Posts Tagged ‘Thrash’

Herod have arisen from the ever- prosperous Swiss music scene. Throughout their young 4 years of presence, they have already shared the stage with such acts as Gojira, Crowbar, The Ocean, Carcass, Obituary, Napalm Death and Voivod – Attesting their repute as the bus boy’s of King Herod, serving up whole sides of rare riffs, disposition, beauty and authority.

Initially the brain child of guitarist Pierre Carroz, 2014 saw Herod’s debut release They were None via Mighty Music and a subsequent European tour. Following the departure of original vocalist David, former THE OCEAN (Precambrian) vocalist Mike Pilat was recruited for follow up album Sombre Dessein.

Pilat also plays guitar and Herod are now furnished with a supplementary layer of musicality to complement both heaviness and soundscape aspects of their palette. CARCASS guitar player Bill Steer makes a guest appearance on ‘Fork Tongue’. Watch the video here:

Sombre Dessein is released on 15th February via Pelagic Records.

Herod will also be touring Europe in March + April with The Ocean:

13/03 – DE, Stuttgart – Im Wizemann

14/03 – CH, Geneva – PTR/ L’Usine

15/03 – FR, Lyon – CCO

16/03 – FR, Toulouse – Rex

17/03 – FR, Marseilles – Les Pennes Mirabeau

18/03 – FR, Colmar – Le Grillen

19/03 – FR, Bethune – Le Poche

20/03 – UK, Birmingham – Mama Roux

21/03 – IR, Limerick – Dolan’s Warehouse

22/03 – IR, Dublin – Voodoo Lounge

23/03 – UK, Glasgow – Audio

24/03 – UK, Leeds – Brudenell Social Club

25/03 – BE, Antwerp – Trix

26/03 – NL, Den Haag – Paard

27/03 – DE, Cologne – Club Volta

28/03 – DE, Leipzig – Werk 2

29/03 – PL, Poznan – U Bazyla

30/03 – DE, Bremen – Tower

31/03 – DE, Hamburg – Logo

02/04 – SE, Stockholm – Fryhuset, Klubben

03/04 – SE, Gothenburg – Tradgarn

06/04 – NO, Stavangar – Folken

07/04 – NO, Hamar – Gregers

08/04 – DK, Copenhagen – Vega

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Baptists have announced they are heading to Europe for the first time ever – supporting SUMAC, their third album Beacon Of Faith is out now via Southern Lord. Also joining the tour on select dates are Endon and Nordra. Find full dates below:

BAPTISTS EUROPEAN DATES:

08/03/2019    DK    Aalborg    1000fryd    w/ Nordra
09/03/2019    DK    Copenhagen    Alice    w/ Nordra
10/03/2019    SE    Gothenburg    Skjul Fyra Sex  w/ Nordra
11/03/2019    NO    Oslo    Blä  w/ Nordra
12/03/2019    SE    Stockholm  Kafe 44 w/ Nordra
14/03/2019    NL    Dortmund  Junkyard w/ Endon
15/03/2019    BE    Brussels    Magasin 4 w/ Endon
16/03/2019    UK    Bristol   The Exchange w/ Endon
17/03/2019    UK    Glasgow  Stereo  w/ Endon
18/03/2019    UK    Manchester    Deaf Institute w/ Endon
19/03/2019    UK    London    The Underworld  w/ Endon
20/03/2019    FR    Paris    Petit Bain w/ Endon
21/03/2019    DE    Karlsruhe    Jubez  w/ Endon
22/03/2019    DE    Leipzig    Institut Fur Zukunft w/ Endon
23/03/2019   DE    Berlin    Zukunft Am Ostkreuz  w/ Nordra

Listen to Beacon of Faith in full here:

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Baptists - Beacon

30th April 2018

James Wells

Execrate – ˈɛksɪkreɪt/verb

verb: execrate; 3rd person present: execrates; past tense: execrated; past participle: execrated; gerund or present participle: execrating

1.feel or express great loathing for.

synonyms: revile, denounce, decry, condemn, vilify;

2. archaic curse; swear.

Nottingham-based Deathflux, formed a couple of years ago around guitarist Tom Clarke, articulate deep and unbridled loathing through their highly technical but relentlessly fierce brand of metal. They may curse too, but the snarled lyrics are only partially audible.

