Posts Tagged ‘Thrash’

Following five albums and numerous tours, Brazilian grindcore masters Desalmado are back with a new effort titled Mass Mental Devolution, due out on October 8th via  Gruesome Records in cooperation with  Xaninho Discos, Sana Maior Records and Shinigami Records.
Today, the Brazilian unleashed a music video for a brand new track titled ‘Across The Land’. With cinematography and 3D art by Walter de Andrade, this new video is now playing here:

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Desalmado once again remains true to their grindcore origins, not only for its aggressive and utterly destructive sounding music, but also for its musical and insurgent attitude, exposing the guts of a perverse and alienated world subservient to a system manipulated by the dominant classes and Mass Mental Devolution is no different.

Produced by Hugo Silva and Desalmado, recorded by Hugo Silva at Family Mob (São Paulo, Brasil) with the assistance of Otavio Rossato, Mass Mental Devolution really captures the intensity of the band’s live shows, a fierce and crushing grindcore sound that will make fans of Napalm Death and Brutal Truth more than happy.

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A few weeks after announcing their third album Empty Plinths and sharing a first preview with the single ‘Panic Room’, Grand Collapse are back with a new sensational single, called ‘Without Let or Hindrance’.

Hear it here:

Cal, singer in the band, explains:

On the inside of a British passport it reads: “Her Britannic Majesty’s sectary of state requests and requires in the Name of Her Majesty all those whom it may concern to allow the bearer to pass freely without let or hindrance, and to afford the bearer such assistance and protection as may be necessary.”

For a Country that is so actively hostile to anyone coming here, including refugees, I find this statement astounding.

British identity, which is steeped in Empire, is a pathetic shell of itself and watching these tossers hold on desperately to the tyranny of the past is cringe worthy.

This is a thrash monster, pure and simple. Full mosh mode!”

The song shows the thrash-core influences this new record has, among the many other references that should make fans of bands such as Propagandhi, Conflict and Bane very happy.

Empty Plinths, the band’s third full length album is coming out on August 6th via Epidemic Records, TNS Records, Don’t Trust The Hype Records, Mass Prod., Urinal Vinyl.

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Norwegian genre-bending innovators She Said Destroy have recently shared another track from their long-awaited third full-length album Succession, due out later this year via Mas-Kina Recordings.

Check out this new track titled ‘Not Only Bridges’ here:

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Picking up where they left off with their 2012’s EP “Bleeding Fiction”, “Succession” was recorded at guitarist Snorre Bergerud’s studio Ymir Audio, located in Vilnius, during January and February 2020 and contains a collection of material written between 2007 and 2019, and as with earlier She Said Destroy efforts displays a wide range of musical styles. Thematically “Succession” is a natural continuation of She Said Destroy’s exploration of human nature on past releases.  This time around the impact of the Anthropocene era on our psyche and our surroundings rears its ugly head throughout the album. These are songs of frustration,  despair and hatred, but also of love and wanting to cling on to hope even when not believing that striving for a better world will bear fruits.

Cruel Nature Recordings – 29th January 2021

Christopher Nosnibor

The description sets the scene and the expectation perfectly: ‘True Archweigian Improve-Free-Grind-Noise-Experimental-Avant-Jazzcore. John Coltrane quadruple booked on the same stage as Extreme Noise Terror, Swans and The Incapacitants.

It sounds horrible and utterly brain-frying, and it is. ‘Deep Pan Magna Carta’ launches the album – a whopping sixteen-track sprawl that reveals something of a fixation with wolves and goats – with a barrage of crashing, chaotic percussion, gut-churning bass, wild horns and tortured vocals that spew larva from the very bowels of hell. And they’re clearly intent on dragging you there with them, into the pit of pain, because there is absolutely no fucking let-up. This is everything all at once – and while it’s relentlessly and uncompromisingly nasty, it certainly doesn’t confide itself to any one style – and as for genre, it’s a crazed hybrid mash-up, seemingly intended to inflict maximum pain – and if this is indeed the objective, they succeed.

