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) 

Harms Way Post Human Review

Harms Way

Post Human

Metal Blade

February 6, 2018

Review by hutch

Harms Way offer Post Human on February 6^th to redefine themselves yet again, this time on Metal Blade Records. Having only heard friends praise this band throughout the years, I was surprised to hear that some hardcore fans deride them due to some asinine adherence to strict definitions of hardcore. Really? 2018? Regardless, I am a fan and have been since day one. Harm’s Way began in 2007. 2008’s Imprisoned was comprised of short (:30 - :60) powerviolence tracks. Harms Way spent the next decade, pumping out a few EPs and 3 LPs on Organized Crime, Closed Casket Activities, and Deathwish Inc. Thought line up changes have ebbed and flowed; Bo Lueders on guitar, Chris Mills on drums, and James Pligge on vocals, have solidified Harms Way’s focus. Ten years witnessed these Chicago malcontents produce unique, aggressive music.

The first song on Post Human, “Human Carrying Capacity”, was released early as a single, on websites and Spotify. This is a familiar Harms Way track (read: sick as hell, heavy as fuck); bad ass breakdown hardcore with a drum machine in the background. After another bruiser, “Last Man”, we arrive at track three, “Temptation”. This is where we began to hear some variation. This is no Ceremony L Shaped Man (a killer record as well) direction; but the slower, quieter atmosphere adds tension and ambience as the bass line pushes the track into a chilling space. The distant vocals and dissonant guitar notes extract an unsettling uncertainty in the listener. The second half of the track returns to expected elements (thick riffs) and damages eardrums. Following “Temptation” is “Become a Machine” – the fastest track on the album and somehow the most robotic in the chorus. This tracks consists of sharp guitar squeals, which pan in the headphones to add momentum and energy. The 4/4 beat is a great hardcore rhythm for the verse before Harms Way enters a bridge that is double bass driven, more plotted.

The second single, “Call My Name”, allows us to see into this interpretation of using outside electronic elements. The beginning of the track uses bass drops and tonal fog before a repetitive groove takes over. Again, Harms Way utilizes these non-traditional hardcore instrumentations to set mood; to alleviate some of the intensity in between monster tracks and segments. “Unreality” has an undeniable groove. This is where maybe a Sepultura or VOD guitar sound manifests. Adding samples here doesn’t change the music, just varies its approach. While I would bet the band resents any slim genre classification, this is still angry hardcore to me.

With the electronics, Harms Way is not “experimenting” but confident in its growth. The time changes and dissection of guitars and drums to use certain instruments in sparse places, aids to the music. Like negative space in a photograph. The result is bulking up its power, guaranteeing impact. (This isn’t Fear Factory or Front 242. (I’m old).) As the albums winds down, “The Gift”, the penultimate song, is the only pure electronic track. Pulses and hisses and programmed drums linger while vocalist, Pligge, bellows. No guitars. It’s a cool track. To finish, “Dead Space” boasts a pounding, searing pace as Harms Way chugga chugga again and propel their enmity toward the finish line.

I still call Harms Way a hardcore band; albeit ‘metallic’ or whatever. Do they utilize a drum machine? Yep. But, I wouldn’t call them an industrial band by any stretch. This is brutal hardcore. The sound is designed to vent, to exorcise aggression and frustration. As Throwdown did in the late 90s; or Down My Throat and Arkangel did as well. Later, in the mid-2000s, we had Since the Flood, On Broken Wings, Black My Heart, Thick As Blood, etc. These bands lived to watch pit monsters decimate dance floors. Harms Way take those bands’ succinct breakdown formula and lace it with atmospheric extras. The variety is why Harms Way can be on stage before Soulfly, Every Time I Die, At The Gates, or Converge (as they have) and fucking slay crowds. Will Putney, a producer known for Stray From The Path, For Today, Vision Of Disorder, Thy Art Is Murder, Suburban Scum, Body Count, Acacia Strain, and others, grabbed the reigns here. Putney collaborated on some writing and extracted a dope record that guitarist, Bo Lueders, describes as a mix between previous releases, Rust and Isolation.

Lueders’ guitar work is on point; tight riffing (check “Sink”) and galloping riffs motivate the direcction. One would erroneously assume that utilizing a drum machine would make for simpler drum patterns. Not so. Drummer, Mills, remains the thunderous, pulsating foundation of this band’s sound. His vitality and pure power dictates the emotion and motion of the songs. And the dancefloor.

Expect Post Human to grab you with its dirge; that filthy, low tuned guitar tone. The grand, heavy drums balanced with chiming cymbal tweaks – and the drum machine pipe clangs! -  add depth. Props to Putney for his clean production. Equipped with rumbling bass and riding bass drums, the music lays a foundation for Pligge’s growling vocals. Add 808 drops and Post Human is akin to Loyal To The Grave, Sand, Nasty. But here we have a thinking man’s beatdown band. Pligge’s lyrics – with a title like Post Human – and a bigger platform like Metal Blade – delve into existentialism, technocracies, and self-realization. Pligge is wrestling with understanding pain’s placement in human existence. Crank this to ten and meditate while picking up change.

BUY SOME VINYL

RIYL: Ledge, Godflesh, Xibalba, Killing Joke, Voivod, Full Of Hell, Weekend Nachos, Downpresser

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.