant (2016 had new Discharge End of Days)

PUNK /OI EPs

Legion 76 Banners Fall Contra/Longshot - my top EP from the year.  Straight genuine Oi! that is passionate and well written.

RIXE Bapteme Au Feu La Vida En Mus - 3rd 7". rough and tumbly trio (w/Victor from Lions Law). brutal.

Shipwrecked s/t 7” Pretty Shitty Town - one could argue this hc, but whatever. It's mid-paced and there are strong guitar lines and melodies. Well, two songs are and then a tough ass Boston Hardcore (1982 style)  track. Amazing new shit from a phenomenal band. I hope Klas and co. give us more soon.

Battle Ruins 3 Song Cassette (self) - No Brainer. 3 new tracks from the best show of 2017. Soundtrack to annihilation. 

Epic Problem False Hopes Brass Neck Records moving beyong their Leatherface worship, they add to two of my favorite releases of the last decade (All Broken and Lines). Solemn punk that just chips at your soul. Catchy writing but meloncholy sound. Tugs at you. Loved it.

Junto Live To Tell Contra, Longshot - Back to this many times. 4 tracks from these Seattle guys. 

Lions law / Stars and Stripes Heritage Contra, Longshot - was a favorite; Lions Law covering "The Power & The Glory" and SnS doing "Heritage. plus additional track from each. brilliant.

RAS Pas Le Temps De Regretter Contra / Dirty Punks Classic French band reborn. tight.

Cliches Divide and Rule Randale Always will be on my lists. love these swedes.

Litige Fuite En Avant Destructure Records (Syndrome 81 / urban savage) blazing french oi/punk from Lyon. Female vocalist over jangly basslines and punchy drums. good riffs and leads. Time changes add some drama. 8 tracks on bandcamp

Petite II self *listen to podcast 010 to get my opinions. buy on bandcamp. 

45 Adapters They Call it Justice Pirates Press - title track is a+ plus two more. little shaky on the production but seeing it live made me realize how much i love it.

HON MEN:
Anvil Strike Tales from Border City Crowd Control Media
Unruly Boys 7” Crowd Control Media
Bromure A La Roquette Une Vie Pour Rien Vinyles – great French oi with Sax – surprise: Victor from Lions Law!,
Burden repress 7”, No escape 2016- cd; vinyl 2017

Best of 2017 XXX Fanzine book Mike Gitter Interview

One huge pleasure which I had in 2017 was great interview with Mike Gitter. Here  is the print version. I will have the audio up at one point. Also i made a Spotify PLAYLIST I did not make it of the anthems necessarily. I rocked the songs that rep the era of the book 1983 - 1988. Plus i like to choose the not obvious songs. Enjoy!

Buy at Bridge Nine

EHPC Best of 2017 Hardcore

EHPC Best of 2017: Hardcore. *(Metal sub genres and punk and Oi! and hip hop to follow)

Here is SPOTIFY list including much more than what is here

Instead of a pure "Best Of" or "Top 25" etc... Here are a bunch of great records that came and me (us - Mark Leighton ( @Mark_Spots_The_X on IG ) in 2017. Killer shit. Audio discussion - what the kids call a podcast will be up soon on emptyhandspodcast

No Particular order. I'm not straining over should Incendiary be 4 or 6 over Forced Order. Do that yourselves.

HARDCORE:

Backtrack Bad to My World Bridge 9 

Ricky and the boys return with ill NYHC. Check my interview 

Break Away Cross my Heart React! RVA SXE simple and sweet

Forced Order Last Crusade Triple B metallic chug that sears

Incendiary Thousand Mile Stare Closed Casket Activities check my interview

No Turning Back No Time to Waste Take Control Records Euro stalwarts come back again!

Firewalker 12” Pop Wig Boston hardcore, low tuned and evil. Heavy and dark. Short fast loud

Sect No Cure for Death Southern Lord Records ... Scott Crouse and Chris Colohan team up for dirty crust 'core. My review at New Noise

Wolfbrigade Run With the Hunted Southern Lord D-Beat Swedes deliver again

All Pigs Must Die Hostage Animal Southern Lord phenomenal record by these chaps - grit. variety.

