Monday, 25 March 2019


Erectile Dysfunction Unit
Erectile Dysfunction Unit

Review by Joey

Genre/s: Noisegrind, Noisecore, Grindcore, Power Electronics, Industrial, Noise
For Fans Of: Fear Of God, Mental Abortion, Traci Lords Loves Noise, Scab Addict

Uninvited Records puts out some fantastic releases (and I'm not just saying that because Joe did a reissue of the first Bloated Subhumans tape), and this tape by Swedish noisecore project, Erectile Dysfunction Unit, is no exception. Clocking in a little under 9 minutes, this 68 track glimpse into sexual dysfunction straight from hell kicked my ass, and it'll kick yours too.

When I saw this release on Uninvited's bandcamp page, my first thought was "With a name that good, they better not fuck it up," and fortunately they did not. Like most good noisecore, the material on this release feels like one long track, with each part continuing where the last left off in an abrupt and abrasive pattern of sloppy stop/starts, feedback, drum stick counting, flurries blasts beats, and indecipherable riffs in a seemingly endless progression until it all falls apart and the tape is over. So, obviously, it's a winner.

This is one of my favorite things I've heard this year so far. I got a copy in a trade (for some things from my label Estranged Communications), and I highly recommend grabbing a copy quickly since it's a run of 50.

1. 68 Tracks


Wednesday, 21 November 2018


Deep Blood
City Hunter

Review by Joey

Genre/s: Horror Punk, Hardcore Punk Blackened Punk
For Fans Of: Misfits (bear with me here), YDI, Septic Death, Beherit

I'm sure this has been all over everyone's radars, but considering the fact that it's one of maybe 5 or so hardcore punk releases from 2018 that I've felt was worth my time (one of the others I released on my label), I actually feel compelled to do that thing where I tell you why it's worth your time too. City Hunter's first two tapes were fantastic, but this long awaited LP blows them the fuck away which is a move that is incredibly rare for both contemporary hardcore punk as well as for third installments in slasher series.

Deep Blood is the most relentless and brutal hardcore punk LP I've heard in quite some time, and I can't get enough of it. There is no pretense of political significance or corny tough guy bullshit or failed attempts at being "weird," there is only a vicious assault of cutting riffs, driven by pummeling drumming (these musicians are clearly metal musicians and it definitely pays off big time), and pierced by pitch shifted roars and howls from the mouth of fear itself. Musically, City Hunter draws heavily from 80s US hardcore punk bands who are known for being outrageously ripping such as YDI and Septic Death, combines that with hints of black and death metal akin to bands such as Beherit and Shub Niggurath, and then filters it all through a lens crafted by a band who you may have heard of called Misfits with their ruthless, thrashing, and truly criminally underrated (arguably one of the most underrated hardcore punk records of all time) Earth A.D. / Wolfs Blood LP -- go ahead and click the link and tell me that shit doesn't make Discharge sound like Buzzcocks (which funnily enough is how they got their sound in the first place). But I digress.

City Hunter's new LP is horror punk at its finest, and anyone who denies that is just afraid to admit how amazing horror punk can actually be. This will scare the pants off of you and remind you why you got into hardcore punk in the first place.

1. Watching Blood Darken
2. Living Nightmare
3. Bind Torture Kill
4. Beyond Recognition
5. Crimson Streets
6. Dark Descent
7. Open Season
8. Silhouette Of Death
9. Dying Out
10. Stab And Repeat
11. Slow Death
12. Hollow
13. Schizo
14. One By One


Monday, 16 July 2018


Primary Pulse

Review by Joey

Genre/s: Industrial, Power Electronics, Death Industrial, Noise
For Fans Of:  Factrix, Gilles Des Rais, (early) Clair Obscur, Haus Arafna

This was (not surprisingly) my most anticipated release this year. And (also not surprisingly) it's fucking phenomenal. Konagaya Jun is truly an unstoppable force when it comes to well-crafted industrial, and even after over three decades, he has yet to put out a single dud under the Grim moniker, or with any other project (White Hospital, his solo work, etc).

What sets Primary Pulse apart from most of Grim's more recent releases is that it's somewhat of a return to form which calls back to the harsher synth/electronics driven material on the earlier releases such as Folk Music, Amaterasu, and Vital 1983-86. Sure, the project's core sound has stayed the same throughout the years, but with time there has been some movement away from the primarily harsh, primitive synth and electronics driven compositions which were prevalent throughout his 80s output. Each track on this tape is an overwhelming nightmare of bleak soundscapes, obscured samples, terrifying screams and howls, abrasive arcs of screeching noise, and pulsing repetition. And, of course, all of this is juxtaposed with uncomfortably serene melodies which are just as (if not arguably more) haunting than the crushing cacophonies which they sit in between. Like all of Grim's work, the uncomfortable silence following the final track hangs heavy in the air around the listener, and that moment is as beautiful as it is unnerving, which is the very essence of Grim.

Do not sleep on this, it is some of the most sublime and wretched noise you'll hear this year.
Trapdoor Tapes still has copies left, so get a copy while you still can!

1. Hermit
2. Volcano Flower
3. Assassin's Room
4. Melting Man
5. G.T.R.


Sunday, 29 April 2018


Directo #1

Artist Submission

Review by Joey

Genre/s: Noise Rock, Post-Punk, Industrial
For Fans Of: Skullflower, Will To Live, The Ex, Swans

I've been vocal about my love for Balcanes since their first 7" in 2014, and everything I love about them is amplified on their newest release which happens to be a live recording. In anything noise related, live documentations are crucial because of the unpredictable nature of performance, and a studio recording can never accurately capture the energy and intensity of an artist's performance.

Those who know Balcanes already are in for a treat (as are those who don't). They are a heavy and filthy band, and those aspects of their music is only highlighted by their performance on this tape. The whole thing just sounds like a dilapidated machine lurching forward through a post-industrial wasteland, struggling to keep itself together, fixing one piece at a time not able to keep up with its imminent collapse. This is accomplished with nasty and wretched tones, death howls, and a mastery of build and release. The bands mentioned up top should give you a pretty good idea, so if that's what you're about, you gotta get on this screaming metal death trap.

As far as the setlist, Balcanes plays through everything they've put out, which clocks in around 40mins (much longer than any of their studio releases). Get ready to get steamrolled.

1. Pánico / Combustible / Rójo Máquina
2. Decrépita
3. Masada
4. Desorden
5. Decadencia / Plataforma / Autopista 2


Sunday, 22 April 2018


Of Final

Review by Joey

Genre/s: Deathrock, Industrial, Post-Punk, Power Electronics, Death Industrial, Goth, Noise
For Fans Of: Mannequin Neurose, Grim, The Dead Relatives, Clair Obscur

Okay, so you're probably thinking "holy shit, that's a lot of genres, what could this even sound like?" so just sit tight and I'll do my best to explain. There are four tracks, two of them are industrial/noise tracks; and they are sandwiched in the middle of two deathrock tracks, which act as bookends of a sort. Each track is absolutely punishing, twisted, and truly dark in a different way, yet all four still form a whole.

