ALBUM PREMIERE: DEMANDE À LA POUSSIÈRE deliver hypnotic and paralysing debut

French Blackened Post-Core band DEMANDE À LA POUSSIÈRE are set to release their self-titled debut album this coming Friday September 28^thvia Argonauta Records. The band delivers an impressive hypnotic yet aggressive sound which moves from Blackened Post Metal to Sludge and Doom, with an apocalyptic vibe of ambient bleakness. Dive into the dark sound of DEMANDE À LA POUSSIÈRE and stream their full album below, yurn up the volume and let your speaker die.   "DEMANDE À LA POUSSIÈRE” is available to purchase (HERE)

 
Band info: facebook

ALBUM REVIEW: Ancst, "Ghosts of the Timeless Void"

By: Conor O’Dea

Album Type: Full Length

Date Released: 02/03/2018

Label: Lifeforce Records

Ancst have evolved, seemingly effortlessly, certainly gracefully, and sound more like themselves than ever - whatever inner telos they have been moving towards has been realized in this beautiful album

“Ghosts of the Timeless Void” CD//DD//LP track listing:

1). Dying Embers
2). Shackles of Decency
3). Concrete Veins
4). Revelation of Deformity
5). Unmasking the Imposters
6). Of Gallows and Pyres
7). Quicksand
8). Republic of Hatred
9). Dysthymia
10). Sanctity
11). Self-Portrait

The Review:

Lex transitum per ignem, in honorem Molechi prohibens

Pure Fucking Hate. As album opening phrases go, this quote from 2017's “Life”is poignant, jarring, and certainly germane to the themes raised throughout Ancst'ssecond full-length album, “Ghosts of the Timeless Void”. Where the film discusses the return of life-form responsible for an extinction avalanche on Martian soil, one cannot help but think that Ancst's object of antipathy may be more earthbound. And while we may speak of dying embers and pyres here, the fires of injustice-fueled rage are an abiding conflagration across the album - there are no coals cooling in the furnace of Ancst's anger, and the insatiable Moloch of capitalism continues to consume endless sacrifices.

The sound that this side of Ancst has been evolving towards, to my mind, first manifested on track two of the 2013 EP, “The Humane Condition”, which was partnered by the first release of their first ambient/drone work, “Lamenting a Dying World”. That track, “Entropie”, captures a sound that eloquently defines Ancst: polished but savage, graceful, commit and unrelenting. And they have been prolific: despite this being only their second full-length, 2017 saw the release of the superb “Furnace” EP as well as two top-notch splits, one with King Apathy, one with Depravation. This is not to ignore 2016's brilliant “Stormcaster”, the most fulsome interlocution of the soundscapes first explored in “Lamenting…”. Across the course of these releases, Ancst have entered the elite pantheon of 'do no wrong' bands for me: I always eagerly anticipate new music from them, no matter what the sonic angle. “Ghosts of the Timeless Void” is no exception.

It's interesting to compare LP openers here: “Moloch”is one of the most explosive album introits that I have ever heard - instantaneous teeth-kicking power unleashed from go. “Dying Embers” starts off considerably more restrained by comparison, even slow by Ancst's punishing pace-standards - until about the 1:00 mark - when everything explodes in dynamic fury. It almost feels like an inversion of the earlier structure in certain ways. This more thoughtful approach allows Ancstto marry the melodic, riff-dense elements of their approach to some mindful sophistication in terms of metrical and rhythmical variety. But it is never heavy-handed, never overly obvious, and at no point loses the plot of what makes Ancst a standout band that places them high in the melodic crust mythos. Poignant exemplars of this maturation are found throughout the album: in the opening riffs of “Quicksand”, in the death-inflected “Unmasking the Imposters”, in the epic “Republic of Hatred”, in the classic blackened tremolo work of “Sanctity”. “Dysthymia”, is the closest I have heard Ancstto creating what almost sounds like post-black/blackgaze ballad. Meaningless subgenre references aside, what I am trying to emphasize is that Ancsthave evolved, seemingly effortlessly, certainly gracefully, and sound more like themselves than ever - whatever inner telos they have been moving towards has been realized in this beautiful album. Listen to it from start to finish and love it. I know I did.

“Ghosts of the Timeless Void” is available here

Band info: bandcamp || facebook

REVIEW: Knaaves, "January" [EP]

By: Ernesto Aguilar

Album Type: EP

Date Released: 20/02/2018

Label: Independent

“January” is a defiant hardcore manifesto that feels unrelenting from literally the first five seconds out of the gate.