Kohti Tuhoa Hajota ja hallitse Southern Lord Finnish punky D-Beat on Southern Lord – CVLT Nation did a bit on them here. I had gotten the promo and dug instantly.

Open City s/t LP + City of Ash 7” self released / new Dan Yemin, female vox; noisey, chaotic fast, good bass-lines, guitars and dope time changes.

HON MEN HC LPs: 

Walk the Plank Cemetery Vacation Say-10 fast passionate - uncanny Paint It Black worship My review at New Noise; 

Western Addiction Tremulous Fat Wreck Chords - their first LP was cool, but i stay away from Fat Wreck Chords. Nine Years later these dudes pack a punch. This is smart and intense and confrontational; catchy but dirty.

Park Sparrows s/t self ...fast and sullen; RVA punk  bandcamp for $1 

Brick By Brick Thin the Herd Fast Break! - Ray Chaos' 2nd LP with this Upstate NY beatdown band. Tough as nails.

HC EPs: * i bought every one on here. I love 2017!

Free Ex Tenebris Triple B - We loved when it came out…Vocalist Pat Flynn (have Heart) and 3 more Have heart and a criss-cross of members from Clear, Fiddleheads, NYC Headhunters, Give, Line Of Sight, Mindset, Sweet Jesus, Verse. They have created something honest and intense, quite different. Review here

But actually Triple B could get a spotlight for this year: 

Terror The Walls Will Fall, 

Freedom Never Had A Choice, 

Abuse of Power When Then Becomes Now,  

These above three all make the list. But Triple B also did:

No Warning cassette, Foreseen EP before LP, Buried Alive demos LP, Unified Right EP, Violence to Fade EP, the mentioned Forced Order LP, and Faze and Candy too.

Miracle Drug How Much Is Enough War - Again very different and cool with 90s style. Smart songwriting from older dudes with a a love for DC. my interview here

Fireburn Don’t Stop the Youth Closed Casket Activities - Flawless record. Bad Barins love from an ex-Brain and Todd fucking Youth; plus Knife Fight drummer and Todd Jones. Damn.

Rat Cage Caged Like Rats La Vida Es Un Mus ‎ugly and nasty fastcore.

Combatant 7” Sick Plot not like you - angry, old school '82 love.

Drug Control Stabbed New Age Records from DC and they play that. Crazed fast core.

DC Disorder Naive to a World Youngblood Records killer youth crew from a legendary label.

Aggression Pact Instant Execution 7” - Boston banger. chaotic ugly and fast

Memory Loss Exile Vinyl Conflict (cassette; bandcamp) - crusty dirty angry

Exit Unit 7” Deep Six Records – Ex-INFEST and Lack of Interest

Faithless HC cassette *its great even though it was recorded in 2008/2014

Primal Rite Sensory Link to Pain Revelation - heavy but still wicked hardcore + ex-scalped. Not the dive bombs. Heavy, metallic, frantic

HON MEN EPs:

Insist Here and Now - Manchester UK SXE, old school, heavy Youth Crew. 4 tracks on React!; 

Unjust Transparency QCHC killer angry sxe 7”; 

xFirm Standing Lawx Unashamed Carry the Weight - like Judge, Undertow, Strife, Mouthpiece. Really good; SXE UK Band (CTW is a UK label) band name from Chorus of Disapproval song –  style. Energetic and well produced; 

DEMOS: 

Undone (NWOBHC), Innocent boston d-beat, 

Imposter demo - Quality Control bandcamp. Low tuned. heavy UK82 hardcore 

Screw demo - DC Core - like 86 Mentality,

Stand Point demo QCHQ – cassette;  loves Uniform Choice; 

Payday Second To None QCHQ  (2^nd demo; Clevo love – London SXE);  

Tetro Pugnale – incredible Italian Oi hardcore (Blitz/86 Mentality – LP in 2018!!!) all cassettes

MISC Demos/EPs:

