AusGrind: Australian underground grindcore, punk, doom and DIY culture.

Review: Flatus – Global Developmental Decay Album

Posted by mothereel

This review feels that it must begin with a warning, upon listening to this album, it isn't grindcore. Of course, the band didn't say that they were grind, they merely responded to my offer to review releases.
There. Now you can decide if you want to read on, or go somewhere else, listen to early Entombed or something but you must do something… even pondering that last sentence could be your next 'thing'.
Global Developmental Decay (GDD) is an effort from a Perth underground celebrity list whose other/former bands being Funeral Death, The Furor, Cuntscrape, Maximum Perversion to name a few. The production has a fairly well rounded sound, thick guitars, the bass lower in the mix, but smooth and still present, varied vocal styles from melodic singing on the intro track and I guess I'll mention it now, as it seems as good a time as any - Carcass worship. Not the early, "good" Carcass albums. The later, not cool, ones. It's done well, they play well, the recording is done nicely, mixed appropriately and all that kind of stuff. It's just not the cool, good Carcass albums that are worshipped. So you get all the high and low vocal styles that Carcass offer, ok? Ok.
I think I'll also raise that I believe that either they've used a drum machine or the drums are triggered to such an extent that they may as well have. The cymbals are almost non-existent and the use of them is quite metronome-y.
Each song tends to have some great tempo and even time signature changes, mostly after a regular amount of repetitions of each riff. It keeps things interesting. In this way I am reminded of Cauldron Black Ram, only this album doesn't do that as well as they do…
Synths are present. Risky for some listeners, especially when paired with a 'massive' growling vocal, as it is on track 'Mark Bowen'.
Overall, the riffing tempo is a fairly safe speed, sounds like 120bpm or so. If it's at 124, I believe that's the "ideal" pop tempo and perhaps would lead to some headbanging as some of these riffs rightly deserve. The tone of the album is quite safe. The vocals aren't extreme although they are from such a genre but there's little vocal damage or shall I say "heart" in the delivery, purely decent technique. The drums or the machine that represents the drums aren't pushed in any menacing way, just keeping time at a leisurely pace, in a leisurely manner.
It's safe but it's well done, for what it is. Based on what I think Flatus are trying to achieve, I give GDD 9 out of 13 Black Ram Cauldrons and 22 out of 29 Carcass Heartworks.
My personal score doesn't matter.

Flatus on Facebook

How'd it go for you? What do you think? Leave a comment, threat or otherwise meaningful or meaningless bunch of words below.


Some time to do reviews.

Posted by mothereel

You got something you want reviewed?

Homework? Underwear?  How fast you drink that mocktail?

I believe I've got some time to listen to you and write some words commenting on the feels that stir within me.  This doesn't mean I'll do it immediately but that I do intend to do it.  If I get flooded, sorry, only the first x amount will be done.  To limit that likelihood, please only send things that are from 2018 onwards.

Write a comment with your email in this format webaddress at webdomain dot com and I'll email you so you can send me your release digitally.


Melt Banana Live Review

Posted by mothereel

Well it's been a while since the last post...  Nobody tells me anything anymore!

I had the pleasure of seeing Melt Banana a few days ago.  Not many bands come here, let alone International ones, particularly with blast beats.

