Sunday, 31 August 2014

Interview with Gabe from Symptom and Human Bodies

Interview by Zack Dion

FBN: First off, who are you and what do you do?

Gabe: My name is Gabe. Currently I live in Allston Massachusetts and play in the bands Symptom and Human Bodies. I have been involved with various other failed musical projects in the past.

FBN: What made you want to play music in the first place and what keeps you going when it comes to making music?

Gabe: This might sound stupid but I honestly think it was just genetics. My grandmother was a professional singer. My father played in rock bands when I was younger and now is a touring Celtic guitar player. Pretty much everyone in my family is some kind of a musician- at the very least for recreation. I can't pinpoint a certain reason why I ever picked up a guitar or a microphone or drumstick. It doesn't even feel like it was a conscious decision sometimes, just something I was born to do. Am I cheesy? Yes. Whatever. 
Continuing as a "musician", on the other hand, has taken a level of acceptance that nothing I or anyone does with art really matters that much outside of your own personal gratification. I will always feel like I'm not playing well enough or doing music as often as I'd like to -which is a good motivation to improve and work harder- but at the end of the day, honestly, I just dont know what else I would do with my time here! Thats it really...

FBN: How do feel about the current state of underground music right now?

 Gabe: I Dont really know enough to have any feelings about it. Ive stopped paying attention really. I know the names of bands that are currently hype in the "underground" but am more interested in listening to Judas Priest and Manowar or Taylor Swift's Red album. Either way, trends and trendy bands will always be coming and going, rising to their fullest potential, falling out of fashion and being replaced by something more repugnant and/or nostalgic; especially in a city like Boston where people are coming and going just as quickly. But thats just how it is. Either way, there is so much old music that I am always discovering and rediscovering and it is always enough to keep me excited about making music. The ever-increasing amount of great new music is just so hard to keep up to speed with. I try but I mostly fail.

FBN: What bands stick out to you, and what makes a band stick out to you? What makes a band special in your opinion?

Gabe:  The first band that comes to mind has to be Aspects of War, mainly due to their incredibly tight, violent and engaging live sets. This is what makes them or any other band special in my opinion.

FBN: Are you reading any books at the moment? If so what are they and why are you reading them?  Do you have a favorite book?
Gabe: At the moment I am reading The Stranger by Albert Camus. I picked it up while I was still playing drums for Stranger since the book was our namesake. I had tried reading it before but never finished it. So far I'm enjoying it. Very good personal narrative.
I dont have a favorite book but I have some favorite authors. Ursula K Le Guin is one that has grown with me from the time I was 12 until now. Her material is so abundant and diverse that I am constantly discovering books of unpredictable depth and subject matter the older I she's been able to stay relevant to me as years go by.
In recent years I've also become obsessed with Cormac McCarthy. Such a twisted dude. Human Bodies actually takes our name from a line in The Road!
 Also, HP Lovecraft without a doubt.

FBN: How important do you think touring is for a band? Do you have any tips or advice for a young band looking to tour for the first time?

Gabe: Well, again I will harken back to an earlier response. Realize first that nothing you do is important at all. Then, figure out whatever the fuck it is that you actually WANT to do and just DO it. If you WANT to tour, isn't that enough to make it important? If you are asking me whether I think touring is important in reaching some arbitrary goal of "success" then I dont know what to tell you because to be honest, I have no idea what in the fuck I am actually doing like ever. But if tour life is something that seems fun and romantic to you, just do it. You'll figure it out. But hear me out, its not all roses and perfume so do whatever it takes to make it worthwhile. If its not for you then its not for you. If you find that is I am sorry. Good luck and have fun!

FBN: How do you feel about the current state of America in regards to the many recent accounts of police brutality that have been reported and not reported?

Gabe:  I think what we see happening is the true face of our capitalist imperialist society laid bare. These accounts of police brutality are nothing new and our government has been murdering its own civilians for as far back as you could care to look (ie. Philadelphia fire-bombings of 1985). What is really unnerving though is how boldly militaristic the government is becoming as a reaction to protests these days. The level of militarization in civilian police forces is fucking scary and if it wasn't obvious before, it should be now: we are absolutely, without a doubt, a fucking police state. Wake up!

FBN: Care to talk about the latest (and final) Host LP that came out recently? 
Gabe: Sure. 
The final Host L.P. was recorded last April in two days at Dead Air Studios in Western Massachusetts. As always Will Dandy turned the knobs. Some of the songs are old, some were comprised of riffs I had written that had been floating around since me and Dan started working on the project as teenagers. Most of the songs are new and some were co-written by our other guitarist Casey (now in Death Injection and Youth Funeral- peep it). This was the first and only recording to feature Casey.
The recording sat around for so long because, 2 months after laying it down, we decided to call it quits for a number of reasons. Also, I honestly didn't feel very confident about the recordings at all at the time. Call me neurotic, but I felt like we'd lost most of the rawness we had on our first 7 inch and it bummed me out. It took me a whole year of putting it out of mind to be able to finally revisit it and listen objectively. At that point, I finally gave in and agreed to let Cricket Cemetery put it out. Hydrogen Man hopped on and co-released it. I mean, why the fuck not. Its out now and there's nothing I can do about it. Sorry.

FBN: Kill, marry, or fuck- Country Love, Avril Lavigne, or Meryl Streep?

Gabe: Kill Courtney Love. Marry Avril Lavigne (as soon as we both stop wanting to "mess around" so much). Fuck Meryl Streep.

FBN: Boxers or briefs? 

Gabe: Boxer briefs dude. But if it were one or the other, definitely briefs. C'mon. Youre an adult. Boxers are for kids and make you look silly. If I were heading to bone town with some dude and he took off his pants to reveal some bullshit baggy checkered boxers Id be like HELLLLLL no you ain't no lover. Briefs or boxer briefs. Nothing else.

FBN: Any thing you want to add before the interview ends, any shout outs - anything else?
Gabe: I don't know. I hope I don't sound like an idiot. I'm always afraid I sound like an idiot. But either way. The final Host LP. is out now so act quick and pick it up if you haven’t cuz its super limited and all the money goes to a very good cause.
 Also Human Bodies has a new 6 song cassette EP coming out next month which will fucking destroy you I cant stop listening to it so be on the lookout for that. 
Symptom also has a new song coming out on a 4-way split 7 inch with a few other awesome bands (Neutron Rats, Paradox, No Tomorrow) and are recording for our first 7 inch EP next month and will continue touring all over the place as much as possible so get into that.
And in the meantime check out the Poison Vacuum distro online at:

FBN: Thanks for your time!

Gabe: Thank YOU!

Links to Gabe’s bands are here:
Be sure to check out that Host lp by the way, it rips. 

