Posted on

Hot Snakes – Jericho Sirens


Band: Hot Snakes
Album: Jericho Sirens
Label: Sub Pop
Release date: March 2018
Sounds like: Forgetting your insulin, AGAIN. A hatchet job. Mystery Boys. 

Everyone, Hot Snakes are back, and not just in pog form! I cannot tell you how much I’ve missed this sound. With Obits, frontman Rik Froberg retained some of that tense, scattergun guitar noise, but without his partner in musical crime, aka John “Speedo” Reis, it just wasn’t the same. Couple their six strings together and you get something that apparently owes lots to The Wipers – add in Gar Wood on bass, Jason Kourkounis and Mario Rubalcaba on drums and you’ve something truly incredible.

Whilst Jericho Sirens is typically a Hot Snakes record, time has obviously honed this well-oiled machine, (14 years to be precise) and you’ve something that takes elements from all their past records – the ripping chaos of Automatic Midnight, the experimental darkness of Suicide Invoice and the meaty crunch of Audit In Progress. So, it’s the perfect Hot Snakes record, right? I’m not saying that, but neither am I saying it isn’t. With Speedo’s Rocket From The Crypt touring, releasing mysterious 7″ records, and his and Froberg’s Drive Like Jehu teasing us with sporadic shows, having Hot Snakes back is mouth-watering to say the least.

Jericho Sirens is a bludgeoning, dangerous and deadly beast of a record and the 14 years have been well worth the wait – you need this in your ears right now…

Jericho Sirens opens with the shrieking, stocky guitars of I Need A Doctor, which sounds eerily like If Credits What Matters I’ll Take Credit from their debut, but at a slower speed, but with more seething bile, courtesy of the pipes of Froberg. Time hasn’t weathered those vocal chords one bit – it’s still that same scrappy, raw, hacking sound, especially the way he roars the song’s title “I need a doctor/Tell me what I’m gonna do? I need a doctor/One you can direct me to?” As an opener, it scorches the land with this shredding, wailing caterwaul of the twin Swami-guitars not to mention the howling synth lines echoing in the background. The pace then takes an erratic jolt on the chopped up stagger that is Candid Cameras; percussion is disjointed, irregular and overtly complex, giving nods to the lurching post-punk of the aforementioned Drive Like Jehu which should please fans of the math-rock titans.

Hot Snakes don’t want you to feel any sort of comfort or relaxation though – oh no. Despite them perfecting this particular sound, you would think “okay, I know what’s coming” but you really have no idea – it’s the way they manipulate and attack their sound that sets it apart. Take the 78 second burst of noise that is Why Don’t It Sink In? – it’s pure thrash-trash punk fury, urgent, breathless, sweaty and destructive. It seethes with teeth-gnashing urgency and spitting venom and seems to be in a race to reach the sudden exhaustive conclusion as it smashes into the wall and owes a lot to the speed that made their debut, Automatic Midnight, so vital and vibrant.

The surf-rock vibes on the radiant Six Wave Hold-Down perfectly encapsulates the cover of Jericho Sirens (Gar Wood catching a rip curl, right?) and brings to mind the snarling, tense punk of their work on Audit In Progress, whilst the summer-punk rock of Death Camp Fantasy, has the brilliant call and response from Froberg in the form of: “Have I, been preyed upon? EVERYBODY!” queue the rest of the band screaming the words back at him. There’s your fucking crowd favourite right there.

There’s many of them on this, but the standout track has to be the weighty heft of the title track. As the harmonica creeps in (hello I Hate The Kids) as do those lurching, staggering riffs that don’t let up during this 4 minute barrage of dark, menacing, but upbeat fortitude. Chances are you will have Froberg’s words of “Jericho Sirens, I hear…” firmly ear-wormed into you head by the track’s raucous and punishing conclusion. Easily one of the best songs they’ve ever recorded – up there with Salton City and 10th Planet for sheer heaviness and crunching power.