“January”DD track listing

1. January

2. Nine Lives Lost

The Review:

Although it is hard to call the two-song "January"an EP, Milwaukee's Knaaves emerge with a bellicose stance and plenty of reasons to keep an eye out for this viscerally tantalizing four-piece.

While the band is not exactly a supergroup, Knaaves has several explosive regional performers in its midst. It may be best known for the inclusion of Amanda Daniels. Bassist Daniels formerly played in hardcore act Enabler, which gained traction not too long ago. She departed the group in 2015, alleging physical and sexual abuse by former boyfriend and Enabler'schief songwriter and vocalist Jeff Lohrber. Dustin Albright, who toured with the band, issued a long Facebook statement then backing up Daniels' claims, including assaults he'd witnessed. Lohrber went on the offensive after Daniels' story broke, virtually denying the accusations and claiming a witch hunt against him. Shortly thereafter, however, Enabler dissolved into indefinite hiatus land. A few years may have passed, but it is evident Daniels' formidable bass work is as transcendent as ever.

The title song is a defiant hardcore manifesto that feels unrelenting from literally the first five seconds out of the gate. There are likely a dozen apt and favorable comparisons one could make to this sort of intensity. Suffice to say Knaaves represent themselves on the opener quite well. Andy Parmann is a volatile frontman, caterwauling hard against the jagged guitar riffs of Jamie Kerwin. Kerwin grabs you with his musicianship throughout, in fact; blistering chords at the start of the song melt into a wailing, anguished conclusion.

Drummer Antonio Ninham is also going to catch your ear on "January." He punctuates both songs from the beginning, and interpolates fast, aggressive beats with melodic playing that blends effortlessly into Daniels' bass lines. "Nine Lives Lost" showcases the experience in Knaaves' narcotic rhythm section, with Daniels blasting charcoal-black thickness to the music and reminding you why she's been appreciated for so long as a musician. Knaaves make the most of this song, which stays within hardcore conventions mostly, but still manages to be subversive and dystophic in the presentation.

Your only complaint is that these abrasive selections are quite scorching, and you want to know what else Knaaves has in the tank for more than two songs. There is much to like about "January" though. Now let's have the full-length.

“January”is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Centuries - "The Lights of This Earth Are Blinding"

By: Charlie Butler

Album Type: Full Length

Date Released: 26/01/2018

Label: Southern Lord Recordings

“The Lights Of This Earth Are Blinding” is a compelling release with a split personality,  like a cross betweeb Cursed with subtle hints of black metal and the crushing sound of “Remission” era Mastodon with a more direct punk aggression.

  

“The Lights of This Earth Are Blinding” CD//DD//LP track listing:

1. The Lights of This Earth Are Blinding
2. Wooden Hands
3. Bygones
4. Soil
5. A Bow Across A String
6. The Climb
7. The Endless Descent
8. May Love Be With You Always
9. Fury
10. Nul Orietur

The Review:

Originally from Florida, the members of Centuries are now scattered far and wide between Pittsburgh, Nashville and even Manchester in the UK. Fortunately geography hasn’t got in the way of them making a great second LP in the form of “The Lights of This Earth Are Blinding”.

The record rips into life with the raging title track, a two and a half minute blast of crusty hardcore riddled with hard sludge riffing. This sets the tone for the first half of the LP which comes across like Cursed with subtle hints of black metal. The breakneck rush of “Bygones” is especially furious, bolstered by some pummelling blastbeats.

“The Climb” opens the second half of the album with a marked drop in tempo but maintains the same level of venom and bile. This track marks a shift in tone as the likes of “May Love Be With You Always” and “Nul Orietur” see Centuries metal leanings coming to the fore. This results in a crushing sound reminiscent of “Remission” era Mastodon but with a more direct punk aggression.

The biggest surprise here is “Fury” which begins as a dark acoustic lament that erupts into a grand finale. The sparse opening section of the song makes sense of the acoustic instrumental “Wooden Hands” which appears earlier in the album. On first listen this piece feels jarring after the explosive title track despite its moody restrained menace but further listening marks it out as a premonition of the heaviness to come.

“The Lights of This Earth Are Blinding” is a compelling release with a split personality. It will be interesting to see what path Centuries tread from here but whatever happens it is sure to be a heavy ride.

“The Lights of This Earth Are Blinding” is available here

Band info: bandcamp || facebook

TRACK PREMIERE: Portland hxc/sludge/crust band Year of the Coyote share "State of Nature"

Inspired by acts like Seven Sisters of Sleep, His Hero Is Gone, Torch Runner, and Coalesce, Year of The Coyote is a 3-piece DIY outfit from Portland, OR making music that's as visceral and grinding as it is lurching and rhythmic. On Feb 16^th the band are set to release their debut album “Siege” and today you can check out the track “State of Nature”below.  