Swallowing Bile/Magia Nuda - Split C30

'Swallowing Bile/Magia Nuda C30'
Swallowing Bile and Magia Nuda

(Band Submission)

Review by Brayden Bagnall

Genre/s: Harsh Noise, Power Electronics
For Fans Of: The Rita, Deathpile, Macronympha, Slogun,

This nasty piece of work, out via Solar Temple Tapes (check em out HERE), brings prolific New York artist Swallowing Bile and Chicago noiser Magia Nuda together in unholy matrimony. Grimy, static rumble are the name of the game here, and across this C30 you're exposed to all kinds of gnarly low end rumbles and harsh vocal delivery.
Swallowing Bile's side opens the tape with a gradually ascending, treble heavy roar that explodes into harsh static. From there on in, you're treated to rapid fire, venomous vocals layered on top of harsh walls of noise, detailing submission and domination. Gradually it tapers off into quieter atmospheric territory, fading away into a low, industrial hum.
Magia Nuda's side experiments with both static walls and pulsating electronic squeals, tying them together into rudimentary, harsh rhythms. This too is accompanied with severely pissed off, venomous lyrical delivery that plows over the top of the noise for a full on, blunt force sonic assault. While Swallowing Bile's side relies on gradual change, ambiance and a building crescendo - Magia Nuda's side is all about crazed, dynamic bursts of noise. In short, both sides are a different, but entirely satisfying interpretation of violent power electronics.
Both sides of this split are available for download below, and you can head on over to the Solar Temple bandcamp to pick up the tape in physical form.

1. Swallowing Bile Side
2. Magia Nuda Side

Swallowing Bile Side
Magia Nuda Side

Vertigo Index - Posthuman v1.1

'Posthuman v1.1'
Vertigo Index

(Band Submission)

Review by Brayden Bagnall

Genre/s: Grindcore
For Fans Of: Discordance Axis, Noisear, 324, Napalm Death, Cellgraft, Gaza

Any band that names themselves after a Discordance Axis song are okay in my book - and if they happen to sound like them, hell that's even better. But that's not to say Ohio band, Vertigo Index, are mindless clones. Rather the three piece band channel the chaotic, angular grindcore we know and love into an entirely different, yet vaguely familiar beast - even one that recalls the likes of chaotic hardcore in the vein of Gaza or Cult Leader.
Sporting a definite hardcore influence in both musical and vocal delivery that ties in nicely with the usual grindcore stalwarts (i.e blastbeats, guttural vocals and blistering tempos), Posthuman v1.1 certainly shows potential, given that this is the band's first recording.
Wearing your influences on your sleeve is one thing, but having the chops to do that and crank out some original, killer tunes is another, and Vertigo Index do this with flying colours. Head on over to their bandcamp where Posthuman V1.1 is available as a pay-what-you-want download, or hit up the link below.

1. The New Tomorrow
2. No Fate But What We Make
3. Posthuman Decline
4. Mother Boxx
5. Chrono Distorter
6. Head In The Mushroom Clouds



Veuve S.S.

(Band Submission)

Review by Brayden Bagnall

Genre/s: Hardcore
For Fans Of: Vile Gash, Cult Ritual, Nazi Dust, The Men, Hoax, Torch Runner

I was put onto this band by a guy who may or may not be a member (it's hard to tell when all the band members are listed under initials only), and I gotta say, I'm glad I got that email.
Veuve S.S. seem to be embracing all the best things about (mysterious guy) hardcore - the violence, the esotericism and the dark vibes. The French four piece have concocted a gnarly sound that successfully merges the feedback drenched, angular riffage of noisy hardcore, and the chaotic, claustrophobic vibe of dark hardcore. Combine this with some ungodly, crusty vocals and you've got yourself a pretty formidable band.
Veuve S.S. speed back and forth between sludgy, noise rock dirges, powerchord bangers and blastbeat frenzies in the space of one song, and sound damn good doing it. Variation is always welcome, even more so if its coming at you like a nest of angry hornets.
The Visceres EP, along with later splits and releases PLUS a demo are all available on the band's bandcamp for free or purchase in physical form. Additionally, if you're keen to keep up with the band and check out some cool artwork, head on over to their blog HERE and chuck them a follow if you happen to be a tumblr user.



Umor - Held Us Silent For A Moment

'Held Us Silent For A Moment'

(Band Submission)

Review By Brayden Bagnall

Genre/s: Doom Metal, Post Metal
For Fans Of: Earth, Harvey Milk, Joy Division, Isis, Melvins, Suffocate For Fucks Sake

I tried to contain my excitement, but alas it has escaped me, no thanks to the subject of this post - Croatian band, Umor.
...Don't get me wrong, I get great band submissions all the time here, but every once and a while you get albums like Held Us Silent For A Moment that come along and not only exceed your expectations - but beat them to a bloody pulp, feed them into a mulcher and spray their fine, visceral remains all over the place. Thank you Umor.
Held Us Silent... contains most of the ingredients found in many other doom/post metal band formulas - the giant brooding riffs, a dash of melody and nice, clean production  - what sets Umor apartis their flawless vocal delivery. I can draw comparison to both Ian Curtis, AND Glenn Danzig, but this guy really makes it his own, rising and falling with the gigantic, doom-y cascades that serve as the backing to Umor's mournful, atmospheric music. Doom and Post Metal are both genres ridden with hackneyed impostors and boring musicians but Umor put a unique spin on their dirges, and an impressively unique take on the quiet/loud dynamic.
While I'm still picking my jaw out of my lap, maybe you should check Umor out - I'd wager that there's something here for any fan of slow, heavy music - drone, doom, sludge or post metal, and you know what, I reckon the post punk fans could get on this too. Held Us Silent..., as well as a few other releases are available for download - FOR FREE - on their bandcamp, all the more reason to check it out.

1. Stowaway
2. Opportunity To Be Heard
3. Sandstone
4. He Spun A Dozen Times
5. Cotton Rose
6. Vinous Red


No Balls - Come Clean

'Come Clean'
No Balls

Review by Brayden Bagnall

Genre/s: Noise Rock
For Fans Of: Brainbombs, Billy Bao, Pissed Jeans, Twin Stumps, Skullflower

I'll get the formalities out of the way first - No Balls features two members of BRAINBOMBS, and is very much a similar band in terms of churning out absolutely nihilistic noisy garage rock. Where they differ is how apocalyptically loud these two scuzzballs crank out their music. Furthermore, their sparsely worded and barely audible lyrics manages to sound just as trangressive and dirty as any Brainbombs song does.
Each of the 11 tracks on Come Clean tends to stick to a single riff, and as the song progresses more and more layers, in the form of effects, feedback or trumpet are added on top until the thing collapses on itself in grand, orgiastic fashion. It's raw and blown out, but boy does it feel dense, almost like ten tonnes of Stooges riffs being dropped on your head at the same time as being crushed by a skyscraper high stack of amps.
I cannot stress how little the songs on this album care about you or your wellbeing, as their sole purpose seems to be running themselves into ground in the noisiest, most chaotic fashion possible.
If Brainbombs used their lyrics to goad you into an enraged state, No Balls use their instruments.