Datsustora was the project of Elle (a.k.a. Achy) from LSD, the legendary Japanese hardcore punk band of ADK Records fame, and the less well known industrial project Criminal Party. This project, however, does not have nearly the level of notoriety of LSD, but I'd argue it's much better (and certainly much weirder and multifaceted). The rest of the lineup remains a mystery as far as I can tell -- aside from a brief run with Yoshimura Hideki, also of LSD fame, on guitar -- and was most likely a revolving door, quite possibly as multifarious as the music itself. Musically, this flexi is as I described (half deathrock, half industrial), but the varied nature of each track -- starting with bouncy dark punk, transitioning into two tracks of unsettling ambient, heavy electronics, and rhythmic industrial, and then closing with a track which feels like the joyful embracing of despondency through post-punk -- really adds to how strange this thing is. It's one of my favorites and there's a good reason for that.

This is a wild ride from start to finish, and I feel it should be essential listening for both industrial and post-punk fuckers. Highly, highly recommended.

1. Untitled (apparently there is a title, but it's in characters nobody can read)
2. Datsustora
3. Of Final
4. 幻夢円舞曲


P.S. If anyone has a link to the split with Criminal Party and/or the Kyo-On compilation 7", please get in contact because I've been dying to hear those for a long time. And while I'm asking, if anyone has the Criminal Party split with Grim, please please get in contact with me.

Tuesday, 6 March 2018


Blue Faced Lust
Master/Slave Relationship

Review by Joey

Genre/s: Industrial, Power Electronics, Noise
For Fans Of: Negativland, Justine & Juliette, Nervous Gender, Hunting Lodge

I was asked for this specifically, but it's also something I've wanted to review for a while anyway. Master/Slave Relationship is one of my favorite industrial projects, and Blue Faced Lust in particular is my favorite thing put out under that moniker, as well as one of my favorite industrial releases in general. So here we go.

One thing you'll notice about M/SR is the heavy BDSM influence (shocker) which shows up in different ways, namely the heavy and imposing sexual motifs. Power electronics has always been about explorations of power, and M/SR does so through the lens of a domme (i.e. an inversion of the dynamic inherent in heteronormative sex*) to a great effect. The vocals mock you, taunt you, tease you, and hang over your head. The electronics work in tandem, presenting uncomfortable soundscapes which mirror the lyrics; M/SR beautifully -- and brutally -- juxtaposes soft and hard, ambient and harsh, rhythmic and chaotic, soothing and jarring sounds in a tumultuous fashion, which makes for a turbulent and frightening listen.

Go get'em, tiger.

1. Nothing To Love
2. The Dream
3. Some Dry Hopeless Mess
4. People Where They Ought To Be
5. Wait
6. Avoidance
7. Take Over
8. Blue Faced Lust
9. Nothing Happens In This World
10. Inconclusive Thoughts


*Even in BDSM, role reversal does not completely erase the structural and institutional dynamics of power, blah blah there's way too much to get into that I don't have the time/energy for, and so much has been written on this topic that you can just look it up.

Wednesday, 17 January 2018


Drink Your Blood
The Shits

Review by Joey

Genre/s: Noise Rock, Sludge, Post-Punk
For Fans Of: Thug, Drunk In Hell, Rectal Hygienics, Gentlemen

Welcome to the new year, fuckers. I hope you're ready because I'm gonna start it off right with some true scum produced by members of No Form and others who I'm not sure of. This bad boy is absolutely slamming. Hell, it's so good that it had me opening up a new post on blogger within 5 minutes (less, really).

I clicked play and was hit with a wall of feedback which gives way to a riff (still with feedback of course) after 30+ seconds, and you bet it started kicking my ass; and when the opening track on something like this is almost 7 minutes, you know you're in for some shit. The level of degeneracy and filth that The Shits wade through and pour over you with their debut tape is -- in the immortal words of Bill -- "most egregious." This shit (by The Shits) is as crushing as it is pugnacious as all hell. The sludge-leaning dirges go on and on and on and on, testing your endurance -- 3/4 tracks are around (and over) 6 minutes of the same pummeling riff -- undoubtedly weeding out the posers. Leeds, UK is really pumping out some fantastic degeneracy, it's amazing. Good to know that 2018 is off to a great fucking start.

Get in on this or don't (and miss out on all the fun sin).

1. Whatever
2. I Know
3. Alone
4. It's All The Time


Monday, 1 January 2018

I changed my mind, so here you go: THE 2017 FBN YEAR-END ROUNDUP MEGAPOST

I was going to do a handful of smaller posts, but I felt that would be tedious (and also, I've been super busy with a lot of shit), and I like the dramatic flair of putting up something like this on the actual end of the year (fuck the nerds who publish lists in November when there's a whole month left). I cut  back a little from last year so as to only include releases I revisited a lot (ie there's more I liked, but these were my absolute favorites) and because I don't want to overthink it. So, it'll be 15 total instead of 15 per category (also no categories because like no rules, dude); but the drill is the same as before --  all releases have download links and are in no particular order blah blah blah -- so let's skip all that needless exposition and get right the fuck to it. Off the top of my head, here's what I liked this year.

Brainbombs Inferno
Obviously this is at the top (even though in general, these are in no particular order). Instead of writing a whole new review, however, the link leads to the one I already wrote when it came out. Short version: Brainbombs are always at the top of the food chain, and in the tradition of each of their releases having a distinct flair, this one relies on buildups rather than the spontaneous combustion which people usually (wrongly) associate with them. Have fun with your paranoia.

FFO: The Stooges, Chrome

Grim Discharge Mountain
I also reviewed this previously, so the link will go to that; but short version: it's fucking perfect industrial. Grim always manages to bring so many layers together and blend them into the most frightening pieces. It's funny, my two most anticipated releases this year were both from old pros showing everyone how it's fucking done.

FFO: Nails Øv Christ, Test Dept.
No Faith Forced Subservience
So-called contemporary "power violence" is, for the most part, a boring cesspool of wannabes playing formulaic tough guy garbage through through HM-2 pedals. Enter No Faith: another perfect example of old pros showing us all how to do something right. All you really need to know is that Dave Witte of Discordance Axis, Black Army Jacket, Exit-13, Burnt By The Sun, Human Remains, etc drums on this, and he sounds like his old self. Add layers of power electronics, an element of true unpredictability, and some unrelenting rage, and you've got a winner.

FFO: Man Is The Bastard/Noise (yes, really), Crossed Out
Blank Spell Miasma
Look, Blank Spell is one of the best bands on the planet, period. Their manic, brooding approach which combines nods to frantic 80s italian hardcore punk with elements of deathrock (and a slew of other things) is unmatched -- they really are the perfect punk band. I wrote a whole thing about it on Cvlt Nation (which you can read here) so I won't go wild in this post, but I will say that if you sleep on this band, you're a total fool and a tasteless ass.