Powerage demo 2017 – i saw on youtube. Dirty bass! Grimy thrashy hardcore. Heavy. French powerviolence

if you miss '90s metallic SXE hardcore – which I love – a la Earth Crisis, One King Down, Morning Again and Culture… or all that Euro stuff – check out:

xElegyx demo - 4 songs of metallic sxe hc with Female vocals;

Inclination demo Straight and Alert - Midwest Straight Edge. Metallic 90's love. dark.

xServitudex Path to Amnesty – killer. This is more metal, low vocals with the djent screech tempo – very Seventh Dagger roster ish, violent;

Ecostrike Time is now CTW - This is the best of these. The best produced and written. Good '90s feel without being too metal. Ecostrike has way better writing; very OKD 

*(Carry the Weight also has put out Blind Authority, New Morality, Secterian Violence, Poison Planet, Red Death (CASS) good eps; also Culture, Coke Bust, and Race Traitor re-issues) 

Rig Time War review

Rig Time!

War

Innerstrength Records

RELEASED 20 October 2017

Review by hutch

The big difference from their prior output, last year’s full-length, Sick of It and two EP’s, Awful and Devout, is low end. Whether they tuned (even) lower or just amped up the post production. The other material had the spirit, but War is delivered with bombastic terror. Rig time’s sound on War is ugly, writhing in fetid disdain. Coming from La Crosse, WI, I am sure the scene is scant and pushing them to be heard. War will create waves towards both coasts, especially now as they debut on Innerstrength Records.

One interesting aspect of Rig Time! is the relationship of the members. The fluid communication of husband/wife Bryan W. and Rebecca Fleming (vocals/drums and guitar, respectively) drives the music, rounded out by Mark Trueman (bass/vocals). Again, calling out the production and of course the mastering, it is no surprise to find the sonic genius of Brad Boatright at Audiosiege. But first, War had the fortune to be recorded/mixed by Pete Grossman at Bricktop Recording in Chicago, IL (WEEKEND Nachos, Harms Way, Like Rats). The album was mastered by Brad Boatright at Audiosiege in Portland, OR. Whatever approach Grossman took, it was the correct channel. Songs are written drenched in vitriol and tension. The explosive breakdowns pay off. But songs that linger are ooze hit the mark as well.

Rig Time! nail it with tracks like “Garbage”, “Succumb”, “Blister” and “Cleanse”. Puncturing their blend of sludge and hardcore – with a tight embrace on powerviolence – the band kicks fast and dirgy tones, manifesting unbridled hatred. War is dripping with rage, vocals are strained and emphatic. The rhythmic pummeling of a more atmospheric “Discomposure” or “Deserve” show a propensity to manipulate mood and not just the strings of an instrument. The trio push many two-step parts spurring ill breakdowns with a groove. Noisy tones and ugly sentiment. While, going back to “Succumb”, Rig Time! have blastbeats charge with that double bass hammering away to the howls of “We bow to no one!”.

RIYL: Xibalba, Harms Way, Weekend Nachos, Balaclava, Lowered AD, Eyes of the Lord

Squalus The Great Fish Review

Squalus

The Great Fish…

Translation Loss

Release 9.15.17

Review by hutch

First things first. Squalus is 4/5 of the band, Giant Squid. Giant Squid were self-proclaimed “prog” sludge metal. Those elements all remain here on The Great Fish... as Squalus paddle forward. Pertaining to the absent fifth member, Squalus does not fill the guitar slot. Rather, the band doubles up on bass guitars and rolls with keys and drums. From Giant Squid to the moniker of Squalus, a type of dogfish (sharks), these four chaps illustrate their fiery affection for the foreboding dangers of oceanic depths. The Great Fish... exhibits certain strengths while calling a niche audience to listen.

Upon first listen, the eschewing of six strings hones attention to the other instruments; especially the keys which protrude from each track. And when the word “keys” is utilized, the plural is intentional. There are synths and straight piano key sounds on deck. The odd configurations of rhythms and time signatures throughout elicit the prog-rock feel. But the execution illustrates a (deceptively) simpler, more direct instrumentation which conjures eclectic influences. While most likely not an influence, the Florida swamp sideshow orchestra, Viva Le Vox, comes to mind with The Great Fish... emanating a weirdly alluring circus vibe and a cautious bog of peril. Also, we hear some aspects of sonic schizophrenia akin to Faith No More; not in sound but approach. But the roots are filthy riffs of raw rock and roll.

