There isn’t an appropriate way to start this review, nor is there an appropriate way to talk about the band in question. Haymaker is a hardcore band from Hamilton, Ontario which features members of Pick Your Side (who dropped a seriously excellent 10” last year with To the Point), Left for Dead, and Chokehold (if you’ve never listened to Prison of Hope you probably should).

I’m not going to write something that’s entirely too descriptive and get lost in metaphors. This is Haymaker’s first release in almost a decade. Let Them Rot is short, sweet, and to the point; exactly what you want out of hardcore. Haymaker, quite possibly, is even angrier than Left for Dead; even though these qualities are arbitrary and for the listener to decide, it isn’t like they are getting that really terrible Throwdown album also named after the powerful punch. Instead, what is delivered are four tracks that move at a blistering pace, with ridiculously ignorant mosh riffs thrown in (see: "Cheque to Cheque").

I’ll sum up Haymaker in two words: fucking angry. If you like hardcore that is the fuck-you-eat-shit type of vicious and entirely negative, then Haymaker is definitely for you. They are another legendary band from Hamilton, Ontario who are totally underrated, but deserving of all types of praise. Let Them Rot is a continuation of the mayhem and the in-your-face attitude the band brings. It’s like they never missed a beat.

Bill Haff

Band info: www.a389records.com
Label info: www.facebook.com/Haymaker

Editor-in-Chief at Scratch the Surface, Bill Haff is a Philadelphia-based music critic who also contributes for Cvlt Nation, Metal Injection and Ghost Cult. You can follow him on Twitter at @bill_haff

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Let’s get right to it; I’m infinitely excited that Left for Dead are making new music. I think a lot of people are. It’s their first actual release of new music since that split with Ochre back in ‘97 (the five tracks on that split are utterly vicious), and to be perfectly honest I didn’t know what to expect. I only heard two songs -- “1946” and “Digital Pigs”, the former being on the Schizophrenic Records comp called Defend Hamilton, Eat Shit.

There’s all this information on what comes with the 7”, how limited it is, et cetera, so I won’t go into detail about it. After all, it’s a review on the music, not an exposé on how big of a nerd I am for collecting records.

When you get right down to it, it’s hardcore at its finest and most primal. “Digital Pigs” is an absolute ripper of a track and a helluva way to open the 7”; loud, fast, and angry. I suppose there can be an argument made that it’s the same Left for Dead, as in, it sounds like they never split up and continued to release a steady stream of music. But they’re a lot older now than they were in ‘97, and that aging-like-fine-wine just heightens the sound that the group delivers. The redux of “Standing By” is absolutely incredible and sounds like a live take rather than a recorded version (hint: that’s a good thing). Previously mentioned “1946”, a song about Evelyn Dick, closes side A in brutalizing fashion. Side B is just as memorable, with “Cop Trap” firing off first. The 7” also contains a great cover of The Exploited’s “Rival Leaders”, a song that was most certainly influenced by Discharge. It fits right in with Left for Dead and the style of hardcore they play, whatever you want to call it.

At the end of the day, it’s a new album from a band people were unsure would make new music. It’s angry hardcore that doesn’t mince words and it most certainly doesn’t take the easy way out. With 1 (or Murder Contest 001), Left for Dead pushes themselves to create something that fits in with the rest of their discography. That’s not saying there’s nothing new here, either. There’s little pieces taken from every other band the members are/were involved in and those pieces were put together to create a hardcore album that is, well, blunt and to the point. It’s hardcore at its best; unflinching honesty and a tough-as-nails sound. You know what you’re getting: it’s Left for Dead.

Bill Haff 

Label info: www.a389records.com

 

Editor-in-Chief at Scratch the Surface, Bill Haff is a Philadelphia-based music critic who also contributes for Cvlt Nation, Metal Injection and Ghost Cult. You can follow him on Twitter at @bill_haff

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There are so many albums to choose from; so many demo tapes, 7”s, splits, et al, and I’m allowing all of these to be in the best-of lists. With that said, here are my personal top jams from 2013.