FFO: Bedboys, Declino

Devil Master Inhabit The Corpse
And while I'm on the subject of top tier dark punk bands (who use a lot of purple and also happen to share members), Devil Master's new tape also kicks ass which should come as no surprise. I reviewed this over at Cvlt Nation (here), but short version: if you like thrashing metalpunk influenced by some of the classics from Japan, and with a true devotion to the spooky, you're gonna eat this shit up.

FFO:  集団自殺 (Syudan Jisatsu), Sex Messiah

Gasp Ghost In Scow Out
Okay, but do you know how excited I was when I found out Gasp is back? In so many words, I flipped the fuck out. Gasp is one of those bands who I've always felt deserved so much more attention and credit for how genuinely weird and intense their music is, but people who are "so into powerviolence, bro" don't even know who they are. Well, this new material sounds like Gasp -- it's the trippy spaced out psych noise violence I've always loved, but the grindy elements take more of a backseat this time. I interviewed them this year which was an incredibly fun experience (read it here), and I'm so excited to see what they've got coming next.

FFO: Suffering Luna, Dome
Plastic Plastic
Not all of these are releases I previously reviewed, I promise, but I did definitely do this one when it came out, too. Short version: Plastic is such an incredible band, and play with synthpunk in a way nobody else really is -- the industrial influence certainly puts them above most, and the overall execution is genuinely unnerving in a way no "mutant freak weirdo" bullshit ever can. This tape is just a miserable, bleak trudge through a synthy wasteland, and it's fantastic.

FFO: Nervous Gender, Flipper

Drunk In Hell Drunk In Hell
I've been waiting for this one for a while, and sweet christ it does not disappoint. Drunk In Hell are a band who perfectly represent the smut, filth, and degeneracy we've all come to expect from this style of noise rock; and this LP is a disgusting and beautiful display of depravity. Fantastic riff after fantastic riff (but only one per song, obviously), the band drudges on through the musical mire they've dumped onto the world, leaving the listener to wade along in their nauseous wake. This LP doesn't get old, and I would say it should be considered a modern classic of the style.

FFO: Rusted Shut, Drunks With Guns

Roht Roht
I love when bands who I meet perfect bands through FBN. Roht submitted their demo in 2016 and I absolutely loved it (even if I forgot to post a review of it), and I was so excited to see that they were going to have a 7" on Iron Lung Records (aka the dream label). The 7" -- which was released last year digitally, but taken down shortly after it was put up because it was picked up by ILR -- slams harder than the already amazing demo. Roht's dark, winding riffs are blanketed in harsh electronics; the band stomps forward relentlessly like a tank rolling over a mountain of skulls.. And what part of that doesn't sound awesome?

FFO: Rudimentary Peni, Skullflower
Triumvir Foul Spiritual Bloodshed
There's been a lot of cavedweller death metal in the past few years, and I gotta say the field is getting pretty crowded. Not every band can be as good as Impetuous Ritual or Antediluvian (most aren't). Triumvir Foul (along with other Vrasubatlat projects) take a different approach to the style than most of their contemporaries -- an approach which involves the inclusion of power electronics as an additional element to the already crushing and tormented sounds which come along with the cavernous death metal package. And yes, there are sickass divebombs.

FFO: Dagger Lust, Order From Chaos

Bad Breeding Divide
The integration of industrial/electronics into just about everything has made a big surge (or resurgence, really) in the past couple years. The bands who do it well do it incredibly well (and those who don't are so bad that I wouldn't bother with them anyway), and Bad Breeding is among those who deliver the goods. Divide is an LP which had me hooked instantly and doesn't get dull for a single second; Bad Breeding wears their influences pretty clearly on their sleeves, but they combine those influences with a finesse and weirdness which makes them a truly exciting band. Words won't do it justice, so take a listen for yourself.

FFO: Icons Of Filth, SPK
Full Of Hell Trumpeting Ecstasy
This is probably on just about every year-end list (as it should be) so it's not too hard to find or whatever, but I still needed to include it because of how killer it is, and because of the way it feels like the LP Full Of Hell have always been moving towards -- something they brought up in the interview I did with them this year (here). Trumpeting Ecstasy is deliberate and unrelenting -- as punk/noise/metal should be. The attention to detail and thought put into crafting it really shows in the final product, and as always, Full Of Hell leaves me excited for material to come. Plus, that industrial track fucking slams.

FFO: Discordance Axis, Multiplex

Balcanes Decrépita / Decadencia
Well, this is another (and the last on this list) I reviewed already reviewed (here), but short version: Balcanes delivers two more tracks of steamrollingly heavy post-punk on this new 7" which pick up right where last year's Carne Nueva LP left off. Waves of feedback screech over lurching dirges which pound the listener over the head repeatedly as they swell until they fall apart and end. Another winner for contemporary noise rock.

FFO: Will To Live, The Ex

Disciples Of Christ Parched Dredge
One of the greatest contemporary grind bands returned with two releases this year: a split 7" with Gas Chamber, and this 7" on ILR; both are fantastic (obviously), but this was the stronger of the two for me. DOC's brand of noise damaged grind is instantly recognizable, and just gets more vicious with each new release they unleash upon us. Parched Dredge features tracks which were on the 2015 Demo tape (now with titles) along with some brand new ones which are just as relentless and disgusting as I've come to expect from this band. DOC's breakneck bursts of dilapidated thrashing destruction will never be not exciting.

FFO: Ulcerous Phlegm, Excruciating Terror
Bone Awl The Lowest Road
Fucking finally, the Bone Awl release we were promised by NWN a year or two ago is seeing the light of day. But, until that does finally happen. Bone Awl has given us a little preview of what's to come. And's Bone Awl, alright. The repetitive and tortuous riffs played through a trashcan they're famous for are dished out one after another on this tape, and (as always), they're all rippers. Do I really need to say anything else about this?

FFO: Ildjarn, Seviss

Mutant Video Vanity Of Life
Unfortunately, the horror movie soundtrack via industrial outfit known as Mutant Video is done, but they did manage to release one final LP of their dying gasp. I looked forward to this all year, and when it dropped I was all over it. Vanity Of Life differs somewhat from their previous efforts, however -- the Cronenberg elements take more of a backseat to more of an old school death industrial and industrial punk sound --  it's heavier, harsher, and more overtly aggressive than what people have come to expect from Mutant Video; but don't worry, it's still rife with the paranoia inducing subtlety that they have excelled at in the past.

FFO: Minimal Man, IRM
Gowl On Our Feet Or On Our Knees
Promo copies of this were released in 2016, but nobody ripped it so it went mostly unheard until the band put it up on their bandcamp a month ago. Gowl is another one of the top tier contemporary grind bands (even if they don't receive the same notoriety as DOC, Full Of Hell, Triac, Sete Star Sept, et al), and this release is so ruthless and ferocious that I needed to listen to it a handful of times for it to really sink in -- it's a fucking monster. From the pounding industrial at the onset of this assault to the final cut out at its end, there is not a single moment of reprieve from the punishing intensity via a flurry of riffs, hyperspeed blasts, unpredictable changes, and raw, blown out fury. This was probably left off a lot of lists because of dipshits who publish year-end lists in fucking November (with a whole month left in the year), but if you sleep on this you're missing out big time.

