• Interview with earthtone9

    earthtone9 discuss the creative process behind In Resonance Nexus, their collaboration with producer Lewis Johns, and offer insight into the album’s exploration of themes like perception and reality.

  • Interview with Hail Spirit Noir

    Hail Spirit Noir delve into the inspiration behind their intense new sound, the philosophical and scientific themes that shape the album, and the collaborative process that brought Fossil Gardens to life.

  • Interview with Fuck The Facts

    Fuck The Facts drummer Mathieu Vilandre was kind enough to take some time to answer some questions regarding their new album “Pleine Noirceur”.

Showing posts with label Noise. Show all posts

The Great Sabatini - Dog Years | Review

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The Great Sabatini are one of those bands that have existed on the fringes of my experience. No doubt I'm not alone in that regard. Or maybe I'm just hopelessly out of the loop. I mean, the band lives less than a three hour drive away. I surmise that is all about to change with new album, Dog Years. That cover alone should garner at least some added attention.
Whatever the case, this third full-length from the Montreal noiseniks spreads its tendrils far and wide to bring together an array of sounds to pound and confound whoever gets caught in the maelstrom.

The album starts with the frenetic “The Royal We”. A stirring groove gets buried beneath rambunctious and spastic noisecore and gnarly sludge tones. The energy level takes more ups and downs than Elvis Presley's drug regimen but it's done seamlessly and with endless passion.
That sort of tangential convergence continues for the next few tracks leaving the listener unable to focus and constantly off balance. It's at times insane, others bludgeoning and at all times unpredictably catchy. “Nursing Home” for example sounds like someone took angry ska and ran it through a wood chipper run by a methed-out anarchist with commitment issues.
After “Reach” rises from the dust bowl into murderous thunderheads comes “Aleka”. The bluesy ballad is all steely acoustics and clean crooning. It's completely at odds with the rest of the album. But even as the sore thumb of Dog Years it's the track that will get stuck in your head the most.
The Great Sabatini return to messing with your head thereafter. Elastic rubbery riffs break down the defences and pull your mind to bits like the black hole where broken guitars go to die for the rest of the album's duration, concluding in “Life During Wartime”. The track starts with utter heartbreak sore from devastation. It then hardens its resolve to fight back and obliterate speakers and liquidize eardrums like a sludge driven tank.

Dog Years sounds like Torche rehabbing from a Ritalin addiction. It's catchy as sin but ugly and raw. Freebasing percussion, schizo guitars and the kind of post-hardcore vocal flaying you'd expect from the cover's creature motivate the listener to push on no matter how painful the eclecticism gets. Instruments are like putty in their hands as they shape their output to their will. Math-tastic riffs and intricate structures are made to seem like child's play.

Simply put, Dog Years is strange and tons of fun but not without a measure of risk. It's like that friend you always invite because you know that with a few drinks in him he's totally wild and entertaining. But if someone slips him some whiskey he gets stubborn, belligerent and downright mean. Maybe even gets in a fight. But you keeping asking him to come along anyway.

With Dog Years The Great Sabatini walk that perceptive line between brilliance and mad-as-a-hatter. It might take some time and effort to fully appreciate all the depth and nuance to be found but as they say, all good things happen in their own good time. Now let's get crazy!

Matt Hinch

Band info: www.facebook.com/thegreatsabatini
Label info: www.solarflarerds.com




Matt Hinch lives an unassuming life on the backroads outside Forest Mills, Ontario, Canada. He packs in as much metal as he possible can amid factory work, raising three daughters with his wife and working the land. In addition to Scratch the Surface Matt also writes for Hellbound, Metal Bandcamp, About Heavy Metal and his own blog, Kingdom of Noise.
Keep up with him on Twitter @KingdomofNoise.

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Indian – From All Purity | Review

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I can't say I wasn't expecting a challenge when approaching From All Purity, the newest from Chicago doom miscreants Indian. But I wasn't expecting a challenge this great. The title is apt as the album has had purity stripped from it. It's unclean, dark and tainted with the stain of unsanctimonious hostility. It would be easy to bandy about using half-clichéd buzzwords to describe the nearly 40 minutes of filth on hand but one is left with no choice. Because they're true.

From All Purity consists of six misanthropic administrations of contempt, so bleak and caustic as to be practically indigestible. Indian's excruciating doom raises spires of hatred and discontent at every turn. Their slow, torturous and droning riffs suffuse the listener with a feeling of unending dread. One feels trapped beneath a seething, writhing mass of negativity. The unyielding repetition feels explicitly Sisyphean, and equally as frustrating. The merciless beating laid upon the ears with mechanical persistence is enough to drive lesser men/women to the brink of annihilation.