Parts of The Great Fish… evoke Giant Squid’s Minoans but instead of gentle tangents we get quirky. Again the foundation definitely harnesses sludge elements. But the piano – while most doom or garage bands striving for an eerie sound would defer to a traditional Hammond B3 sound – this cleaner piano sound (still probably on a synth) adds a macabre atmosphere. “Eating Machine in the Pond” distinctly pulls from the churning dark synth reverb (layered with the normal piano) of John Carpenter as it births a pummeling rhythm section; grinding, bellowing.

Instead of squealing guitar leads, the keys reel and spit. “The USS Indianapolis”, although it started out with funky jazz diversion, almost calming, certainly hypnotic, eventually dives deep into the fathoms of torment. The beginning is Smooth and perky – and then the, well, squall crashes into the track with big movements. Noise and confusion drown the listener in a barrage of low end splendor.  

The successive openers – “The Great Fish” and “Flesh Bone and Rubber” – are engaging and promising. Gnarly, jangly bass riffs and provocative drums charge along with growling vocals. The quick (under 3 minutes) duration of “Town Meeting” swirls in a chaotic deluge. The repetition of chainsaw synths, banging; ripple out with early Murder City Devils type rock and roll.

If you have not pieced it all together from the song titles, The Great Fish… is about Spielberg’s 1975, JAWS. I would assume the lyrics are of “Town Meeting” are Quint’s proposal at the town meeting, screamed; especially since the track ends with the vocals stating the Mayor’s unsteady reply of the film. Tracks dedicated to the Cassie Taylor autopsy by Hooper, “Jack the Ripper” - a reference from the film to the English whore slayer, and other aspects of the film are exciting for any fan of the leviathan of summer blockbusters; when art and craft could be hooked to mainstream money maker, luring in thrill seekers and cinephiles.

“The Orca” proves that chaos is a fine instrument to wield. The cacophony and rage emanate from the track, relentlessly churning. A sweet 90 second melody on a piano ushers us into the lapping thumps of “Swim Charlie, Swim”. The bass line and synth wrestle for dominance. It’s a cool instrumental. 

Ultimately, for a doom/sludge/stoner/noise fan, The Great Fish… has to be compared with Akimbo’s Jersey Shore. It’s impossible not to do so. In 2010, Akimbo released a stellar noise rock album of 6 tracks about the 1916 bull shark which menaced New Jersey, killing four people. Matawan (July 12), Spring Heaven (July 6), and Beach Haven (July 1).

The Great Fish... doesn’t adhere that strictly to such a concept, more just singing related songs inspired by JAWS. There is not a three act structure or anything. But The Great Fish… is a fun romp, flailing and splashing; disturbing any notions of security like the opening scene of JAWS. A detractor, in my opinion, is that Squalus reiterate narration and quotes from JAWS instead of sampling. While most certainly a monetary decision, the replacement is distracting to me because with speeches or quotes from such a recognizable film, it is confusing to hear it spoken in a new voice, especially one recalling Billy Bob Thornton from Sling Blade.

The vinyl is fitting and damn gorgeous, boasting two choices of oceanic blue or blood splatter red on blue. The packaging is stellar with a cover of a painting by member, Aaron John Gregory, uncomfortably inspecting a close up of a great white. Again, this record is fun. And it is a concept album but it is not precisely chronological or regimented as a dramatic arc. Which is fine. It doesn’t try to be. It’s dirty metal fueled by adoration for a great film.