1. Left for Dead - Devoid of Everything (A389 Recordings)

Kevin Bersten/Developing Nations remixed the entire ‘96-’97 output by the legendary Hamilton, Ontario hardcore/fastcore/angry-as-fuck act Left for Dead, and it was mastered by James Plotkin, to which I have to say: thank you. Most of Left for Dead’s releases were of awful quality, but with Devoid of Everything, the quality is absolutely perfect. It’s gritty, mean, and vicious; Left for Dead is quite possibly the angriest hardcore band I’ve ever listened to. Sure, you can make a case for fellow Hamilton destroyers Haymaker and another band appearing down this list, but the Chris Colohan fronted act are just fucking mean. Devoid of Everything is brilliant; it might be straightforward and to-the-point, but that’s what hardcore should be. No frills, no bullshit; just unrelenting anger. I’m forever ashamed of myself for missing them at the A389 Anniversary bash AND Chaos in Tejas, but I will be going apeshit during their set at Maryland Deathfest XII. Listen

2. Deafheaven - Sunbather (Deathwish, Inc.)

What can be said about this record that hasn’t already been said? Part redefinition of black metal and part post-rock soundscapes, Deafheaven’s seminal work goes down as one of those releases that touches absolute greatness. Amazingly layered and full of clarity, Sunbather is just one of those albums that you can never get enough of. Beautiful, organic, and textured brilliantly, the album is definitely worth all the praise it has ever been graced with, and then some. Listen

3. Column of Heaven - Holy Things are for the Holy (Iron Lung Records)

I can’t get enough of Canada, apparently. Toronto’s Column of Heaven released that masterwork known as Mission From God last year, and everyone ate it up. Holy Things are for the Holy is an extension of the wacky noise/experimental/drone that was heard last year, and on this 7”, it’s cranked up to new levels. Blast-beats, awkward drum patterns, and odd sounds/general weirdness pepper the two-track 7”, and it’s amazing. Column of Heaven continually pushes boundaries, experimenting wildly with cacophonous noise and layers. Listen

4. Vattnet Viskar - Sky Swallower (Century Media)

I’ve talked about this album too much. What is my top album of the year, it contains everything I desperately want from a black metal album. There’s so much dynamic going on. Textured layers of guitar work, drum tracks, atmospheric noise. Everything. Black metal changed over the years and with it came the change of musicianship. Taking notes from post-rock and post-metal, Vattnet Viskar’s Sky Swallower is a down-right fantastic display of black metal bliss. Listen

5. Weekend Nachos - Still (Relapse Records)

What would my end-of-the-year list be without mentioning Chicago’s own Weekend Nachos? It’d probably be stupid. Seriously. Still is a menacing album. I already wrote about it here. A furious but lovely blend of hardcore, powerviolence, sludge, and various other genres create a cathartic atmosphere. Another great effort by Weekend Nachos. Listen

 6. Nails - Abandon All Life (Southern Lord)

Let’s get one thing straight: I fucking love Nails. I own every variant of Unsilent Death on vinyl and I pre-ordered Abandon All Life the day the sale went up. Seeing them live for the first time at the Broad Street Ministry was a helluva an experience; they completely tore the place down. Nails are one of the most vicious, destructive hardcore bands and Abandon All Life just pulverizes, decimates, and other synonyms for destruction that I can’t think of and wouldn’t do the record justice anyway. Listen

7. Oranssi Pazuzu - Valonielu (Svart Records, 20 Buck Spin)

I’ve always held a soft spot for weird music, and Oranssi Pazuzu is no different. Combining elements of psychedelia and black metal to form wondrous soundscapes, Valonielu is one of those albums that doesn’t take a lot of time to sink its teeth in. Sure, there’s black metal riffage going on here but that’s not what makes the album special. What is special about it is that it branches off in wide directions seamlessly. How many times can you have a black metal release that combines New Wave and Krautrock with the heralded lo-fi, foreboding genre? Not many. Listen