The ripping chug of the incandescent Psychoactive bristles with hair-raising power-chords and those trademark churning, rolling, finger-bleeding riffs – meaning you’ll be grinning from ear to ear on this one, especially every time Froberg yells the words “I WANT SUCCESS!” – cracking. Jericho Sirens closes with the rambunctious salvo of Death of a Sportsman, a bouncing, scrappy punk number that gives huge nods to Let It Come in structure, with Gar Wood’s booming bass thundering the track forward, backed by the solid drumming power of Kourkounis and Rubalcaba. It’s the sinister guitar lines that haunt this in the background though – coupled with the return of the squealing harmonica and the foreboding suzzy-punk rock drive.

Hot Snakes redefined punk for me when I first discovered them in 2004, and remain an important, volatile and deadly combination of razor sharp guitar lines, sardonic lyrical couplets and brutally fast rhythmic punches to the face, gut, hell the entire body. Jericho Sirens is a bludgeoning, dangerous and deadly beast of a record and the 14 years have been well worth the wait – you need this in your ears right now.

You can purchase Jericho Sirens from Sub Pop or stream via bandcamp below.

 

Top tracks: I Need A Doctor, Six Wave Hold-Down, Jericho Sirens, Death Camp Fantasy, Psychoactive, Death of a Sportsman

Links

Hot Snakes
Hot Snakes Bandcamp
Sub Pop

Lizard Hips

Lizard Hips

Junior Vice President of Keep It Fast. In other news: I work in social media, talk about dinosaurs, run a book club and have amazing facial hair. I am also a male man who is still not dead.

More PostsWebsite

Follow Me:
TwitterYouTube





Source link

Posted on

Manual De Combate – Deus Ex Machina [EP Review]



Artist: Manual De Combate

Title: Deus Ex Machina

Release: Digital / Cassette

Year: 2018

Label: Self released

One of the most interesting and ambitious bands of the new wave of punk in Santiago, Chile—always striving to survive—is Manual De Combate. They have been consistently playing shows and releasing splits and EPs, and their most recent one, Deus Ex Machina, it’s one of their most interesting approaches to their sound, with only one track that reaches the 16 minutes mark. Wanna know more about this experimental punk duo? Keep reading a bit.

Their most recent effort make them sound almost as fierce, raw and primal as they sound live, with a droning bass that interchanging melodies and rhythms fastly and consistently along the drums that make this duo so vibrant and energetic. This is probably their best effort yet.

As always, the lyrics are politically charged, talking about concepts as important as memory and the history of people’s fights against oppression, as well as the need to create an alternative to the way we live our lives daily, and how we relate to society, along with samples that talk us about the same issues.

Making this record using almost only drums and bass makes it hard and interesting in the same time, as it is a punk record that doesn’t conform to punk standards. That’s what the band is always striving for, it seems. The tape version is made in Argentina by Percha and has the EP on the A side and the songs from the split with the band from Valparaiso, Dumo, on the B side.

This one was mixed and mastered by Milo Goberoff at Estudios Hukot with the art and design made by Kráfica. It is really a delightful record. But that’s for you to decide, for sure. Check it out!



Source link

Posted on

Kid, Feral – Live And Let’s Die [Review]


Artist: Kid, Feral

Title: Live And Let’s Die

Release: Vinyl

Year: 2018

Label: Dog Knights Productions.

2018 has just begun for the Swedish screamo scene. A few upcoming bands have come to take a new turn for the better, and that is with Kid, Feral to be exact. They just have put out their debut LP 12″ through Dog Knights Productions.

Kid, Feral is literally a more enraged counterpart of Suis La Lune. Speaking of which, SLL leans more on melodramatic atmosphere, while on Kid’s side it is more of a rather riveting, uncontrollable rage. Lo-fi fury ingrained in reverbed vocals amid walls of sound of dancey passionate punk rock, with the exception of chilly two interludes, who are just in the way of clearing away the tensions.

