I was sitting here with a spare hour to kill and decided to trawl the digital sewers to see if I could find anything worth writing about.
New Whores track? Yeah, that’ll do.
WHORES are an Atlanta-based noise rock trio that have been one of the fucking best bands in heavy music over the last couple years. Both “Ruiner” in 2011 and “Clean” in 2013 have been in constant rotation through my ears. Waiting three years for the next album has been a long haul, the only consolation being a Toronto show they played last winter.
I can’t really give them shit (other than more Canadian dates) as these motherfuckers have been touring close to non-stop for the last three years, stripping back the fat and greasing up their claws to pop out their newest album, “Gold”, slated for release on October 28th.
“Baby Teeth” is the first track getting shown to the world and goddamn, it doesn’t disappoint. I could sit here thinking of several different ways to describe this track and drown you in too many adjectives, or you can skip my rabble, scroll down and hit fuckin’ play bud.
Billy Joel said it best, “… you can’t get the sound from a story in a magazine …”
Dug through some of the more recent emails in my neglected blog email (seriously, it smells like a bag of vomit locked in a hot car over the weekend) and pulled out a literally quick double feature.
LOVGUN – VISAGES MASQUÉS
French grindcore that occasionally interrupts the regular onslaught with some sped-up punk riffs. The combination is kickass and balances out your accelerating circle pit with a groove you can get your knuckles around, all in under 60 seconds.
Fast punk? Slow powerviolence? Who the fuck cares. GET PISSED. PUNCH THE WALL. REALISE THAT HURT. DO IT AGAIN.
Naileater – Chains
Real fuckin’ nasty hardcore punk from Austria. Vocalist really sounds like Lemmy through some parts, others he sounds like a chain smoking gorilla. Four songs, all done in under 10 minutes. I wasn’t kidding about the quick double feature.
The brevity actually makes me love these songs a lot more. I can easily imagine a band dragging out a real similar sound over 6 minutes a song – which can be great but can also be aurally exhausting. Two minutes thirty? Fuck yeah, my neck won’t even get sore. (I’m kidding, my neck is old and I will complain)
But really, Naileater is some damn good shit, just fuckin’ full-speed-freight-train-heavy-good-time. Also there’s a song called “Bonesaw”.
For those of you that might notice – both of these bands have their albums up for a name-your-price option. Don’t be tightwad and put a number other than 0 in that field.
More videos! Cuz I’m lazy and haven’t bothered to type down anything for the small foothill of albums I’ve got bookmarked. Still, these videos deserve a mention while they’re still fresh…
Red Fang – Shadows
The burlmeisters in Red Fang have a new album coming on October 14th entitled “Only Ghosts“. They have released a video for a track called “Shadows” directed by their longtime compatriot – Whitey McConnaughy.
The video is fairly solid – a tribute to the thermal-vision alien of your dreams – but the real standout is the new track. I didn’t love the last album but “Shadows” brings some new twists to the table and I can’t wait to hear the rest.
High On Fire – The Black Plot
High on Fire are legends. This music video is legendary.
A He-Man D&D skullfuck marathon with a bad acid trip and quiet weekend spent huffing some paint – If you liked the movie Heavy Metal you’ll love this.
Found this video floating around today and it reminded me of the first post I made on this venture – Sometime in 2012 – about one of my favourite bands at the time, Barn Burner. A band that got me to develop nipple-length greasy locks and a craving for cheap beer swilled from cans.
Barn Burner dissolved a couple of years ago, playing their last Toronto show at the Bovine and giving me a reason to get real piss wasted. Later on I found one of the founding members moved out west and started a new band, Dead Quiet.
Blood ‘n’ thunder riffs, mountainous melodies and rippin’ breakdowns – get the album and watch the video down below.
Dead Quiet Bandcamp
Hat tip to the track “Remaining Remains”. A strong eulogy for one of the most badass frontman to have graced this rock.
Get up again.
Hit snooze again.
Start the car. Drive the car. Park the car.
Buy the coffee. Drink the coffee. Piss the coffee out.
Punch in. Punch out. Punch in. Punch out.
Start the car. Drive the car. Park the car.
Eat or Sleep or Internet or Wrench.
Starting this blog in 2nd year university, I thought I’d never have a reason to stop writing. Reality is a bitch and so is working for a living.
Things are a little more calm now. Maybe something will get produced?
Don’t hold your breath.
For starters, I’m not sorry for avoiding posting for the last three months or so. The following is an explanation of why.
I live in a rural area of Southern Ontario. Our climate is the classic Canadian hodgepodge of almost comfortable summers and intolerably cold winters.
