hardcore / sludge

How you feel about an album or artist usually involves how you feel about the genre that they play in. Doom metal, jazz, pop etc. you know what you like so you tend to stick within the confines of a certain genre that you like. Some bands blend the edges between genres, other like Earth Moves, the  London based group we are talking about today, tear down the walls of genre with will full abandon and create something which, whilst schizophrenic in it's approach to genre, is an exhilarating experience which makes you think about music in new ways.

Superficially I guess you could call this album a post-hardcore one, even a punk one, but that is doing it a massive disservice and doesn't really tell you the whole story. Indeed whilst post-hardcore is a frame to hang some of these songs on, most of them don't even cover this base at all and instead veer off into other territories entirely.

 Opener 'Falling Away From the Ground' is a great example of what they are attempting. It starts with a strummed guitar part until lead singer Jordan Hills impassioned wails come in imploring you to take his hand for the journey ahead. The guitar picks up pace and before you know it, the song is a crescendo of noise. Second song 'Into the Either' sounds similar but explodes with punk energy half way through and even dips it's toes into black metal territory for a ferocious onslaught toward the end of the song. The rest of the album twists and turns between moments of savage noise making and gentle almost ambient sections which should sound jarring (and in a lesser bands hand certainly would do) but each passage has been thought about and placed there for a reason, not jammed together haphazardly for the sake of it. 

If you are interested in heavy music at all then please do yourself a favor and listen to this album, at the very least, it will introduce you to other genres you may not ordinarily listen to, sometimes within the same song!  


Simon

hardcore / black metal

SIBIIR are from Norway. They like black metal. And Siberia. So what kind of music do you expect? Doomy, glistening sounds? Or explosive, harsh shredding? Well, SIBIIR are neither, performing neither doom nor chaos. 

Their style of music might not be as “sophisticated” as for example the obnoxious Tool but at the same time they are not as animalistic as Kvelertak, it is more of a blackened hardcore and interestingly it can show you very well what that terms really means or should mean.

The five-piece from Oslo have no problems in displaying muscular grooves pumping hardcore irons at the gym nor showing their metal likes with ripping up some songs with scratching guitar lines to show that they want to ride on two skateboards at the time – downhill! Usually this amalgam of two genres is pretty hard to balance but SIBIIR are really good at it and can definitely be regarded as one of the few bands to do justice to both parts of the genre – black metal and hardcore. On their second full-length out on Fysisk Format they are able to show a greater sense of songwriting and compiling a coherent album as the songs are not only really good in a way that they are not superfluously long and also not spastically short. The way the songs are arranged within the album context is really good and with some songs seeping in a bit of doom while others being pure distorted hardcore there is a good deal of dynamics going on in those 41 minutes. 

The hardcore part is also audible (or rather readable) in the lyrics; a charge against the capitalists today sucking out the bone marrow from the working classes and ignoring the sparks leading up to a bottom-down-up-revolution (in “For the Few”); a repent that we all participate in destroying this planet of ours and that no one, really no one is innocent and yet no one is doing anything but staring (“The Silent Repent”). 

One cannot but be impressed by this record because it blasts you away with lots of raw power and yet never tries to pull you down into depression – the only thing that shall be pulled away are the shades preventing us from seeing some of the most urgent problems of our day and age. 


Thorsten

blackened crust

When listening to Serpent Eater the feeling of knowing which nightmares will follow might creep up on the listener. The band from Cologne, Germany, releases her second full-length album at the beginning of 2020 upon a world that might not be prepared for what their ears will be facing. 

Not that the world has never heard this mixture of Black Metal, Sludge and Crust; or the swirling guitars and the blastbeats overwhelmed by infernal shrieking and gut-breaking growls at the same time. The guitars deliver more than solid riffing and shredding, play with brilliant scales to shoot through the noise in order to deliver more chaos in this storm of abysmal-ness. The rhythm section is a steady source of deep-toned slow-grooving black currents in a river flowing in a cave deep beneath the surface. It is hard to imagine any metal fan not being blown away by the moody intro to “Ten Floors Down” and impressed by the musical precision afterwards.