Kid, Feral has just got started with this LP and they deserve much of connections to those with broken dreams and broken hearts, especially those still cursed with skinny jeans and fringe hairs. So dance off your skinny jeans, swing away your fringe haircut and overall cry on the floor.



Source link

Posted on

‘Jive Bunny’ by Gdansk81


A new band to me, yes, but having been on the music scene for a while, and having established an enthusiastic following, it’s good to review their latest recording! What are they like, well, major influences for the band include, The Wedding Present, Edsel Auctioneer, The Fall, Joy Division, Pale Saints and also Echo and the Bunnymen. So, obviously, you can see by this, that they’ve got a tremendous musical palette of sound in their heads, and where they’d
like to be! Having played gigs in Manchester, Liverpool, Huddersfield, etc, and also a number of festivals, this has certainly developed the bands music into a cohesive, individual sound. Based in Manchester, in the north of England, this 5 piece ‘ post – punk’ band, certainly need to be checked out and I feel will get a greater following after the release of ‘ Jive Bunny’.
I met Dave McNally, whilst having a drink, after attending a local gig. Everyone retired to the pub, and Dave was amongst many of us ‘musos’ there, discussing all sorts of stuff – recording, performing, airplay, etc, etc, usual things all musicians seem to discuss, especially enlightened after a couple of pints, in my case, glasses of wine, of course. Anyway, we started chatting about his band Gdansk81, and the release of their CD this year. The description of the musical influences certainly interested my musical curiosity. So, a long story, short, I got myself a copy of ‘Jive Bunny’ – which I’ve already played on my show on Fab Radio International, and will be playing more tracks too.
Combining the musical talents of: David McNally – Vocals; Steven Taylor – Guitars; Claire Tully – Guitars/Vocals; Martin Plant – Drums; and David Clements – Bass, they produce a great individual sound from a very creative band indeed!
’Trigger Heart Exelica’ Punchy drums, throbbing bass, interspersed by crunchy guitar chords, before the vocals even enter – this band means business – loads of distortion and feedback, good start to the album.
‘Casablanca’ From the ‘very low’ bass line, gets right into your head, in a good way, the lead guitar picking it’s way through the texture and into your ears, and with great lead and backing vocals, a fantastic example of the genre all round here.
‘Jive Bunny’ The title track, when always expectations are high, and with techno bass line, power driven screeching guitar, screaming vocals, especially from Tully here, is wow, so in your face, it works brilliantly, this doesn’t disappoint, it’s exciting and clear.
‘Blackpool Lights’ Another terrific track, right from the start, with exchange of words from both Tully and McNally, a great song. Vocal harmonies, hauntingly beautiful, adding to the rest of instruments, so essential a sound.

‘Blondini’ Pretty fast, upbeat tempo song, with voice added reverb/echo, produces a pretty scary, well, to me, feel. then, when the rest of the band crank it up – well, be afraid, be very afraid.
‘Chris and Jill’ Made up, mainly through a couple of pretty cool guitar riffs, then McNally enters into the fray, with his expressive, power vocals, totally backed up in the voice department here by Tully.
’Stranger Times’ Another great track, with really heavy, and full sound throughout. Vocals and in unison, imitating each other as the music drives along, creating a pretty cool sound. I especially like the brilliant bit, where Claire’s voice enters before the end, great musical touch.
‘Department velvet’ Guitar driven song, with as usual, some nice lead guitar lines, whilst the rest of the band hold everything together, with strong bass, powerful drums, and stressed out guitar chords.
‘Phoenix’ Drum intro takes us into a space/sci-fi like guitar sounds, the band taking us into their musical universe, so to speak – very strange, but again, in a very good way, and very atmospheric and slightly eerie, give it a few plays!
‘What are the Words?’ Some nice drumming, again, with terrific, long sustained, discordant guitar line over the top, heavily distorted guitar enters, just before vocals hit you. A great texture of tone here, particularly enjoyed the guitar effects, In fact, an all round excellent final track to an album, that which, until a couple of weeks ago, I knew neither the band or their music. Check them out, and get yourself a copy



Source link

Posted on

Turnstile – Time & Space


Band: Turnstile
Album: Time & Space
Label: Roadrunner Records
Release date: March 2018
Sounds like: melodic/dance party hardcore bro anthems of ’18. 

