Posts Tagged ‘Mathcore’

From the heart of Edinburgh’s underground, Kakihara return with Love Songs Part II, a raw, chaotic, and utterly unfiltered dose of metallic hardcore, and in advance they’ve unveiled the video for the EP’s lead single ‘Calamari.’

The band had this to say about the new track: “Because two minutes in heaven is better than one minute in heaven, ‘Calamari’ is our metallic-hardcore energy and mathcore chaos smashed into a single strike. It’s got jagged riffs, stop-start rhythms, and a punishing beatdoon that lands like a hen party on the Cowgate. The vocals cut through the melee with equal parts desperation and defiance, matching lyrics that flick between hopelessness and resolve. ‘Calamari’ shows exactly what we’re about, raw, unpolished, and built for the pit.”

Recorded live in a single living room and fueled by raw energy, Love Songs Part II captures the chaos and urgency of the band’s relentless live shows. Drawing inspiration from Converge, Coalesce, The Dillinger Escape Plan, Heaven In Her Arms, Envy, and Botch, Kakihara fuse mathcore dissonance, screamo textures, and punishing hardcore grit into something entirely their own.

Love Songs Part II will be released on December 5 via Ripcord Records.

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Subsound Records – 18th April 2025

Christopher Nosnibor

Twenty-eight years and fourteen albums into their career, Zu continue to confound, and to defy comfortable categorisation. Jazzisdead, their first release in six years, is their third live album. It’s most certainly not, however, a set comprising live renditions of greatest hits and fan favourites, and instead being a collaboration between Zu bassist Massimo Pupillo and saxophonist Luca T. Mai, with drummer Yoshida Tatsuya, founder of the Japanese band Ruins – and as such, the moniker follows in the vein of Zu93 (Zu with David Tibet of Current 93). The result, then, is a crazed hybrid of punk, sludge metal and jazz driven by some frenetic full-kit drumming.

‘Gravestone’ kicks it off with a thunderous riff and it’s a track that wouldn’t sound out of place on a Melvins album, while the frenzied ‘Speedball’ comes on like The Dead Kennedys but with some wild falsetto vocals and a blustering blast of sax. How is this even possible?

There are some more sedate passages, but they seemingly exist as tricks to convince you that they’re capable of delivering something more conventional: the introduction to ‘Asmodeo’ is gentle, atmospheric, and it’s almost soothing – but halfway through, it’s explodes in a riot of honks and parps, drums flying in all directions, and each composition slalems hither and thither: at times they’re tightly together, at others , the three instruments play across one another at wildly divergent angles, as if playing three completely different tunes – and yet somehow there’s a groove happening.

‘La Grande Madre Delle Bestie’ features some eye-popping machine-gun snare work before slithering to a swampy crawl, and the thing about Jazzisdead is that it’s simply impossible to second-guess what’s going to happen next. Repeat listens don’t render the work more familiar, but instead reveal entirely different albums. Elsewhere, ‘Hyderomastgroningen’ is a lumbering beast that brings a grungy swagger that brings hints of the Jesus Lizard. However, it’s perhaps Melt Banana who stand as the closes comparison to this in their crazed and irreverent approach to music-making, and this is nowhere more apparent than on ‘Memories Of Zworrisdeh’, the album’s longest track with a running time of five minutes, and which packs in an album’s worth of ideas into that time. ‘Muro Torto’ is another track of two halves, with long, groaning drones giving way to an almost ska-like bouncing thumpalong. Predictable, this is not.

There are several pieces which are but fragments, intersecting passages a minute or two in duration, and these only add to the experience of an album so packed with changes in tempo and key that it’s most discombobulating. It’s dizzying, jaw-dropping, impossible to keep up with, and the interplay between the players is remarkable. Ultimately, Jazzisdead makes for a hell of a listen – although you might need to lie down for a bit afterwards.

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Norway’s Shaving the Werewolf, known for their unique blend of noise rock and mathcore, has just released an animated music video for their single ‘’Sentient Husk,’ which is taken from the band’s most recent release, the God Whisperer EP.

“The video is a septic mess showing a general apartment complex from the future. People are miserable, the living conditions are hostile, enveloping pollution thickens, the wealth is spread unevenly to a perverse extent and power is centralized to one individual who develops a god complex because of it,” says vocalist Ottar about the clip.

He adds, “To withstand existence in such disagreeable conditions, people take to chemical solutions to dampen their symptoms—depression, feelings of alienation, loneliness, suicidal ideation, and general hopelessness. The guy on top is happy to provide whatever keeps the tenants ‘happy’ as long as he doesn’t have to deal with their problems.”

Check it here:

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Since their inception in 2010, Shaving the Werewolf has delivered disagreeable music for disagreeable people, blending power violence, noise rock, and mathcore into an uncanny chimera. Their live shows, described as a slow-motion car crash or an endless head-smashing into a brick wall, have left audiences both gagged and worried.

They have churned up mosh pits at Høstsabbath, competed with metal extremists like Rotten Sound and God Mother, and even mooned Swedish model Vendela Kirsebom. These rat-fink hardcore pioneers are sure to leave a mark on your psyche.

Throughout their journey, Shaving the Werewolf has released several EPs, singles, and a full-length album. Last year, they released a split-tape with Bergen’s hardcore antiheroes Utflod.