There is something about Serpent Eater’s hurricane of sound and chaos. It is the notion of being pulled up by the hair on you arms and simultaneously being drawn by the ankles. It is as if there were two melodies in some songs, one winding upward with the guitar lines, a totally different one going downward with the bass lines. This ambiguity is most on display when the band takes a deep breath and allows for one of the small spaces for the listener to gather his senses without getting his head beaten on the wall. Even if there is only a short change of the guitar lines, for example in “Dead Spiritualist Remains Silent”: when the guitar calms down and the stormy blastbeats step back after roughly 85 seconds in and the song has more air to breathe. From there on, the song loses speed but picks up atmosphere simultaneously. The same goes for the ending of the last song “Dunkelziffer” with its ascent upwards towards a tiny pinch of hopeful morning light shining through the keyhole in the door at the end of the stairs leading from the peaceful outside down into a thunderous darkness.

Serpent Eater is surely not the first blackened sludge or blackened crust band, but the ones that will follow after them surely better give this record a listen as it definitely is state of the art for a genre that embraces those tiny bits of light you see when looking up from right beneath the eye of the hurricane.


​Thorsten

hardcore

There are labels and there are well-run labels, and then there are those two or three handful of labels that really excel at what they do, making it possible to employ people and still release a bunch of records of the highest pedigrees. 
 
The mini album “A Brief Memoriam” by Frail Body is proof that Deathwish Inc. is one of those handfuls that are able to gather a loyal following by representing a certain sound, aesthetic, ideology – you name it; they have a hand for picking unknown bands that fit their soundscope, giving them time and creative freedom and then incorporating their ideas into a catalog like no other. Frail Body from Rockford, Illinois, is a young trio that promises to follow in the footsteps of bands as diverse as Orchid and Touché Amoré with their modern wavey form of screamo, adding a shade of harshly, blasted and yet suffering, angsty hardcore to a flawless list of releases.

The band is able to provide gut-wrenching shrieks and epic turnarounds in the same song (“Your Death makes me wish heaven was real”) with singer Paul Shaffer filling the gap between Jacob Bannon and Jordan Dreyer. Nicholas Clemenson’s drums are pumping and ever-present but not drenching or dominating (“Old Friends”). The guitars played by Nic Kuczynski range from semi-acoustic intro to harsh shredding or even as if played randomly in the dark corner of a pub on a busy Friday evening (listen to the interlude “At Peace” where you can also hear the band’s friends). However, there is nothing on this record that happens randomly, everything seems to serve a thin red line, although only the first four songs are new while the second half was already released over two years ago. 

That umbilical chord that “A Brief Memoriam” revolves around is the moment of having to let go of a beloved person the narrator sees dying. It looms in lines as “I guess you’ve lived a good life / Though you spent the last quarter dying and trying / Just one more day / Just one more year / Just one more moment of time” (the first lines from the opener “Pastel”) and becomes obvious with such clear statements as “I’ll hold your hand while you die / Delineate through your pale eyes / A shallow grey matching walls … But I’m trying to believe / That I’ll see you soon / In your new home” (“Your Death …”). It should be noted: never since “Stage Four” has the death of a beloved and all the emotions that come with it – despair, rage, denial, anger – been more at the center of attention from the perspective of those left behind. 


​Thorsten

dark ambient

A gray cover shower the mouldy hands of a seemingly dead person – no one could live with hands a mixture of burnt to ashes and blown up by frostbite – hanging down in front of an old garment (with one bloody stain on the left arm) as if worn by a mummy from the 17th or 18th century. This cover
gets the listener into the right mood for what will follow in the next 37 minutes.

No sunshine can permeate through the stark, distorted canvas that Clavicvla – mastermind Ittiel has concocted for the follow-up to last year’s “Sermons”, only to show that the starkness of horror scores for the most evil movies, the most gruesome images, the most horrible slow-motions need some kind of eruption: a shriek, a shrill noise wandering from left to right, a slow verbal chant to exemplify the fear to be induced.

Sepulchral Blessing” is not a bad album per se, not that is not true, in the realm of Black Ambient
this band has definitely a strong footing and will even gather more followers with this album. It is
bleak, it got a lot of atmosphere, knows how to incorporate small disturbances into the sub-bass
horror bleakness without ruining the Hadean flow. However, those of us who do not regularly watch old horror movies turning off the sound and for those who cannot envision a dark spawn of John Carpenter and Bohren und der Club of Gore lying in the grave dug up by Mamiffer and A-Sun Amissa this will not do. A class of its own – for its own scene – in its own world. Enter if you may.

black metal

Swiss German is already a hell to understand for anybody who is not from the Northern part of
Switzerland, but turning it into the lingua franca for a black metal record seems even more absurd.
However, one thing becomes very clear when listening to Ateiggaer’s debut EP, to be released in
mid-November: These two guys (working under the monikers Fauth Temenkeel and Fauth Lantav)
make no sacrifices, they take no hostages, they are in it for themselves and for nobody else.