Translation Loss shop

Translation Loss site

RIYL: Brain Tentacles, Ahab, Akimbo, Intronaut, Maserati, John Carpenter, Goblin

The Lillingtons Stella Sapiente Review

The Lillingtons
Stella Sapiente
Fat Wreck Chords
review by hutch

Once upon a time, The Lillingtons were content to admire the Ramones and write music in that vein. And ain’t nothing wrong with that. The Lillingtons, since 1996, were damn good at melodic, hook-soaked punk rock and roll. Simple songs, yet infectious as hell. The Lillingtons released four albums. As they progressed, they developed their own signature sound, which held an ominous portentous vibe. 1999’s Death By Television is a classic. Their 2006 release, The Too Late Show, boasted two classics, like genre transcending; “Vaporize My Brain” and “All I Hear is Static”. And then The Lilllingtons decided rest was needed. The band was decommissioned. 2017 sees the unholy resurrection and a welcome rejuvenation. The band has taken their foundation of melodic punk, but approached Stella Sapiente with an ardent ‘80s adoration, infusing more dynamics into their songs.

Stella Sapiente maintains the foreboding presence which The Lillingtons’ albums have cultivated. And then the band doubles down. Utilizing many echoing ‘80s guitar lines, a new dimension is explored in The Lillingtons’ music. The lyrics are all about the eerie and haunting as usual, but a specific focus on secret societies and mysteries are the focus. The opener “Golden Dawn/ Knights Templar” is a stark declaration. “Night Visions” is a concrete 80s infusion, huitars swirling in a miasma of reverb. The surfy pluck is cool and offsetting. Let’s not forget, an October Friday the 13^th is Stella Sapiente’s release date!

The dissonant guitar of ‘80s somber canon; especially, Joy Division, The Cure, The Church, The The, a little Television; think Tiger Army’s infusion of The Smiths into their rockabilly on Ghost Tigers Rise. “Night Visions”, again, holds the feel of a drum machine, but still gives that extra spark, that snap, that live drums provide. Swirling and repeating guitar lines are the foundation, but layers grow within the song so it builds and builds.

The darkness of Death By Television and The Too Late Show fashioned securely, Stella Sapiente still packs quick punches with fast punk songs., The second Track, “Insect Nightmares” and “K6” are killer tracks. The gem – and first single, “Zodiac” is a brilliant trek; a classic mid paced, melodic Lillingtons. All the aspects of my favorite song, “Black Hole in My Mind” are there. Toward the end of the LP, the one fast one for side B, “They Live”, is fast and frenetic. This one is a real punch. This is dark and classic Lillingtons. These tracks are still clean, polished punk; well written and engaging. Just more familiar to old fans. The production does give the sound a large, grand presence. All elements are mixed cleanly and give separate attention to each instrument.

Another stand out is “London Fog”, which is a courser, fiercer track with sharp riffs and a pounding chorus. The Lillingtons are always employing “whoahs” and harmonies. Whether you call it melodic pnk, pop punk (which I would resist), or simnply “catchy” – never read that as “soft”. Even the slowest track, is dark and subversive. The melodies are undeniable. But the dominant feeling for the listener is that of finding a peephole into a clandestine meeting. One’s spine is tense and fraught.

Lillingtons are delving into 80s, staying quiet for side B. Or rather the play with tempo and energy. They temper certain sections while letting free of fetters at other times. And this is within the same song. For “London Fog”, they bandy between more aggressive instrumentations after quieter openings. All of which are under melodic singing. The dichotomy plays well after laying low. “Cult of Dagon” is just slow and atmospheric, it’s a cool break. While what follows, “Villagers”, is the sound of Scandal, Pat Benatar, and an emulation of Billy Idol; a straight ‘80s pulse with bells and momentary guitar chord strums. It grows into a rougher approach by the bridge. “The Walker” follows and does the same – a strong, dirgy riff is sporadic while the verses grab the Echo and The Bunnymen approach except for a gritty riff which simmers and surfaces.

Stella Sapiente boasts the depth of Death By Television with more thoughtful songwriting and cleaner production. The cuts are slower and deeper; less three chord romps, more songs constructed from crisp guitar lines. Stella Sapiente is a great addition to The Lillingtons’ catalog with a step in a tangential direction.

RIYL: Ramones, The Queers, Teenage Bottle Rocket, Tiger Army, Misfits, (early) The Cure, Ceremony (L Shaped Man), Damned (but which era?)

Iron Monkey 913 review

Props for the Jerrys Kids shirt.