1. Come Clean
2. Suffering Contest
3. Guilt Blocker
4. Subsequent Needs
5. Greasy Hair And Greasy Mind
6. Lazy
7. Forgetting To Suppress It
8. Another Fucking Hammer
9. A Dull Moment
10. Barely Breathing

11. 1000 Needles


Girls Pissing On Girls Pissing - Eeling

Girls Pissing On Girls Pissing

Review by Brayden Bagnall

Genre/s: No Wave, Post Punk, Experimental
For Fans Of: Kitchen's Floor, Einsturzende Neubauten, Cured Pink, Mars, Rowland S Howard, Throbbing Gristle

Girls Pissing On Girls Pissing (GPOGP from here on in) could very well be the epitome of an unclassifiable band - that is to say genre wise. In terms of 'sound' and 'theme', GPOGP deal in a fairly consistent concoction of unsettling, post-industrial soundscapes mingled with the dying gasps of the No Wave, post punk and something more sinister and erotic. In short, you're looking at nightmarish dirges that certainly recall the hazier areas of the human psyche.
The New Zealand group, operating under something resembling a collective or collaboration piece together 10 haunting tracks comprised of scraping guitars, plodding bass lines and atmospheric synth. At times it's a more introspective listen - offering a calmer, but nonetheless disquieting descent into madness - and at other times it's in your face, with cathartic bursts of pained howls and crashing instruments.
Eeling is certainly an ambiguous listen, especially coming off more clear cut, genre aware post punk/experimental bands - but it's ambiguity goes hand in hand with its disturbing, intriguing songwriting.

1. Eeling
2. Feast of Trumpets
3. 15th Century
4. Fingers Down The Throat of Love
5. Eight of Cups
6. The Dance of Salome
7. The Dowser
8. Migraine Victims and the Cicadas
9. Nine of Swords
10. Garden of Pomegranates


Saturday, 30 August 2014

Ash Pool - Genital Tomb

'Genital Tomb'
Ash Pool

Genre/s: Raw Black Metal, Dark Hardcore
For Fans Of: Prurient, Bone Awl, Devil's Dung, Leviathan, Furdidurke, Craft

To just get this out of the way, Ash Pool is better known as "that black metal band with that guy from Prurient in it" but he's ("he" being Dominick Fernow) pretty much left behind the crispy, ethereal synths that characterized some of his work with Prurient, and traded them in for the grainy as hell, feedback oriented aspects that he messed with a bit in Prurient as well. Ash Pool is a strange mixture of black metal and hardcore. I mean that because on some of the tracks the instrumentation sounds just like classic 80s hardcore at times (aside from the vocals) and other tracks switch into more melody-based black metal pieces. This is some pretty bare bones stuff though despite the melodic parts, it sounds like it was recorded on a cell phone camera and then converted into just audio later on, keeping with the "raw" traditions of, erm, raw black metal. Fernow also hung onto his affinity for the sexual but in a bit more (consistently) perverse way as demonstrated by the album cover and the title of the third track which definitely made for an interesting listen if nothing else.


1. Lascivious Tyranny
2. Demolishing Obsession
3. First Rape
4. Dragged Down the Cobblestones


Friday, 29 August 2014

Droid - Malfunction


Review by Elek Malcolm-Madill

Genre/s: Speed Metal, Thrash Metal
For Fans Of: Voivod, Cauldron, Exciter, Razor, Vektor

Firstly, I'll admit I'm going to see Droid on this coming Tuesday at House of Targ here in Ottawa along with some other awesome Canadian metal bands (Spell, Funeral Circle, and Barrow Wight) and I'm pretty excited- so that's why I'm posting this one at this particular time. Droid play some awesome thrash/speed metal tunes in the style of other Canadian greats such as Voivod and Razor, with a great flair for science-fiction themed songs like Voivod as well. Although unlike Voivod, Droid's discography isn't an insanely daunting task to start working through seeing as this is the only official release they've got thus far. Malfunction is pretty short, but its definitely worth a listen if you're into speed or thrash metal, however I am hoping though that they show off a few new songs when they play live on Tuesday. Droid have got a really classic charm to them, they're pretty straightforward and easy to get into which I found really enjoyable, its also kinda neat that they're from the same province as me- not all that far from where I grew up actually, I'm looking forward to future releases by Droid

1. Subterranean Termites
2. Zenith in Red
3. Voice of Reason
4. Ceres Solution


Cygnus - Heresy of the Stargazer

'Heresy of the Stargazer'

Reviewed by Elek Malcolm-Madill

Genre/s: Doom Metal, Sludge Metal
For Fans Of: High on Fire, Acid Witch, Crowbar, Coffins, Asphyx

I initially expected Cygnus to be some sorta black metal band based around their logo and the album name- the word "Heresy" in particular tipped me off. I was wrong though, Cygnus is definitely a bit influenced by black metal in the aesthetics of their demo tape cover, but what Heresy of the Stargazer turned out to be was some lo-fi, hard-hitting doom metal from Edmonton, Alberta "formed in 2009 with two goals: to smoke weed and play heavy fucking tunes" as stated on their bandcamp page. Black metal aesthetics aside, they play sludge influenced doom somewhat in the style of High on Fire and Acid Witch, but not quite- I had a bit of difficulty admittedly thinking of other bands to compare Cygnus to. Overall, Heresy of the Stargazer has a decent level of variety in it's songs which kept things interesting, and is a good bit of riff-oriented, extremely groovy doom backed by some solid vocals that made for an overall great demo.

Jovian Ice Queen
2. Black Hole Goliath
3. Matter of No Light
4. Heresy of the Stargazer
5. Void
6. Middle Man


Tuesday, 26 August 2014

Arnaut Pavle - Self Titled

'Self Titled'
Arnaut Pavle

Review by Elek Malcolm-Madill

Genre/s: Blackened Punk, Raw Black Metal
For Fans Of: Sump, Rammer, Horna, Toxic Holocaust, Bone Awl, Absolut,

If you threw Horna and Rammer into the machine from "The Fly" Arnaut Pavle are what I imagine would come out on the other side (not Jeff Goldblum, unfortunately/ fortunately depending on what you're into) because holy shit do these Finns know how to shred, I'm really hoping that all we ever see out of them isn't just this demo tape that they released last year. Using thick, grimy riffs reminiscent of Toxic Holocaust's blending of classic punk and thrash metal along with some great vocals that reminded me a lot of David Kristiansen from Rammer to the point where I'm starting to wonder if these guys are huge Rammer fans because it certainly seems that way, Arnaut Pavle have got some great stuff to come for sure if they don't mysteriously vanish into the night after a few demos à la Cauterizer. The bass is also phenomenal all throughout the album, its low humming audible just above the guitars and drums created another great layer ripe for dissection, the drumming as well was excellently- god, the whole damn thing was excellently done, I highly, highly recommend this one.

1. Unorthodox Funeral Procession
2. Drop the Coffin
3. Eat the Soil from This Grave
4. Massgraves Call
5.  Skeletonized by Demon
6.  ...Unless a Man Truly Dies
7.  Answer


Funeral Fog - Discography

Funeral Fog

Review by Elek Malcolm-Madill

Genre/s: Black Metal, Blackened Thrash
For Fans Of: Mütiilation, Mayhem, Vlad Tepes, Darkthrone, Morbid, Akitsa

Funeral Fog sound like they were ripped straight out of the early Norwegian black metal scene among greats like Mayhem and Darkthrone, then planted about ten years after Varg killed Euronymous in Shédiac, New Brunswick, Canada. Like Akitsa, Skagos, Niflheim, and many others, Funeral Fog are another one of the weird gems of black metal that seem to pop up all over the country at different times, and Funeral Fog specialized not in Akitsa's brand of noise-influenced black metal, or the depressive suicidal black metal of Gris- Funeral Fog played a great brand of classically influenced blackened thrash metal and just straight up black metal. They definitely had the classic black metal vibe of Darkthrone and Mayhem in particular down, without sounding like they were just ripping them off shamelessly. Funeral Fog apparently only ever played one live show, in 2002 outside of Moncton, and broke up after eight years, and three official releases in 2007- but they've got a pretty sizable cult following in Canada and elsewhere. Who knows, maybe they'll get back together some day, but until then here's their discography to check out