FFO: Suppression, Warsore

As I said at the start, there was a lot more that I liked in 2017, but a certain brevity felt fitting for this. I've got some posts which I'm part way through writing, so I'll drop those soon. 2017 was definitely a rut kind of year for me -- even if I did drop two tapes (one was an overdue dub of Execution 2 the other was a new recording of a set I played this year in Richmond, VA released as Execution 3) and was contacted by a label to release an LP -- but 2018 looks promising and exciting (and not just because I have a 12" coming out). Anyway, sorry again about the absence.

All music is bad.

Wednesday, 8 November 2017


Discharge Mountain

Review by Joey

Genre/s: Industrial, Power Electronics, Death Industrial, Noise
For Fans Of: White Hospital, Nails Øv Christ, Current 93, Test Dept.

New release from Grim? You know I'm fucking there. When this was announced over the summer, it instantly took a place at the top of my most anticipated releases of the year (I'm talking spot #1 or #2 here). And of course, it didn't disappoint; it's easily one of my favorite things that's come out this year -- no surprise there.

For those who already know Grim's unique brand of industrial, this new material is exactly what you want to hear. And for those who don't, this release (and all of Grim's discography in general) is a thing of both beauty and horror at the same time. There's something truly disquieting about Jun Konagaya's ability to combine uncomfortably serene melodies and atmospheres with devastatingly crushing heavy, harsh electronics and industrial sounds which really puts him in his own league -- nothing and nobody can ever seem to touch him. On Discharge Mountain, Grim brings it all to the table: pulsating rhythms, traditional folk elements, drudging percussion, and veritable tempests of harsh electronics being hurled without mercy; and all of these sounds are held within perfectly crafted threnodies of ritualistic sonic torment.

I've said it before, and I'll say it again: everything Grim has put out is incredible and should be held among the best and most essential industrial ever made. This release is just one more piece of evidence to add to the pile that is an already flawless discography.

1. Discharge Mountain
2. Summons
3. Goddess Moth
4. Nine


P.S. I'm still working on some stuff, so be ready.

Tuesday, 17 October 2017


I'm working on a bandcamp megapost and have to go through a lot of submissions, hence the time lapse. I may throw something else up in the meantime, however. But don't worry, when I said I'm back I meant it.

Wednesday, 20 September 2017


The Shroud Of
Minimal Man

Review by Joey (back from the dead, maybe)

Genre/s: Industrial, Post-Punk, Power Electronics, Noise Rock, Art Punk, Noise
For Fans Of: Factrix, SPK, Flipper, Monte Cazazza

I was so happy when this finally got reissued last year with the original mix (as opposed to that tinny garbage on the 2004 "remastered" CD version) through Spain's BFE Records. The Shroud Of is Minimal Man's first LP, and also the weirdest  -- within the grooves of this 12" lies a lethal mixture of sounds which draw from across the post-punk and industrial spectrum; and somehow, it is all cohesive. It shouldn't be hard to see why this might be (read: is) one of my favorite LPs of all time. And if you aren't already in the know, soon you will be.

Minimal Man was masterminded by Patrick Miller; the project had a revolving door lineup, which often featured collaborators from other San Francisco weirdo art bands such as Factrix and Tuxedomoon. Much like their fellow (and more famous) San Franciscan peers in Flipper, Minimal Man did not make any attempt to portray disillusionment / despondency / detachment / etc as romanticized or quirky; and instead, they unleashed an honest sonic representation of what all of that turmoil really feels like, accompanied by what can be seen as a sardonic attack on those who do take the romanticized or quirky approach. However, while Flipper focused on a more brooding and antagonistic approach, Minimal Man's method was more somber and unnerving, relying more on subtle (and overt) ominous soundscapes.

From the opening sample of the emotionally vacant Ronald Reagan, all the way through the climactic ending and ensuing fade out, The Shroud Of takes the listener on a frightening journey through the dark recesses of a damaged mind. The cacophonous arrangements of synth, electronics, bass, and hollow vocals on this LP  are constantly at ends with -- yet complimentary of -- each other to a haunting effect; and each track is a an overwhelming push/pull of invasive thoughts, emotions, and urges which scramble the mind and plunge it deeper into nothingness. This is not fun music, even though at parts it may seem to be. The chilling moods created by Minimal Man do not disappear when the music ends, rather they saturate the air and stick to the listener's raised hairs like an elusive nervousness.

And now that you've gotten past the boring review part, here's what you came here for:

1. Loneliness
2. Two People
3. High Why
4. Hospital
5. Blue Step
6. Hatemonger
7. The Shroud
8. Now I Want It All
9. The Hex Of Sex
10. You Are
11. I Don't Resist
12. Jungle Song
13. She Was A Visitor


P.S. I think I'm finally back and ready to bring the pain from my ears into yours (for real this time).

Sunday, 28 May 2017



Review by Joey

Genre/s: Noise Rock, Psych, Post-Punk
For Fans Of: The Stooges, Chrome, Strangulated Beatoffs, Paul Chain

Well, they did it -- they released another album essentially titled "Burning Hell." Brainbombs are a band who can do no wrong; their uncanny ability to consistently churn out riff after riff of psych-driven noise rock perfection is unmatched, and this new LP is no exception.

The first thing I noticed about Inferno (aside from the fact that they've finally recorded a studio version of "Stormy Blast Of Hell") is that each song builds from an uneasy calm into a terrifying wall of aggression and intimidation. Brainbombs are generally thought of (by pedestrian fools) as a band who always explode right out of the gate, but on this LP they rely on uncomfortable slow burn buildups which are incredibly effective at evoking the level of dread inspired by their lyrics -- much like what they do on "Right Side Of Hell" and "Skinned Alive," which are two of their most powerful (and oddly underrated) tracks -- and the chilling album art represents this perfectly. Each song on here feels like being out in the country and looking back suspecting that you're being followed -- and then being right (coincidentally, that actually happened to me before listening to this for the first time, so I can confirm that this really nails it) -- but will you be able to escape?

Brainbombs are a truly interesting band, because they are one of the few whose lyrics focus on extreme violence and abuse while still acting as a commentary rather than being used simply as a means of being offensive -- something which has always been integral to noise, but tends to get lost when edgy dudebros don't get it. Don't get me wrong, it's still definitely problematic, but I would argue that the clear self-awareness of the presentation makes it far less dangerous than Black Flag casually (and sincerely) throwing in that they want to beat up their girlfriends.

Anyway, a huge thanks to my friend for ripping his copy (including the bonus single-sided 7") and sending it my way! Now I just have to wait for that new Rudimentary Peni EP to come out, and I'll have my two best releases of the year. But what are you dorks waiting for? Download this fucker, turn off the lights, and let your paranoia run wild.

1. Inferno
2. They All Deserve To Die
3. Rock Your World
4. If You See My Face
5. An Eye For An Eye
6. Just An Ordinary Fuck
7. Malfunction
8. Wanted To Kill Your
9. Trust Me [bonus 7"]


I'm going to try to post more frequently again now that I've finished school. Expect a submissions megapost and some other random goodies in the coming weeks. Fucked By Noise isn't dead (yet).

