UltraViolence Operation Misdirection review

Ultra-Violence

Operation Misdirection

Candlelight Records

Out July 27^th 2018

When any subgenre rides a wave of resurgence, there will be expected jumpers on the bandwagon – or “Thrash Wagon” as dubbed by Tear It Up in 2001. That same year Municipal Waste emerged. Obviously we know their path to metal royalty. But for every Waste, there were a bunch of false hearted dudes in flip brims, white high tops, and denim vests. As the skate-core bands of early 2000s (Crucial Unit, WxHxNx?, Holier Than Thou?, etc) undoubtedly told masses it was acceptable to acknowledge and celebrate the thrash forefathers, others went full throttle into the metal realm; nodding to known bands and underappreciated ones; like D.R.I., Exodus, Death Angel, Forbidden, Destruction, and Kreator. Some of these bands achieved grand success while not being afraid to infuse other elements of metal (Ramming Speed, Vektor and Toxic Holocaust). But even after the retro-wave had hit shore and ebbed, new school bands like Havok, Bonded By Blood, Fueled By Fire, Bio-Cancer, Suppressive Fire, and Italy’s Ultra-Violence remained.

Ultra-Violence dropped their debut in 2012, only six years ago. That EP, Wildcrash, depicted the predictable beastly humanoid mutation over an apocalyptic deathscape. But for their two following full lengths, Privilege to Overcome (2013) and Deflect the Flow (2016), the band extracted imagery from Burgess’ A Clockwork Orange; Alex and Dim and the droogs racing in the durango95 and menacing the night. Operation Misdirection’s cover maintains the theme with a vibrant illustration of Alex’s pried open eye and a doctor with a needle reflects in his iris, provided by Ed Repka Artwork. Which is used as a bold metaphor for the current global political atmosphere.

Ultra-Violence have always offered a crisp, sharp production sound to the quartet’s take on modern thrash. The enormous change on Operation Misdirection is the replacement of the rhythm section. Changing both the drummer and the bassist is a stark change for a thrash (or any) band. Founders Loris Castiglia (Vocals, Guitars) and Andrea Vacchiotti (Lead Guitars) welcome Andrea Lorenti (Bass) and Francesco La Rosa (Drums). The band tapped Simone Mularoni (The Modern Age Slavery, Labyrinth, Ancient Bards, Trick Or Treat) for recording, mixing, and mastering.

As the new dynamic looks to find itself, super tight riffs open the album on “Cadaver Decomposition Island” with a chunky, bouncy bassline intermittently jumping. The seven minute opener is replete with time changes, showcasing smart songwriting. This is especially seen at the halfway point where the song takes on a new life; slow and grandiose achieved with an ethereal keyboard, mid-paced drums and squealing lead guitar. A piano outro takes over a minute. The yearning to display their intention is understandable. But it is an odd choice as the opener. Especially considering the next track is titled “Welcome to the Freakshow” and is a straight thrash rager, no frills, and lands at under three minutes. “Cadaver Decomposition Island” would be great as mid-album track while “Welcome to the Freakshow” is clearly an album opener.

Some more melodic approaches surface in Operation Misdirection. Track three, “My Fragmented Self” puts the band back in the 6 minute area. At this point Ultra-Violence’s sound is established is clear. They are never too technical but still exhibit talent with the Vacchiotti’s ripping leads and divebombs. La Rosa’s drums like to play and dictate time-changes to keep it interesting. Despite that one can argue shaving a minute off of the longer tracks, Ultra-Violence can hold your attention. The brightest aspect is Lorenti’s bass work paying homage to the slap sound of Suicidal Tendencies. This flourishes in distinct clean production, riffs are taut strings useless against Vacchiotti’s quickly moving fingers but the riffs never grimy and thick (like Testament or Sodom).

The middle of the album gets a touch weird. “The Acrobat” is a shorter, punky/rocking upbeat track. There is certainly skilled guitar work and (if it weren’t for tuning/production sound it sounds much like recent UK Oi! – makes for a good drinking tune). Then we get a slap bass breakdown before jumping to double bass drums and gang chants.

