Sep 27, 2013
Oooooh I don't know, I put it up there with The White House!!!! Challenges and forces its audience to react while maintaining a level of admittedly unconventional entertainment and payoff. No senseless (noise philosophical) migraines, all mindsplit feels.
mega / buy
Sep 16, 2013
Bone Thugs have always appealed to me ever since I was a kid because their soundworld is one in which realism and the paranormal coexist, musically signified by hard nocturnal g-funk meets ghostly half-sung rapping. Creepin on ah Come Up is essential because it's fun to think of this as the start of everything:
Dear Mr. Ouija, I want to know my future. Mo murda, mo murda.
And it has Thuggish Ruggish Bone and Foe tha Love of $ on it. Catchy and creepy.
mega / cd
Aug 16, 2013
“In previous years I’ve put out records that have been too long, because I’ve been working on them for like four fuckin’ years, and I’ve imagined it’s probably the last one I’ll ever do, so I just put everything on there. But at this point in my life, I don’t really give a fuck anymore. I know I’m gonna make records for as long as I’m alive, so I’m not as precious any more, I don’t care. This thing only exists so we can be happy and do something that matters to us, and to the people who need this as much as we do.”
try / where to buy(?)
Aug 10, 2013
I love a good scream and it's a shame that in becoming a sort of staple of heavy music, it's so often reduced to something mechanical, obligatory, or matter-of-fact. Like the distorted guitar, it's frequently used without reflection, missing its potential for the simple empathetic transmission of feels from musician to listener. This year two albums (at least) have re-examined this potential (direct-expression-of-human-suffering-or-feeling)- Master, We Perish and Abandon, returning the scream to something startling, physical, and abstract- my first holy fuck that's a scream moment being the first time I heard Milk It having bought In Utero 'cause it was cheaper, and the nonsense line "doll steak, test meat" meaning infinitely more than any of the singer's sung poetics. On Master, We Perish I'm reminded of the guy singing for Weakling, shrieking in agony trying make his way out of the band's whirlwind of brootal noise. It's importantly human as the instruments shift and change- a tribal drum could turn into a jackhammer, and other voices seem disembodied- whether original or sampled, they become part of Master, We Perish's noisy collage. Vocals more typical of the slightly misleading 'sludge' tag might make it sound entirely like music in a blender, but the ones they've gone for seem to react to the collage's themes of devotion and ritual suicide (rather than say glamorizing or condoning these things), giving everything a real human consequence. The EP is a triumph of efficiency, the band do just about everything they need to in only three songs and each works for its own specific reasons. Also I really like this (is it real?):
bluecollar / insound / mega
Aug 2, 2013
It's all very young and hopeful- Morley'd go on to destroy rock with The Dead C and examine the leftovers with Gate- but man is it ever depressing 'cause the thing just sounds like a damn haunting. He's singing to nobody at all and the 'experimental' elements just tease and distract, all broken and falling apart.
Aug 1, 2013
Yaaaaaaawwwn. At the tempo of a fucking- OH SHIT. HEY GUYS DID YOU GET-
At the temple of a fucking Ash Ra! Right!! Drones take turns droning and twinkling, drums helping us through the chaos or forcibly driving us in, making sure we can't get up for air
Jul 31, 2013
It's my day off and I'm sick and this bald cat came in and I think he's made it all worse! He's bald but I'm allergic. He sat on my bed and now I'm worried about sleeping. I used to have a (haired) cat and must've felt like this all the time back then! I blamed the wind and the trees and the sun!
I just can't get enough twin guitar falsetto metal at the mo and Melissa is the best 'cause the riffs are heaps of fun, King Diamond is endearingly ridiculous, and the band's dedication to skulls and satan is fucking unprecedented!
Another one dragged out for emphasis! Tree is 'soul trap' is old dusty emotional samples, g-as-fuck-2013-edtn drums, and Tree's voice which is so fucking hoarse it convinces you you're in the presence of an old weary genius you're totally blessed/undeserved of. Might just shed a tear.
There's a dry scream and then a 4-song conversation between the dirge-like and the frightened and hysterical. The former makes for a heavy and intoxicating listening experience, the latter's outbursts make you stop what you're doing with sweaty palms and look over there somewhere,
try / buy / spotify
The much adored SEE FUCK U KIRK WHY CANT U DO IT LIKE DAAAVE HAHA demo that's like the worst thing ever to happen to Lars Ulrich
Thrash-political issues aside, I usually always love Metallica and definitely always love lo-fi Metallica and the way "it's how I live my life" is sung on Motorbreath is one of my favourite little things in music ever along with "what went wrong" in Death's Flattening of Emotions, "all you ever wanted" in The Replacements' Little Mascara, "one time for my niggas doin life in hell" in 2Pac's Krazy.
In 1982 they're still doing songs rather than compositions, and all of these songs are excellent. Their heaviness is sort of undercut by a youthful, spontaneous sense of garage-y fun and the eye-of-the-tiger urgency that'd drive them into 'compositions' and cross-genre acclaim. I love this EP heaps.