Monday, January 31, 2022

The Fear-mageddoning : Durian - "Scare Tactics" LP Review

 


  • Chi·me·ra /kīˈmirə,kəˈmirə/ - (in Greek mythology) a fire-breathing female monster with a lion's head, a goat's body, and a serpent's tail.
  • Du·ri·an /ˈdo͝orēən,ˈdo͝orēˌän/ - an oval spiny tropical fruit containing a creamy pulp. Despite its fetid smell, it is highly esteemed for its flavor. It has been described as the most foul-smelling fruit in the world. Its aroma has been compared to raw sewage, rotting flesh and smelly gym socks.
      
    Keeping in mind my comments in my previous article about my favorite releases of 2021 and how challenging it was narrowing down that list due to the volume of commendable releases that came out last year. Durian's latest release, Scare Tactics, falls right on top of that category. And speaking of categories, where to start with Durian as a band? As an OCD lifer, categorization and specificity are my day in, day out. But Durian tend to tip-toe in and out of classification and genre ever so slightly. And getting into the weeds with subgenres can be exhausting, even for me. Nevertheless, Scare Tactics sees the band's patented punk permeated power violence painted grind evolving into a bulkier, burnished brick of blatant grindcore brutalism. 

     New Jersey's Durian was founded by members of the now defunct and highly revered grind-violence band, Chainsaw to the Face. And as the sun started going down on Chainsaw to the Face in 2015, it rose on Durian starting with their 2016 basement recorded demo. Right away Durian cultivated a sound that didn't so much rely on power violence's juxtaposition of fast blast beats and slow slogs. Instead opting to blend revved up and spastic punk riffs with angled and staggered arrangements. Set into motion by mass and speed. But what immediately stands out, even at the most preliminary cursory listen, is the bass guitar work. The inclusion of bass in the mix of grindcore material is almost something of an industry running joke. Commonly not even being included at all depending on the band. Durian features not only competent and articulate basslines, but actually holds them to the forefront. Especially in the band's earlier EP's. Combine all of this with proficient song writing and structure and you have a recipe for a real dynamism that makes for a truly energetic listening experience. A standard that the band has been perfecting for the past five years and six releases. 

    2021's Scare Tactics marks not only Durian's first full-length, but also an evolution in the band's brand of grind-violence. The sound this time around seems to lean more towards the grindcore side of the grind-violence duality. But without forsaking the power violence necessities. E.g. tracks like "Maslow's Dog" and "Committed to Ignorance." Rather this album is a hulking powerhouse that is somehow nimble enough to wield that weight with total malleability. The guitar is a thicker, heavier driving force and is now moved up in the mix. This is literally instrumental in showcasing songs like "Compulsion." A song that has some really interesting riffs and patterns. The song basically operates like a wind-up toy that has burst into flames and keeps violently grating itself to pieces. Likewise, the very next track "People Are Alike All Over" incorporates skipping hardcore two-steps, blast beat bursts of AK-47 fire and metallic snare stampedes. A style that propels the entirety of the album through zigzagging twists and turns. Ultimately the bass guitar is toned down on this album. Not diminished. Just more evenly distributed in the production. In fact, Scare Tactics is probably one of the most level and balanced mixed albums you are likely to hear in the genre, ever. The bright slinky spring wound bass, the Tilt-A-Whirl/shotgun shell guitar riffs, the poppy crack of the snare drum and the three-tier combination vocals coalesce in a way that really makes the LP shine.

    Scare Tactics illustrates a current Durian that has matured in the ways of symmetry and production. While bolstering their grindcore beastliness and simultaneously doubling down on the power violence undertones at their core. Their churning and fragmented song structure is explosive and exciting. The band skillfully rounds off the edges to a genre made-up of abrupt and angular songs and they shape them to flow smoothly and seamlessly. If I were a blogger writing a series of grindcore music reviews under the fictional narrative of living in a decrepit homestead, I would explain that Durian play a subtle and sophisticated version of grind-violence. In which they have cracked the code on how to flawlessly marry the two genres. As well as the fact that Scare Tactics is a talentedly crafted, highly vibrant addition to the band's discography. If I were debating this album with friends in-between sets at a local show, I would explain how the first half of the album sounds like Code 13 doing Fiend covers. While the second half reminds me of a scenario in which Despise You crossbred with Magrudergrind. (I maintain "Façade" is proof of this.) But if I were simply recommending this LP to an interested party, I'd say this is an absolutely fun album by the best band you've never heard of. 