“Nomophobia” follows and is a bad ass scorcher. While it is a six minute track, the song is packed with fury and tight manic riffing. But the bridge reels back with a short slow part before charging again. This maybe my favorite track. The barrage of blast beats and dive bombs at 3:45 renders an explosive feel. The final third of the song is a bunch of haymakers, ending with a sick breakdown. This tracks crushes and holds its weight for the duration as an aggressive offering.

And then comes another odd choice, a cover of Dire Straits’ “Money for Nothing”. They emulate the intro perfectly, the synth and the echoing drums into the ultra-recognizable riff. The make the riff rock. Then speed up the verse. If done in the same tone as the original (sardonic tongue firmly in cheeks), the punch lands squarely. If done just as some cheesy retro ‘aren’t we ironically cool?’ cover… Not so much. Admittedly, I love this song (the original). But I was 8 when it was released and it was a rare treat for my father and I to like the same song (Anthrax was not allowed). We will still blast it in a car 33 years later. Playing this LP about the 5^th time through, it has certainly grown on me and is a cool choice. It shows how gritty the Dire Straits’ classic was written. Also, I want my music to reflect life; working class ethics. Thrash and crossover was always the working man’s metal. Maybe it had fantastical imagery or lyrics, but it was about hanging out and not being arena rock Gods. This lands.

A two minute transition pieces leads us to the martini shot; “Shining Perpetuity”. This six and a half minute closer is frantic and tight. The frenzied music pushes and pushes. An excellent track here. Castiglia’s growls are commanding as they have been all album; never registering high notes – just what I like. After the first verse (1:39), the song launches again into that slow ascension they are doing now; (at 2:00) the thrash returns.

There are times when Ultra-Violence strip down and absolutely tear through the speakers, like a flaming freight train. Operation Misdirection exhibits an experimentation and pushing of boundaries which can be risky for bands. But the new spots of musical stretches and melodies work for the band. They’ve done acoustic slow parts before but the grand atmospheric melodic plateaus are different. Ultra-Violence accomplish much as they grow to define their own sound in such a defined genre. This band do proper thrash with fresh energy and anger. The A Clockwork Orange imagery is always sentimental tug, securing an affection for the band. So, they don’t have to be the most technical or grow each album. But Ultra-Violence do it anyway.

RIYL: Dust Bolt, Crisix, Septik Onslaught
OWES: Destruction, Whiplash, Exodus, Nuclear Assault, Overkill, Forbidden

Vitamin X interview

Vitamin X

Age of Paranoia

Southern Lord

Interview for New Noise by hutch

Answered by Marc Emmerik (guitarist)

Southern Lord Shop

There is a distinguished, undeniable sound - a cavernous, progressing rumble - which belongs to a skateboard. Your ears recognize it – and excite you – far before you see the board. That sound triggers myriad images; combining the thrill of physical exertion and challenge, but also, innately, those emblematic of rebellion. In punk, Vitamin X create a sound as unique and as riveting. Their guitar work can extract references to surf-drenched, Cali-Punk or East Coast straight edge stalwarts or 80s skate rock. Spanning two decades, Vitamin X’s career has continued to slap down thrashy-hardcore repeatedly. Age of Paranoia will be their sixth LP, dropping, today, May 18^th, on Southern Lord Records.

Propelled by sweaty live shows, Vitamin X’s reputation is founded on speed and intensity. Emailing guitarist, Marc Emmerik, illuminated some details on Age of Paranoia. “We love playing live and as you probably know, we've toured all around the world. Anyone who ever saw our performance knows that our shows are very energetic and we give everything. To see people singing along and going crazy in the pit is something that is very rewarding. So, we still play as much as our schedules permit, something like a few shows each month.” They’ve toured with everyone and headlined their own tours spanning the globe. 

These gentlemen have spun van wheels in USA, Mexico, Europe, Southeast Asia and South America. They have played France’s Hellfest and Maryland Deathfest to bulk up their heavyweight cred. They even did a recent jaunt with Baroness and Cro-Mags. You cannot pin these dudes down. And damn you for trying. 