Band info: facebook || bandcamp

ALBUM REVIEW: Friendship - "Hatred"

By: Charlie Butler

Album Type: Full Length

Date Released: 03/11/2017

Label: Southern Lord Records |

Daymare Recordings | Sentient Ruin

Laboratories

Over the course of twenty five crushing minutes, the band show they have honed their potent blend of crust, powerviolence, grind and sludge to deadly perfection. “Hatred” feels like burying your face in a bowl of razorblades while being kicked in the stomach.

“Hatred” CD//CS//DD//LP track listing:

1). Rejected

2). Regiside

3). Corrupt

4). Tortures

5). Compton

6). Grief

7). Life Sentence

8). Blue Berry

9). Execution

10). Dirtbags

11). El Chapo

12). Treason

The Review:

The dust has barely settled from my recent exposure to Friendship’sfacemelting EP compilation. The Tokyo wrecking crew have wasted no time in releasing their debut LP “Hatred”, a relentless assault on the senses that cements their position as the current masters of all things short, fast and horrible.

Over the course of twenty five crushing minutes, the band show they have honed their potent blend of crust, powerviolence, grind and sludge to deadly perfection. There is a new found clarity and gut-churning heaviness to their bludgeoning onslaught. This has resulted in a marginally less raw and chaotic experience than before but still feels like burying your face in a bowl of razorblades while being kicked in the stomach.

“Rejected” and “Regicide” open the record in furious fashion like a warp-speed Iron Lung. Both tracks feature carefully deployed bursts of squealing feedback like a lead instrument, particularly powerful during the cacophonous climax of the latter. “Life Sentence” and “Blue Berry” find Friendshipmixing in punishing, chug-heavy sludge riffs in amongst the high octane punk mayhem that bring an intoxicating air of hardcore brutality. The bands interest in the heavier and slower side of life is most evident in the monstrous “Corrupt”, a low tempo bruiser that bristles with Eyehategod/Noothgrush sludge attitude.

A re-recorded version of “Compton” from the band’s debut EP makes an appearance at the LPs mid-point. It is significantly burlier than its predecessor and encapsulates all that makes Friendship great in two minutes. Fret-mangling noise rock riffs lead to passages of exhilarating knuckle-dragging simplicity, a perfect balance of innovation and primal no-frills punk rock.

With “Hatred”, Friendshiphave delivered in style on the immense promise of their early work.

“Hatred”is available here

Band info: bandcamp

ALBUM REVIEW: Drunk In Hell - "Drunk In Hell"

By: Charlie Butler

Album Type: Full Length

Date Released: 12/10/2017

Label: Burning World Records

Drunk In Hell have delivered what is easily the most horrible release of 2017. Seven years of accrued filth and sludge has never sounded so good.

“Drunk In Hell” DD//LP track listing:

1). I’m An Arsehole

2). Sick Sick Sex

3). Bitch Boy

4). I’m Not Laughing

5). Born Sick

6). Chick Flick

7). Gag

8). Walking Abortion

The Review:

It seemed that Drunk In Hell’s debut album was destined to exist only in the realm of myth. Somehow after a gruelling seven year gestation period, the notorious Middlesbrough hellraisers have finally managed to drag this dirty beast into reality.

“I’m An Arsehole” sets out the blueprint for forty minutes of soul-crushing, feedback-soaked monotony. Each track is based around one (occasionally two if you’re really lucky) minimal, knuckle-dragging riffs that the band hammer to breaking point and beyond. Imagine Flipper’s“Generic” pumped up on steroids and ruined on cheap lager and you get a good idea of the kind of punishing dirge Drunk In Hellhave to offer. Bish’s belligerent vocals establish a threatening air of constant menace, decipherable enough to discern some of the grotty details of “Sick Sick Sex” and “Bitch Boy” but incoherent enough to leave the complete picture disturbingly vague.

“I’m Not Laughing” provides a twisted adrenaline rush before the second half of the LP sees the band increase the levels of drudgery with grossly compelling results. “Born Sick” is based on a lumbering doom riff that feels like the Melvin’s back catalogue distilled into one shot of pure evil while the ominous rumble of “Gag” heightens the mood of dread.

