When putting on this record, I did like most and started flicking through the lyrics. Born For Slaughter from Skopje/Struga (Macedonia) are poetic and reflective in their views of the world. With that they also have great contrast and variance in their sound. Going since 2011 they have done two European tours, a split LP with Silence Means Death and now this superb split 7′ with Myteri. On this, they open with the song “Prison’s Abyss” which is a complex song consisting of many different and connected changes. There is a twitchiness, perhaps a dark unease that resonates from every note. Their next song “Dead Life” is threatening and has an unrelenting tension that is just ready to burst. But still multiplex in it’s arrangement. You could label them crust, as clearly that is there. But there is so much going on musically it makes them very authentic and not just doing the excepted conventional.
Born For Slaughter and Myteri have gigged together in the past, which eventually brought about the idea for sharing a split together. Both are well suited as they are step above a lot of bands. Myteri have ex-members from exceptional Swedish band Eskatologia. They mix elements of metal, crust punk, hardcore with the melodic. There are obvious comparisons of Tragedy or maybe Victims. But I only compare them due to the innovative harmonies of the dual guitars throughout both songs on this. Myteri are undoubtedly heavily crafted with their numerous guitar runs and bass lines going through every verse and chorus. I would call it sophisticated dark hardcore, but that would sound a tad posey for a sound that is so enraged. Tense attacking dual guitar and vicious sounding vocals, that you have to listen to over and over again. They have a new album coming out this year called “Ruiner”. This ep is a must for the collection.
Released by :
Phobia Records, Halvfabrikat Records, Svoboda Records, Black Against Night Records, Dingleberry Records and Schwiningx Records.
There are a few punk, death metal and thrash bands called Warpath. This is the crusty punk influenced Warpath based in Milan, Italy. After the breakup of the bands Land of Devastation, Trauma, Attacco alle Menti and Disprogress some ex-members started Warpath who have played noisily in the squat community of Milan since 2009 with various lineups. Since then they have delivered a sound of an industrial city, fused by Doom, Hiatus and crusty DIY squat punk. With dual vocals, Marta and Martina deliver, one a guttural growl and the other the higher vocal. When I say higher vocal, I mean it is like the vocal chords are ready to rip. Before I say another thing about the band it has to be said chunky thick vinyl wins hands down for me. It will always mean that ‘Oblio’ will last years of multitude plays.
The album opens with a strong opener of heavy pummeling drums and old-school crust riffs in the vein of Doom mixed with Disrupt. Take a breath, then at instantaneous speed we are thrust straight into “Smetto Quando Voglio”, which has that fast punch that takes no prisoners. Warpath stick to their guns with their influences but have a taste of new heavy elements within their sound also. Next song I want to mention is the track ‘Bombardati Dalla Merda’ as to me it could sit nicely on Extreme Noise Terror’s ‘Phonophobia’ lp, it has that similar guitar echoing shriek reverberating between riffs towards the end too. Certainly a real stand out song on the album. Their music is sombre and melancholic without slowing down or being melodic. This is a straight up crust punk record, full of political criticism. So I like most people enjoy reading the lyrics while listening to the music. Singing in English and Italian they speak of peoples misinterpretations of squatters, media whitewash, nihilism and the feeling of hopelessness that can hang over us.
There are 300 copies of the album on vinyl from the band for €10. Or you can download the album for free at their bandcamp. Like all the best albums it has been released with the help of friends that gave them some money as individuals and the labels/distros Propaganda Sovversiva, Distrozione, Gustosissimo, Heresy Rex, Dog From Hell, Akaip and Peretta-Core, Senza Sonno Libere Autoproduzioni.
Repression Attack from Russia have been unleashing their heavy brand of stenchcore since 2007. This snot green seven inch sees a new line-up. Yet they still retain that heavy sound which is similar in style to the ‘Welcome To The Orgy’ period of Deviated Instinct. As well as combining elements of Misery and ‘Out from the void’ era Antisect.
They have progressed since their 2013 album “Altar of Destruction”. But still have preserved their dark sound. The song ‘Demon’ delves deep into this darkness. Opening with a hostile menacing riff, with shrieks and shouts as the riff repeats and repeats with things getting more angry and thunderous with every note. As the song progresses, there is a point where it all changes. And it almost seems uplifting in sound or gives hope. But just as life perhaps, it turns back to the cold grey desolate gloom. With the bass remaining very low rumbling but solid throughout. The second song “Rebirth” opens with an icy styled synth. But breaks very quickly into a menacing chug. There is almost a feeling of alienation. Lyrically it talks of nature reclaiming our industrialized earth. Sludgy bass, foreboding thumping drums, where now the vocals sound fearful and repulsed. When everything comes to a halt, you have to experience and listen to this whole record again and again.