Most of the tracks are around the minute mark – but actually feel much longer, as they drag and dredge their way through the deepest sludge. Believe it or not, that’s not a complaint or criticism, so much as an observation on how it feels to be brutally battered from all sides at once. There is, undoubtedly, an element of endurance required here.

As the band’s name and whacky, irreverent and possibly irrelevant (it’s impossible to tell without being able to decipher the lyrics) song titles suggest, we should probably only take this so seriously. But then, as the best comedians will tell you, comedy is serious business, and so it would seem is slugging out the harshest, brutal mess of noise.

Before long, they’re in full-tilt frenzied grindcore territory: ‘Wolf Goat’ is nine seconds of snarking and blastb(l)eats, followed immediately by the thirty-six second ‘Goat Wolf’, another blast of carnage that thunders at a thousand miles an hour. There’s some black metal nastiness in the mix when the snarling vocals deliver a snarling acappella intro to ‘hash, Weed, Pills, Saurkraut’. ‘Red sausage’ is about the only phrase I can pull out of the frenetic thrash that follows.

‘Natural Born Testicle’ takes a different turn: a howling blizzard of shrieking electronics and clean shouting, it’s a wild swing into power electronics, and is more reminiscent of Whitehouse than anything else.

It’s the manic horn action that really makes Blood & Stomach Pills the experience that it is. It’s chaotic, discordant, and above all, incongruous – but then again, it calls to mind the jazz-coloured noise of GOD, as well as recent work by Sly and the Family Drone – but this is probably the grindiest permutation of such crazed free jazz I’ve encountered yet.

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FORTÍÐ have released a fascinating new video for the elegiac track ‘Son of a Barren Land’ as the third single taken from the Icelandic pagan metal duo’s forthcoming highly acclaimed sixth album, "World Serpent", which has been scheduled for release on December 11th.

Watch the video here:

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Southern Lord – 4th December 2020

Christopher Nosnibor

High Command’s new release on Southern Lord drags me back to a point of debate I’ve covered variously over the twelve years I’ve been doing this reviewing thing: what distinguishes a single from an EP, an EP from an album? And aren’t EPs and mini-album’s the same thing? It may be so much hair-splitting and semantics, and about as important as genre boundaries in the scheme of things, but… well, High Command, being a crossover of thrash metal, punk, and hardcore, are a cause of consternation on that front too.

The two tracks on this digital single, which prefaces the 7” EP release due early next year via Triple B records, are fast, furious, gnarly, and there’s no question over their thrashiness.

‘Everlasting Torment’ may not be literal in its title, being a short, sharp four-minute attack of overdrive, but it does pack all the melodic fretwork, thunderous drums and mega-fast plectrum flashing of something purgatorially thrashy, while counterpart – or B-side, if you will – ‘Sword of Wisdom’ penetrated with a raft of sudden tempo changes and pierces with the lunge into a monster guitar solo.

It’s a whole lot less sludgy and perhaps less Ministry and a lot less industrial than its predecessor, although the key trappings are all in place.

However you position it, this release brings a full-range display of some pretty frenzied fretwork which is driven – hard, and fast – by a strong, dynamic rhythm section that packs all the power, and if any of it threatens to slide toward cliché, the execution and sheer brute force are more than enough.

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APF Records – 27th November 2020

James Wells

Sometimes, there’s just no substitute for a full-tilt, balls-out, gut-churning sludgy grindcore for providing that release. There’s something strangely soothing in the relentless blastbeats, the mangled-to-fuck guitar attack, the guttural growls of pain, anguish, and all-out fury. Corrupt Moral Altar get catharsis, channelling every last ounce of rage into fast and furious sonic blitzkriegs, and three years on from their second album, Eunoia, this five-track EP suggests they’ve distilled and bottled three years of fury into seventeen minutes of brutality.

For the most part, it’s pretty much business as usual, in that everything is a pulverizing blast whereby everything thunders and pounds away at a hundred miles an hour, each song leaving you feeling like you’ve been used as a punching speedbag for three and a half minutes. Five songs may not sound like much, but when punishment is delivered at this pace, and with this much force, it’s exhausting. You only have to hope that ‘Cathedral of Porn’ isn’t intended as a tune to wank to.