Indian give no quarter vocally either. Astringent screams reign supreme. A sad desperation bleeds from the voice of a soul-sucking wraith. The terror inherent in these vocal ministrations is inescapable but one may sometimes wonder whether the voice is that of the prisoner, or of the captor. Most likely both are one and the same. Without a lyric sheet one cannot be entirely sure, but one can sense a delitescent intelligence behind the virulent rasp. There is no relief from those vexatious screams rife with pain and misology.

Woven betwixt the oppressive doom and distressing vocals lies a terrific low rumble, permeating the album with a burning intensity. It feels like a volcano spewing molten nightmares and coating the world in ash. Agitating and insectile noise also rears its misogynistic head, irritating and pestering like a mosquito in the dark.

From All Purity begs for a stout heart and sound mind lest the ponderous, mind-numbing doom, simmering, acerbic noise and apocalyptic vocals be the vehicle for your ascent beyond the mountains of madness. Indian's incessant doom, harsh noise and vocals radiant with anger indeed present a challenge. May perseverance be your strength, for the bittersweet reward is not without peril.

Matt Hinch

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



Matt Hinch lives an unassuming life on the backroads outside Forest Mills, Ontario, Canada. He packs in as much metal as he possible can amid factory work, raising three daughters with his wife and working the land. In addition to Scratch the Surface Matt also writes for Hellbound, Ghost Cult Magazine, About Heavy Metal and his own blog, Kingdom of Noise.
Keep up with him on Twitter @KingdomofNoise.

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Locrian - Exiting The Halls Of Vapor And Light | Video

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Experimental, dark ambient / noise trio Locrian have premiered their new video for 'Exiting The Halls Of Vapor And Light', off of their new full-length, ‘Return To Annihilation’.
The video is an abstract interpretation directed by George Moore of the instrumental track that appears on their new effort, a two-part concept album inspired by the band’s love for prog-rock progenitors Genesis, Yes and King Crimson. Check it out below and read Dean Brown’s review of ‘Return To Annihilation’ here.


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The Good, The Bad and The Ugly | Small Pieces

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Circle Takes the Square - Decompositions: Volume Number One

Savannah-based Circle Takes the Square impressed the heck out of me when I saw them opening up for Kylesa early last year on their European tour.
Now, the band returns with their first full-length album in eight years, following an EP entitled ‘Decompositions: Volume Number One, Chapter I: Rites of Initiation’ released in 2011, and just like their previous full-length 'As the Roots Undo', this new effort features an eclectic bag of sounds and moods, veering from an intense and raucous combination of noise, hardcore and grind to lulling ambiences and folky tunes. 'Decompositions: Volume Number One' will take you to a number of places, equally evocative and off-putting, challenging and intriguing, and although it’s not without its faults it’s a good, solid effort from a band that sounds like no one else. That obviously means something! (7.2/10)

Band info: www.circletakesthesquare.com


Age of Woe - Inhumanform

Armed with a crushing style of death-influenced hardcore, similar to Entombed and to a lesser extent Converge coupled with the monolithic sludge of Neurosis, Age of Woe’s “Inhumanform” is a surprising release that shows a lot of promise for a band that formed only three years ago. The band wastes no time on subtitles and kick things off with the incredible “Like Embers”, which boasts some heavy and crunchy monolithic riffs braced by bulky, powerful drums, while some grabbing guitar melodies play throughout the quiet moments. In tracks such as “The King of Thieves” they pound out a two-step hardcore with a consistent fury sounding a bit like their infamous comrades Disfear. Good stuff! (7.5/10)

Band info: www.ageofwoe.net



Okus - Okus

Okus? Sounds like the name of an orc from Lords of The Rings doesn’t it? Well, it’s not! It’s actually the name of a grind/crust combo from Ireland, but sonically they’re just as vile and fearful as those vicious creatures from JR Tolkien novels.
Okus combine elements of grind, punk, crust and doom to offer up a raw, powerful and sometimes intimidating sound that assaults our senses in a Entombed-meets-Napalm Death way. With 7 tracks running through nearly 32 minutes, “Okus” is lean and vicious and sees the four-piece excelling at layering different sounds and rhythms, switching easily between relentless, powerful blast beats to sludgy, caustic grooves. Nasty stuff! (7.8/10)

Band info: www.facebook.com/Okusband  

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