If you want to find out a bit more about the band, Profane interviewed them back in 2013.
Released by Insane Society Records, Argh.fuck.kill., Vomit Label & Distro, Totalpunk Records, No Bread! , Neanderthal-Stench and Enrage Records
Wow there sure were a lot of labels involved in releasing this record. I’ll list them at the end of the review, with links if possible. Gomora open this album with an almost Amebix ambience, perhaps ambience is the wrong word. A very eerie mood, where you feel like your walking on a gloomy moorland in a fog. However this doesn’t last long and any comparison to Amebix stops here. As it really kicks off big time, like a bar room brawl . The guitars go berserk and everything else goes completely hyperactive. The hoarse feral rasping of the singer Havran is dragging you scared through EU streets controlled by corporate greed, surveillance and misinformation.
To describe their sound would be to try and explain that intensity that bands like later Skitsystem has, mixed with Hellshock and some of the guitar stylings of Martyrdöd. All done at immense speed. That description will either leave you puzzled or curious. This is powerful stuff indeed, there are some great guitar melodies being played over everything else while the beat pumps and the tension mounts and mounts. The song that really sticks out for me on this is “Potlačit Sebe”.
It should also be mentioned that the layout has really been well crafted too. A highly illustrated gatefold sleeve with the illustrations done by their guitarist Baboo. Along with lyric translations in Polish and English.
Released with international cooperation by Wild Wild East, Phobia Records, Neanderthal-Stench, Uchylny Koš , Up The Punx, Scream Records, Véva Records, DIY Koło, Wolfdrunk, Člověk, Sorge, El Bastardo Booking & DIY Label , Aback Distribution , Svab, Dis-Šröt Records and Schmeichel 666 Kabinett
Belgium’s Marginal have that technical type of riffing that Napalm Death has mixed, with at times the growls akin to Extreme Noise Terror. In saying that I don’t mean to throw them into some sort of cliched bag. Far from it, there is plenty of variation. They are as a band very musically sophisticated, the degree of complexity on tracks like ‘The Hunt” and other tracks like “Indoctrination” have much more of a fast grind style about them. “More violence” almost has that “Breed to Breathe” era Napalm Death type of feel to it, a real technical sound. Other times there is an almost Sepultura feel about them. “Sign of the times”, builds and climbs like anger which is about to burst. Then “Stop the bullshit”, has a real fist pumping hardcore chant chorus. There is change and difference in each song, giving it diversity. I think the drawings on the cover of a spiky haired skull punk and another one on a motorbike are a bit misleading. As well as the title of the LP might lead you to believe it is a D-beat punk type of sound. Marginal show a lot if difference in their sound, all very much in the death crust vein of course. Powerful stuff for fans of Entombed, Napalm Death and ENT.
Released by Neanderthal Stench Records , Murder Records, Helldprod Records and Vleesklak Records.
After seeing the cover of this EP, I knew I had to check it out. The cover is similar to perhaps something like Mark Riddick would draw, but with more of a crusty viking vein about it. It was illustrated by Mike Roberts of Portland’s death crust band Vastation. Speaking of which everyone should get to hear their version of Nausea’s ‘Godless’, as covers go it reigns supreme. That is getting off the point a bit. This Dissidence EP starts off with slow heavily distorted riffs with the singer getting the band ready for the charge. This is the prelude for what is to come, it turns very quickly to black metal speed and then turns around again to the opening riffs with a spoken voice, showing the anarcho-punk roots to their sound. It is a raw sound with very guttural, almost animal-like vocals which evoke the ecological apocalyptic bloodied look at the world they write about. Images of a decaying body praying for death, while around them buildings crumble. Perhaps with Trump in power it might not be too off the truth yet. I do like the contrast when the spoken parts come in, like in the title track and on the last song “Comfortable Denial”. It gives almost a sense of purpose rather than just playing heavy music. Or as they describe their music, politically charged. The vocals on the opening of “Comfortable Denial” is like the singer is inhaling or exhaling industrial waste, it is very powerful. The sound of the imminent end of times.
The Fields of War EP is available as a ‘name your price’ download, you don’t get better than that. It would be a nice one on vinyl.