Throughout their eclectic history, Vitamin X have done splits with Blind Society – charged punks from NJ in the early 2000s - and We Bust Burn (d-beat earth scorchers). Vitamin X have had a few homes as far as labels: Havoc and Tankcrimes; Committed and Reflections. Their debut EP was called Straight Edge Crew. But other releases have had fans of Municipal Waste drooling. Their sound is painted by influences such as Minor Threat, Gang Green, DYS, Suicidal Tendencies, DRI, COC and yet, on Age of Paranoia, have guests such as J Mascis (Deep Wound, Dinosaur Jr, Witch) and Bubba of DC hardcore noise purveyors, VOID offering to shred.

Vitamin X’s gift is melding different genres with a common core and stretching it while staying within their formula. The band has been punching their same sound for 20 yrs. Vitamin X’s two big pivots from About to Crack in 2012 to now are moving from Steve Albini’s knob turning and from label, Tankcrimes, to Southern Lord. Emmerik is stoked. They have never shied from low-end, thick production; clean and punctual. But their sound is never glossy; continuously exerting palpable frustration and conviction. Vitamin X have had two LPs (the previous two; Full Scale Assault, 20008 and About to Crack, 2012) produced by Steve Albini. They were honored and the product was solid.

But they wanted to return home, in geography and in spirit, with production. But Southern Lord made sense. “We're really happy with it. We've been contacted by bigger labels in the past, but it sorta never worked out. I've known Greg Anderson from Southern Lord for a long time, since the 90's; when he played in Goatsnake. Greg saw us perform a few years ago. And he told me, once we had new recordings, we should send it to him. That’s what I did and he really liked it! He said he loved the unique fusion of old school HC and rock, metal-punk etc. He thought we push boundaries within a genre that is typically limited,” notes Emmerik. Vitamin X have been on small labels and certinlt have had a decade perched to explore the next tier. “Southern Lord is perfect for us as the label is bigger. So, we get a better distribution and promotion. But they're still rooted in the underground and very easy to deal with and great people!”

And the bluesy doom bands on the label have more in common with Vitamin X on Age of Paranoia than one would be inclined to think. One track – and killer title – is “Reverse Midas Touch”. Definite rocking, thick riff, stoner vibe but Vitamin X pushes the speed and bass work and adds “woah-oh-ohs” in the chorus – linking them to Southern Lord release like Uniform Choice, Poison Idea, and Brotherhood (Greg Anderson’s old SXE hardcore band).

Speaking on the decision to have Age of Paranoia produced by someone other than Albini – who while known as a supreme producer, did play in many bands including Big Black, Pegboy, and Shellac – Emmerik and boys chose Igor Wouters at ARC (Amsterdam). This was nothing against the producer of monuments like albums by Nirvana, Pixies, TAD, The Jesus Lizard, Mogwai, Neurosis, Weedeater and even mainstream mammoths like Bush, Cheap Trick, and The Breeders. Sometimes, the comfort of home is an allure that cannot be resisted. Emmerik notes on utilized Wouters (who also is a drummer for Angel Crew and Backfire!), “We recorded our previous two albums in the USA with Steve Albini. But, now, we wanted to stay closer to home, Amsterdam. Igor was an obvious choice (cuz) I had recorded there myself with my band, Demon Eyes. Igor has drummed in several hardcore punk bands (even Agnostic Front) and now drums in GOLD. He works really fast, is very creative, knows a lot about all kinds of music, and is really relaxed! So, it was great to work with him!”

Another record is great to hold in hand and blast when the needle drops. When the invigorating frenzy captivates, it is undeniable. The opening track, “Modern Man”, has feedback ringing and teasing as Age of Paranoia begins; you feel the band settling in for the ride. The chords ring out and anticipation builds, ground trembling, the production approach captures the live-on-stage exasperation. Age of Paranoia surges with 16 tracks; only five of which cross the two minute threshold.

“Roller Coaster Ride” is just that. The song is frenetic; slow and fast bandy in a chaotic melee; fitting inviting VOID’s (yes, that VOID) Bubba Dupree for a guitar guest slot (Speaking of bands defying classification). “Human Plague” and “Bounce Back” scorch at under a minute; while the exactly one minute “Speak No Evil” has a cool guitar line, piercing and sharp with a SoCal surf hardcore feel. These shorter jams pound and vibrate with commanding defiance. “Age of Paranoia”, with the burden of being a title track, extends Vitamin X’s comfort zone at 2:45. But funny enough, 1:45 of that is an instrumental jam with fuzzed out wah-bass. Guitars embody Iommi riffs and laced flutters as the track moves forward; while a collapsing refrain compounds paranoia and suspicion before exploding into a hardcore swarm.