FFO: Chainsaw To The Face, Six Brew Bantha, Phobia, Dropdead 

Listen to the album:

Tuesday, January 11, 2022

Return to the House of Grindcore: Top 10 Favorite Releases of 2021



    When Covid hit in earnest in 2020 and cities began shutting down. When quarantine became the new national pastime and widespread unemployment swept the country. Shows stopped. Venues closed their doors forever. Bands broke up. But those bands and their members who persevered and survived found themselves with a lot of free-time on their hands. Free-time that was utilized in writing new material and tracking new songs in the studio. So when 2021 came around, we the listeners found ourselves with a plethora of new albums being pressed. Digital EP's being uploaded to Bandcamp. Labels promoting the latest and greatest of things to come. There were so many great releases last year. Some I reviewed here. So many more that I could not. And I'm sure much more that I haven't even heard. Whittling down this list of my favorite releases of 2021 was not easy, but I hope it is well received.

10. Ixias - "tinge." LP
    Baltimore's Ixias and their full-length, tinge. is a psychedelic take on grindcore that blends meteorically fast, dissonant grind with a haze of eerie, retro-synth-ambient-noise. It's like if Discordance Axis were hired to composed the soundtrack to the film, Mandy. Or if space-grind band Psudoku manifested within Event Horizon. Ixias' sinister take on spastic metal-flecked blasting plays out like a Kubrickian nightmare. But even with the all ambient atmosphere, songs on tinge still rarely break the one minute mark. This fast, jagged, discordant grind mixes blood and bleach for a unique and punishing flavor.

9. Hong Kong Fuck You/Guilt Dispenser split EP
    I remember a lot of hype around the release of this split as the grindcore community patiently waited for the vinyl copies to make their way out of the pressing plant and into distros. And it was well worth the wait. As a band, Hong Kong Fuck You is doing some really interesting things with power violence and grindcore. The drum and (three) bass (no guitar) quintet are blast-beating a path through experimentations in tempo and syncopation mixed with a profane digital pollution; plus a healthy obsession with eating ass.
    Guilt Dispenser offers up a stout, stuttering bass-heavy rendition of fastcore. Their micro songs are erratic blasts of abrupt grind that somehow still find time to introduce hardcore grooves in literal seconds. I feel like this record had a lot of listeners coming for the Hong Kong Fuck You, but staying for the Guilt Dispenser


8. Mescaline Maniacs - "Give Me My Face Back" EP
    What can I say about this EP? 6 songs in 4 minutes. Mescaline Maniacs are keeping California street-stank power violence alive and well. While their 2020 self-titled EP was a more traditional hardcore/power violence, 2021's Give Me My Face Back is a raw, feedback drenched, pissed off, methed-out Spazz bordering on grind-violence and starting fights at the Despise You show. Complete with comical audio clips and cover art that looks like a hood-school doodled book cover that has been Xeroxed to death. Absurdist HxC/PV lives.

7. World Peace - "Come And See" LP
    Another drum and bass power violence band (only two basses this time, though) and another highly anticipated release that lived up to the hype. God help those who slept on ordering this one-sided LP of 20 songs in 10 minutes from 12 Gauge Records. Which sold out pretty much over night and myself being among them. World Peace is a pummeling, low-end power violence trio that hits heavy and fast. Like fast, fast. The instrumentation is a blur of talent and speed. And the mix on this LP is just as amazing. Capturing the bass athleticism and the equally impressive drumming. Both of which will make you forget that this band is sans guitar. It's like listening to Lack Of Interest read Richard Dawkins.

6. Blockheads - "Trip to the Void" LP
    No introduction should be needed for these 30 year veterans of French grindcore. This is the first we've heard from Blockheads since their Relapse Records release of 2013's, This World Is Dead. In that gap between releases the band's sound has gotten leaner and meaner. As if they were living in the wild this whole time and became feral. Trip to the Void is a whirlwind of blast beats, D-beats and crushing guitars. Blockheads could've gone the way of so many other grind bands of their age and settled into tough-guy metal or pacified big label grind. But instead they are still pissed and twice as frenzied. It's also nice to see a 25 track full-length that doesn't even pass the 30 minute checkpoint. Which itself is starting to become a thing of the past. Additionally, this cover photo by photographer Roberto Campos is quite an accomplishment in and of itself.