8. Cülo - My Life Sucks and I Could Care Less (Deranged Records)

So who here has heard of Chicago’s Cülo? Anyone? The Chicago hardcore punk act put out a ton of EPs that were really awesome, and their first full length retains that energy and drive. It’s super punky with full speed thrashing attacks, and at times unrelentingly angry, but that’s what makes the band so awesome. Brutal honesty and catchy riffs make for an album that feels unique and inspired amidst all the same bullshit. Listen

9. Windhand - Soma (Relapse Records)

Virginia’s Windhand outdid themselves. They put together a doom/stoner metal masterpiece. While some of the tracks are long, and it takes some time to be fully immersive, the riffs themselves are wondrous beasts of doom metal glory. It’s a different animal of stoner doom altogether. These riffs are sickly sweet; infectious, if you will. Slow and churning metal, coupled with Dorthia Cotrell’s amazing vocals make for an album that is just the pinnacle of what stoner doom should be. Listen

10. Perfect Pussy - I Have Lost All Desire for Feeling (self-released)

Okay, this is totally not metal or hardcore or whatever, and I know everyone in “the underground” has talked about them already, but Syracuse’s Perfect Pussy released this demo tape some time in April and Christ, I’ve been hooked. They’re one of those bands I’ve heard through word-of-mouth, instead of scouring the Internet (read: tumblr) to find something completely out of left-field. They’ve blown up a little bit (with good reason); this demo tape is absolutely fantastic. It’s jangly, wild, and noisy -- definitely things that I find attractive in music. If you like your music raw and unfiltered, this one is definitely for you. Just don’t expect, like, death metal or something. Listen

Editor-in-Chief at Scratch the Surface, Bill Haff is a Philadelphia-based music critic who also contributes for Cvlt Nation, Metal Injection and Ghost Cult. You can follow him on Twitter at @bill_haff

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The self-proclaimed “Hatebreed for wimps” act Weekend Nachos are at it again with another release on the Upper Darby, Pennsylvania record label, Relapse Records. This newest effort, titled Still, is the same ‘ole powerviolence/grind/hardcore amalgamation everyone expects from the Chicago outfit.

Powerviolence isn’t a sub-genre of hardcore that lends itself to creativity and invention (unless the band being spoken of is Man is the Bastard), but there’s a lot that Weekend Nachos does right, and perhaps better than their contemporaries. There’s a vast range of influence that comes through on all of their albums -- Still is no different. Weekend Nachos utilizes a vast range of influences, from hardcore acts like Youth of Today and Haymaker to powerviolence acts like No Comment and Crossed Out. They’re not just a powerviolence band, however; the Bleed E.P. made certain of that. But the influence does come through in spades on Still, right from the get-go. “Suffer No More” lasts only forty-four seconds, but switches between powerviolence and hardcore, ending with a two-step part that just straight-up grooves. “No Idols and No Heroes” is some old-fashioned beatdown hardcore; it’s the kind of track that would open up the pit and send everyone into a frenzy.

It’s one of the strongest parts of Weekend Nachos’ sound. They have mastered “negative hardcore”. There’s a few acts that play in a similar vein (UK’s Gets Worse is a prime example), but none do it better than Chicago’s finest. Still contains tracks that are sincerely aggressive; “S.C.A.B.”, “Satan Sucker”, “You’re Not Punk”, and “Ignore”. “Watch You Suffer” is a brilliant mix of hardcore and sludge metal; like most of Weekend Nachos’ tracks, it is merciless in its delivery and assaults the listener directly, like good hardcore should do.

Weekend Nachos switches their sound up on each album, and each album is unique. Of course, there will be people who prefer Worthless to Still, and others who prefer Punish and Destroy to Unforgivable, but the takeaway should be that the band constantly improves upon itself, and pours everything they have into every album. Still punishes the listener with powerviolence, sludge, and even drone, showcasing the creative exploits of the band while retaining unearthly levels of vitriol and negativity. The blend of hardcore and its sub-genres with influences from the heaviest of heavy metal works so well -- quite possibly better than on albums like Worthless. Sure, that album is great, but Still is an album in the Weekend Nachos discography that should be praised, even heralded as one of the finest works the band has ever produced.

