Yo, slime lovers, check it out, the two absolute best Italian stench-core/rotten crust bands (and among the best in the world for that matter) have just released a handful of releases which appear to have come out at the same time, and which are all fucking awesome, of course. What’s interesting is that the two bands also share some common members and appear to be an extended family of sorts in the Italian crust underground. Regardless, what’s really amazing about these two bands is just their awesomely decomposing-sounding music, which is hands down some of the best Deviated Instinct and Antisect-styled crusty filthy punk metal you will hear these days.
Dissonant buzzsaw guitar that manages to be hypnotically soothing and psychotically unnerving at the same time is the first thing you hear on ‘Exil’, the first track on Ottawa post-punkers Aube‘s new demo, and it’s a perfect indicator for the mess of contradictions that is the record to follow. Screeching, bone-rattling feedback leads in and out of almost every track, and a menacing layer of discordant overtones trails through the air of each song, making sure you can never get fully comfortable, even when the occasionally completely crushing, heart-achingly poignant melody breaks through. It’s like blazing sunlight breaking through acid rain cloud cover over a miserable marshland. It’s beautiful and transcendent, but don’t forget you’re still standing in a dirty swamp getting acid-rained on.
Anderson Cook has been busy. Having been introduced to the various projects he’s involved in, I consistently find myself enjoying the fruit of all of it, no matter how bitter it may seem to others.
Last we heard from his outlet for antipathy Pornography was through an assembly of his efforts thus far in This Is A Collection, which I reviewed not long ago. It was a strong display of his work with multiple split mates and newer inclinations which left me patiently waiting for word of his next step in this form.
Well here it is: CVLT NATION is premiering material from a new lathe-cut 7″ single housing two new abrading compositions, featuring friends and collaborators Tyler Coburn (Yautja) on drums and Jared Moran (54R, Yzordderrex, Uzumaki, etc.) on bass to assist in its execution.
Together they make this recording special, as Anderson’s discontents flow into the ruinous constructs “Hex” and “Golden Sunshine” to produce one further notch forward in his gouging, alienated gloom.
Read on and listen to the exclusive stream below!
FUOCO FATUO have crushed all competition and have plowed their way to the forefront of Italian extreme doom in the last few years. Slowly but surely, these three Italian misanthropes have woven a path of destruction in front of them in the European underground with the sole aim of leaving absolutely nothing standing in their wake as they trample over everything. After releasing a handful of EPs and splits, the band has finally emerged from the sewer it was birthed in with a weapon of conquer: a full-length album of brand new songs that only strengthens their status as stalwarts of all things heavy, violent and fucking downtuned to no end in Italy – The Viper Slithers in the Ashes of What Remains.
As far as “supergroups” in black metal go, Twilight has to be one of the more interesting since their formation in 2004 with the line-up twisting and contorting with each album. Their self-titled in 2005 saw N. Imperial, Wrest aka Leviathan, Blake Judd, Malefic (better known as Xasthur) come together for a murky BM odyssey that didn’t exactly set the world on fire but its follow-up, Monument to Time End, now joined by ex-Isis main man Aaron Turner, Stavros Giannopoulos and Sanford Parker (and the departure of Malefic) was exactly as the title may suggest – a monument, where towering melodic doom dirges and spectral ambience collided with the band’s black metal foundation. Fast forward a couple of years and Twilight is once again a different band.
Grind, Powerviolence, punk, metal, fast and brutal shit…. call-it-what-you-will, we don’t really know what to call this crazy release aside from fucking awesome! What you can stream herein is the debut offering by the Bay Area’s newest spine-splitters, DeathgraVe! Based out of San Jose and Oakland, members of DeathgraVe are: Matt on drums, Fern on bass (also Amber Asylum, ex member of Bird, ex member of Ringwurm), Andre on vocals (also of San Jose death metal bruisers Cyanic, ex member of Bird, ex member of Casket Blaster) and Greg Wilkinson on guitar (Brainoil, ex member of Laudanum, ex member of I will Kill You Fucker, super-renowned all-things-heavy sound engineer and too many other bands to mention!). Their debut self-titled Demo is everything you would want to hear as the soundtrack to an insane and hysterical poser-killing rampage!
Label: Rust and Machine Records
Jittery, up-tempo post punk is the name of the game on this new release from Melbourne, Australia band Masses. Horde Mentality is packed full of skittering rhythms, propulsive basslines and subtly melodic guitar-work, with a slight trashy garage rock vibe and a melancholic dark wave sheen emphasized by the gloomy, reverb-dripping production provided by the almighty Phil Calvert of The Birthday Party.
Damn! It will be tough to contain my enthusiasm when talking about this record. I hardly knew anything about Nashville’s Yautja prior to fall last year, but since then they’ve had my attention wholly.
Yautja’s debut LP Songs of Descent is remarkable. It is unexpected, indeed unforgettable and inventive. Even contending with the overpowering influence of Gaza, Kiss It Goodbye, and Great Falls; giants, and a genre that allows little wiggle room.
This infuriated hybrid grind group has blossomed in imaginative, intoxicating new forms of nucleic aggression as is clearly and confidently expressed on Songs of Descent.
Check out Nothing at the Relapse Records X CVLT Nation SXSW 2014 Showcase, March 12th at Dirty Dog Bar! More info here…
Philadelphia-rooted band Nothing have been weaving a dreamy tapestry with their brand of ear-breaking shoegaze since their Suns and Lovers debut in 2011. 2012 saw the release of Downward Years to Come, a delicate, emotive EP that demonstrated the sheer power of Nothing’s sound, in addition to addressing them as a force to be noticed among the spring of shoegaze bands of recent years. Catching the attention of metal-centric label, Relapse Records, Nothing are on the cusp of releasing their first full-length, the towering, beautiful and melancholic Guilty of Everything.
I don’t know if I’ve made this explicit enough, but I’m infatuated with Dephosphorus. I can trust this disciplined, generous band to not let me down in each astral grind endeavor they explore at this point and Ravenous Solemnity further confirms this.
It’s a very grounding (and fairly rare) feeling that I recall having when I first heard bands that really influenced or moved me in my time listening to heavy music. Iniquity, Mare, Absu, Cryptopsy, Led Astray, Thou, Amenra, Men In Search of the Perfect Weapon — stuff like that cut into my memory and linked to standards of cathartic, inspiring enjoyment and creation that rarely are toppled.
Music that compelled me to try and recreate it on guitar myself, however failed or successful those attempts became on my end. It’s not easy in my mind for a band to pry its way into that area of nostalgia.
A little dramatic sure, but Dephosphorus are a band I have no hesitations about including in that circle, with Ravenous Solemnity acting as a third bulwark of sidereal majesty only securing them further in reverence for me.
Those who have kept up with them will be pleased significantly, and for those unconvinced or unaware I’d suggest it’s next to impossible for their music not to make an impression at this level.
Small changes, an unending euphoric tension that progresses from Night Sky Transform and embraces an uncertain future with what the title would suggest: a revered, voracious ceremony of stellar declaration grounded in personal, secular aggression. No stagnation, only further committal to passionate creation.