Associated with the up and coming Helvetic Underground Committee from Zurich, they are able to play a furious version of black metal that has long been associated with the second wave of black metal, stemming from Norway. They infuse their fundamental rage and well-shouted visions with short passages of intricate laid-back drum fills, guitar motifs and near-Gregorian chants that connect very well with the mysticism they are here to convey, just listen to “De Dämon us Levania” (the demon from Levania) – everything blends in nicely.

The world as we see it is not theirs, they talk about spheres and gods from another realm, always
able to surprise us with minuscule differences to the usual sound. Not even a year into their
existence, Ateiggaer already got a release by popular German black metal label Eisenton – no
surprise when listening to this EP which is hopefully not their last.

hardcore

When announcing this release of one of his numerous projects on iconic label Deathwish Inc.,
guitar player Aaron D.C. Edge said that this was a dream come true. Naturally, most any hardcore band dreams of releasing a record through Jacob Bannon’s label for several reasons – worldwide acclaim, lots of fans and, of course, the respect of the scene. However, the members of the band have already earned that respect over decades of contributing with so many bands (amongst them 
Deadguy, Kiss It Goodbye or Lumbar), so that this should not be a major goal.


Nevertheless, one goal was surely to release a standout single which they did. The noisy, low-tuned shredding by Aaron, Brock Lowry’s tight drumming or Tim Singer’s brilliant vocals (his name speaks for itself, evidently) all give the listener a shiver-evoking experience. The opener “Lies > Truth” already shows all the strengths of the band and additionally marks a deeply sarcastic lyricist.
​
“I don’t want truth… just lie to me” - sometimes people want to be lied to because (maybe) the
truth is too hard to bear, right? Well, truth be told, you will have to try hard to find a better noisehardcore debut single this year. The dream has come true for these experienced musicians. 

"miserable bastard music" / alternative / indie

Burden Limbs debut EP can hit you straight in the face when you least expect it as it displays a rougher version of the kind of dark pop that Kayo Dot presented on their latest record. The darkness is not only shown musically in a synth-driven melodrama like the self-titled track “Burden Limbs” but even more in their lyrics which are pretty straight-forward: “I'm so tired of suffering these reminders of a world I can't abide / Why else would I carve out my hatred and dissatisfaction?” The little red-glowing dots on the dark horizons are not leading the way to new-found hope but rather to blood raining in slo-mo from the skies. Not a lot of songs demand repeat as urgently as this one.

Burden Limbs can also knock you out in ways that do not sound like a doom-version of The Cooper Temple Clause but much more immediate with songs that introduce themselves into your longtimememory by means of simply intriguing lyrics by Chad Murray but also through the combination of synths, drones and gently-interwoven electronica giving you the chance to discover a lot of details and something new each time you sit down to really listen. And listen you should – these Londonboys might be up to something. They provide a great soundtrack to an overdose of medicine you don’t want to take but that you just can’t stop yourself from.

doom / sludge / noise rock / metal

Astral Noize

Split releases – an interesting thing as most of us can name a few from the tip of our head, right? Isis and Aereogramme, Melt Banana and Fantomas, Battery and Ignite, The Ocean and Burst. Sometimes however, those with the unknown bands get you the most. Mid-November, Astral Noize will bring us one of the latter category, releasing a 7” by Kurokuma and Under. The combination is really striking, because both songs at first glance seem totally unrelated only sharing a certain weirdness.

Kurokuma starts off with a cover song (well, that is not unusual for a split release) – reworking a theme song for a 20 year old Sega game classic called “Ecco the Dolphin: The Tides of Time” - fortunately, this is not a close cover but a free interpretation as they turn the whirling theme into a pretty clever doom track with a lot of atmosphere and a striking hihat use so that the listener asks himself afterwards if this might not have been the better theme for Ecco’s second adventure.

Then Under are up next with “Abysal Gigantism” and they definitely have some sense of humor, because their track starts with some field recordings from the seaside so that you hear that kind of stuff you would expect from our dolphin. Then they turn the song into an  eight minute epic somewhere between Crowhurst and Dillinger Escape Plan making clever use of vocoder, swirling guitars and waving drums all being held together by a strong rhythm section. 