Making a name for yourself in modern hardcore is a difficult prospect, so that’s probably why Maryland’s Turnstile sound like an oldball mix of 311/Madball/Suicide Machines and bizarrely, Status Quo (more on that later) in order to carve their name into this overflowing musical landscape. Time & Space is their second album, hot on the heels of the arm-flailing, windmill-a-thon of Nonstop Feeling from 2015 and makes significant strides forward in places to be something slightly different from the norm.

There’s a distinct rap-rock feel to opening track Real Thing – the riffs and heavily accentuated bass are straight out of the Rage Against The Machine rule book of crunchy, mouth-watering guitar tones. Coupled with the melancholic backing vocal haunts alongside vocalist Brendan Yates and his unique, snapping howls this is a raucous and stubborn statement of intent.

The mic-swinging savagery of Big Smile can barely contain itself. The breathless ruin drummer Daniel Fang puts his kit through is teeth-rattling in the ferocity stakes. About 33 seconds in Turnstile appear to transform into Status Quo. Where that riff comes from, I’ll never know, but you can actually hear the guitar laughing with pure, unashamed pride – it’s a pure surf-rock, party slammer of sun-drenched fun and is aching to be another minute longer to make everything even more ridiculous. The posturing rap-hardcore stomp of Generator, is an absolute barnstomer, making the simple statement of how Yates is going it alone and moves through several stages, from the sudden shift to a more atmospheric, almost dub/shoegaze interlude that then throws you back into some chugging, melodic post-hardcore, complete with handclaps, a guitar solo and some morose and wistful vocals from Yates, who shows a lot more depth than his usual snarling bark.

On Time & Space, there’s plenty of gusto, passion, vigour that elevate this above a lot of other hardcore punk. Turnstile have crafted an album that bubbles with passion, raw feeling and life.

You know what we need more of, one note piano choruses in things! The ripping punk rock splatter of High Pressure delivers this in such a bizarre and wonderful way, you’ll be stabbing that imagery key with all your energy. The lurching roar of the song’s macho and large ham coda adds even more beef and volatile substance to Turnstile’s meaty hardcore swagger.

Moon gives the opportunity for bassist Franz Lyons to step behind the mic and show off his Michael Graves-sounding vocal chords, giving this track a mournful and sombre feel. It’s in stark contrast to the snapping bark of lead vocalist Brendan Yates and it works with Turnstile’s high-fives and stage-dives sound perfectly. The trouble with Moon is, immediately after hearing it, you want Lyons singing something else (he was also lead on Blue By You from their debut) his voice adds a different dynamic (not to say Yates isn’t doing a great job) but more variation in the vocal stakes is something Turnstile have overlooked on Time & Space and this track is one of their best works committed to tape.

Never drive your car to Come Back For More – there’s a chance you’ll be banned for life, such is the speed on this – see also the aggressive gait of the bro-core flamboyance of the noisy, Helmet-esque Can’t Get Away filled with some extra handclaps and squealing metallic guitar licks to confuse and surprise you at every turn. That’s what Time & Space does though – the hardcore-by-numbers feels so at home, but soon begins to flake, chipped apart by these erratic snippets that cut and chop away; similar to how The Chariot made their final album, One Wing so vital and interesting. I mean, Diplo – yes, that Diplo adds his producing skills to one track on this, the scrawling slam-pit rock bastard that is Right To Be; and why not because that’s not weird? The overly-synthesized vocals on the anthemic chorus, give it an unstable electro-rock feel, but the gang vocal chants of “THEY WANT TO TAKE! MY RIGHT TO BE!” are pure hardcore unity. It’s jarring, eccentric and…well, it works, I guess?