Not sure how I made it through this without making a "burn, baby burn" joke.

Sunday, 5 February 2017



Review by Joey

(Band Submission)

Genre/s: Synthpunk, Industrial, Post-Punk, Power Electronics, Dark Ambient, Art Punk, Noise Rock
For Fans Of: Nervous Gender, Clair Obscur, Trop Tard, Flipper

Plastic's 2.0 tape was, in my opinion, one of the best synthpunk releases to come out since Nervous Gender's Music From Hell LP; and also one of the few which I feel actually can be compared to Nervous Gender, based on their use of synth-based electronic noise (not to mention a healthy dose of influence from The Residents). Hell, I'd go as far as to say that Plastic is one of the best synthpunk bands since Nervous Gender, period.

On this newest offering from Chicago's weirdest, their heavier use of industrial/electronics, paired with a descent into much darker post-punk territory, results in a level of bleakness which is as suffocating as the band's music is irresistible. While its predecessor is ostensibly more aggressive musically, the crushing dirges and almost stark soundscaping on Plastic effectively conveys despair and disillusionment so overwhelming that it becomes mesmerizing, and absolutely conducive to disassociation. These songs bear a striking resemblance to those performed by Flipper, not just in the crawling pace, the use of chilling, ironic laughter, and snide, painful delivery, but also in the way that they sound the way depression feels -- although obviously the addition of synth creates a good deal of dissimilarity. The ability to fully capture that state of being, in my experience, is elusive to say the least. If I had to make a visualization of the sounds contained on this release, it would closely resemble the ominous, harsh background of a Dali painting. Needless to say, this release floored me, and I'm hoping they tour around my way again this year; and if they come anywhere near you, I highly recommend going to see them.

Download this, turn your lights off, and get bummed the fuck out. Nothing here is real.

1. At The Gates
2. A Good Laugh
3. Mannequins
4. Untitled (Mark II)
5. A Call For Help
6. 731
7. The Garden

DOWNLOAD (Bandcamp)

Tuesday, 31 January 2017



Review by Joey

(Band Submission)

Genre/s: Hardcore Punk, Noise Rock
For Fans Of: Tar Babies, Mystery Product, Cheetah Chrome Motherfuckers, Stick Men With Ray Guns

Oh shit, January 2017 is gonna be over in a few hours and I still haven't posted anything -- so let's start the year out right (even if it is a month late). I'm sure many of you remember how much I loved Acrylics' s/t tape from last year, and I'm also sure that a good deal of you heard the news about them putting out a 7" on the almighty Iron Lung Records (a.k.a. the greatest label on earth); and if you didn't know those things, now you do. And guess what, sports fans: Despair is Acrylics' most volatile material to date.

Acrylics are a rare breed. They're the sort of band whose music can accurately impart the feeling of being thrown down six flights of stairs and into a pit of tar -- a very specific, yet relatable sensation. Their 2016 tape was a fantastic barrage of disquieting, aggressive punk, and Despair picks up right where that left off; however, these two tracks feel even more fully realized than those on the preceding release. The tracks on this 7" tap into some classic tendencies of noisy punk, but rather than sounding rehashed, they do so in a way that reminds me of what made me fall in love with bands like Tar Babies to begin with. In other words, they are successfully able to sound fresh, and escape the stale trappings many of their contemporaries fall into. The winding riff/stompy thing has gotten pretty played out (especially because a lot of bands can't pull it off), but thanks to their guitarist's amalgam of Greg Ginn's, East Bay Ray's, and Dome's unique styles, along with a stomp comparable to Stick Men With Ray Guns, and a truly unnerving presentation rife with anxiety and dread, Acrylics easily stand out far in front of most of their peers. Simply put, Acrylics exemplify everything I love about wonky, noisy hardcore punk; their brilliant subtlety and ability to overwhelm make them a force to be reckoned with -- a wording which may be cliche, but is accurate nevertheless.

So what are you nerds waiting for? Hurry up and download this slugger -- or if you're able to support, head over to the ILR bandcamp, and get your hands on a copy while you still can!

1. Despair
2. Reassurance


Tuesday, 27 December 2016


2016 was spent mostly trying to not kill myself (also finishing school), meaning I really didn't get much reviewing done. Because of that, I'm just going to do this absurd thing again where I review 15 LPs, EPs, and demos (45 releases in total) in a single post to make up for my absence. I made sure there were no repeats from the midyear roundup megapost, so this is a whole new set of shit. No links were stolen, because only hacks do that (you know who you are), and original sources are all linked / credited unless I couldn't find the original source; the links are all in the titles. So strap in, this is gonna be a wild ride.

- LP -

Everything Grim has put out should be considered among the best, most essential industrial ever made (up there with SPK and Minimal Man), and Orgasm is no exception to that. The unrelenting rhythmic electronics, hints of traditional folk, and beautiful, uncomfortably serene melodies which Grim is known for are all here. Jun is still a master of his craft, and still stands above most of his contemporaries, past and present.

FFO: SPK, White Hospital

When I first heard this band in 2014, I was fucking floored. The obvious comparison to Primitive Man based on shared members was there, but Vermin Womb certainly is its own monster.  I think a good way to describe them is to liken them to the climactic scene in Lovecraft's "The Music Of Erich Zann," in which the titular character frantically plays in an attempt to keep elder gods from crossing the threshold into our world. But instead of a shrieking viol over the indescribable sounds of lovecraftian horrors, it's ruthless deathgrind. 

FFO: Knelt Rote, Clinging To The Trees Of A Forest Fire

This link leads to a review I did earlier this year on FBN, but in summation: Anxiety is a total fucking mess of weird punk and industrial, and certainly one of the more interesting bands to pop up this year.

FFO: Feederz, Minimal Man

Brainbombs Souvenirs
This link leads to a review I did earlier this year on FBN, but in summation: it's Brainbombs doing what they do, and doing it well; it's more psych-oriented than what a lot of people expect from them, but I can assure you that it fits in as a fantastic addition to their already flawless output. 

FFO: The Stooges, Blank Veins

I've been looking forward to this one for a while now, and it does not disappoint. The Lowest Form's previous LP, Negative Ecstasy (also on ILR) established them as a total powerhouse of a band. Personal Space picks up right where they left off, and although the production is different, The Lowest Form still deliver their over-the-top explosive hardcore punk battering ram of a sound; just in a different way. There's less fuzz, but the frantic guitarwork and overall claustrophobic delivery fills in any space that you might have thought would be freed up. This thing is a fucking wrecking ball. 

FFO: Anxiety, Warthog

I reviewed this for Cvlt Nation a couple months ago (the feature can be found here), but in summation: Balcanes' brand of brooding, minimalist noise rock with hints of industrial is as crushing as it is bleak. If you remember how highly I praised their Plataforma / Autopista 7" a couple years ago, just know that Carne Nueva takes everything amazing about that release and amplifies it exponentially.

