Magrudergrind’s Crusher 10″ will be re-released in the US. 100% DIY, non-car related version… complete with digital download and poster. One of the hardest working bands in grindcore puts out their heaviest release to date and To Live A Lie Records gets the amazing luck to do the fully packaged DIY version. Limited copies will come on opaque red vinyl. Release expected in March.
US grindcore powerhouse Magrudergrind have a new EP coming out this month. Since '09's Self Titled they have been pushing their sound past the staple grindcore DIY 1-mic mono garageband to include recording engineers like Kurt Ballau (Converge) and Scott Hull (Pig Destroyer) on their past album but I don't really have much info on this new EP to share with everyone except it's called "Crusher", will be available on 10" vinyl through Scion Audio Visual and hopefully someone will import a few copies around Aus to keep us southern hemisphere fans happy. I have my fingers crossed that they tour this one through Australia.
Alright! Today is New Years Eve and I'm at fucking work. How sad is that? In any case it has given me a quick chance to do my Top 6 Albums of 2009. Why my Top 6? Well, because I got to the 6th album I had selected and then grew bored.
Don't get too hung up on ranks and the like. What this list is meant to do is hopefully pique your interest in some music you havent heard before - so you can go check it out.
Overall I wasn't very impressed with the grindcore offerings of 2009. We had new albums from Napalm Death, Magrudergrind, Brutal Truth and Flagitious Idiosyncrasy In The Dilapidation which were all reasonable, but hardly groundbreaking or worth of intense praise. I think I'm at the stage where I really need to hear something different in a band, rather than a rehash of old genre cliches. The Kill's new live album was pretty fucking cool, but really most of those songs were quite old.
I'm definitely struggling to find grindcore that meets any of this criteria (and if you have any suggestions I'd love to hear it!). As for metal - well I'm fairly disillusioned and above all TOTALLY FUCKING BORED of death metal and most extreme genres. They are all too static.
In any case, here are my favourite albums of 2009!
1. Mastodon - Crack the Skye: You read correctly. I have dug Mastodon since Remission; and loved the heavy, sludge-ridden style they demonstrated on their first 3 releases. When Mastodon changed their tune in Blood Mountain, I no longer found the major identifiable elements that had let me previously enjoy the band. The production was comparitively thin, the clean sung vocals seems quite poor and inadequate, and that unabated crushing heaviness that I had come to associate with the band was no where to be found.
Then came Crack the Skye. I can only assume this is the album the guys WISHED they made the first time around. It is a fucking masterpiece of catchy vocal hooks (albiet slightly over-produced and clearly run through many filters), complex King Crimson-esque progressive passages, absolutely blistering guitar leads and wonderfully constructed songs. While Mastodon are definitely a band who people either seem to love or hate (infact my old man recently told me that he thought their album was terrible and was 'as bad as the stadium rock bands you used to listen to when you were 16') I definitely stand in the love camp. This album is a masterpiece, and it's ability to retain memorability and accessability while still being an absolute progressive rape is what it's all about for me.
2. Zu - Carboniferous: Apparently Zu have made 14 records since 1999 - so why the fuck hadn't I heard of them before? I only got this album a few weeks back, but it is fucking amazing. This Italian trio (drums, baritone sax and bassist) pulls out massive Meshuggah-styled rotating polyrhythms - but somehow they make it fucking dancable and catchy. How can a trio with no guitar be as heavy as Meshuggah? How can a seemingly endless supply of awkwardly ear-pleasing opposing rhythms and syncopations be so fun? I have absolutely no idea - but hark, it is so.
This is an obscene mix of metal, jazz, punk, noise and more. A huge warm fuzzed-out bass fits perfectly with a prominent live drum kit sound and the heaviness of baritone sax. A mix of The Melvins, Meshuggah, Hella (pfft) and John Zorn. Totally fucking crushing. Get into it.
3. Helm - Keelhaul… Volume 1: Alright so this album was technically released in the last few weeks of 2008, but I don't care. Helm hail from Queensland, Australia and play music stylistically similar to Cult of Luna, Isis, Jakob, Mogwai and all the rest. Listening to this band it is abundantely clear that Helm are not another derivative Cult of Luna band - how could they be? The average age of the band members is far above that of the bands they are so often compared to. By pulling in such a wealth of exprience and knowledge of music, Helm have provided is a refreshingly unique take on a genre that so often falls victim to rehashed Isis-worship.
They take their vocal and guitar melodies far beyond that of the aforementioned, and the fact that they are Australian - and can replicate their intricate melodies and dynamic shifts live just makes things even better.