5. Deterioration/Mellow Harsher split EP
    A match made in grindcore heaven and then quickly aborted into an alley dumpster. The Minnesota kings of cynical cringe hyper-blasting meet the snarky psycho snare worshipers from Wisconsin. Deterioration breed split EP's like rabbits and this release is north of thirty on their discography count. There were like half a dozen this year. This split with Mellow Harsher falls in line with all of those in the fact that it's brutally fast and chock full of heavy riffing. But unlike past recent releases this EP sounds a lot better. Deterioration's unhinged and ironic trailer park grind is legend in the grindcore community.
    Mellow Harsher return with another scorching set of high intensity tracks that sounds like a pot of boiling snare drums being shot at with an AK-47. Mellow Harsher is one of the best sounding grindcore bands operating today. Everything they release should be on your shelf. They combine some of the slickest, hardest grindcore mixed with elements of power violence and slather it in high pitched shrieks.
     
4. Knoll - "Interstice" LP
    Knoll's Interstice is a solid full-length of blackened death-grind that plays like a maelstrom of blast beats and a torrent of chainsaw guitars blaring through the charnel caverns of some underground catacomb. The dark static stench of chaos is barely reined in by the technical black metal shrills that perpetuate this grinding machine. Musicianship and atmosphere are Knoll's strong points, but speed is their bread and butter. If in the end the band's hoods were removed and it was revealed that they were actually a set of DeWalt power drills the whole time, I would not be surprised. 


3. Monnier - Self-titled LP
    Monnier is an international super group of sorts. Featuring Makiko Suda from Japan's Flagitious Idiosyncrasy In The Dilapidation on vocals. Her screams are the best in Japan and sear their acidic peppermint mark on the music. While all instrumentation is handled by Belgium's premier crust/grind artist, Jasper of Infested Art and Days Of Desolation. His art defined the genre and I'm sure most of you have at least one album cover or a t-shirt of his in your closet as we speak. Makiko is a beautiful artist in her own right. And the duo's collaboration is not only apparent in the music, but also on the jacket art as well. The record itself is comprised of two previously released EP's. Each one full of ballistically ferocious grindcore. Katana sharp dissonant riffs. Venom soaked vocals. Perfect production. All overflowing with light speed blast beats. Now I'm not sure why I haven't heard anything about this LP from anyone outside the band and the label (Loner Cult Records.) So I guess this flew under the radar, maybe? What a sadly underrated release if true.
  
2. Nak'ay - "Closed Doors/Open Veins" LP
    Closed Doors/Open Veins means exactly what you think it does and Nak'ay is exactly the band that can convey such sentiments in under a minute and buried in everlasting blast beats. Nak'ay are a highly tuned machine that have crafted a vicious hybrid of grindcore and black metal. Then reduced it down to its purest form. This weighty concoction of blackened grind manages to create a sense of atmosphere and despondency with the slightest of efforts. And the only thing breaking up this air of gloom is the roaring vocals, dazzling talented guitar work and the ceaseless barrage of blast beats. Closed Doors/Open Veins is a testament to what happens if you champion speed, talent, versatility and inspiration while still keeping things focused and direct. 

1. Eastwood - "Antibiose" LP
    I am of the ilk that believe that the only genre better than grindcore is the subgenre of grind-violence. And Antibiose proves that Eastwood are currently the apex predators of this category. This German/French four piece absolutely dominated with their 2021 record, Antibiose. It is brimming with machine gun style blast beats that are so fast and impactful that they should have tracer fire. Slinky basslines and coiled guitar-rips that hit like surgical airstrikes. Eastwood explodes effortlessly from grindcore to power violence to hardcore to metal and back again, like the pull on a zipper. This seamless shape-shifting elevates Eastwood into a bracket of pummeling all their own. While still keeping the tried and true grind-violence attributes at the forefront. Antibiose is an astute critique of today's cracking and jaded society set to a soundtrack of crisp, fresh brutality. 