On Time & Space, there’s plenty of gusto, passion, vigour and little touches that elevate this above a lot of other hardcore punk, (notably, the superb production from Will Yip) meaning that Turnstile have crafted an album that boils and bubbles with passion, raw feeling and the adrenaline-pounding thump of life. For fans of modern hardcore, such as Touche Amore, Terrible Love, Show Me The Body and Trapped Under Ice – Turnstile are definitely pushing boundaries it feels, but perhaps need to lean a bit harder in certain places to completely break through to the other side. Whatever the case, Time & Space is bloody brilliant fun and one of my highlights of 2018.

Top tracks: Big Smile, Moon, High Pressure, Right To Be

Links

Turnstile
Turnstile Facebook
Roadrunner Records

Lizard Hips

Lizard Hips

Junior Vice President of Keep It Fast. In other news: I work in social media, talk about dinosaurs, run a book club and have amazing facial hair. I am also a male man who is still not dead.

More PostsWebsite

Follow Me:
TwitterYouTube





Source link

Posted on

Les Mauvais Jours – S/T LP ]Review]



Artist: Les Mauvais Jours

Title: S/T

Release: LP / Digital 

Year: 2018

Label: Self-Released

OK, I have to admit that I’ve listened to Sport’s Colors LP an unhealthy number of times since it came out, now more than five years ago. It’s not that I listen to that indie-influenced, melodic punk-rock all the time, actually quite the contrary. It’s just that some records are so catchy that they instantly make it into your summer jam playlist.

Enter Les Mauvais Jours.

Well, it’s still snowing outside and it’s too early to get hooked on such a poppy record with a melted ice cream on the front cover. Still, it’s a great stuff from another French band in the veins of Sport. There’s a great vibe in all these ten songs and you can feel it that the band is just as passionate as any other energetic hardcore punk act you’d love. If you need more proof of that, I should tell you that this record was self-released by the guys and that Les Mauvais Jours (the name translates as the bad days) feature members of such intense Strasbourg hardcore bands such as The Boring, Another Five Minutes, and More Dangerous Than a Thousand Rioters.

I have a soft spot for French emo and punk bands, even if they sing in English. And, although Les Mauvais Jours is definitely not what I’m usually looking for, this is an excellent record if you want to indulge in the sugary flavours of catchy, Cap’n Jazz influenced tunes. The musicianship is topnotch, the lyrics are okay. Unless it’s too sweetish for your taste, it’s a nice record that you would have fun with. I can’t wait for sunny days and loads of vegan ice cream.



Source link

Posted on

The Chats – Get This In Ya!!


Band: The Chats
EP: Get This In Ya!!
Label: Burger Records
Release date: July 2017
Sounds like: ??? I’m on smoko, so leave me alone. 

At the risk of letting this pass without acknowledging it, I feel the internet and everyone involved needs to know more about the sheer brilliance of The Chats. Their name comes  from Chatswood, in Sydney and the word chat is also a derogatory term according to urban dictionary and basically means, “shit” so the band are called The Shits?! Yeah? Yeah.

Why should we care about them? Well, for the simple reason they’re bloody great, mate. The simplicity of their pop-punk, is edged with this scuzzy, Sub Pop-90s sound, courtesy of the belching bass guitar of singer Eamon Sandwith and the trash-punk drumming of Matthew Boggis, plus the guitars of Josh Price and Tremayne McCarthy which alter between a low-fi punk scrape to a thrashing mash up of stupid gurgling riffs.