To set their agenda clearly from the outset, the album’s first song is called ‘Bludgeon’. And it does, the stop/start guitars shudder against drums like machine gun fire to forge a blast(beat) or grindy abrasion.

Lead single ‘Transcend’ (all of the tracks have one-word titles, adding to the stark and brutal effect) is representative of the albums 7 tracks: the drumming is so fast the effect is more akin to the rattle of a knitting machine than distinct and separate beats registering to mark time. The guitars – with several octaves of strings – are a blurred blizzard of fretwork, while the vocals epitomise guttural nihilism. It’s about conveying sentiment and raw emotion than actual lyrics. Where actual lyrics are audible, they’re venting violent threats like ‘break your face now!’

There are some wild guitar solos laid over the churning riffs, and there’s no let up in the seething fury that radiates from every note.

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Execrated Artwork - Lo Res 1

Southern Lord – 24th November 2017

James Wells

When you’re presented with an album containing ten tracks, where only two clock in at over two minutes, you know it’s likely to be a pretty direct attack, and you don’t need a lengthy dissection to get the guts. In fact, you don’t need words, you just need to feel it kicking you in the guts, over and over.

No Cure For Death is a gnarly, guttural, snarling mess of feedback and noise. Savage, brutal, unrestrained noise: that’s what No Cure For Death throws down from beginning to end – not that it’s a particularly long period between the two markers.

Death, decay, despair ooze from every pore of this feedback-soaked frenzy of blistering noise. It’s dark, dingy, a seething miasma of gut-churning overloading, overdriven loathing of all things. It’s the world we live in, of course: it’s fucked-up and ruined. It’s everything it should be.

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Sect cover image for Haulix

Southern Lord – 3rd November 2017

Christopher Nosnibor

Fast and furious isn’t in it. But the enigmatic and secretive Friendship are from Japan, and when it comes to extreme music, Japan really leads the field. And if Hatred seems an odd title for an album by a band called Friendship, then the equation really should be turned on its head: for a band this brutal, abrasive and gnarly to be called Friendship is simply perverse. There’s nothing friendly about them, and song titles like ‘Rejected’, ‘Regicide’, Corrupt’, ‘Tortures’, ‘Grief’, and ‘Execution’ don’t exactly send hugs in abundance either.

Of the album’s twelve tracks, only two extend beyond the three-minute mark, and half are sub two minutes. Holy fuck, this is fast and hard and nasty. It begins with feedback and immediately plunges into the dingiest, gnarliest, darkest metal noise going. The drums are pounded so fast it sounds like a pneumatic drill. Everything else is just a blurred barrage of insane, intense noise. There are riffs, but they’re brief, and churningly cyclical. The rest is all squall. And it’s a furious, punishing grind.

If friendship it is, it’s an abusive one which shows no regard for the wellbeing or mental health of those concerned. But as far as hatred is concerned, this album is all aspects of pure loathing distilled to the most potent concentrate.

Listening to Hatred is like having your soul torn from the heart of your being and ground to a pulp before your eyes, while your eyes are being pricked with hot pins. Aurally, it’s torture in its own right.

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Friendship cover art

Dead Cross, the SoCal hardcore band featuring Dave Lombardo (ex-Slayer/Suicidal Tendencies), Justin Pearson (Retox / The Locust), Mike Patton (Faith No More / Tomahawk) and Michael Crain (Retox / Festival of Dead Deer), premiere a new video for ‘Obedience School’ directed by Dennis Bersales, whose work has been used in collaboration with Dim Mak, Three One G, SM Prime, Kenneth Cobonpue, and Roberto Cavelli. The track features on their new self-titled album, produced by the legendary Ross Robinson, to be released August 4th on coloured vinyl and CD via Ipecac Records and Three One G, as well as digitally through iTunes.

Dead Cross’ debut self-titled LP vacillates from sounding like Godzilla attacking Tokyo to becoming the potential soundtrack of witches catching waves in a hurricane. Its highs are sharp and wicked, its lows ominous and evil, all the while laced with wit and, many times, an element of tongue-in-cheekiness not often found in thrash or hardcore music. Dennis Bersales brings the unyielding intensity of the band to life in the video for Obedience School, made from actual footage of a cockfighting event in the Philippines. Though brutal, the violence is anything but gratuitous;  the imagery meaningfully works in conjunction with Patton’s lyrics, forcing the viewer to consider the ugly tendencies of mankind.