The eight minutes of “Walking Abortion” brings the album to a close in tense fashion. The track comes across like a weird, tooled-up version of Joy Division’s “She’s Lost Control”, based on an unrelenting drum beat that drives a feeling of increasing desperation and futility reflected in the guitars and vocals. The spell is finally broken by a squalling cloud of feral saxophone that provides a suitably nasty finale.

Drunk In Hell have delivered what is easily the most horrible release of 2017. Seven years of accrued filth and sludge has never sounded so good.

“Drunk In Hell” is available here

Band info: facebook

REVIEW: No Funeral & Livid - "No Funeral / Livid" (Split)

By: Charlie Butler

Album Type: Split LP

Date Released: 15/08/2017

Label: Live Fast Die Records

The combination of these two bands on one mammoth slab of wax is a marriage made in hell. No Funeral and Livid are definitely acts to check out now if you like it slow, heavy and desolate.

“No Funeral / Livid” Split LP//DD track listing:

1). No Funeral - Infection

2). No Funeral – Disease Brought By Depression

3). Livid – False Hope

The Review:

This split LP brings together two Minneapolis doom heavyweights united in snail-paced drudgery. No Funeral and Livid both deal in punishing, immersive doom delivered in contrasting styles.

No Funeral immediately establishes an air of quiet foreboding with the cold, bare introduction of “Infection”. Clean guitars are quickly drowned under a torrent of filthy sludge as the band rumble into a lumbering evil riff. There are slight increases in tempo as the track progresses but a grisly doom crawl is maintained throughout, somewhere between Iron Monkey’sbelligerent spite and Unearthly Trance’s bleakest moments. The mood of hopelessness is heightened by the nasty dual vocals, particularly the harsh howls of despair near the start of second track “Disease Brought By Depression”. Here the band dive deeper into the well of misery, building to a harrowing climax where a vocal sample detailing the effects of heroin withdrawal skips and repeats as the track unravels into chaos.

Livid’s side of this split is a single 19 minute epic titled “False Hope”. The oppressive atmosphere of No Funeral’s offering remains but the sludge has been dialled back in favour of spacious dark psychedelia in the vein of Yob or early Pallbearer. There is a stark contrast on the vocal front too but Cole’s Benson’s clean, reverb-assisted delivery instils a similar level of dread via a different mechanism. Over the first half of the track the band wring maximum impact from a gloomy chord sequence before letting a huge riff unfurl out of the dirge and develop over the second half.

The combination of these two bands on one mammoth slab of wax is a marriage made in hell. No Funeral and Livid are definitely acts to check out now if you like it slow, heavy and desolate.

“No Funeral / Livid”is available here

Band info: No Funeral || Livid

ALBUM REVIEW: Friendship - "I&II"

By: Charlie Butler

Album Type: Full Length

Date Released: 10/02/2017

Label: Sentient Ruin Laboratories

“I & II” is a devastating slab of high octane noise-riddled evil that makes most heavy bands sound weak and feeble in comparison.  The band’s brief outbursts of messy, feedback riddled punk mayhem are as exhilarating as they are terrifying.

“I & II”CS//DD//LP track listing:

1). Jerusalem

2). T.R.Ø.Y

3). Bill Evans

4). €ompton

5). Represent

6). Bottomless Pit

7). Abuse

8). SB

9). Hype

10). Slaughterhouse

11). Law

12). El Chapo

The Review:

Japan’s Friendship have delivered the nastiest listening experience of 2017 in the form of their “I & II”LP. This release brings together their first two self-released EPs to form one concentrated blast of aural terror. Incendiary opener “Jerusalem” packs more carnage into thirty three seconds than most bands manage in a whole album. It’s a punishing onslaught of frantic, ugly grindcore that sets the tone for horror to come.

Friendship take the sludge-coated powerviolence of Iron Lung and Weekend Nachosand ramp up the intensity and aggression way into the red and beyond. The band’s brief outbursts of messy, feedback riddled punk mayhem are as exhilarating as they are terrifying but they are at their most effective when they explore the extremes of the tempo spectrum within the space of a single track.

“T.R.Ø.Y”begins at a snail’s pace as the bass and drums carve out a torturous minimal riff that creates an air of bleak foreboding. This makes the eruption of furious crust that follows all the more potent. There are hints of off-kilter noise rock weirdness in amongst the wreckage too, best exemplified by the insane opening riff to “€ompton”. Somehow Friendship manage to take this construction of pummelling chords, bizarre string bends and ringing discord and make it the basis of a straight ahead grind assault. As the track progresses it slows and degenerates into a pit of barely-mobile doom torment reminiscent of Primitive Manat their most oppressive.