- Winter Falls over the Northland (2003)
- Under the Black Veil (2003)
- Channelling  Ancient Shadows (2007)


Interview with Frown

 Interview by Elek Malcolm-Madill

"Cemetery Smoke brings forth narcotic Doom" and "Occult Doom of Death" are some of the phrases you'll find on the bandcamp of Brisbane, Australia doom metal band "Frown" to describe themselves, and they're pretty accurate from what I've heard of their music so far. Worshippers of bands like Reverend Bizarre and Saint Vitus, Frown released their demo "Songs of Praise" last year and saw a lot of great feedback on it, my favourite of which came from Nick McKeon of Lizzard Wizzard: "DOOOOOOOOOOOOOOOOOOM-y doom. Seriously serious music played powerful strong"- this is also a pretty accurate description. I recently got the chance to sit down (in front of my computer because I live on the opposite side of the world from him) with Fergus Smith, or "Gus" of Frown to talk about the band's influences, driving ideals, dream collaborations, and their new album which isn't too far away from being released.

FBN: For starters, who are you and what exactly is "Frown" for readers who have never heard of it before

Gus: Frown was conceived out of a need for Doom music in our home town of Brisbane. The band wanted to listen to slow satanic death metal, there was nothing happening locally so we got high, turned down the Reverend Bizarre record on player and went into the rehearsal space. We felt compelled to pay homage to the gods of Doom. What is Frown? Narcotic Doom of Death. Music for mans predecessors made by primitives.

FBN: Occultism, weed, Satan, and death are subjects that have been thrown together under one roof before by bands such as Cough, Bongripper, Belzabong, and most famously Electric Wizard. In what ways do you think Frown is similar to and different from these bands? How do you bring your own personal touch to the sludge/psychadelic/stoner/doom/whatever genres? Or do you think that Frown supersedes the constrictions of one or more genre label? 

Gus: We believe in the importance of the subject matter that we project forward be of a heavy nature.  All the topics you mentioned have always interested me.  I would study them regardless if I was playing in this band or living in Antarctica.  There is a certain majick that is created when mixing supernatural themes with heavy music.This feeling has intoxicated me for a long time.  To put it simply some things go great together. Tomato and basil, strawberries and cream.  Slow heavy psychedelic riffs and satanism.We wear our influences on our sleeves and are proud to be spiritual flag bearers of doom. Our mixture of influences gives us a unique twist on things.  We draw power from the underground heavy metal scene, crust and psychedelic movement.  We just let it brew and see what naturally comes to the surface.  It's always an interesting mix of an audience at a Frown show.

FBN: Usually when people think of the psychedelic stoner metal that makes up some of the inspiration/composition for/of your music the first things that obviously come to mind are British and American titans such as Black Sabbath, Sleep, Electric Wizard, Saint Vitus, Deep Purple, etc. Do you think being Australian ties into your image or music and sets you aside from these bands whatsoever? In terms of relation to subjects such as history, culture, or identity?

Gus: Australia has always had a rich history of producing hard hitting bands.  There's something special about feeling isolated and removed from the larger scenes of the world. It inspires you to go pick up a instrument and make that you want to hear because you will never get a chance to see your favourite band play live.  Like if you really wanted to see St Vitus play White Stallions you do the next best thing and grab your mates and attempt to play the song over and over again in your garage until the cops start banging on the door.

FBN: So I hear you have a new album coming out soon titled "The Greatest Gift to Give". Is the album going to expand on what you were doing with your first album "Songs of Praise" or are you taking a different approach to this album than the last, or will you be doing a little of both? All in all tell us as much about the album as you're willing to.

Gus: We recorded The Greatest Gift To Give six months after we recorded the demo. Through those six months we played a lot of shows so we got a chance to gauge what the audience was digging and what they weren't. After seeing what parts they were liking and what parts they found confusing and disorientating we wrote an entire album of disorientating and confusing riffs. There is a lot more riffing on this album then we expected. I think we found a nasty balance of what we do well.  It tells dark tales of fantasy.  There is an under current of deep psychedelic sounds smothered in a black tar of doom. We hope it intoxicates, scares and haunts anyone who listens to it.

FBN: What sort of gear do you use while performing live and in the studio?

Gus: We record 100% live so what you get on record is what you will get live.  Our first two offerings where recorded with two guitars and no bass.  We found our guitar sound was so bass heavy at that we didn't need a bass player.  We try to make the sound of a volcano with our guitars.  You have the bassy earth shaking rumble as the tectonic plates begin to grind together, the mids are clouds of lung choking volcanic ash and the treble is skin melting larva. We have however recently added a bass player to the band which has only made our sound more gruesome.  We were bass heavy before now we shake half the bottles off the bar before the end of our first song

FBN: What would be your dream musician or band, alive or dead, broken up or together to collaborate with? Or possibly artist you'd love to have create an original album cover for you?

Gus: I would have to go for digging up the corpse of a dead musician and resurrecting them to create music with me.  I think a very creative and interesting musician who is no longer in this realm is Kris Angylus from The Angelic Process.  I would love to incorporate his use of synths and fucked up noise into my own music.  He had an amazing ability to weave beautiful melody into the most distorted confronting music. A very inspiring musician his unique music will be missed.

FBN: To return to something you said earlier, what Reverend Bizarre record (or records) in particular were played during your recording process? Was there a most played song or songs on it/them?

Gus: I worship all the Reverend Bizarre albums. Amazingly pure doom played with great skill and intelligence.  For me personally I gather huge inspiration from two of there songs in particluar.  I can never quite describe the feeling I get from these songs.  Its as if the dark of my house becomes darker and the candles shine brighter when these songs are spun.  The mood they create is amazing deeply haunting and enchanted in dark Majick.  The first is Cirith Ungol off In The Rectory of The Bizarre Reverend.  Such a trip of a song, from the war drums of doom in the intro to the epic organ soaked outro this song makes my hair stand up on end.  The Tolkien based lyrics are also really amazing, suiting the music perfectly.  The other song is The Festival.  The mood of this song gets me everytime.  Albert's vox on this one is particularly special sounding like a deranged opera singer with taste for blood.  It chills my soul every time I hear it and inspires me to pick up the guitar and play music.

FBN: What other records were or are the most important to the development of Frown's music?

Gus:  I'll keep this one short and sweet as you could imagine there is vast array of music that influenced all of us.  I'll give you three records that have played an important role in my song writing for Frown.

Vomitor - Devils Poison
Saint Vitus - Mournful Cries
Celtic Frost - To Mega Therion

FBN: What sort of reactions or possibly recognition have you received on your music from your local music scene in Brisbane? For someone such as myself (and others who are unfamiliar with it), what sort of bands typically dominate the music scene there and what would be considered more "underground"? Also, on the topic of local music, what are some of your favourite bands from your area, actively still making music or inactive, old or new?