Bill Haff

Band info: www.facebook.com/weekendxnachos
Label info: www.relapse.com

Editor-in-Chief at Scratch the Surface, Bill Haff is a Philadelphia-based music critic who also contributes for Cvlt Nation, Metal Injection and Ghost Cult. You can follow him on Twitter at @bill_haff

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Rejoice, all ye thrash fans and revivalists. Toxic Holocaust has released a new record, and it is everything you’ve come to know (and hopefully love) about the Portland, Oregon assaulters.

Let’s not mince words; Toxic Holocaust aren’t innovators of the genre -- they aren’t redefining crossover thrash. What they bring to the table is stripped down, crust punk-like thrashiness that teeters on the edge of hardcore. Think bands like Discharge and Krömosom while maintaining the aggressive speed of Kreator. Throw in some early black metal influence (Bathory and Venom, anyone?) and you’ve got the backbone of Toxic Holocaust.

This new album, Chemistry of Consciousness, is their fifth full-length, and features some of the most stripped-down, filthy, and vicious crossover meeting black metal meeting crust punk tracks. Right from the opening track, “Awaken the Serpent”, Toxic Holocaust pulls no punches; the Swedish crust influence shines through, held together by the Bay Area thrash sound. The band leaves very little room to breathe, opting for an all-out attack instead of getting overly technical. Joel Grind’s vocals are raw and ripped, spewing lyrics like bile being expelled from the body. “Salvation is Waiting” contains darker, leaner parts from “Angel of Death” off Reign in Blood, mixing in some Haunting the Chapel-like eerie guitar sounds. The track moves from a two-step groove into a full-scale thrash jam, then segues back into the two-step breakdown. Probably the most interesting track due to the sheer brutality and assortment of influence, “Salvation is Waiting” is nearly three minutes of destruction, hell-bent on delivering driving, merciless sounds and never letting the foot off the gas pedal.

The album does tend to wane thin towards the end. Some of the tracks unfortunately bleed together (like “Deny the Truth” and “Mkultra”), leaving a dizzying feeling, quite possibly the side effect of listening to the band in high doses. However, Chemistry of Consciousness is a rage-inducing assault; an album certainly worthy to thrash out to. There’s no use weeding through the album with a fine-toothed comb; Toxic Holocaust’s attack is pretty straightforward, but sometimes, that isn’t such a bad thing.

Bill Haff

Band info: www.facebook.com/ToxicHolocaust
Label info: www.relapse.com

Editor-in-Chief at Scratch the Surface, Bill Haff is a Philadelphia-based music critic who also contributes for Cvlt Nation, Metal Injection and Ghost Cult. You can follow him on Twitter at @bill_haff

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Two years following the release of 'Kosmonument', a release that bridges the gap between psychedelia and black metal, Finnish act Oranssi Pazuzu are at it again with 'Valonielu'. Since breaking into the scene with their first release, 'Muukalainen Puhuu', these Finns have never shied away from the avant-garde and bizarre. They embrace it. Their third LP is sure to turn some heads with hypnotically catchy songwriting and off-kilter structure, something they have become accustomed to.

A droning keyboard lead ushers in a powerfully catchy riff on “Vino Verso”. This isn’t the standard black metal. There are no crushing blast beats. Instead, Oranssi Pazuzu belts out New Wave focused hooks with synth pop jangles. Jun-His’ vocals, raw and raspy, are beckoning warcries, howling out lyrics in his native tongue. The svelte riff slithers onward with the jazz-like drumbeat as layered keyboard leads texture the track. Creating a trance-like state, Oranssi Pazuzu sails to the end of the track with house music-like keyboard leads, finally ending with a little smidge of drone.

“Tyhjä Temppeli” showcases the band’s New Wave leanings. Oranssi Pazuzu reached into their bag of tricks and what came out was a complete jam of a track. Mesmerizing and catchy, “Tyhja Temppeli” wafts along, carrying with it a krautrock-meets-postrock vibe. Sickeningly sweet keyboards glaze over the track; the drums march onward with beautiful guitar overlays to fill everything out. Oranssi Pazuzu breaks everything open like ripping the skies apart, ushering in mighty strikes of noise with serious bite to them, before calmly settling back into their groove.