FFO: Skullflower, Swans

I'm so glad that Shaatan finally has a full length release out. They're certainly a strange band, even for the Black Twilight Circle, which should already tell you something. Weigh Of The Wolf feels like a middle point between the spaciest and most plodding of the BTC's projects, but there's also what seems to be a post-punk element, along with the usual psych leanings. Also, there's a flute, which might make you think "oh boy, a gimmick," but I can assure you that it only serves to enhance the gloom and doom. You probably should've already been sold on this when I mentioned it's from BTC.

FFO: Arizmenda, Blue Hummingbird On The Left

The titans behind Iron Lung Records strike again. Private Room is self-described as "the new Walls. Better songs, worse attitude," which is a solid reference point. Their debut 7" was good, but Forever And Ever is something else entirely. So much is happening on here that it might take a bit to realize what the fuck is hitting you; there's hints of shit from all across the spectrum of noise and post-punk, including (but not limited to): electronics, unconventional structures, and abstract guitarwork layered over driving bass and drums. There's even some Rudimentary Peni style riffing to top it all off. A must listen. 

FFO: Walls, Cows

Admittedly, I didn't listen to as much metal this year as I did the previous couple years, but I made it a point to check out the new Blood Incantation, because I'd heard nothing but good things from people whose opinions I trust (and there aren't many). Lemme tell you, Starspawn is everything I would want from a death metal LP in 2016; it's overwhelming and foreboding in a very real way. The seamless melding of spacy elements and bruising death metal is not the easiest thing to pull off, but Blood Incantation does a helluva fine job.

FFO: Timeghoul, Artificial Brain

This might be White Medal's best work yet; it's got the riffs, it's got the evil, it's got the potentially questionable content, it's got everything you probably want from a black metal LP. I have to say, it's interesting to hear White Medal with a clean(er) production, because it brings out just how terrifying they sound. Lyke Wake is a winding, gnarled killer.

FFO: Cirrhus, Axnaar

I'm so glad I got to catch them on their most recent tour, because seeing Rakta live really cements just how outstanding they are, and how good they are at what they do. For example, most bands who use keys/organs/synths to make dark music end up producing what could be compared to kitschy tunes in a shitty high school theatre rendition of Dracula. But not Rakta; no they push those keys and synths to their limits, even delving into electronics and exploring harsher textures. The result is spooky, but in a Lovecraft way rather than in a campy haunted house way. ILR sure knows how to pick'em. 

FFO: Xmal Deutschland, Cadaver Em Transe

I have no idea how the members of the Black Twilight Circle manage to churn out so many winners, but I'm thankful for it. Arizmenda is easily one of my favorites of the bunch; their nightmarish, psychedelic sound always evokes existential dread, and this new LP only adds to their already absolutely phenomenal output. If you're looking for something to listen to in the dark when you're having an existential crisis and want your skin to crawl just a little more, this is a solid pick.

FFO: Volahn, Ashdautas

Fuuuuuuuuuuuuuuuckkkk this release kicked my ass. When I first heard it, I was not expecting the level of sheer, wretched darkness and aggression Padkarosda dish out. Blitzing and deathrock are not two words commonly seen together, but blitzing deathrock is an accurate way to describe the offerings on Tétova Lelkek. The ferocity and urgency of Padkarosda's delivery is worthy of praise in its own right, but coupled with their skilled songwriting, they're a ghastly, formidable force of a band. I'm just hoping they make it over to the states so I can justify drooling in public. 

FFO: Vonbrigði, The Scam

This link leads to a review I did earlier this year on FBN, but in summation: it's two outstanding contemporary noise rock titans (one featuring members of Brainbombs), both dishing out some of their best respective material yet. 

FFO: Brainbombs, DNA

Con-Dom How Welcome Is Death To I Who Have Nothing More To Do But Die
Dando is on top of his fucking game on this one. Con-Dom's use of sampling is legendary, and this release might be one of my favorites he's done in that regard. Basically, this is an album about old people dying, killing themselves, and resentment towards them from their families. It's brutal, poignant, and ingeniously snarky; the electronics which serve as the base for this fun little romp through a nursing home, work perfectly to create a snide, malign atmosphere.

FFO: The Grey Wolves, Genocide Organ

- EP -

With each new effort, Intensive Care pushes their take on the Skullflower / Cosmonauts Hail Satan / etc fusion of electronics and noise rock (incorporating what I believe the kids call the "pig fuck" approach) even further, into increasingly more noxious territory. Voyeurism is, according to the band, the closing chapter of a three part exploration -- the first part being Pay Pig, and the second being This Is Exactly Who You Are -- of capitalism, work, dehumanization, and validation through exposure and humiliation. The seamless integration of samples works well to express and highlight those ideas; comparisons can be drawn to industrial titans such as The Grey Wolves and Propergol, as well as to weirder powerviolence-informed bands such as Gasp and Suffering Luna. There's a lot more to say about this than can fit in a small blurb, so I might do a separate review later, but in short, this release is just as fantastic as expected.

FFO: Unsane, Dissecting Table

Here's a split I'd been waiting (im)patiently for. As you'd expect, both Internal Rot's and Mellow Harsher's sides are unforgiving and recklessly fast. These bands are just picking up where their last releases left off, which, for grind  -- let's be real -- is often a good thing. Honestly, there's not a whole lot to say about this one other than the fact that it's a grind split 7" that was able to hold my attention, something that can't be said for most newer grind split 7"s. It's a rager, so check it out.

FFO: Excruciating Terror, In Disgust

Oh man, Larry Lifeless still fucking has it. Kilslug's side of this split is exactly what you'd want from them (i.e.  total sleazed out doom that falls apart into noise rock) without sounding like a rehash of previous material. Drunk In Hell, while not necessarily as familiar a name as Kilslug, holds their own on their side with one of the most punishing dirges I've heard this year. I heard they're working on an LP and I can't wait to hear it.

FFO: Upsidedown Cross, Rectal Hygienics 

Okay, listen up everyone. Humanshapes is one of the best bands in philly right now. Their live performances are riveting, and their music is disconcerting in the best possible way. Extremity Parties is a hornets' nest of noisy post-punk imploding on itself, simultaneously deconstructing and reconstructing its dilapidated form. I've only caught them a couple times (and played with them under a bridge which was a blast to say the least), but they're one of those bands who I think I could see every other week and not get bored.

FFO: Teenage Jesus And The Jerks, Pygmy Shrews

This link leads to a review I did earlier this year on FBN, but in summation: whether it's the winding riffs, the driving drums, the sinister and heavy overall feel, Skeleton totally nails what they're going for. Listen to this and break stuff.

FFO: Sewer Drainer, Chlorine

Well, well...what do we have here? Why, it's a 53 song flexi, brought to you by the noisegrind / noisecore project from the people behind Total Abuse, Breathing Problem, etc. There's a real oversaturation of this style lately (I blame bandcamp dot com), so it's easy to pass on a lot of it, but Mental Abortion is definitely worth checking out. The use of electronics really helps to fully flesh out the full scope of smut that they're going for; and oddly, they've opted for a semi-clean production which actually works in their favor. But make no mistake, Infinite Cum is pure, unadulterated filth. You might want to take a shower after listening to this one. 