Gus:  Overall we've been well received by the different scenes in Brisbane.  We come from the underground metal scene and will always stay loyal and true to this.  We have generated curiosity from some different scenes also.  In particular the crust scene in Brisbane.  I think they can relate to our sound and DIY attitude.  Always very fun shows to play.  We are definitely a change of pace at those shows...... Underground bands in Brisbane??  We are lucky or unlucky enough to call all these guys mates of ours but they have definetly influenced the band in one way or another.  Portal, Impetous Ritual, Mongrels Cross, Grave Upheaval, Vomitor, Consumatation, Last Chaos, Zodiac, Sick People, Black Diety..... The list goes on.  Orginally I started this band with one of the members of Portal and Impetous Ritual.  It would have been a different beast had he remained in the band.

FBN: Sounds good to me, I think that about wraps up everything I can think of asking you- anything else you'd like to get in before we end this?

 Gus: Thanks heaps for doing the interview!!!! I love reading interviews myself so it was cool doing it!!

FBN: No problem, thanks to you too man!

The Greatest Gift To Give is going to be available on Frown's bancamp on September 27th, it's also being released on 12" vinyl by At War With False Noise and you can grab a copy of it on the same date as well- be sure to either mark that date down somewhere, or head over to their bandcamp to check out Songs of Praise if you haven't already.

KDC - The Veracity Of Solitude

'The Veracity Of Solitude'

Genre/s: Hardcore
For Fans Of: Dangers, Moxiebeat, Griever, Lewd Acts

Songwriting, in my humble opinion, will always trump technicality. I'd rather sink my teeth into a meaty riff then hear a twenty scales layered on top of each other and played at light speed. It does however take a certain level of skill to blend both aspects to create technically proficient music, that embraces the hook, structure and melody and turns it into something memorable. This lengthy introductory paragraph does actually have a point, because KDC are one such band who demonstrate this ability with their beefy, emotional brand of modern hardcore.
Veracity Of Solitude's 11 tracks encompass a wide array of influences, with a very heavy metallic slant. The guitar work at times is very reminiscent of early 2000s metalcore, with it's dissonant and erratic riffing and occasional thrashy breakout, while at others it recalls more recent emotional hardcore bands (*cough* Deathwish roster *cough*). Vocally, KDC employ both an emotive and a hoarse, bellow (from two different vocalists, mind you), that interplay with each other and the music very nicely. Together, it forms a band who know that kids want to mosh to massive, chugging riffs and then regain their composure to some slightly more subdued (but just as emotionally sincere) music.
So to tie into my lengthy, opening ramble - KDC do indeed fuse impressive musical skill with the sort of songwriting that makes you tap your foot and/or mouth the words. This, and they manage to sound unreasonably pissed off while doing so, but balance it out with slightly deeper, not-unreasonably pissed off emotions.
Is this sounding like a well rounded hardcore record to you? Yes? Cool, go listen to it at the link below.

1. rutwaltz
2. snowcripple
3. condado
4. 23to28
5. ft.carson
6. echopark
7. leadpoison
8. trujillo
9. neverface
10. pinkeye
11. endead
12. astray


Monday, 25 August 2014

Nassau - N A S S A U

'N A S S A U'

Review by Elek Malcolm-Madill

Genre/s: Psychedelic, Drone
For Fans Of: Pelican, Om, Earth, Zaum, Zoroaster

Nassau's album cover shown here tied with the self-descriptive phrase "minimalist drone" was largely deceiving based on what I expected- which was something along the lines of a Sunn O)))-worshiping, colossus of an album. Instead, what you get out of Nassau are some heavy, instrumental tracks based moreso around tasty, psychedelic riffs that don't feel too Sabbathy and dont get into the "BWAAAAAAA" aspects of Sunn's brand of drone whatsoever. The tracks move along at a great pace, slow but not insanely so as the low, tangy strings are complimented greatly by higher pitched tambourines and drumming. The album overall works well as a whole because of Nassau's use of variety- sure the overall concept and tone is the same but its interesting to see what kind of images and feelings that Nassau creates with different riffs and amount of reverb, layers of instrumentation, and electronica-esque manipulation at times. If you're into albums such as Earth's Thrones ad Dominions then I definitely recommend checking this one out, although don't expect the same riff repeating over and over and over again by any means like on T&D.

1. Cyclope
2. Nation
3. Royaume
4. 1
5. 2
6. Brouillard
7. Lovefingers
8. Royaume (reprise)

Wednesday, 20 August 2014

Sonic Kool-Aid Crash Test - Accident 1

'Accident 1'
Sonic Kool-Aid Crash Test

Genre/s: Noise Rock
For Fans Of: Flipper, Big Black, Pissed Jeans,

Sonic Kool-Aid Crash Test are basically the musical equivalent of delirium.
 Yes - It could very well be the fact this head cold is making my brain feel like it's submerged in two litres of mucus, but SKACT truly do create some of the most dissolute, emotionally sparse music this side of a certain bass heavy, 70s punk band that played really slow.
Featuring two members (from the likes of 1/4 Dead and Going Nowhere - two bands I reviewed on here previously), SKACT utilise the bare essentials (bass, guitar, drum machine), drown it in delay/reverb and self-induced misery to create 6 strung-out, drugged-up dirges.
Accident 1's 6 tracks build off sludgy, repetitive bass riffs that intertwine with the (surprisingly clean toned) guitar. While the guitar does follow the bass in parts, it's mostly concerned with wandering away from the path and leaving a tangled mass of angular, sloppy 'solos' in its wake - imagine a much more depressed and inebrieated Greg Ginn and you'll have a rough idea of what I'm talking about. All this takes place with pained moaning, yelling and mumbling over the top - slowly narrating your journey into 12 Step Hell.
 Don't let that offensively bright album cover fool you, this is as bleak and un-colorful as it comes. If you're into downer music at all (and if you're on this blog, you probably are), drag that cursor down to the bandcamp link, stick that needle in your arm and press play.

1. Escapist
2. Hide Not Find
3. I Act, I Fail
4. Dead Eyes
5. I Never Asked
6. I'm Not Gonna Try


Tuesday, 19 August 2014

Interview with Territory

Interview by Brayden Bagnall

I make no secret for my love of Arizona's ridiculously good music scene - whether it's punk, noise or hardcore - there seems to be a never ending stream of above-par bands trickling out of that state. Territory are no exception. Their facebook page describes them as a ' Dark Mo$h/Black Pit' band - which oddly enough, is relatively close to being an adequate description. On their latest 7", Blowback (out via Crown And Throne ), Territory bring the, uh, black pit - recalling the metal/hardcore acts of the 90s and lending it a much darker, sinister vibe. I had a chat recently with ringleader Sam Abate about Territory, their influences and their new record.

FBN: Hi there! Who are you, what do you do and what's the name of your band?
Sam: My name is Sam and I sing in Territory

FBN: Can you tell us a bit about how Territory came to be a band?
Sam: Ryan (guitar player) and I started Territory in like January of 2010, our original intention was to just start a band that sounded like Negative Approach and 86 Mentality.  I was playing drums and we were jamming as 2 piece.  The stuff we naturally wrote ended up being quite a bit heavier so we said fuck it and just ran with a more metal sound.  We wrote a 4 song demo and we recorded it with me doing drums and vocals and Ryan doing bass and guitar.  It took longer than we had hoped to find some decent musicians, but luckily we found some dawgs that were down.  Matt plays drums and Sean plays bass.  We started playing live in the summer of 2010 and here we are in 2014 with all our wealth and fame.