In the end, this 7” leaves one impressed by the chutzpah of combining those two bands and the
clever way both complement each other turning this split into a more than welcome stray from the
path of regular splits.

black metal / noise rock / post metal

Sometimes, certain boundaries should not be crossed. For example combining Motown Soul and
Classic Hardcore – that just doesn’t work. Nevertheless, some unexpected combinations might
work, just remember Zeal and Ardor combining gospel and black metal. Witch Trail do something similar – they create their own unique blend of post-metal taking a lot from Sonic Youth and Thurston Moore’s solo work and combining it with pure post-metal. And once again, Belgium (more specifically Ghent) proves to be a brilliant soil for unique combinations as the trio is really able to provide a fresh start to a genre as trodden as post-metal.

They take the classic noise-licks and use them to replace the regular post-metal riffs. This way they also implement the pop-appeal of good noise-rock into their songs. How they start “Lucid” with a noisy take on a nearly surf-twang guitar riff and then build the shrieking vocals around it, always leaving those easy and pumping noise-rock elements at the core of the song and right in the middle of our ears – impressive! Sometimes you must think of the Beach Boys (“Stupor”), but sharing the record with Stiff Little Fingers and Discharge (“Sinking”); suddenly Kim Gordon and SY show up on your mental stage (“Silent Running”) - but interestingly all of the songs are not sung by any of those but by a guy like Fenriz. These 29 minutes full of twists and turns, of clean-distorted noisy-ness and of blastbeats, of infernal shrieks and a unique soundscape really captures any open ear. 

Thorsten

black metal / noise / industrial / hardcore

Over the years, the boundaries between genres have vanished more and more. Some think that is not good and try to remain pvre and trve to their roots, which should be tolerated. As long as nobody gets hurt for it. Others think that it’s good to cross boundaries and explore new genre-blending possibilities. With Mur from France it is clear from the very start – they belong to the latter group.

The six-piece combine so many styles and ideas, it is hard to twist your mind around all of them –
some parts are noise, some have an industrial touch, others bear witness to hardcore roots while all of them seem to be infused with a certain black metal attitude. So if you are looking for a band between Melvins, Pitchshifter, Venom and, let’s say, Portrayal of Guilt – here it is. Unfortunately, that sounds silly as all of the bands mentioned above do not have one single thing in common, and if you then try to get a mental impression of it, just by reading these lines – well, sorry, but your idea won’t do because Mur is more. Literally, they are more than just a combination of single ideas and styles.

Over the last couple of years we have seen a lot of developments in black metal but Mur is still a new one, because Black Metal and Industrial and Hardcore (the three main pillars) have not yet been amalgamated as cleverly as on “Brutalism”. Take “Third” as an example – it starts off with an eerie, soft combination of slightly distorted, electrified guitar picking and spherical ambient passages until a hardcore drum part kicks in and changes the tone completely.

Next is the blackened screaming by vocalist Jay and the song swirls and whirls around always
accompanied by synthesizers to give it some kind of gloom-factor. The rhythm section slows the
song down with industrial-like precision before it speeds up again and the shrieking noise parts
become stronger and then fade again when a nearly alternative metal part gives us a little clarity
with the synths now dominating again – the listener is thrown from side to side trying to grasp all
that is happening.

Clearly, one might argue that Mur are trying to do too much, trying too hard to get as many people in as possible. If you want to see it that way, you can, but maybe you are missing out on the fun of a record that shows some really good ideas and is still able to convince because of a lot of overall composition work in order to sound as if everything was in its right place. 


Thorsten

ambient / classical

Sound In Silence

experimental / noise

alternative rock / psychedelic rock

death metal

post rock

ambient / classical

doom / black metal

black metal

hardcore

metal / death metal / metalcore

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hardcore / grindcore / crust

black metal

grunge / alternative metal / progressive rock

doom

alternative rock

death metal

punk rock

bandcamp

electronic

electronic / darkwave / EBM / Industrial

shoegaze

ambient / experimental / noise

Krysalisound

doom / sludge metal

experimental / avant garde

drone / electronic / ambient

hardcore / crust / black metal

psychedelic rock / stoner rock

indie / alternative rock / psychedelic rock

dream pop / trip hop

dark ambient / neoclassical / dark jazz

krautrock / psychedelic rock

death metal / deathcore

rock

groove metal

Serge

post-metal / doom / alternative rock

dark jazz / ambient / experimental / trip hop

hardcore

acoustic blues

dark ambient / noise

doom / occult metal

death metal

black metal / doom / death metal

post punk / synth pop

breakcore / industrial

alternative rock / blues

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style of Tool and quite a bit of grunge - vocals that remind of Cobain included. So go buy this one if you appreciate something that refuses to fit into one box.

ambient / experimental

Pany Rosas Discos