Check out the video here:

DEAD CROSS TOUR DATES:

August 10 Santa Ana, CA The Observatory *

August 11 Las Vegas, NV Brooklyn Bowl

August 12 Phoenix, AZ The Marquee *

August 14 Dallas, TX Gas Monkey Bar & Grill

August 15 Houston, TX Warehouse Live

August 16 Austin, TX Emo’s

August 18 Tucson, AZ The Rialto Theatre *

August 19 San Diego, CA The Observatory North Park

August 21 Los Angeles, CA El Rey Theatre

August 23 Berkeley, CA The UC Theatre

August 25 Vancouver, BC Vogue Theatre

August 26 Seattle, WA The Showbox

August 27 Portland Wonder Ballroom

August 29 Sacramento, CA Ace of Spades

September 8 Baltimore, MD Baltimore Soundstage

September 10 Philadelphia, PA Union Transfer

September 11 Boston, MA Royale

September 12 New York, NY Gramercy Theatre

September 13 Brooklyn, NY Warsaw

September 15 Detroit, MI St. Andrew’s Hall

September 16 Chicago, IL Riot Fest *

September 17 Milwaukee, WI Turner Hall Ballroom

September 19 Minneapolis, MN First Avenue

September 20 Lawrence, KS Liberty Hall

September 23 Denver, CO Ogden Theatre

* – Secret Chiefs 3 do not perform

Ipecac Recordings – 4th August 2017

Christopher Nosnibor

According to the band’s biography, ‘Dead Cross emerged out of a series of impractical schemes, fallen-through plans, and last-minute musical experimentation. Shows were scheduled before a single song was written, fans were formed before even one show was played. The chaos of its creation seems apt; after all, the band is comprised entirely of artists who have thrived playing tightly-coiled turmoil—intelligent dissonance disguised as disorder.’ None of this is surprising, given the co-conspirators who make up Dead Cross – namely Dave Lombardo, Justin Pearson, Michael Crain, and Mike Patton. On paper, it’s a recipe for sonic mayhem. And that’s precisely what Dead Cross delivers.

It’s fast, furious and frenetic from the first bar. ‘Seizure and Desist’, recently unveiled as a video single, kicks it off in spectacularly explosive style and sets both the tempo and the tone. It’s a snarling, furious assault. It’s brutal and deranged, and yet it gloriously melodic, with a chorus and a hook that’s almost chartworthy.

Dead Cross is intense. Loud. Hard. Fast. Mental. Throw Faith No More, Pantera, Strapping Young Lad and The Wildhearts in a blender and you’re in the vicinity.

On one hand, this is a proper, old-school thrash album. On the other, it’s got Mike Patton all over it. Since forever, Patton has demonstrated a unique style and an even more unique sense of theatricality and melody. Unique, in that he’s able to incorporate these elements into the most incongruous and unexpected musical contexts, and successfully. Certainly, his immense vocal range and versatile delivery is a key factor, but there’s far more to Dead Cross – the band and the album – than once man. It’s all about the disparate parts and how they melt together to create something distinctly different. There’s no one dominant aspect here: this is a true collaboration, and all the more intensely insane because of it.

In the hands of pretty much any other band, thrash or other, the cover of ‘Bella Lugosi’s Dead’ would be both shit and pointless. But Dead Cross fill it with violent menace while retaining the finely-balanced drama of the original – and condense it all into two and a half minutes by pummelling it out at a hundred and fifty miles per hour and driving it along with a dirty, gritty as fuck bassline overlaid with heavily processed vocals. The end result is bloody brilliant.

Dead Cross is relentless and brutal. The shrieking venom of ‘Grave Slave’ is a grinding churn of guitars propelled by nonstop blastbeats. ‘Church of the Motherfuckers’ closes the album off with a throbbing chug, and, while slower, brings Patton’s capacity for flamboyant theatricality to the fore, while diminishing for fevered attack not one iota.

Often, I’m given to criticise so-called supergroup projects for failing to produce anything even as great, let alone greater than the sum of the parts. But it’s the fact that Dead Cross have produced an album that is precisely the sum of the parts which makes it such a belter.

Dead Cross Cover