FBN: What would you say are the biggest influences, musically, on Territory's sound?
Sam: Ringworm, Sepultura, Craft, Merauder, Kickback, Buried Alive, Godflesh - a bunch of cool shit.

FBN: And how about thematically? What inspires the lyrics behind the music?
Sam: Mostly armed struggle, although lyrically the themes and ideas are often more complex than that, but I guess the initial theme is about seeking and exacting justice/revenge from the individuals who destroy this planet and create death and misery for its people.  A few songs focus more on personal themes, but mostly we make violent music with violent lyrics for a violent world.

FBN:  Can you tell us about the the recording process behind your latest 7"?
Sam: Our guitar player Ryan Bram runs a studio called Homewrecker Studios, and we initially recorded these songs just to be a demo.  For a myriad of reasons it took like 5 months to actually finish the recordings.  We were gonna just use it as a demo to show some labels, but we liked the songs and quality enough that we thought, fuck it, let’s release it.  We were lucky to have our buddy Garth show a lot of interest and this summer he released it on his label,  Crown And Throne LTD out of Denver, CO.

FBN: What's the local scene in Arizona like for you guys? I know there's quite a few punk and hardcore bands, but how does your brand of dark, metallic hardcore go down with the masses?
Sam: Eh, we do alright, I think we are more of a “band’s band,” haha.  Territory is not an easy band to digest , we like the music we play so I’m happy if anyone digs what we do.  We mix a lot of styles of heavy music so we are the odd band out a lot of times, too metal, too hardcore, whatever.  Arizona has some really rad bands doing cool shit right now though; I implore anyone reading this to check out Sex Prisoner, The Beautiful Ones, North, TOAD, Gatecreeper, and Seas Will Rise.

FBN: Would you say there's a higher tolerance for metal/hardcore crossovers nowadays?
Sam: Absolutely, I mean I don’t really worry about that kind of shit, but I definitely feel like a lot of newer bands are more prone to blending metal and hardcore and people are definitely digging a lot of these bands.

FBN: The whole 'what are the top 3 albums you'd want to have with on on a desert island' question is a bit old. In lieu of this, what are the top 3 albums you'd like to toss into a  fireplace?
Sam:  like this question, but I seriously don’t waste time on records that I think suck, so I had a hard time thinking of records outside of like a Nickelback record or some bullshit.
So I chose three records that I think are great, but that are not well liked by fans of these bands
Cro Mags - Alpha & Omega, Carcass - Swansong, Life Of Agony - Ugly.  I think all three of those records are awesome.

FBN: What's planned for the rest of 2014 for Territory - any shows, tours, writing or recording?
Sam: A couple shows here and there, but mostly writing.  We are 5 or songs into writing our next LP, we are putting most of our focus on writing and recording a killer record by the end of 2014.  A few of us started new jobs so touring is difficult for the moment,  but I’m hoping in the spring we can do a little touring.

FBN: Lastly, any final words of wisdom, thanks or shout outs you wish to impart with the web?
Sam: Umm, get the new Old Wounds record, those are our homies.  Our drummer and bass player are in a new band called Gatecreeper, check that out.  If you are in a band on the West Coast come record in Tucson with Ryan at Homewrecker Studios.  Thanks for the interview!

And a great big old thanks to Sam for the interview. For those of you keen to hear the new 7", head over to the Crown And Throne bandcamp HERE, where you can stream and/or purchase it. Head over to Territory's bandcamp HERE, where there's quite a few releases available for download.
Finally, Territory have scored a place on A389's annual mixtape (!!!) which you can have a geez at HERE

Coffin Birth - Necrotic Liquefaction

'Necrotic Liquefaction' 
Coffin Birth

(Band Submission)

Genre/s: Grindcore
For Fans Of: Insect Warfare, Excruciating Terror, Phobia, Internal Rot, Headless Death, Wormrot

Coffin Birth are a grind trio hailing from my hometown of Brisbane, Australia. I'd actually been blasting Necrotic Liquefaction a fair bit prior to receiving the submission from the band, which was cool - and let me  tell you, this thing does not let up. Clocking in under 10 minutes, with 9 tracks - this is the concise, brutal nailgun grind that Insect Warfare before their untimely demise took them away from us. The usual guttural low/throaty high vocal interchange is at play here, along with insanely catchy riffage, pummeling tremolos and deliciously concise drums. This release hits the ideal spot between intense noisy barrages and slamming passages that'll have you tearing through crowds of innocent bystanders  for sure.
Coffin Birth are definitely a band to keep your eye on, especially if you happen to live in Australia. One of Brisbane's most exciting (and decidedly louder) additions to the musical scene.

1. Mushroom Cloud
2. Pixelated Beyond Recognition
3. Stagnant Stench
4. Diplomatic Immunity
5. 101 Steps to Avoid Becoming a Martyr
6. Cousin Kissers
7. Guilt Ridden Erosion
8. The Ripping And The Tearing
9. Avian Anthrax Terror Attack


Sunday, 17 August 2014

Interview with Trenchrot

Interview by Elek Malcolm-Madill

If I were to show you Trenchrot and you had zero prior knowledge of them, you'd probably think that they were some amazing, somehow overlooked band from the 1980s who could've held their own with the greats of the day. I could probably convince you of that if you didn't have an internet connection and couldn't just look them up, but you're reading this so I assume you do- the truth is stranger altogether though. The band's debut LP was released just this year, in 2014, but feels so classic and well done that they've been turning lots of heads in their hometown of Philadelphia and beyond. They've yet to perform live, but as Brooks, one of the guitarists for the band once said: "There are no band promo photos because it wouldn’t suit our purpose, and we haven’t played live so there aren’t any action shots. The artwork really communicates all we have to say visually." So feast your eyes at the art above and the interview below to get a feel for what Trenchrot is all about.

FBN: To start with then who are you and what is "Trenchrot"?

Steve: I'm Steve, the vocalist/one of the guitarists. Trenchrot is an old school death metal band that was started by a few friends for fun in order to make music that is more or less an ode to all of the old death metal masters that we all have been listening to for a long time at this point.

FBN:  How did you all meet and start playing together, and how long have you all been playing together as Trenchrot? 

Steve: Brooks (guitars) and I have been playing music together for years now. We were having a few beers on the porch one day and started kicking around the idea of starting an old school death metal band at some point. A few weeks later, Justin (drums) made a post on saying that he was a drummer looking to play in a death metal band. That could have meant anything, really, but Brooks hit him up and he had all of the same influences and definitely knew his stuff. We all got together on my birthday (June 24th) of 2012 and started tossing around some riffs and thought that it had some potential. Steve Gephtik jumped in on bass a few months later. He's been a close friend of Brooks's for many years now. 

FBN: What's the metal, or music scene in Philadelphia in general like?

Steve: The Philly metal/punk scene is pretty strong, I would say. There are typically multiple shows a week with a lot of bands of varying styles on the bill which is great. 

FBN: Any shout outs or recommendations you'd like to give to any local punk/metal bands around Philly?

Steve: Pissgrave, Plague Dogs, Death Orbit and of course Vektor!

FBN: What would you say the top three classic death metal bands that had the largest impact on your own music would be? 