Iron Monkey

9-13

Relapse Records

Released Oct 20^th

Review by hutch

The term “cult band” is usually relegated for lesser known or underappreciated bands. With Iron Monkey, the term more likely is to denote their likelihood of spawning an actual cult. I’m not sure of their record sales but their reputation is revered. And their two albums are in regular rotation in on my turntable. Ain’t one aspect under appreciated. Iron Monkey cultivated disgusting and abhorrent sounds and attitude while still manifesting a groove. On par with Eyehategod, this UK trio repelled listener’s from 1994 until 1999. A band that channeled repulsion, seclusion, and nihilism could never be expected to function for too long. And then their singer passed in 2002.

Now it is 2017. Somehow, Satan’s ugliest children have found themselves spewing further music. Relapse Records released their third full length, 9-13. It stands with the classic two, self-titled, 1996, on Union Mill and Our Problem, 1998, on Earache. Staggeringly savage, riffs and growls perpetuate every insecurity in the listener. The members are listed simply and unimpressively as J - Vocals/Guitar, B – Drums, and S – Bass; recalling John Paul Morrow as “JPM - Rest In Noise”. 9-13 is a stellar tribute to JPM’s legacy. Jim Rushby and Steve Watson both were in prior iterations with others, Rushby in all, while drummer, Brigga (ex-Chaos UK), is new. But the sound is as killer here. There is no gap in synchronicity.

Rushby’s vocals are beyond growls, not low in tone like a guttural Death Metal band, but beyond growl in terms of delivery and audibility. Take “Toadcrucifier”. Rushby snarls like a spastic pitbull, reacting to a violation with a fevered unraveling. His vocal approach comes from a genuine disassociation with human kind. The feral evocation is the thread throughout 9-13. The songwriting is tops, production balancing the ugly with the execution. “Destroyer” driving riffs of the first section coupled with the fast charge of the middle relishes in deep focus and nasty tones. But we hear all instruments pushing and pushing.

There is a palpable rejuvenation between Rushby and Watson in these despondent harvests. While certainly skilled musicians, they keep it simple. And that’s where the honesty is allowed to shine. It is why I think hardcore fans can latch onto Iron Monkey’s qualities. They repugnant emotions of isolationism and self-destruction, the disgust with the world, the visceral trigger is worth more than any guitar solo or ethereal orchestration. Give me the sweaty clamor of basking in plodding snare hits and feedback of “The Rope” any day. Not saying it is all feeling, they sit and write songs. But they know when to ride a riff, a groove, an emotion – and simply let vocals spatter wretched noise. “Doomsday Impulse Multiplier” swoons and smashes as its twisted riffs deliver on its catastrophic tile promises.

9-13 is constructed of eight 4-5 minute romps with a 10 minute closer. The beginning of the album, 

“Crown of Electrodes”, “Omegamangler”, and the title track, “9-13” are all bruisers. So, let’s address the obvious. Detractors will say – shit, have said, on a youtube comment – “no Greaves, no Morrow, no Iron Monkey”. And I am a purist with some bands – believing certain bands should have just taken a new name (Sepultura, Misfits, and a thousand hardcore bands). Missing Greaves is a loss, in a nostalgic way. But Brigga kills it on 9-13. Justin Greaves, whose talents saw him in many bands; including, Borknagar live, Crippled Black Phoenix (still does), The Varukers (which is a precise parallel to Chaos UK) and most notably, Electric Wizard for three years. This perched Greaves to record on EW’s gnarliest (not best or most classic, but noisiest/ugliest), We Live. Steve Watson is back here, and played on IM’s first self-titled LP. The detraction may be in comparison that Iron Monkey recorded as a five piece for their two albums and the EP. Here they perform as a trio. I don’t hear an outcry for missing Doug Dalziel. He was on all three records. And hell, if you’re lamenting an absent drummer – you should really being lamenting his partner, the bassist. Watson moving over certainly delivers the essence of Iron Monkey. Rushby, however, has always been in the band, every iteration. As far as vocals, while missing Morrow is a punch to the gut, Rushby does his job. It doesn’t have that same black metal, goblin raspy slither; but Rushby has the same spirit, and certainly the toxic tenacity in his exasperated excoriating of mankind. And with all the years slinging axe for the band, he knows the approach that works and exceeds his duties. Shoes filled. Would Morrow have given the thumbs up? Only the band members know, not some sentimental fan.