“I & II”is a devastating slab of high octane noise-riddled evil that makes most heavy bands sound weak and feeble in comparison.  If these two EP’s are a hint of Friendship’s fearsome power I suggest taking cover now in preparation for a full-length offering.      

“I & II”is available here

RIFF REWIND (24/06/2013): Reproacher - "Nothing To Save"

Reproacher began in late 2009 in Cheyenne, Wyoming. Formed from the remnants of dissolved local bands, Joel joined TJ and Jarret and produced two demos in 2010. Jon joined in late 2010 and the band began writing and touring more seriously. After a handful of shows in March 2011, Reproacher travelled to Salt Lake City to record a self-titled album with Andy Patterson, which was self-released. The band did two west coast tours with defunct Denvergrinders Clinging To The Trees Of A Forest Fire and Death Of Self. Reproacher would later record a Tour Demo in October of 2011 with Patterson once again which was released via Dimlight Records. In the summer of 2012, Reproacher drove coast to coast in a 38-day US tour

“Nothing to Save” their second full length dropped in June 2013 and the band’s misanthropic sophomore release delivered 11 merciless tracks of metallic hardcore mixed with rumbling blasts of low-end vocal snarls. “Nothing to Save” was recorded in 4 days during January 2013 in Salt Lake City by Andy Patterson (Gaza, Call of the Void). 

Fast forward three years and split 7 later, Reproacher would return with their third full length, “Nature’s Bastard” an album where huge, awkward riffs dominate the landscape and their ugly, discordant racket is reminiscent of Converge at their nastiest.”Nature’s Bastard” is a mighty offering, a captivating combination of savage intensity and considered dynamics, but today we’re rewind the clock 4 years to the day and revisiting an album that exposed THE SLUDGELORD to this amazing band, a band you’d be a fool to miss second time around.  So if you missed it the first time, be sure to remedy you error by checking out our review of “Nothing to Save” in full below. Reproacherbreeds hate and disease through sonic decimation. 

By: Richard Powley

Album Type: Full Length

Date Released: 11/06/2013

Label: Self Released

“Nothing to Save” is a remarkable album, marrying grind, crust, sludge and hardcore, yet never failing to provide anything other than caustic forward momentum. The inclusion of more subdued moments adds wonderfully to the emotional weight of the lyrics whilst also giving the record great replay value. Basically it rules.

“Nothing to Save” DD track listing:

1. Intro
2. Casemate
3. Sophists
4. Averse Arrest
5. Ballast
6. Marginal Being
7. Repose
8. The Champion is Fucked
9. A New Dark Age
10. Crippled Wolves
11. New Skin

The Review:

I’m going to go ahead and admit I had never heard of Cheyenne, WY’s Reproacherbefore receiving “Nothing to Save” to review.

I am now a massive fan of Cheyenne, WY’s Reproacher.

“Nothing to Save” contains 11 crusty, sludge fuelled hardcore tracks, overflowing with bile and rage. The fact that Reproacherwouldn’t sound out of place on a bill with Cursed, Full of Hell, Baptists et al is big praise indeed, but one the band wholeheartedly deserves with this release.

As soon as Intro’s pummelling build up is complete, Reproacher lurch into “Casemate”, complete with Colohan-esque distorted vocals, short grind bursts, dissonant breaks and a propulsive tempo, with the latter three setting the band apart from the many Cursedcopyists formed in their wake. Further across the first part of the album, Reproacherfuse elements of d-beat, sludge, hardcore and Converge style tempo changes and dissonance into a disgustingly cohesive whole.   

With “Ballast”, the band has crafted a perfect centrepiece to the album. Slowing things down ever so slightly and giving more emotional weight to the bleak and desolate lyrical content, the track ends with a plaintive, mournful riff bringing the first half of the album to a suitably grim climax.

“Marginal Being”’sdowntempo, doomy intro belies the tracks surge into furious hardcore, whilst “The Champion is Fucked” tells of the treachery often born of greed and ambition over a furious amalgam of grind and d-beat hardcore. “Nothing to Save”closes with “New Skin”, opening with a slow feedback laden riff that wouldn’t sound out of place coming from Manatees, before settling into a calmer passage that’s ends the record in an unexpectedly thought provoking manner.

“Nothing to Save” is a remarkable album, marrying grind, crust, sludge and hardcore, yet never failing to provide anything other than caustic forward momentum. The inclusion of more subdued moments adds wonderfully to the emotional weight of the lyrics whilst also giving the record great replay value. Basically it rules.

Band info: Bandcamp || Facebook