4. Brian Campeau - Mostly Winter Sometimes Spring: Brian Campeau is the first Sydney local in this list. Born in Canada, Brian eventually moved to Australia. He is an absolutely incredible singer songwriter, with a voice that I would not hesitate to call beautiful or angelic. His music brings to mind the works of Thom Yorke or Bjork; incredibly emotive and usually vocal-driven. His tunes are marked by a meloncholy which stands in stark contrast to his amazing voice.
Brian is also an incredibly talented studio engineer - and it shows. He has moved far beyond being 'just another acoustic guitarist singer/songwriter' and flourished into an extremely complete musician with an amazing ear for sound textures and soundscapes. Mostly Winter Sometimes Spring acts as a concept album and takes the listener through a range of emotional highs and lows - but it is the completeness of this journey which really struck me. The entire album retains an intense emotional power - you can literally feel songs like 'Denial', 'Anger', 'Throwing Blame', 'Depression', 'Reinventing Myself', 'Acceptance' and 'Thankyou'.
To surmise; here you have a man with a voice so beautiful it should be illegal. His acoustic guitar playing (though sparse on the album) is truly unique and creative, and unlike anything I have ever heard. He has a very strong knack for setting mood through production techiques and soundscapes; not to mention his voice and lyrics. This album also features a wide range of guest musicians to provide double pass, saxaphone, brushes and other various touches. The music is seemingly stripped back, but holds a very distilled emotional power. Needless to say, I am floored.
5. Propagandhi - Supporting Caste: This was my first official taste of Propagandhi - and now I can really see what all the fuss is about. Furious ideallic punk rock tunes played at a frantic pace, but supported by very strong musicianship and incredibly articulate and intelligent lyrics. Over the years these guys have moulded into an incredible tight-knit unit, and coupled with their obvious intelligence and talent for lyric writing this launches them up into one of the best albums of the year.
6. Heroin and Your Veins - Nausea: I've been dabbling around with groups who play atmospheric, dark and doomy jazz. Bohren & Der Club of Gore's Black Earth was my first taste of the genre. The down-tempo jazz/doom on that album is far, far more crushing than the majority of "doom metal" I have heard. From there came an obsession with The Necks, and a taste of more atmospheric and cinematic approach from The Kilimanjaro Dark Jazz Ensemble.
I had absolutely no idea what to expect when I listened to this album from Heroin and Your Veins - the band's name definitely sounded like it would be a generic doom/drone band, so I was delighted when what greeted my ears was a cinematic spin on dark atmospheric doom/jazz, painting extremely moody aural portraits that combines the dark jazz of Bohren & Der Club of Gore with the spaghetti-western Morricone-esque touches of later Earth albums.
And for the record the new Mars Volta was fucking TERRIBLE.
Ahh now see, THIS is what I was after. After my very negative reaction to the latest Magrudergrind album I needed some kind of sign to prove to myself that I could still enjoy crustier grindcore - and Flagitious Idiosyncrasy In The Dilapidation has more than delivered.
With their new self-titled full length Flagitious Idiosyncrasy In The Dilapidation has restored my faith in grindcore that does not rely on ridiculous complexity or excessive production values to create a listenable album. By the same token, FID are not a band who are stuck in one rigid subset of grindcore, and free themselves to incorporate an plethora of influences - and I'm not talking about obscenely electic jazz influences like Cephalic Carnage either. It's all fucking fast, filthy, furious fucking grindcore all the way; punctuated with savage blast beats and fucking intense vocals.
The album opens with a catchy burst of punk-influenced-grind a la Captain Cleanoff. From there I can pick out European style modern grooving breakdowns (Smudged), a slightly old school Bolt Thrower death metal influence in a slower tempo, tremolo-picked groove (Studeny Klih), some shamelessly catchy punk rock segments, a slamming brutal death metal moment (In The Sluge), an old school doom introduction (Unvoiced), a brief cock-rock moment (Into the Gray Room), an old-school chunky Obituary riff (Dusted Ratina), some very obvious throwbacks to Napalm Death (Into the Sluge) as well as spates of crusty powerviolence.
The production is reasonably solid all things considered; the guitar tone is slightly crusty but with enough clarity so that you can clearly make out each riff, and distorted enough to very happily fill out the sound with a slightly dirty bass chugging underneath. The vocals are a mix of slightly guttural bellows, distorted high pitched wails and almost black metal howls - a fairly dynamic mix for a grind band. What is even more impressive, is that all these tortuous sounds are the result of one tiny Japanese girls voicebox. Holy fucking shit.
This fucking great stuff, and very well worth fans of Insect Warfare, Phobia and the like to check out. If you need a second opinion, I will refer you to the original review of this album that successfully piqued my interest over at Teufel's Tomb (a review site I would definitely recommend you check out).