buy some shit

RIYL: Fudge Tunnel, Grief, Church of Misery, Eyehategod. Weedeater/Bongzilla, Buzzoven, Unsane, if GG Allin made good music.

current metal rotation

Iron Monkey, 913, Relapse

Malleus, Storm of Witchcraft, Blood Harvest
stream

Rig Time!, War, Innerstrength

All Pigs Must Die, Hostage Animal, Deathwish Inc

Malleus Interview Storm of Witchcraft

Malleus

Storm of Witchcraft

Blood Harvest

Interview by hutch

  

Boston’s Malleus self-released a tape in 2016. Blood Harvest now resurrects the ornery seven tracks and commits this vile violation to tape, CD, digital and, of course, vinyl, on October 25^th. Answering by email, The Hammer acknowledges an excitement of finally rereleasing Storms of Witchcraft. Blood Harvest has been great. We were actually pretty familiar with Rodrigo from his punk label Putrid Filth Conspiracy in the early 2000's. So when we made the connection that he was behind Blood Harvest as well, we were pretty psyched. Feel like he knows where we're coming from as far as our background and inspiration goes.”

Known professionally as The Hammer, the Malleus member reminisces about the origins of the mysterious Boston trio. “At that time, everyone we knew in the Boston punk scene was obsessed with Discharge and really raw D-Beat. So, all these uninspiring dis-clone bands started popping up everywhere which only fueled our discontent with the current state of punk. I was absolutely obsessed with the Satanic Rites tape (Hellhammer) and Discharge as well and decided that instead of just doing another boring D-Beat band, I'd take my obsessions in a different direction.”

That obsession spawned Storm of Witchcraft. “We spent a few years writing, really pouring over every little detail of the songs and trying to make the best possible demo we could.” The Hammer’s reluctance to spew retreads of worn paths has resulted in a classic release. Malleus’ sound embraces Discharge’s legacy of low-tuned sonic exuberance with crushing riffs which summon Hellhammer/Celtic Frost, and Bathory. The Hammer takes pride in this release. “A lot of time and effort went into making Storm of Witchcraft what it is.”

The sound is brutal; low and gritty, but mixed and mastered well. Clear, clamorous and, well, not shitty. Too many d-beat or black metal bands think crappy production is a hallmark. I hate that antithetical thinking. Be gnarly, be subversive – but still sound good. The production is thorough, elevating each component while keeping the music raw and crusty. Hammer reports, “We recorded with Chris Corry of Magic Circle at his practice space and we had our friend Ryan (Side Two Studios) do the final mixing and mastering. The whole thing took 2 days to record. We did the music on one day, vocals on the next. CC was recommended to us by a mutual friend and although we didn't know him personally at the time, we were familiar with him through growing up in the same circle of the local punk scene. We did know that CC was obsessed being able to emulate tone and capturing the same sound of bands from the past so we thought he'd be able to nail early Hellhammer/Frost, and we think he did with Storm of Witchcraft.  We wanted to avoid a lo-fi sounding demo at all costs but still come out with something that was abrasive, raw, and energetic. The music itself is super riff-driven and we try to vary the tempo as much as we can and all that would be completely lost if we decide to record this with one mic and a 4-track.”

The opener, “Winds of Wrath / Ire” aurally depicts a chilling wind, gathering intensity, leading to a panning of eerie sounds. This two minute seduction is quickly interrupted by a crashing of a grinding riff, punching and punching. The final minute of the “Ire” portion is a flogging mid-paced riff that pounds away. “Blackened Skies” begins harkening an epic, but quickly charges forward with purpose. A twisting, belligerent riff in the middle, for the chorus, is malevolent and bold. While many have emulated the aforementioned forefathers of black metal, Malleus has remarkable accuracy in combining homage and originality. In a genre where the majority of ideas are simply reworked executions of the masters, Malleus take the Discharge model and apply it to the Satanic ferocity of Bathory and Hellhammer. Again, even I grow weary of citing Tom G and Quorthon’s early work; pining to infuse a wider reference spectrum. But these just fit so perfectly. The music is invigorating in two ways. The pure spirit of the music but also the refreshing aspect of new takes on this style.