A lot of their songs seem to be about having nothing to do. Smoko, for example, is a 3 minute pop-rock banger about taking a smoke break and it’s absolutely excellent, right down to the infectious opening bass riff, to the video that was probably made for about $5 after a night on a lot of beers. The brilliantly unnervingly funny ending features singer Eamon, seeing someone needing lifeguard assistance, but he’s  “on smoko, so leave me alone.” If anything, the video is going to make you want a sausage roll.

Other tracks are just as amusing, such as Nambored (which is about Nambour, and being bored there). a two minute tuneful blast of only having 7 bucks, and not being able to take the boredom and frustration anymore (but at least you can walk to a Macca’s). The bro-anthem of How Many Do You Do is an absolute killer, (thanks to that bass line) and is all about hanging out with The Chats crew, smoking a few darts and generally having a great time!

They say write about what you know, and The Chats seem to do that – Bus Money is all about spending all your cash on six packs, shitty pills and scratch cards (sounds good to me) all delivered in this wonderful Australian drawl. “I spent my bus money on a sausage roll, I’d have more money if I wasn’t on the dole!” sneers Sandwith on Bus Money, ending with the pleading chant of “ALL I NEED IS A BUCK OR TWO!” a sure fire live favourite right there.

Thing get a bit more serious (only just) on the anti-security guard spit of Nazi March – NOFX song in disguise and a full middle finger to fascist bullshit, something which The Chats don’t have time for and the tongue-in-cheek chant of “left-right, left-right” only adds to their cutting venom.

Struggling with a illness is the subject matter of Temperature, with the words of “have you got a fever? Will you let me feel ya?” from Sandwith on this gritty post-punk slab of noise, completed by some great snarling backing vocals and snotty, brackish Shitty Limits-esque fury.

So, let your hair grow out into a fashionable mullet, grab your surf rescue top and a packet of darts and rock the fuck out with The Chats, the greatest band ever in this small time frame until the next one comes along. Also, I cannot stress how much these guys need to come over to the UK and smash up one of our tiny venues.

You can stream/buy/get the beers in and enjoy The Chats below or buy it on a fucking tape from Burger Records, yeah? Get ready to pay about £100 postage.

 

Links

The Chats
The Chats Soundcloud
Burger Records

Lizard Hips

Lizard Hips

Junior Vice President of Keep It Fast. In other news: I work in social media, talk about dinosaurs, run a book club and have amazing facial hair. I am also a male man who is still not dead.

More PostsWebsite

Follow Me:
TwitterYouTube





Source link

Posted on

Grand Collapse – Along The Dew [Review]



Artist: Grand Collapse

Title: Along The Dew

Release: LP / Digital 

Year: 2017

Label: Ruin Nation, TNS Records, Urinal Vinyl

This record is, in a word, amazing! The band is fronted by the son of the profoundly missed and loved by the punk world Stig of Icons of Filth but they don’t rely on media hype or any punk credentials because of that.

Grand Collapse are just hellbent on pursuing their own musical direction. It’s not just Calvin on the vocals that really nails it down, but everyone in the band is doing an excellent job to deliver some of the best and intriguing punk-rock for the last decade. I won’t exaggerate to say that “Along The Dew” is probably the best UK hardcore punk album for 2017!

All the anger we hear and feel in these eleven songs is just the essence of what hardcore punk should be all about. The drumming and guitar work on this LP are fuckin’ incredible. Grand Collapse play from start to finish with such an intensity and ferocity that you’ll feel the rage deep inside your skin.

Besides the galloping music lies also a solid lyrical foundation. The lyrics are extremely well-written, political and fun to read. They all stand out as short essays, written from a personal perspective, that depict issues like animal rights, domestic violence, arms trade, supporting the refugees and telling the fascists to fuck off. We have all the inspiration that comes out of a punk band, but the way they are written in this one are a breath of fresh air since you don’t have the boring political rants and call to actions that you’ll find in 99% of all political punk bands. It’s more like the Propagandhi type of lyricism that I’m sure you all love to read.