Steve: I can say for a fact that Asphyx and Bolt Thrower were the bands that ended up being used as the main template for what we do in Trenchrot. As for a third band, it's tough to really say. Obituary, maybe? We definitely are inspired more by the old Eurppean bands but that's not to say that we don't listen to Morbid Angel an Autopsy just as much.

FBN: Speaking of European bands, I read a review once of Necronomic Warfare that said: "When you first hear this CD, you will immediately notice the fusion of American and traditional Swedish death metal sounds." Do you think that's accurate? Is that what you're trying to do or are you trying to make Trenchrot draw from classics and become it's own thing other than being a fusion of those two groups in particular?

Steve: I would say that is pretty accurate, yeah. I don't think that it was a real conscious decision to sort of gel the two styles as it just sort of happened naturally. We are big death metal fans and we just simply did the things we liked and I think imay have resulted in a little bit of a crossover which is fine. The goal was to just make a solid old school death metal record. Nothing more and nothing less.

FBN: I read in another interview with you that you haven't played live yet, do you have any plans to in or around Philadelphia anytime soon? 

Steve: It's been a super busy year with other projects. Brooks and I are currently in the process of recording our epic doom band, Crypt Sermon's LP which will be coming out on Dark Descent probably early next year. That being said, I have brought up maybe doing some live shows next year. Right now we are currently booked until the end of 2014.

FBN: I've seen a few fans on your facebook page and elsewhere anxious to snag a copy of Necronomic Warfare on vinyl, how close would you say they are to this being possible? 

Steve: Man, I wish I knew a date as it's been a long time coming! We just received the test presses a few weeks ago, so it's right around the corner. They sound killer!

 FBN: On that note, do you currently have anything else in the works that you could let me and the people reading this in on? 

Steve: As mentioned above, Brooks and I have a doom band called Crypt Sermon. If you are a fan of Candlemass and Solitude Aeturnus then you may like us: We also have a grindcore band called Unrest whom have a full length coming out late this year on Unspeakable Axe as well. Our demos are currently offline, but keep an eye out at I am also in a speed/thrash metal band called Infiltrator which I do guitars and vocals for. The demo online is sort of a Motorcharged Venom with a ton of guitar solos: More stuff is in the works but nothing to speak of at this time.

FBN: With a name like "Trenchrot" and tracks like "Gustav Gun" and "Mad Dogs of War" you've got me curious, are any of you guys into history? Is this where you draw the inspiration for your image and lyrics from, aside from the inspirations from classic death metal bands like you mentioned before, if not where do you find your inspiration for these things from?

Steve: A few of us are definitely into history, yes. I wouldn't say that it was the reason that we decided to write about war from the beginning, though. We just thought it was a cool topic to write death metal songs about and it was definitely and idea taken from the bands mentioned above. That being said, the two songs that you mentioned are definitely based on actual historical events, so I guess it's 50/50. 

FBN: If you could collaborate with any musicians/bands alive and dead who would be the choice for the alive category and who would be the choice for the dead category? 

Steve: Man, that is a loaded question! For the alive category I'll just go with some friends of mine whom just don't have the time at the moment, but maybe one day. That is Matt Johnsen (guitarist of us power metal band Pharaoh) and Dave DiSanto of Vektor. Both are killer guitar players/ songwriters and I think I could learn a lot from them. There are so many deceased musicians who aren't even necessarily metal that I would love to jam/work with. However, I have to say that the idea of playing and having Dio as the vocalist is fucking awesome.  

FBN: On a similar note, is there anyone in particular you'd love to have do some album artwork for you? Possibly famous names in metal album art like Ed Repka? On that note, who did the artwork for the cover of Necronomic Warfare?

Steve: Brooks has done all of the artwork for Trenchrot so far and I don't see that changing. We are totally happy and fine with this as his work is killer. However, if his hands and arms got blown off or crushed by a tank, I think we would look to Axel Hermann, Dan Seagrave or Paolo Girardi.  Mark Riddick would also be cool!

FBN: Good picks all! I like the figure with the pickelhaube and luger you've got appearing on most, if not all of your releases by the way- another good classics throwback to figures like Eddie from Iron Maiden, Vic Rattlehead from Megadeth, etc. Any chance he's got a name/title/whatever and will he be sticking around on future album covers and releases? Whose idea was it to put include him and was he inspired by the figures I mentioned before?

Steve: Well, if memory serves me correctly we were all over at Brooks's apartment drinking beer one night and he showed us the latest drawing that he had been working on which was a picture of the fellow mentioned. Being huge fans of classic heavy meta like you mentionedl, we all collectively agreed that it might be a cool to idea to include him in all of the art as a mascot. I think it was me who started calling him General Gutlust and the name just sort of stuck. That being said, I think it's safe to say that General Gutlust is here to stay and will be included on all of our future releases.

FBN: Sounds good to me, its about time metal had a cool new mascot- other than that I think that wraps up everything I wanted to get in- any last shout outs, thanks yous, or anything else you'd like to get in?

 Steve: Thank you for the interest and the interview, Elek! We also want to thank all of the rotten death metal freaks out there for all of the support you have given to Trenchrot as we never though that it would get even get this far. Thanks a ton!

FBN: Not a problem man! Thanks for your time and all the best!

For all the "rotten death metal freaks" unaware of Trenchrot prior to this interview, head over to their bandcamp page and grab a copy of the album, definitely one of the best releases of 2014- I think they've still got a few shirts, cds, and patches hanging around too so grab them while they're still there!

Saturday, 16 August 2014

Nurse with Wound - Main Discography

'Main Discography'
Nurse With Wound

Review by Elek Malcolm-Madill

Genre/s: Industrial, Drone, Dark Ambient, Noise
For Fans Of: Throbbing Gristle, Current 93, Coil, Boyd Rice, Sunn O))), Whitehouse, u n s e e n f o r c e

In the mood for something classic? Whether you're new to Nurse with Wound or you've been a fan for ages, their music is definitely worth checking out, or re-visiting from time to time. Formed in England, 1978 by Steven Stapleton, John Fothergill and Heman Pathak, Nurse with Wound would eventually become a one-man band led be Stapleton (pictured). His music delves into a bit of everything if you look hard enough, the majority of Nurse with Wound however is pretty broody, dark, and seemingly self-loathing material that uses layers of everything from extreme to minimal electronic noise, drumming, and voice sampling. Nurse with Wound can be extremely jarring and hard to get through, but its usually pretty relaxing in my opinion; Stapleton himself once famously put on a "sleep concert" where audience members were given a bed, a blanket, and asked to sleep throughout the concert as much as they wanted while Stapleton "performed his dark ambient music live throughout the night manipulating and re-animating his own Nurse with Wounds records to colour and shape dreams in an avant - DJ somniloquy... accompanied by large film projections to enhance the experience". He's worked with some huge names over the years like David Tibet from Current 93, Stephen O'Malley and Greg Anderson from Sunn O))), Tony Wakeford from Sol Invictus/Death in June, and many others, but I've decided to stick to his main, non-collaborative releases for this post.There's a lot of material in this download- over fifteen hours in total, so to help get you started if you're completely new to Nurse with Wound I recommend referring to this pretty helpful (and accurate) flowchart that someone made.

- Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella
- To the Quiet Men from a Tiny Girl
- Merzbild Schwet
- Insect and Individual Silenced
- Homotopy to Marie
- The Sylvie and Babs Hi-Fi Companion
- Spiral Insana
- Alas the Madonna Does Not Function
- Soliloquy for Lilith
- A Sucked Orange
- Thunder Perfect Mind
- Crumb Duck
- Simple Headphone Mind
- Shipwreck Radio Volume One
- Shipwreck Radio Volume Two


Grandmother - Self Titled

'Self Titled'

Review by Elek Malcolm-Madill

Genre/s: Sludge Metal, Drone Metal
For Fans Of: Bolt Thrower, Naught, Man is the Bastard, Keeper, Zoroaster

If you're looking for some connections to cookies, doilies, canes, and white hair then you'll be sadly disappointed by this grandmother- however if you listen to it loud enough you might have white hair yourself by the time its over. Imagine Bolt Thrower only five times louder, and slowed down by about 50-75% and you've got a rough idea of what Perth, Australia band "Grandmother" sound like on their self titled EP. They've also got a strange Man is the Bastard vibe going for themselves too, and are obviously influenced by them seeing as band's name is one of the tags for the album- but again, imagine "Skull Crusher" slowed down by a lot and you'll be able to see the influence. Most of Grandmother's music revolves around slow, methodical riffs with the bass and reverb turned waaaay up and howled Karl Willets-esque vocals that made for an overall great EP.

1. White Tent
2. Red Tent
3. Black Tent


Friday, 15 August 2014

Disgust - Time Ruins Everything

'Time Ruins Everything'

Review by Brayden Bagnall

Genre: Power Electronics, Harsh Noise
For Fans Of: Koufar, Dead Boomers, Breathing Problem, Constrictions

Disgust is one of many projects from Mr. Mackenzie Chami, who you may know from other noise projects such as Koufar, Crown Of Cerberus, Insurgent and Bachir Gemayel. The project features (or featured? There hasn't been a Disgust release since 2011) quite a few different noise peeps on and off, and on 'Time Ruins Everything' (which may I mention was released as a 3" mini CD), Chami is accompanied by a Mr. Thor. J.
Much like Koufar, Disgust features heavily distorted, and extremely harsh vocals, masterfully manipulated with delay and brought to chaotic crescendos - but wrangled in before they collapse in on themselves. These vocals are backed with GIGANTIC, crumbling synth pulses and samples that have all the fancy trappings of
a 'rythym' but preserve the core principles of noise music by being completly and apologetically hostile and atonal. And, as an added bonus there's a pretty good Weekend Nachos cover, which is a vast improvement on the original if you ask me.

1. Disgust
2. Fueled By Self Hate/If I Could
3. Epiphany
4. God
5. Unforgivable (Weekend Nachos)


United Mutation - Discography

United Mutation
1982 - 1986

Review by Brayden Bagnall

Genre/s: Hardcore, Punk
For Fans Of: No Trend, Mecht Mensch, G.I.S.M, Tar Babies, Charles Bronson

DC will forever be synonymous with the likes of Minor Threat and Bad Brains, and yeah, they're important - but neither of them possessed half the amount of creativity, ferocity and downright disregard for the punk rule book as United Mutation.
United Mutation, much like fellow DC weirdos Void, carved out a niche in their musical scene fairly on - mostly due to vocalist Mike Brown's rough, manic and decidedly unique vocal style. Basically shredding his vocal chords in a manner that can only be described as 'crust punk before crust punk was a thing', Brown surely influenced an entire generation of shower-phobic black clad scuzzballs with his hoarse bellow.
United Mutations music ranged from straight up punk power chord attacks eventually evolving into more experimental and drawn out tracks (SAXOPHONES) - somewhat akin to No Trend's earlier work - all of which displayed their unrelenting aggression and overwhelmingly weird approach to hardcore punk.
Mostly overlooked in their time as band, the band called it quits in 1986. More than likely they were a victim of their odd music - but hey, all the best bands are. Nevertheless here's their discography, and now you can enjoy a slice of DC's oddball hardcore history - everyone knows posthumous band appreciation scores you more cool points.

1. It's Over
2. You Send Me
3. Wake Up
4. Sons Of Sunoco
5. Tear Down
6. Out Of Hand
7. DC Screws The World
8. Oh No
9. Lice, Flies And Vermin
10. White Boy
11. Combat Boots
12. Happy Daze
13. So Morose
14. Fugitive Family
15. Plain Truth
16. Final Solution
17. Passout
18. I Know A Place
19. Lice And Flies
20. Infinite Regression
21. Infinite Regression
22. Fat Louie
23. Take Your Pick
24. Zone
25. Manna
26. Sensations Fix


Thursday, 14 August 2014

Keeper - MMXIV


Review by Elek Malcolm-Madill

(Band Submission)

Genre/s: Funeral Doom, Sludge Metal

For Fans Of: Dragged Into Sunlight, Acid Witch, Drug Problem, Conan, Mountain Dragger

While typing in the "for fans of" section of this review I realized that the term "drag" popped up a couple of times, which is ironic because MMXIV by California band "Keeper" creates the sensation of being slowly dragged through black and abysmal waves of insanely heavy riffs that rival Conan themselves- you thought I was going to say that MMXIV IS a drag to listen to didn't you? It's pretty much the opposite actually, MMXIV is a bone-crushing, blood-drinking, ear-splitting monster of an album that again, drags you along through a landscape of slow and faded riffs sounding like they're coming from an even louder source somewhere far in the distance, while crashing drums and broken glass gargling, and somewhat Gaahl-esque vocals tie everything together into one beast of an album. The album goes on for almost an hour until the last track withers away calmly, quietly, and somewhat unexpectedly- leaving only a silence that left me with a craving for more.

1. Hours. Pt. 1
2. As It Needs To Be...
3. Perception/Prescription
4. Admittance
5. All It Needs To Be... Pt. 2&3


Tuesday, 12 August 2014

Veldes - Skyward


Review by Elek Malcolm-Madill

Genre/s: Symphonic Black Metal, Atmospheric Black Metal
For Fans Of: Drudkh, Dodheimsgard, Niflheim, Gris, Summoning

Skyward creeps in softly and pleasantly to start with as mellow, piano segments reminiscent of Burzum's Hlidskjalf make up the entirety of the titular opening track, but it doesn't last long by any means- not completely anyway. Veldes, a symphonic/atmospheric black metal band from Slovenia play some pretty tastefully done tunes for a subgenre dominated by cliches and over-production, especially in symphonic black metal, and I'm glad to see some new life breathed into it (I use the term "life" very loosely for the subject matter here). The piano aspects are toned down a lot after the first track but remain in the background of "Woe Eater", beautifully clashing slow melodies with fast, disorganized strings and blast beats. Done almost completely by one person, Tilen Šimon- with respects to Rok Rupnik on guest vocals and mastering/mixing by Žan Grinton, Veldes is a pretty impressive one-person effort. With his influences seemingly coming from classical music, early symphonic black metal bands like Emperor and Carpathian Forest, and even a bit of Drudkh from what I can sense when I listen to it- all of which are blended together into his own style, not just an imitation, Šimon seems to have a promising future ahead of him in music

1. Skyward
2. Woe Eater
3. Of Rain and Moss
4. Gone