FFO: World, Traci Lords Loves Noise's really hard putting something with Nails' name on it on here, but Full Of Hell's side of this split is killer enough to justify it. As with the material on last year's 7", Full Of Hell is diving deeper into the dark, murky waters of deathgrind; with each stroke of their uncompromising onslaught, they become more of a gruesome hybrid, equal parts Incantation and Discordance Axis. I guess I should probably mention Nail's side since it's already here; it sounds kinda like that (actually somewhat decent) flexi they did last year, so it turned out better than expected (sorta). But anyway, Full Of Hell is doing a new LP and from what I've heard, it's gonna be a fucking ripper.

FFO: Multiplex, Column Of Heaven

On the surface this EP could be mistaken for typical throwback nyhc, but the more you listen to it, the more you hear how it's constantly falling apart around itself, held together by a thin thread. The sloppy playing, to me, seems intentional; it's artful and calculated. Generally, hardcore punk bands who play sloppily tend to just sound like everyone's first shitty band from high school, but Nueva Fuerza's utilization of this aesthetic somehow hits that perfect spot. Oh, and the riffs are fantastic. This bad boy is worth sitting down with.

FFO: (early) Agnostic Front, No Thanks

I'll never stop kicking myself for skipping out on Brown Sugar's last philly show (in 2012?), but fortunately members have gone on to do other killer projects, one of them being Tapehead. My first impression of them was "holy shit, it's Brown Sugar playing Born Against songs," which should tell you immediately that this is something worth your time; Welcome To Heck is a psyched out Battle Hymns Of The Race War, sans death threat samples and an intermission, (but they have time to pull that off if they so choose). These songs are catchy, nasty, and fun in a totally degenerate way.

FFO: Born Against, Brown Sugar

I forgot that this was dropping, and then it came out this month and I got excited all over again. I think Triac can do no wrong; everything they do is memorable. On this split, their signature fusion of noise rock and grind is balanced perfectly, and by the end, falls apart into a mess of grueling repetition and electronics (perfection). Sick/Tired went from decent(ish) thrashcore to unforgiving grind seemingly overnight. To me, some of their releases hold up better than others, but this material stands alongside their best. I will say the goofy vocals on that one track threw me off, but other than that, they hit like a train. I guess there were a few good grind splits this year.

FFO: Flesh Parade, 324

I have no idea why nobody has been talking about this 12" from Es, because it's fucking fantastic. I haven't seen any info on the band, but whoever they are, they know how to craft some unnerving synthpunk. The material on here is bouncy and bubbly, yet at the same time is abstract and nightmarish. Definitely one of the coolest, most interesting things to drop this year.

FFO: Units, Outer Circle

Vacant Life Cassingle No. 1
Their tape floored me, and their follow up 7" on ILR was fantastic, and now Vacant Life is back. While the Olympia/Seattle hardcore vibes (Sex Vid, White Wards, Society Nurse, etc) are still there, the focus has shifted more towards an exploration of art punk/post-punky elements, similar to what Behavior did on their LP earlier this year. And somehow, it feels like a natural progression/evolution of their sound; none of it feels contrived. I'm really looking forward to whatever these guys churn out next, they're just getting weirder and weirder in all the right ways.

FFO: Behavior, Wire

This is one of those releases that reminds me why people who publish their AOTY lists in the first week of december are total hacks. The first band that this brings to mind is Saccharine Trust, but there's more hardcore punk elements in there than ST ever really had, which are reminiscent of Stains. City Trends is like an SST Records fanboy's wet dream come true; it has all the nastiness and organic weirdo fuckery that made all of us fall in love with this shit in the first place. I'm loving the newer wave of art punk that's popping up, here's to hoping it doesn't get ruined too soon. 

FFO: Saccharine Trust, Stains
M. Del Rio Completely Serious
I'm sure that for those of you who've wanted new Raspberry Bulbs, M. Del Rio's Cleft Skull flexi scratched that itch; and I have no doubt that the news of a follow-up tape would get you excited as well. This tape sits between all three RB LPs (Nature Tries Again, Deformed Worship, and Privacy) in a way that lives up to the high quality I've come to expect from Del Rio's post-punk based output. While this is clearly intended to be a project separate from RB, the similarities are certainly there. One thing that really stands out about Completely Serious is Del Rio's focus on and incorporation of more of the industrial / minimal synth elements which came into play on Privacy; something which makes me wonder where this project is going next.

FFO: Raspberry Bulbs, Dome

Teitanblood Accursed Skin
Well, what can I say, it's Teitanblood doing that thing that they do. The two tracks on Accursed Skin are (obviously) crushing thrashing black/death; and as much of their previous material, the songs both cross the ten minute mark. Luckily for us, this band seems to always keep their intensity, regardless of the span of time it takes them to get from start to finish.

FFO: Triumvir Foul, Wrathprayer

- DEMO -
Blank Spell is easily one of my favorite contemporary punk bands. I don't think there's a time that I've seen them and haven't had a stupid grin on my face to the point that it hurt by the end of their set. And despite how good their previous output is, this promo for their upcoming LP is their best material yet; it perfectly showcases their twisted amalgam of dark, chaotic mid 80s Italian hardcore punk with dashes of 80s US/UK/Japanese deathrock. The riffs are all memorable, the structures are unpredictable, and the overall atmosphere is haunting.

FFO: Bedboys, Phaidia
Mama mia, this is a spicy meatball™! I remember my friend telling me a while back they were working on a band influenced by Japanese metalpunk, and I hoped that it'd be good. I wasn't let down at all, holy shit; Devil Master surpassed all my expectations. But, that's to be expected when you've got members of Cape Of Bats, Blank Spell, The Drip, etc working together, influenced by some of the best of the best. When this came out, people were comparing it to Zouo, but it really sounds only vaguely like Zouo. A lot more is going on here, which you should honestly just hear for yourself. Devil Master not only has the riffs, but also the presentation needed to pull off something like this. Decibel magazine had a review of this that was a fucking joke (what a shocker), and honestly I don't think I can even give this as good a review as I want. But, trust me, you need this.
This has split tracks. 

FFO: Sex Messiah, 集団自殺 (Syudan Jisatsu*)

The people who brought you Twin Stumps and White Suns are back, and somehow no one seemed to notice. Conduit definitely has the same plodding pace as Twin Stumps' first LP, and has all the abstract guitar work of White Suns; but that's where the similarities end for the most part. In addition to the essential noise rock elements, Conduit integrates some rudimentary electronics into their sound, which, as I'm sure you know, makes for an overwhelming and downright scary listening experience. It's been interesting seeing the rise in this theme explored by noise rock bands, and somehow many (Conduint included) have managed to keep it sounding fresh. 

FFO: Skullflower, Will To Live

I got turned onto this project because it features a member(s?) of now defunct UK hardcore punk band No, and wasn't really sure what to expect when I lisetned. Well, it doesn't sound like No at all; it's like a strange mixture of blackened punk and goth recorded in a cave. For some reason I also get Dreamdecay vibes from some of the guitarwork which is definitely interesting. Nadie's sound is as sombre as it is aggressive, and it's probably something you should just listen to for yourself.