From just about November through to April, the outside world becomes a rather nasty place. Howling maelstroms of snow and deep-set frosts that nip at your heels like a pack of starving wolves, it is not a hospitable time to spend outside. (Yeah I’m fucking exaggerating. It’s still damn cold.)
Come late April, a rather wonderful thing happens; the frigid temperature snaps like brittle bone and the snow begins to melt away to reveal all sorts of wonderful colours. Well, mostly brown, grey and green-tinged yellow as the continental amount of road salt and sand starts to get washed away into our soil, creeks and lakes. But I digress.
Continue reading ……oh, hi there
Generally speaking, acoustic albums tend be laughably bad, either being a horrible collection of romantic ballads or half-assed campfire songs. As such, I never really pay attention whenever I see one being released. Until I saw King Buzzo himself was releasing one, then I paid attention.
Without jerking the guy off more than he already gets, King Buzzo is a fucking monster of a guitarist, driving both grunge and sludge metal along from the underground for the better part of three decades. His style is all strummed burl, with very little fancy picking or solos to be found. The man churns out riffs with a strange tenacity that seems to have only gotten better with age.
“This Machine Kills Artists” is his first acoustic album, only him and a classic wooden clunker. One might think it strange to hear the driving force behind some of heavy music’s most distorted and jarring riffs to be behind the helm of a much more delicate instrument, wondering how in the hell his style would translate mediums. I can assure you, it translates fucking perfectly.
The sound is something resembling acid folk but can’t really be nailed down to any one musical camp, a Buzzo trademark at this point. His playing style and the acoustic create a strange but delicious sound that is equal parts eerie and aggressive. Jangled and rough-hewn, the riffs are churned out with the kind of force you would expect, leaving me to wonder what the hell they reinforced his guitar with.
I’m only halfway through the stream now and have to start getting ready for work tomorrow, so this won’t be a full review. More of me just wanting to tell people to go listen while they can because these are some damn good tunes.
Stream right here at Dangerous Minds.
Bateman are a pretty fucking weird animal. An Australian band, “SMUT” is their debut album and is a completely off-kilter assembly of thrash, hardcore punk and feral howling. It’s not trendy or fashionably heavy, it’s mean and filthy, like a rabid coyote rolling in fresh roadkill.
The first thing that will definitely be polarizing to most listeners is the vocals. They are very unique to say the least, with some of the heavier growls resembling traditional metal vocals while the shouts/barks are such a weird but pissed-off tone, it catches you completely off guard. It takes a couple tracks to get used to, but it gives Bateman their own special form of burl.
Musically, “SMUT” is handled in the best way possible; heavy, loud and loose. There is a very apparent lack of polish, with nary a tailored edge or shined boot in sight. Bateman are the unstable guy on the subway shouting obscenities at the Dentyne Ice poster and smelling like booze and week-old hot dogs. Scabs, boils and leaking blisters form a caustic crust that only gets penetrated by the equally corrosive riffage.
Their metallic tone keeps a consistent form across the entire record, with all the songs lying in the same region of sonic velocity as the others. There aren’t any major slowdowns and left-hooks, just plenty of spittle-spewing screams and nasty guitar lines.
“SMUT” is name-your-price on Bandcamp and I was a month and a half late finishing this review. My bad. Music?
So like, summer hit me pretty fucking hard.
Work from 6 – 2:30 or 8 – 5, then run around building things, breaking things, drinking things, eating things or riding things. The causalities of all this? Sleep and internet time.
I’m still jamming music pretty much all the time but what I don’t have time for is finding new stuff and writing words about it. The internet is the first thing that gets the hacksaw when the sun comes out so the next couple months will be quite sparse.
I’ll still drop some reviews when the rain turns sideways, so maybe like once or twice a month. Consider this a graduation sabbatical.
So yeah. BACK TO THE FUTURE.
Buying random $5 records has been yielding some damn good treasures, such as this ten minute B-side jam from Rare Earth.
Tumbleweed Dealer are a Montreal-based post-stoner band whose music I talked about both here and here. Their sound is all dead cowboys, dark skies, hostile deserts and whole damn fuckton of weed smoke.
They have a new record coming out near the end of this May and have released a track in celebration of that coming date. A re-recording of a song from their demo, “Resurrected Yet Again”, gets a fresh Tumbleweed Dealer treatment, with re-worked grooves and crisp instrumentation fleshing things out from the first draft.
The track also comes with a sick poster courtesy of Alexandre Goulet, which absolutely nails the whole evil-desert, mummified cowboy theme that the music brings to mind. A slow, cyclical march to a freshly dug grave, with unsteady footsteps in the sand leading off into the distance.
You can give the track a gander below and use it as some background music to get started rolling joints for the full album release coming later this month.
Tumbleweed Dealer Facebook