“Reikä Maisemassa” is four minutes of psychedelic groove. They create an awkward, disjointed picture; unsettling beats meet a spacey atmosphere, and before long, droning noise begins to creep in. Off in another world altogether, Oranssi Pazuzu not only smash barriers on their music, but reform them entirely, creating something haunting and mystical.

The last track, “Ympyrä On Viiva Tomussa”, combines everything together in a nice but lengthy package. Clocking in at fifteen minutes, the Finnish quintet blends Darkthrone riff techniques with the same kind of New Wave flavor. The track branches off in multiple directions, culminating in a gigantic climax of tremolos and awkward drum patterns. The keyboards and guitars clash against each other for superiority as Jun-His’ vocals let out shrill, forceful screams.

Oranssi Pazuzu cater to the weird. They create songs that cannot simply be black metal. With 'Valonielu', their penchant for psychedelia and New Wave shows. An amalgamation of all these musical stylings, it’s an album that bridges gaps between art rock and black metal. A fully creative and artistic effort that shouldn’t be passed up.

Bill Haff

Band info: www.oranssipazuzu.com
Label info: www.svartrecords.com 

Bill Haff is a Philadelphia-based music critic who also contributes for Cvlt Nation, Metal Injection and Ghost Cult. You can follow him on Twitter at @bill_haff

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With a gurgling introduction that opens the album, Meilenwald throws the listener into the darkest depths with a nine minute epic, “Daemon”. Slow, dooming riffs chug along as a neatly tucked organ bellows in the background. Meilenwald’s vocals are grotesque and raw, spewing such blackness and filth. The vocals rapidly change from dark, black bile to throat ripping registers, blast beats fire off in rapid succession, culminating in a slow moving crawl towards the end; what was once a light at the end of the tunnel, Meilenwald throws the listener back down into the gurgling pool of wretchedness.

“Malefica”’s middle portion contains another organ piece, and before long the listener is thrust into the bleakness once again. The vocals, steeped in venom, juxtapose nicely against the airy atmosphere the music has created. Layered instruments wash over the track; guitar leads flow beautifully against the harshness of the vocal tracks. “Spires, The Wailing City” is full of texture and clarity; blending elements of noise with the ever dooming riffs, Meilenwald crafts such a dark, ominous landscape. The drums of war pound away, coupled with what feels like the conjuring of the Devil. It’s a massive buildup in the middle of “Spires” that breaks itself down once again, opting for something slow and fearsome. Although this is the M.O. of Meilenwald; the dreary, suffocating atmosphere made by intensely sludgy riffs, the miniature build up is a let down. There’s no rapture here, only the continuous push down further into the dark.

“Trial” and “Ordeal” are the shortest tracks on the album, each spanning about four minutes in length. The former is used to create atmosphere, which Meilenwald does with great success. “Ordeal” is a traditional black metal piece, filled with blast beats upon blast beats; a nice break from the same chokehold that is the thick, mire-ridden riffs. The opus closes with “Monument”, another stick-in-the-mud slow dirge that ends with some post-rock flavor.

Meilenwald and his vision for Ruins of Beverast seems to favor the ruthlessly heavy, mind-bendingly slow riffs. On 'Blood Vaults...', this idea comes in spades. There are more interesting acts in black metal these days, creating wondrous atmosphere through scope and texture. While 'Blood Vaults...' contains moments of such texture and the overall feel of the album centers around riffs full of actual dread, Ruins of Beverast favors these doom oriented riffs. It’s passable at best, but for fans of this kind of black metal it is sure to be a pleasure to sit through.

Bill Haff 

Band info: www.facebook.com/The-Ruins-Of-Beverast
Label info: www.van-records.de

Bill Haff is a Philadelphia-based music critic who also contributes for Cvlt Nation, Metal Injection and Ghost Cult. You can follow him on Twitter at @bill_haff

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