Listening, it is no surprise that Age of Paranoia was recorded live. Emmerik concedes, “We recorded the basic tracks live (drums, guitar, bass) in three days. Then we did overdubs and vocals, and the mixing. I think in total we were there for 8-10 days.” That quick turnaround was solidified and fused by relentless shows. Twenty years in and Vitamin X play continuously. Emmerik states 208 will be the same. “Well, this will be the year of the release of our new album on a '’bigger’' label, Southern Lord records. We will be promoting the album, playing a lot of shows! We hope to reach our fans but also new audiences who might hear us for the first time. We're looking forward playing the songs from Age Of Paranoia live.” The new tunes will engross audiences by blending Annihilation Time, even a touch of Sabbath, the often avoided late-era Gang Green and SSD/DYS or the now revered BLA’ST! or Aggression and Stalag 13 or contemporaries like Night Birds or The Shrine; all these bands come to mind.

Commenting on the odd but ‘yeah that actually makes total sense’ guest appearances, Emmerik syas, “J.Mascis plays on the song ‘Flip The Switch’. The intro sounded a bit like Dinosaur Jr; so, I thought it would be perfect to ask J.Mascis to do the solo. J of course used to play in Deep Wound, one of our fave hardcore bands. I had already met J a few times through Graham Clise (Annihilation Time/Lecherous Gaze) and once gave him our Full Scale Assault album. Graham and Dave (Teepee Records) helped me contact J, and when he was on tour in Amsterdam he did the solo. But, he didn’t do just the intro, he said '’I will solo throughout the whole song and you just edit what you need’'. In the end we just kept the whole solo because it's so amazing!” The result is mind-blowing. Killer idea, Brilliant execution. As for Dupree, “Bubba Dupree used to play in the legendary DC hardcore band VOID (and afterwards in Soundgarden, Dave Grohl’s Probot and Brant Bjork), a band we're huge fans of (we used to cover one of their songs live). I was hanging out with Bubba after a Brant Bjork show and asked him to do the solo on the song '’Rollercoaster Ride’. He didn’t play hardcore punk for a long time but his guitar solo is totally VOID style!”

Also, to expand on the vibe of this record, after two sensational Pushead-esque covers, Vitamin X incorporated ridiculous art for this joint from Dutch artist, Marald. Emmerik admits, “Marald is, just like us, from The Netherlands. He's a friend of mine long before he got famous. John Baizley of Baroness - who did the art for our last two albums - is a good friend of Marald. Ten years ago, we all were hanging outside a Baroness show in Amsterdam. Marald actually did the art of the last Baroness album; (plus) bands like Wolfbrigade, Kylesa, High On Fire, etc. John Baizley was supposed to do the art of this album, but he was too busy. So we asked Marald, and he did an amazing job. He not only made a drawing on the front, but also on the back and the insert!”

With titles like “Modern Man”, Age of Paranoia”, “Short Circuit”, “Flip the Switch”, “Media Messiah”; it seems clear that Vitamin X are concerned with society and its technology; and, additionally, how the people in control of the media/technology use it. Emmerik replies, “Yes. Most of the lyrics on this album deal with this subject. You could even say it's a concept album - ha! Technology is hijacking our brain and minds. That's what, for example, the songs ‘Short Circuit’ and 'Flip The Switch' are about. We live in a dangerous time and age, and age of control, confusion and paranoia. More than ever, we're controlled and affected by media, technology, mobile devices, internet, social networks, governments, political earthquakes, extreme ideologies, climate change, pollution, fake news, etc. The song 'Modern Man' is a sarcastic song in which we wonder if our so-called 'progress' isn’t actually a 'regress'. It's about people who are only interested in their phones instead of participating in the world around them.”

Emmerick continues that this cannot commit to an optimistic or cynical view about the masses and their involvement with technology. “All this technology is still pretty new, not even 10 years. So, I think people and societies are still adjusting and coping with this new situation. Those new technologies we use have in many cases turned into compulsions. Tech firms are hooking users with design tricks. I hope we can manage to find ways to cope with this new situation.”

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.