First band, the only support, was Zeus. They come from Italy and had been touring with the headliner. This was to be their last gig for the year, I presume they have to return to drink wine and coffee. That is to say that after they played and when I talked to them, they didn’t have a reason for ending the tour. Zeus were good! A two piece, drums and bass, although the soundguy should also be included because he does a fair amount of work for them… so three piece. A three piece feed of oftentimes thick riffs, strong grooves and the occasional scream. The vocals were minimal and simple, it works quite well, adding some cream to the peak of the song cake.  Naturally they were tight, they have to be to make it all work.  There are delayed loops and samples that synch up with the band.
The main band set up, bringing more amps to the front of the stage. The light technician was trying to tell me how loud they will be. I’d seen them before and I’ve heard louder bands. I couldn’t quite communicate this with him though, my German is not yet good enough. Believe me, I tried. Melt Banana are from Japan and confused me when they had no drummer. According to the knowledge of the Internet, they haven’t had one in 3 years. Occasionally they get a guy in to record but perform shows without one. That’s always disappointing for me, nothing matches the energy of a drummer onstage, particularly when he is dying from exhaustion. So for me, they played well, but it wasn’t a great gig. They also weren’t so loud, but an appropriate volume for the space.  They played a diverse selection from their quite long career.  Both trying to show some energy but seeming a little exhausted too.  Their use of electronic drums and samples as well as some pretty impressive guitar effects had a few in total wonderment.

Zeus can be listened and contacted through here
Melt Banana here


A review of Wolf Eyes’s “Always Wrong”

Posted by mothereel

Locked in a seismic, diabolical orgy of earthquake shattering proportions, an exhilarating place where few will gather the courage and strive to tread in perseverance, a place of spilling electronic whirls, spewing hisses and bone-splitting cracks, Always Wrong from American Mavericks - Wolf Eyes - throws you in an barren, oppressive cell of inexplicable sonic torture and throws away the key.

Look at those lines!

The cover art of the album.

Always Wrong is comprised merely of seven songs and is just under thirty minutes long. But, what they manage to achieve in that short amount of time is purely something that is nothing short of remarkable, whatever opposing, opinionated side you happen to sit with. It's a caustic, deafening achievement. The beauty is that in its confronting assimilation the music produces. To some it may certainly shock and provoke, perhaps only startle and leave you with an acrid distaste - a wonder that you never thought music could ever sound so hideous, but for everyone who is confronted with this embodiment of music they are left with that inseparable, curious imprint. The Cellar exudes this feeling perfectly; A lone, vindictive drunkard awash with fervent emotion, surrounded by ghostly purls of white noise, stands tall at the mount striking down, in sermon, before the intensified roar of blistering guitar splutters and battering bass drum kicks, the superficial and hypocritical value of those grovelling below. Living Stone pretends to imitate something a little softer before it reminds you where you came from and throws you back into the fray. Taking Extremities to the forefront, nothing short of tying rope to your legs and being dragged at high speeds along the tarmac is typical of Broken Order's Aural Onslaught - crushing, distorted cymbals and nauseating, guitar drones which cancel each other out at times from the sheer volume. An industrial, grinding, macabre pleasure that Wolf Eyes have made all their own.

The closing track - Droll/Cut the Dog - with its lamenting, harrowing yet softer melodies of church-like organs acts as a reminder of all the crazed, drunken, ungodly murderous acts that have led to the final act. What just transpired wasn't wrong, and it certainly isn't right - it merely is. Wolf Eyes with Always Wrong have produced a sound of their own, binding them in sacred apothecary, strewn with golden antiquity, and I for one am overjoyed there is a band adventurously prolific making music like this.

Much beard, so clarinet.

I believe this is the band.


The above review was written some time ago by a different man other than myself.  He has given me permission to publish this on his behalf.  Some minor edits have taken place, including altering of spelling and some minor house keeping issues.
I think he wants his name up here... If so, it's Adrian Johnstone... if not it's Kontoh.


Noisecore Ballads About Australia Review

Posted by mothereel

Artwork by Andres

Here's my first attempt at a review.  I should have another one up soon and both, I fear, are going to be a disaster.  Feel free to critique my review.  It's the only way I'll learn.

Every review is listened to at a very loud volume in a darkened room.  Distractions are very few.