My personal highlight of the album is the song “Through Bloodshot & Blurry”, one of the longest tracks on the record. Top-notch lyrics and a guest appearance on vocals by the folk-punk singer Efa Supertramp. Efa’s female vocals are a great addition to Grand Collapse’s music and I’m totally hooked on this song. Another great idea in the album is to also have a song in the Welsh traditional language Cymraeg, something that Efa Supertramp already does a lot in her own music and lyricism. In “Along The Dew” this is the tenth track “Llygaid Gwyrdd” (Green Eyes).

What’s more to this is also the great artwork. I love the woodcut graphics and I’m a sucker for Frans Masereel or Clifford Harper. Here we have a great work by the talented John Abell and we have a killer poetic description of the front cover art in the opening song that’s also the title track of the record. You know, all hunters deserve to die and all the creatures in the woods can help to make it happen more painfully and dishonestly. Fuck hunters forever and ever!

Besides the title track there’s another one about dead hunters. The 36 seconds rager “Luciano Ponzetto” is about the Italian trophy hunter of the same name who posed with a dead lion. The prick had it coming, of that there’s no doubt, as Grand Collapse say.

All in all, it’s a high octane punk with plenty of hardcore bursts that are enveloped in catchy melodic tunes. Great artwork, some of the best lyrics you’ll find in today’s hardcore punk genre and a total dedication to the punk ethics. Highly recommended whether you’re a hardcore kid, a crusty type of punk, or anyone going to shows and supporting the scene.



Source link

Posted on

American Nightmare – S/T | KEEP IT FAST, Progressive, Comedy, Hardcore, Thrash, Punk, News, Reviews and Latest Tracks


Band: American Nightmare
Album: S/T
Label: Rise Records
Release date: 16 February
Sounds like: Love American. Hearts. Death.

Hell is hot but I’m keeping cool” intones vocalist Wes Eisold, his nonchalant swagger is apparent on the savage The World Is Blue, the first explosive track from American Nightmares new album, their first in 15 years. This is a massive deal in hardcore circles, as the Boston crew have been through the ringer with name changes, legal disputes, break ups and a revolving door of band members. Thankfully, 2018 means a rebirth if you like, with frontman and creator, Eisold, guitarist Brian Masek, bassist Josh Holden and drummer Alex Garcia-Rivera, who all played on 2003’s We’re Down ‘Til We’re Underground.

Throughout Wes Eisold’s work, the theme of love burns a huge scorching hole in the landscape and never lets up for one moment. His lyrics have always dwelled in the realms of loss, despair, fear and melancholy – however, there’s one emotion that never backs down – the aforementioned love. It bleeds heavily, seeping into all the nooks and cracks within American Nightmare, during its brief running time and it’s enough to make a statement about their world and their resurrection.

American Nightmare contains some of Eisold’s best singing to date – his voice sounds huge, powerful and edged with emotional uncertainty and cutting sarcasm…

I do love how immediate and raging the opening track, The World Is Blue is – full force, no bullshit, jaw ripped from your face and flung into the ocean. Eisold’s scream of “Salvation! Salvation!” like some fanatical preacher (hey Megachurch, get sampling) only adds to the boisterous, enlightening zeal, whilst the gurgling-bass led section of “I see the sun shining down on me” is a brilliant and exhausting final 15 seconds of madness, ending with the crushing lament that “we are nowhere.

It’s like a chase and you’ve got to keep running if you want to stay ahead of the game and second track, Flowers Under Siege, seems to end before it even begins – half the track is a made up of feedback, whilst the mid-20 seconds are a short, sharp, electrifying blast of stripped-back punk rock delivered with spitting, venomous gusto and acerbic, chaotic lust.