Next up is their EP, God Whisperer, inspired by pathological know-it-alls poisoning the world with their selfish and militant ignorance. The band delves deeper into their established sound, offering catchy hooks and jagged edges, all bathed in corrosive dissonance.

God Whisperer was engineered, mixed, and mastered by Jørgen Øiseth Berg, with artwork by Martin Mentzoni. It was released on March 22nd.

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Neurot Recordings – 10th November 2023

Christopher Nosnibor

It’s practically impossible to overstate just how grim things have got lately. It’s not just any one thing, either. The climate is fucked, the economy is fucked, the world is at war. This isn’t about local pockets of fuckedness. It’s all fucked. Ex Everything very much appreciate this, as set out in the notes which accompany Slow Change Will Pull Us Apart: ‘Our world has been gradually falling apart. This may seem like a bleak point of view, but the collapse we’re all witnessing inspired post-mathcore outfit Ex Everything as they created their eruptive debut Slow Change Will Pull Us Apart… “Everything around us–politically, socially, environmentally–seems to be stretching and breaking,” says guitarist Jon Howell. “Our record sits in that terrifying place where you’ve been watching it happen.”

A fair few people I know – my age bracket in particular – have said they’ve stopped watching or reading news because it’s detrimental to their mental health. No doubt it is, but the bliss of ignorance can’t last forever and ignoring everything that’s going on is the ultimate compliance. British politicians in particular repeatedly begin sentences with ‘let me be clear’ – before rolling out an endless ream of obfuscations. So let me be clear. Everything is fucked, and things are only going to get worse.

As their bio summarises, ‘The Bay Area quartet boasts current and former members of Kowloon Walled City, Early Graves, Mercy Ties, Blowupnihilist, Less Art and others, but listeners shouldn’t mistake this for a short-term project or side band. This is a priority, every member focused and committed, and it only takes a few minutes with the album to understand how serious they are. “This band is completely its own thing,” says Howell. “It addresses the part of us that wants to write fast, chaotic, knotty, messy, pissed off music.”’

Fast, chaotic, knotty, messy, pissed off music is precisely what these chaotic, knotty, messy times call for. It feels as if the world was waiting for the pandemic to end to go absolutely all out to annihilate one another. There has, throughout history, always been a war somewhere, but now, there’s pretty much a war everywhere, and in less violent, bloody battles, governments wage war on the poor in the interest of ‘the economy’ and fuck over society’s most vulnerable, from the unemployed to the disabled, not to mention the homeless, the wounded, mostly in the interests of capitalism.

Slow Change Will Pull Us Apart packs eight hard-hitting, heavy tracks which rage and rage and rage and hit so hard, in a furious frenzy. The guitars are often busy and brittle and mathy, but the rhythm section is welded together and blast the hardest sonic attack. Slow Change Will Pull Us Apart is the sum of its parts, and that’s a positive here: it brings together the best elements of the contributors and fuses them into something tight, taut, uncomfortable. Single cut ‘Exiting the Vampire Castle’ is exemplary: full-throttle noise rock with dominated by shuddering bass and thunderous drums, with guitars which are both grimy but also reverby clanging over the top, while the vocals and raw and nihilistic. This is some full-on angst: ‘A Sermon in Praise of Corruption’ is a full-on, blistering rager, and there really isn’t much let-up in terms of ferocity. This is an unashamedly political album, as titles such as ‘Slow cancellation of the Future’, ‘The Last Global Slaughter’ and ‘Plunder, Cultivate, Fabricate’ suggest. These are highly political times, so it’s only right that Ex Everything tackle the issues.

There is detail, there are moments where they pull back on the pace and the blunt force, but they’re brief, and serve ultimately to accentuate the immense and intense power of the rest of the album when they put their collective foot hard on the pedal And drive forward hard.

In the face of everything, rational contemplation and collected consideration are difficult. The real urge is to give in to the temptation to simply give up, give in, and to scream at the world to fuck off. Slow Change Will Pull Us Apart comes close, but better than that, it noisily articulates the nihilistic rage which sprays in all directions. There’s no one thing that’s shit or fucked up: it’s everything. And sometimes the only way to deal is to let it all out. Ex Everything do that, channelling every last drop of fury into this bleak and hefty beast of an album.

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Tacoma, Washington mathcore/metalcore greats Botch have released a new song and video, ‘One Twenty Two,’ their first song in twenty years.

The track will be included on the re-issue of their wildly influential second album, We Are the Romans, which was also announced today, available as a 2xLP and CD on November 4th via Sargent House.

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There was never any intention for the band to release anything else, but when guitarist David Knudson went to write his debut solo album, it made sense. He explains:

“During Covid, I was writing my debut solo LP, and mentally, I was sick of everything in quarantine. Lots of frustration had set in at home, and I figured the best way to deal with it was to write something heavy. I had no intention of writing anything for Botch, but when I was thinking of a singer to collaborate with, I thought, “Hey, I know the best hardcore singer ever to do it,” so I hit up Dave V. He was super excited and so it just kind of snowballed from there. There was never any intent or conversation about getting back together or writing. It just happened so naturally and was a great release for all of us to make it happen without any of the traditional pressure an “active” band faces.”

Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, becoming one of the most ground-breaking and influential bands during a pivotal shift in heavy music. Their final show was June 15, 2002, the same day as the release of their final EP, An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup. We Are the Romans went on to become one of the most influential albums for the genre garnering posthumous acclaim across the board.

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