Thursday, January 6, 2022

Hara-Kir'ay: Nak'ay - "Closed Doors/Open Veins" LP Review

 


    Before we as a society start scratching and clawing our way into another year, another pandemic and another decline into a life of anxiety and dejection; Indiana's heavy-grinders, Nak'ay, snuck a full-length in under the wire with November 2021's Closed Doors/Open Veins. A release that is just in time to hopefully make everyone's end of the year list of the most essential grindcore records. Nak'ay might not be a band on the tip of the tongue of the casual grind listener, but they are not a band to turn your nose up at. Nak'ay are technically proficient and musically prolific. In their 13 years as a band they have put out almost 20 releases in the form of demos, compilations and split EP's with the likes of Archagathus, Deterioration, Sick/Tired, Suffering Mind, Lycanthrophy and Unholy Grave among others. But this past year brought the band their first full-length consisting of 17 tracks in almost 15 minutes. (Quick aside: in 2017 I had the pleasure of seeing Nak'ay live in Dallas with Fiend and Deterioration on tour between SummerGrindFest and Maryland Deathfest. It was a lax, yet robust show. And is the one and only time that I've seen a drummer implement gravity-blasts in the wild.)
        
    Closed Doors/Open Veins falls right atop the Nak'ay evolutionary timeline not only in the journey from years of splits to finally a full-length, but also as the pinnacle of the band's sound, style and production. Nak'ay's 2009 demo, 260 Raw Grinding Bestial Black Metal Punk Noise Devastation, as the title implies, started the band off as a low-fi black metal grind act. Through the years and through the splits they've slowly honed their style and, incrementally, their production value. Somewhere around 2013's split 10" with Archagathus, the band settled into their current sound. Developing from their raw black metal roots and death-grind freshman releases to their present-day lean, white-hot version of grindcore. Like seriously, Nak'ay is startlingly fast and trimly. The drumming heard here within is absolutely crushing and incessant. Again, fervid fucking hot. Guaranteed Nak'ay is doling out more abject blasting in less time with more command than easily any of the grindcore bands that you're thinking of in your head right now. 
     Closed Doors/Open Veins keeps nearly every song under a minute. Sometimes way under a minute with songs like "Famine Worship" which clocks in at a mere 14 seconds long. Yet it still retains all the same through lines that the band has patented over the last decade or so: hyper-blasting bpm's, scathing guitar, strobing stop/starts and ghostly noise. All under the shadow of the black metal fundamentals founded long ago. It is these naturally developed skills that give Nak'ay edge over most.
    Showing up sporadically throughout past releases, the noise elements usually consist of distorted audio samples overdubbed with feedback and ambient grime that lend an atmosphere to the songs. The audio samples on this record appear to be in Spanish which could be easily written off as nonsensical, and I for one am not going to pretend that I know exactly what all is being said in between the lines here. But instead, they hold weight and create a tone of gravity and dread. They convey the ominous funereal air of unease and sincerity that is the backdrop for Closed Doors/Open Veins. Not to mention several song titles are in fact in Spanish. So there is an overall theme that hadn't previously been explored before. At least not to this length. It's not too overly done yet is highly effective. Attention was paid to what was put into the mix.
    In addition, those black metal dregs that still remain from the band's formative beginnings still course and seethe underneath the lightning quick songs. In the very brief instances that the snare isn't blasting a hundred miles an hour, the guitars take advantage to either lash out some electrified blackened tanglings or some mosh-heavy, metal-laden chugging that are gone just as soon as the appear. These are most on display on the two closing tracks of each side of the vinyl: side A's "Nació Para La Violencia" and side B's "Nunca Va A Cambiar." These two tracks nearly wholly make up the over-the-one-minute-mark songs and are steeped in the same warped tape chatter atmosphere. But here they are allowed the room to stretch their legs and really showcase the multifaceted, albeit, whirring guitar work. 
      
    There's something to be said about speed. Brash unrelenting speed. Subdued in brevity and implemented inside cold indifference. Speed that rarely strays too far before avalanching back into a sea of abrupt snare hits. Nak'ay is a perfect machine. And Closed Doors/Open Veins is a candid take on a grindcore album that ties brute force together with guitarist marksmanship through the sinew of razor-sharp composition. It doesn't get much more solid than this. Closed Doors/Open Veins is currently on sale on vinyl and CD through EveryDayHate Records, Psychocontrol Records and the band directly. Nak'ay already have another split release with Hate For Humanity coming out this week [January 7th] for pre-order on Wise Grinds Records. So I think it's safe to say that Nak'ay don't plan on slowing things down any time soon when it comes to tempo or material output. 


FFO: Insect Warfare, PLF, Deterioration, Shit Life


Listen to the album:




Teoria Del Complotto: TSUBO - "Capitale Umano" CD Review

    My first introduction to Italy's TSUBO was a blind purchase of the band's 2012 release, . ​.​.​Con Cognizione Di Causa , throug...