Coming From My Penis released ‘Noisecore Ballads About Australia’ (NBAA) mostly to make fun of all the Australians that started to joining the forum.  I don't really care for patriotism or nationalism, I've still not heard any decent argument against globalism in terms of national identity or culture.  Therefore, the humour in the song titles are rather boring and uninspired to me, although I like the idea of Steve Irwin being compared to George W Bush (presumably Jnr), except one of them has died crusading for animal welfare and the other seems to have earned some post terrorist praise.
Anyway, NBAA, is a series of shortish songs deliberately poor in recording, mixing and song structure quality.  Compared to the previous 'Noisecular Holocaust', the guitar actually sounds like a guitar more often than not.  Each song tends to pan out in a series of stabs and jabs of quick higher register guitar work, varied ineloquent vocals and tiny percussive clicks.  The vocals do that slightly annoying and predictable build up to a falsetto scream when the quick part happens.  Sounds good distorted.  The exception to the release's general rule is "You Got A Woman Prime Minister/You're So Wealthy No Wonder Why Everyone's On Welfare" which is slower in tempo and longer in duration.  It's not the catchy song of the release though.  The medley that ends the release is, probably because of the rhythmic vocals.
If NBAA is meant to be funny, it's not really, ok, in a really juvenile way... perhaps - the band's name has the word 'Penis' in it.  It's not really insulting, unless there's something wrong with you to not see the attempt at humour.  The noise isn't really unpleasant, it's not easy listening though and so it's forgotten quickly.

For fans of Napalm Death, Pig Destroyer, Rotten Sound

Coming From My Penis is:

Douchebag - drums & vocals
Necrobastard - guitar

Noisecore Ballads About Australia

1.) Quit Saying Arse, It's Ass You Assholes
2.) Fuck Blood Duster, Warsore Are The Australian Grind Champions
3.) If I Hear Mate One More Time I'm Gonna Stick A Boomerange Up Your Ass And Let a Kangaroo Rape You
4.) Steve Irwin Was Your George W Bush And The Outback Steak House Your Mcdonalds, They Made You Look Like Assholes To The Rest Of The World
5.) I Love The Aboriginoles The Digiridoo Is My Favorite Instrument (I don't Give A Fuck If Spelled That Shit Wrong)
6.) A Dingo Ate me Baby While The Shrimp Was On The Barbie
7.) You Got A Woman Prime Minister/You're So Wealthy No Wonder Why Everyone's On Welfare
8.) Fuck the Great Barrier Reef/ *
9.) Why Is Everything Poisonous There or Can Kill You?/ *
10.) Bush Tucker Mother Fucker/ *
11.) Why Do You Call Football Gridiron, Thats Gay/ *
12.) C?an You Tell I Read The Wikipedia About Australia to Record This Album? *

*All together as a medley

Artwork by Andres

Download it here


REVIEW: Gaza – No Absolutes in Human Suffering

Posted by Lachlan

Gaza - No Absolutes In Human SufferingOh man. What an intense album.

Gaza's 'No Absolutes In Human Suffering' is an excursion of dissonance, fury and blastbeats; a sludge-and-grind hybrid is delivered with seething nihilism and apocalyptic despair.

The group combine the grooving polyrhythms of Botch, the jarring fury of Converge and Coalesce, the sludgy hate of Eyehategod and the sheer blasting intensity of Pig Destroyer.  The result is visceral and intense; breathing new life into some of the more tired aspects of hardcore.

What makes this album so powerful are occasional departures into reflective passages - like the ending half of When They Beg, which drifts off into a warm, droning meditation, boasting a melody that reminds me more of Genghis Tron's prettier moments.

The emotional impact of segments like this really set the band apart from many of the one-dimensional / one-mood bands I've turned away from in the past. It's a little concept called dynamics. You want to create the heaviest riff ever written? Well, write it, and then set it in the middle of a beautiful and delicate 10 minute major key dream piece. Its impact will be multiplied tenfold.

While I've been stuck in the mindset that most modern hardcore and grind is stagnant and uninteresting, bands like IDYLLS, In Trenches and Gaza are out to prove me wrong - and they're doing it quite well.

With 'No Absolutes In Human Suffering', Gaza have landed themselves one of the better releases in the genre for 2012.

Definitely an album worth checking out. Go stream the whole thing.

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