Ah…another fine bit of music sent to me from Christopher. Before I get into the sounds, just take a look at the cover art. Black, grey and white, simple yet powerful and there’s a cat on the back. A lot of people think that dogs are punk, but we all know the truth. All Cats Are Beautiful. Anyway, this little gem, instead of being doomy blackened crust, goes the direction of high energy hardcore that would not have been altogether out of place playing with some of the more aggressive hc bands back in the 80s and can easily demolish much of today’s hardcore. The lyrics are less political and more like personal reflections of the hardcore scene and the darker side of emotions. CONCRETE STEPS gives props to the bands that write and play because they love it instead of being concerned with getting props and also address the current state of over-saturation of bands with recycled riffs and lyrics. One track appears to come from the angle of someone who deals with stress by cutting themselves and another song is about getting ripped off in Paris. Great delivery with great vocals! Supporting the lyrics are furious(yet tastefully played)beats with solid time changes that carry the all out onslaught of guitar and bass. I’m a huge fan of their tone. Besides the writing being top shelf, the production is crazy good. And to think that these guys do their own mixing and mastering and release their own albums! D.I.fuckingY.!!! This 7″ goes perfectly with both coffee and beer. I can’t recommend this enough. Cheers! (Jake)
As soon as the needle drops, this 7″ is so fucking heavy! Starting with the song Crowd Control, short, to the point lyrics about the absurdity of organized religion, is engulfed by thick guitar tone. The tempo is at perfect head nod pace with bursts of blast beats peppered in to keep the listener on their toes. Short, but definitely not so sweet. Then gliding into Cursed Veins, which gets a little longer. Just enough time to really get lost in the haunting melodies that sound like they might have been influenced by TRAGEDY, MAYHEM and early EMPEROR. In fact, all six tracks are delightfully dark, brooding, blackened crust with lyrics that are equally as dark. And to be completely honest, some are even a bit disturbing. For example, Etruscan War is nothing less than a violent and hateful rant, threatening to burn a city to the ground, killing everyone and everything an pissing on their crown. Then there’s Drowning in Circles, which lyrically comes across like a suicide note moaned over the soundtrack of sorrow and despair. It’s been a few years since I’ve heard one of Chris’s bands and this is everything I had hoped it would be. The only bad thing I can say is that I wish this was a full length, because I want more. If you aren’t able to get your hands on a physical copy of this totally DIY slab o’ wax, you can get a digital version on Spotify, Tidal, Bandcamp and iTunes. Well, done folks! (jake)
Like a swirl of flame, Burnchurch’s sound makes you aware. Makes you strong and unscarred by the wounds that have humbled some. It has that real uplifting aggression that has a pulse-beat. You’d know it is a sound that has developed over time. The members of the band have played for years in many other underground DIY bands such as Easpa Measa, Rats Blood and Silence.
They have a real nice dual-guitar sound with constant harmonies yet throughout retain that haunting melancholic baritone. There is melodic strength derived from the bass riffs too, like the riff accompanying on “God Eaters”, where it loops around and around bringing all the elements together. The main vocal at times are like if you took an intake of breath and let it out again screaming until you have to gasp for a breath. Very hard to do and get right I’d imagine, the result makes it more hostile. It all is held tightly together by a drum beat, specifically fast but all parts uniquely distinct.
Their sound is best described perhaps as that hard edged introspective dark hardcore with a sombre presence. Lyrically my favourite on this is “Curses”. It invokes an ancient Irish curse. They say with such a curse the person who invokes it, must be deeply injured and deprived of justice. The curse is always quite definite and declared loud. Of course within this darkness there is hope and optimism too. This sound is purely their own, looking forward to seeing them live again.
Released in the true DIY way by Contraszt! Records, Trujaca Fala, Dogs and Vultures and Up The Punx Records.
From the sewers of a city boiling over. We have Rats Blood ferocious as ever in a haze of fast-paced power chords and pummeling bass. I’m guessing when not playing music in their band room they are listening to classic Finnish hardcore punk. I don’t mean that they are rehashing it. I mean they play musick that is stripped down and and straight to the point. Isn’t that what punk was meant to be, pure raw aggressive energy.
Lyrically it is dark social commentary dealing with the decay of our existence, force-fed culture, and grey visionless cities. Rat Blood’s strength I think is the simplicity and sheer energy driving their music. No guitar solos, short songs mainly under the two minute mark and angry as fuck.
Released by Distroy Records, Phobia Records, Imminent Destruction, Donnez Moi Du Feu and Dogs & Vultures.