FFO: Raspberry Bulbs, Siekiera

The Bug is back, and more buggy than ever. If you liked their first tape, you'll like this one too, and not just because some of the same songs are on it. Room 44 Sessions a continuation of what the Bug started with their brand of reckless, trainwreck hardcore punk, only they've cranked up their usage of noise and atonality; and have done so without slowing down one bit -- they may have even sped up some. You know what you're getting into with this, and I'm sure it's just what you wanted. 

FFO: Sex Vid, Migraine

Here's one of the few contemporary deathrock projects that integrates industrial into their sound. Admittedly, it could use a little bit of fine-tuning, but Laugh's approach is effective in creating chorus drenched existential dread. None of the tracks reach the 2 minute mark, making each one feel like a microcosmic experiment in evoking fear and discomfort, and fully realized via the disconcertingly muffled vocals. Listen in the dark.
This has split tracks.

FFO: Datsustora, Clair Obscur

This link leads to a review I did earlier this year on FBN, but in summation: Moth Slasher's brand of blown out noise rock dirges and crawls, yet also remains unpredictable, often falling apart into detuning and electronic soundscaping. I can't think of anything in recent memory that sounds quite like this, so get it while it's hot (or maybe it's cold, I don't know dude)

FFO: Happy Flowers, Slices

Oh boy, if you wanted to hear the unholy bastard child of United Mutation and YDI, Only Human is the band for you. The riffs, the unbridled aggression, the somehow not stupid sounding cookie monster's all here. And it's phenomenal. But then again, Only Human features members of No Form, so I'd expect nothing less. Put it on and smash. 

FFO: United Mutation, YDI
How does the idea of psych'd out funky deathrock sound to you? Good? Good. And that's what First Wave Of Death Funk is -- it's good. Product melds the two styles, but leans towards the psych/noise rock side of things, so the gloom takes a back seat to the doom, so to speak. The spacey guitar and powerful rhythm section build an environment, rather than just a backdrop, in which sinister howls thrive -- the culmination of which is hair-raising. Check it out. 

FFO: Dreamdecay, Haldol

Prison Shower Prison Shower
The people over at Yamabushi Recordings really know how to churn out some of the most vile shit. While the most well known project on the label is Sesso Violento (Molestador is for sure one of the best, most memorable blackened punk LPs that I've heard), there are a handful of other projects which the label is home to, one of them being Prison Shower. My first impression was that it reminded me of a project I did a few years back called Nathaniel Wingate Peaslee (named after a Lovecraft character), but I quickly I picked out some 80s Texas noise rock and weirder 00s blackened punk vibes. This thing is punishing; total knuckledragging dirges, complimented with some harsh electronics to top it all off with an extra layer of filth.

FFO: Stick Men With Ray Guns, Norymberga

Oh look, yet another offering from Iron Lung Records that's made it onto my "best of" lists. This particular tape is best listened to alone in the dark, where the pulsing synths and crashing waves of electronics can bring the cliff wall that is your being crumbling down. Life Drag erodes the soul, slowly and methodically, each track stripping a little bit away until there's nothing left. Their exploration of Chrome influenced industrial/psych is both satisfying and gut-wrenchingly bleak. 

FFO: Chrome, Dome

I don't know how this guy can put out such a variety of shit and have all of it be great; he's responsible for Naamahk, Malphas, and now Fuath Vough. The biggest influence is definitely Paysage D'Hiver, especially their releases which are split between elegiac dark ambient and devastating death metal influenced black metal, the main difference here being that Fauth Vough's black metal riffing has slightly punker leanings. Monolith To The Brollachan Priest is fantastic as both a black metal release and an industrial release.
This has split tracks.

FFO: Murmuüre, Paysage D'Hiver

No Care Superiorstrains
Here's a new(er) project from one of the masterminds behind Wojtek, except instead of raw black/death metal punk, it's hardcore punk influenced by some of Japan's finest lofi heroes. And okay, maybe a little hint of raw black metal here and there. It may be straightforward, but what sets Superiorstrains apart from other similar efforts within this specific style, is the fact that rather than falling into the typical pitfalls that come along with worship, it comes off as more of an homage; it is notable due to its own merits, not because "oh man, this sounds just like G-Gas." Does this count as shameless self-promotion since I'm drumming for the band incarnation of this project? Who knows, but check it out.
(P.S. I did the art for this one, and that's shameless self-promotion)

FFO: Gudon, Bone Awl

So, I found out about this band because the guitarist from my old band 1/4 Dead (I doubt anyone remembers), is doing vocals; and the first I heard of them was that they were playing with Die Kreuzen. Both of those things intrigued me -- especially the first since everything Eric touches is wild -- and I gotta say this is one of his best efforts yet. It's total sleazed out rocking metalpunk, with a big emphasis on the sleaze. The opening sample from The Hobbit really sets the tone for how tongue-in-cheek and kickass this whole thing is; plus all the lyrics are about b-horror and old sega games. Do I need to say anything else, or are you sold already?
(P.S. I did the art for this one too, although it's not the final draft since I'm waiting on the band for the logo they want to use; but I needed to put something on here)

FFO: G.I.S.M., Cape Of Bats

The Obscured Desolate Wanderings
This release actually was a submission that I've been meaning to post for a while, but didn't get the chance to, so here it is now. Desolate Wanderings might be one of the most dreary things I've heard this year, everything about it sucks the fun right out of the room and replaces it with hypoxic hopelessness. Goth with an emphasis on atmosphere is harder to pull off since it's not the 80s, so The Obscured are certainly an impressive band in that regard; the best comparisons I can make are -- for the most part -- french bands from the 80s. I'm really glad this made it to the FBN submissions inbox, and I hope to hear more from this band in the near future (hopefully a tour too?).

FFO: Trop Tard, Theatre Of Ice

*not actually a Japanese band, turns out it's a Finnish project featuring members of Selfish and others.

Okay, you know what -- I doubt anyone else would bother posting these, so here's some real shameless self-promotion. I've earned it right? I won't review them since that'd be corny, but here’s my two latest releases from 2016 (both of which still need to be put out in a physical format, whoops):

Bloated Subhumans Commemoration 
This was released coinciding with the 1 year anniversary of my last almost successful suicide attempt, and explores the 4 forms of suicide proposed by Durkheim via repetitive noise rock and electronics.

FFO: Brainbombs, Grim

Commodity Fetishism Manifesto
Commodity Fetishism is a rhythmic industrial project influenced by the works of Marx; Manifesto explores capitalism, sexuality, and the intersection of the two.

FFO: SPK, White Hospital

There you go. Obviously, I encourage you all to support the artists when you can. 2016 is finally coming to an end. I'm done. In the words of the immortal Juntaro:
Fuck compose
Fuck melody
Dedicated to no one
Thanks to no one
Art is over

Until next time,
Joey / FBN