Rage builds and builds on the hate-filled American Death; the opening line begins with the spitting “fuck everyone I’ve ever known/spineless bastard slithers home” and only continues to get more wrought and furious. The gang-vocal chants of “days upon” and the end line, in the form of the caustic and oddly humorous “I hope you live forever/cause your life’s worse than death” is a sardonic and withering “fuck you”. A venting, ranting attack to the senses, drenched in raw, bleeding emotion. There’s more to follow with scream of “Don’t forget that the world’s against us/there’s no place I would rather be” on the cutting salvo of War, a track edged with subtle conflict and cries of togetherness and abject dissolution. Props to the rhythm section of Garcia-Rivera and Holden, who thump out an impressive and sturdy hardcore backbone to this pulverising chunk of bludgeoning and scathing torment.

The criminally short running time of some of these tracks makes the whole experience one big tease in places. See the breakneck first minute of Lower Than Life – led by Garcia-Rivera’s euphoric percussion, it clatters through with a thrash-punk attack, before switching up to a swaggering, mic-swinging blast of anthemic gang-vocal glory. The repeated roars of “Deeper than hell/lower than life” cement this as a sure live favourite but tantalisingly finish far too soon.

Interestingly, you can see where a number of Eisold’s past and current projects have had an influence too – from the short sharp burst of 36 second scraping hardcore bile of Dream, (hello Some Girls) completed by a ridiculously short guitar solo to the dramatic goth-rock Colder Than Death – with the overlapping backing vocals, drenched in Eisold’s melancholy gloom, that grinding bass opening rumble and the spaced out, post-hardcore guitar wails, giving it a harder-edged Cold Cave feel.

Another thing to note, the production on American Nightmare is beautiful – credit to drummer Alex Garcia-Rivera for his work on this and the mastering was by Bob Weston? DUDES. Nice one. Also, easily some of Eisold’s best singing to date – his voice sounds huge, powerful and edged with emotional uncertainty and cutting sarcasm.

American Nightmare have created a document that is 9 tales of brutally honest, impassioned, chaotic, diverse and gut-wrenching rock, sealed with a heart to the world of hardcore. Open it and absorb its twisted poetry and noise.

Who cares when forever ends.”

Top tracks: Lower Than Life, Flowers Under Siege, War, The World Is Blue

Links

American Nightmare
Cold Cave
Rise Records

Lizard Hips

Lizard Hips

Junior Vice President of Keep It Fast. In other news: I work in social media, talk about dinosaurs, run a book club and have amazing facial hair. I am also a male man who is still not dead.

More PostsWebsite

Follow Me:
TwitterYouTube





Source link

Posted on

VHS / Pacificación Violenta – Pacificación Violenta Home System



Artist: VHS / Pacificación Violenta

Title: Pacificación Violenta Home System

Release: Digital

Year: 2016

Label: Self released

This time I’m bringing to your attention a split that joins together two fastcore bands from Argentina. I’m talking about Pacificación Violenta, a four piece from Rosario, and VHS, a three piece from Escobar. While this release is not completely new, it’s a nice starting point to people interested in getting near punk bands from the scene in Argentina. Wanna know more? Keep reading!

Both bands not only are similar in the way the approach fast paced music with blasting drum beats, gang chants and aggressive screams, they also share a mutual love for The Simpsons, something that you can see in VHS’ track on this split, La violencia en los juegos de video puede gener[C7H5O2K_E-212], that makes reference to the cursed frogurt scene on a Halloween episode, and in an old song from Pacificación Violenta called Mentalidad Bart Simpson (Bart Simpson Mentality). They both also hate cops a lot. A lot.

While Pacificación is more politically direct and confrontational, with lyrics about drugs, police brutality, abuse of power, and consumerism, VHS doesn’t takes itself too seriously, making jokes about their local scene, video games and movies. But, somehow, they seem to coexist together pretty well. Sometimes, just existing as a small band that rejects the corporative model of the music industry, that doesn’t care about being little and supports staying local and in contact with the people, music and artist that surrounds them is enough. Sometimes, just making a band with your friends is enough. It’s okay. It probably won’t change a thing, but don’t tell me it is not a political act. I appreciate it a lot.



Source link