Hammer advises when looking to forefathers to be sure to inject one’s own fluid into the mix. And do it well. “Just keep the focus of the band very specific rather than drawing from all these various sub genres and convolute the sound and direction of the group. Nowadays, it's so easy for anyone with a computer to record their own demo and everyone needs instant gratification so instead of taking their time to create something worthwhile, they rush into making a demo and posting it on the Internet. Then they complain when it gets passed over and people move on to the next shitty demo.”

Besides the redundant riffs of d-beat clones, The Hammer also complains of uninspired metal lyrics of vapid party anthems. “I would hope that Storm of Witchcraft and anything else Malleus does evokes more emotion or provokes deeper thought than just wanting to party or get fucked up. If people can listen to our music and gain some sort of enjoyment or satisfaction from it, that's great. But for us, metal has always been more than the soundtrack to heavy drinking. As far as Storm of Witchcraft goes, It's obvious that we take direct cues from the likes of Quorthon and Tom Warrior for our sound but in the early 80's, bands basically had Overkill (Motorhead), Lightning to the Nations (Diamond Head), and Hear Nothing, See Nothing, Say Nothing (Discharge), and look what they came up with so what can we do with those records? And that's always been our approach. Just keep the focus of the band very specific rather than drawing from all these various sub genres and convolute the sound and direction of the group. Nowadays, it's so easy for anyone with a computer to record their own demo and everyone needs instant gratification so instead of taking their time to create something worthwhile, they rush into making a demo and posting it on the Internet. Then they complain when it gets passed over and people move on to the next shitty demo. A lot of time and effort went into making Storm of Witchcraft what it is.”

The Hammer reports Malleus’ plans to finally spread their unholy gospel. They are embarking on their first tour of the West Coast with Witchtrap from Colombia, whose 2015’s, Trap the Witch, is equally carnivorous. They join Hirax, Xoth, and Witchhaven for Seattle’s stacked Famine Fest, Day 1, Sept. 22^nd. Hammer continues, “We will support Merciless from Sweden on their only East Coast show in Brooklyn on October 20th with Antichrist Siege Machine. February 16th, (2018) we will be supporting Morbosidad and Blaspherian in Baltimore, MD.” Other shows aren’t booked, but Malleus is ready to mesmerize when they do. “We're going to continue to play anywhere people will have us. Hoping to get in the studio again by this fall/winter to record a couple tracks for a 7 inch.” 

The back to back tracks, “Demonology I” and “Demonology II” combine to last over nine minutes. Part I drags through its parts in a true Celtic Frost atmospheric sludge. Slow and ringing guitars set the pace. The thunder rhythm section dutifully obliges within a few minutes. We then are treated to a stomping bridge with a solid groove. Part II again delves into a long strain of feedback before a speed-fueled riff propelled by unrelenting drums. “The Wolf” follows the same pattern for its three minutes. “Act of Faith” is a slower, heavier jam. The Celtic Frost vibe resurfaces, that same tone and distinguished guitar sound CC extracted to emulate Tom G Warrior. The low end and bass drums weigh in, boasting a sinister gravity to the track. The imagery and lyrics all tie in with wolves and demons and faith.

Snarling all this demonic terminology, Malleus have a platform to share their views. The Hammer is concise and candid. Again, The Hammer eschews clichés and token references for an opportunity to expose his deeper beliefs. “True evil doesn't actually exist. All people are slaves to their needs and desires and only act in a way to satisfy them, even "good" people.  Altruistic people are motivated by innate feelings of empathy in which they feel pain when others suffer and feel good when others feel good. In the end, everyone is motivated by internal selfish desires. If evil was only used to describe actions that cause more harm than good, I could get behind it but too often evil is just a word used to describe others whose actions conflict with one's own. That being said, many groups such as Christians truly believe in evil so the word can be useful if you're trying to antagonize them.”

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