The intro to ‘Spirit Breaker’ marks a distinct change in tone and tempo, with chiming, post-rocky guitar, before, perhaps inevitably, it gets grimy and nasty and completely full-on. There’s a grand swathe of semi-choral vocals which ring out over the punishing double-pedal drumming and heavy-grind guitars, and it’s a surprising but rather moving shift, and it closes in a more contemplative that returns to the atmosphere of the opening. It’s by no means wimpy, but does abundantly demonstrate that CMA are far more than one-dimensional rage-merchants.

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Time for some full moon, campfire horror metal at the gates of Hell with Possessor! ‘Bloodsuckers’ is the opening track and second single from the upcoming Possessor album Damn The Light, with vocalist/guitarist Graham Bywater commenting on the new video,

‘We wanted to create a rough and ready no frills video of us at our first rehearsal of 2020, the year that never ceases to be shit.

‘Lyrically ‘Bloodsuckers is quite a literal description of our new album cover, with the opening line “A weathered hand, a plume of smoke…” and it’s all very much based on the imagery Alexander Goulet designed for us, written partially from the viewpoint of a vampire bat… “Under a blood red moon…immortal and black winged”. As with most Possessor songs it’s got its heart in the past and its boots stomping into the future. We like to make music which inspires the listener to scream along to whilst raising the devil horns at the midnight hour. Party on.’

Watch the video for Bloodsuckers here:

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Hellripper have released a new single and the title track from their forthcoming album entitled “The Affair Of The Poisons”.

Having revealed the theme of the album through the release of “Spectres of the Blood Moon Sabbath” and their last single “Vampire’s Grave”, based on true life events from Glasgow in 1954,  Hellripper continues to explore the historical dark & insidious underworld of witchcraft and the occult.

James MacBain explains the inspiration for ‘The Affair Of The Poisons’ “the song takes inspiration from a series of events that occurred in 17th Century France. Possession, witchcraft, child sacrifice & poisonings were at the heart of a large-scale investigation conducted during the reign of the Sun King (Louis XIV) after an extensive plot was unearthed within the court of Versailles, targeting members of the aristocracy and the King himself in order to gain power and influence; the scandal exploded when it was revealed that the royal favourite herself was partaking in black masses and had allegedly poisoned a younger rival to win back the King’s favour.

Listen to ‘The Affair of the Poisons’ here:

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28th August 2020

James Wells

If a band can’t sell itself up, what hope have they for anyone else? So fair play to Horrible Youth, who pitch themselves as ‘an Icelandic five-piece sludge and grunge band that sprang to life in Oslo in 2016 and quietly recorded their stunning debut, Wounds Bleed.’

And you know what? It is stunning. ‘Monkeys’, the album first track is a low-tempo grunger that blends Nirvana and Metallica and ultimately comes on like Melvins – and if you’re going to for sludge and grunge, Melvins is the band against which any other is going to be judged.

The songs on Wounds Bleed are concise (the majority being under four minutes) and built around simple repetitive riffs cranked out with a big, overdriven guitar, and favouring the mid to lower ends of the EQ spectrum for a dense, murky sound. Only the cymbals crash through the

Single cut ‘Blissful Tropes’ brings a psych twist to the lumbering riffery, and it’s got hooks and weight in equal measure (it’s hardly a pop tune, but there’s a sinewy lead guitar behind the shouting), making it a standout on what is, undeniably, a really solid album.

It sure as hell ain’t soft or gentle, and doesn’t do the cliché ‘mellow’ track at the end of side one or anything, instead slinging riff after riff, with the rawness of Tad at their best. ‘Serve the Plague’ hits a particularly hefty, low-slung, goth-doom groove, and the tempo picking up around halfway through to thrash out a full-throttle attack.

Combining density and intensity, and packing a megalithic dose of angst, Wounds Bleed distils the sound of 1994 and turns the volume up to eleven, and the result is something special.

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